Architecture, Alchemy and Cathedrals

Beyond being considered as a simple coincidence or perhaps as a representative fashion of that era that was characterized by revolutionizing the, until then, obsolete foundations of religious architecture in the West, we must appreciate, in the disturbing presence, similar to the most of the Gothic cathedrals that illuminated the shameful shadows caused by that period of notable confusion that preceded the Early Middle Ages, of that imposing giant, Saint Christopher, bearer of the Child God, something more than a symbolic allusion to the supremacy of Christianity over to the pagan considerations of previous cults.

It would not be the first time that alchemists and esoteric scholars met there, as happened, for example, in the Parisian cathedral of Notre Dame, searching in the allusions, both alchemical and astrological, for some fascinating sculptures, which, according to the mysterious author, Fulcanelli, were full of argotic meanings, the keys to achieving the Great Work.

Keys, of which it could be said, that this curious character - which, in addition, Gothic painters used to represent fording a river, with a fascinating variety of symbology, including characters from the mysterious Tarot deck, such as the Hermit - carries, in The Latin force of his name, Christophoros, skillfully concealed, is part of that underground and exclusive message for initiates, because, as was the case with Cervantes and his immortal character, Don Quixote of La Mancha, objectivity and subjectivity came together. So, in addition to being able to be translated as Bearer of Christ, it can also be made as Bearer of Gold.

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