In a surreal way, like that language that the unconscious uses to communicate through the vehicle of dreams, Gothic art emerged in the West as a new wind that was to revolutionize the concepts of spiritual architecture that had proliferated until then.
The greatest exponent of this sudden pandemonium of art, symbolism and mathematical logic - concepts, among others, that for Saint Bernard contained the essential idea of God - were the great and at the same time enigmatic cathedrals.
Following the patterns of mystical architecture and oriented in a sublime way towards constellations of special relevance - if, for example, the Giza pyramids were oriented towards the Orion constellation, it has been proven that the French cathedrals had their equivalence in the constellation of Virgo, the Virgin - were, in a comparative way, the prozac that was to liberate the depressing uncertainty in which the medieval spirit was submerged.
Using the language of the birds - a metaphor that is still a reference to the aforementioned language that the unconscious transmits through dreams - the medieval stonemasons created true psychologist couches - and I continue with the comparisons - whose effects acted directly on the psyche of the faithful, inducing them, in many cases, true altered states of consciousness, which acted as the best of therapies.
And in that sense, no therapy better than the adequate combination of sound, light and color, which made its interior a universal setting of the first magnitude.
Sound, because they were real sounding boards; of light, because the faithful attended, each dawn, the transit of solar rays that were gradually clearing the darkness - the eternal battle of Light against the Shadow - and colored, because when filtering through the glass, specially tinted by Unknown techniques in no way foreign to Alchemy, endowed the nave, columns, vaults and archivolts with such a special iridescence that sparks sprouted in the spirit.
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