Hiemis - Radix
(c) 2021 HIEMIS
Artist....: Hiemis
Album.....: Radix
Source....: WEB/MP3
Tracks....: 11
Genre.....: Ambient
Label.....: HIEMIS
Encoder...: LAME 3.100
Quality...: 320 kbps / 441kHz / Joint Stereo
URL.......: http://deezer.com/us/album/422450827
Tracklist:
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1. Verbum Dimissum 5:49
2. Nox 5:18
3. Scala Philosophorum 3:36
4. Libethra 3:39
5. Toxicum et Venenum 5:31
6. Servus Fugitivus 3:54
7. Rebis 6:32
8. Cum Luce Salutem 4:26
9. Caput Mortuum 4:17
10.In Hoc Signo Vinces 6:46
11.Post Tenebras Lux 8:20
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58:08
Total:142.04MB / 58:08
Release Notes:
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During the twelfth and thirteenth centuries, a true revolution of faith
illuminated the arts and sciences leaving them at the service of the spirit. It
was then that the century of the cathedrals was born. That spirit led the man of
old Europe to a fever of building more than two hundred cathedrals, in those
places where the old and dilapidated churches were located, which in turn
occupied the ancestral places of worship of the old settlers of the continent.
It was the builders of the cathedrals who, incarnating the principles of sacred
architecture on the stone, made the cathedrals a privileged space of union
between man and God, between man and the cosmos.
However, the cathedrals were not only temples strictly dedicated to religious
worship; in turn, they become places of encounter, of discussion, of
contemplation. Sanctuary of the Tradition of Science and Art, the Gothic
cathedral must be seen as a sufficient concretion of popular ideas, trends and
faith, as a perfect whole that we can go to without fear when we try to know the
thoughts of our ancestors , in all fields: religious, secular, philosophical or
social.
The medieval builders, authentic creators of these complex and amazing
buildings, breathed into their works a whole series of knowledge and hermetic
messages. From the conception of the building in a plane, through its
orientation or the layout of its plan, each and every one of the elements of a
cathedral or a church were carefully planned following some schemes loaded with
symbolism and knowledge that largely He had inherited from antiquity. The
imprint of these esoteric doctrines, applied by the builders, was evident in the
designs made in cathedrals and medieval temples.
Among the students of these buildings, the figure of the enigmatic controversial
alchemist Fulcanelli stands out, for which the cathedrals constituted a
compendium of all the knowledge of medieval alchemy. The principles of hermetic
wisdom were exposed there, in the sight of all, but through symbols
incomprehensible to the uninterested. The alchemist related, for example, the
plant of the cathedrals in the form of a cross with the alchemical crucible and
linked the seven medallions of the Virgin on the facade of N⌠tre DΓme with the
seven metals of the alchemical process for obtaining gold. He affirmed that
"Gothic art" came from the term "argot", a secret language that only the
initiates knew and that the light that penetrated inside the cathedrals had
thaumaturgical properties because the stained glass filtered the harmful rays of
the sun.
"Art and science, once concentrated in the great monasteries, escape from the
laboratory, run to the building, grab the bell towers, the pinnacles, the
buttresses, hang from the arches of the vaults,` populate the niches , they
transform the glasses into precious gems, the bronzes into sound vibrations, and
they spread over the facades in a joyful flight of freedom and expression. "