**2. Convergence between architecture and music**

We shall see that this time too, in the paradise of Romanticism, ties between the two arts and sciences are woven. They are so different in expression, the architecture from the concrete, material towards the symbolic level and music on vibrational level, from weightlessness and evanescence towards the materialization level.

Both subjects operate with archetypes. Carl Jung, who has defined the archetype, enough so that we can stop thinking of our existence outside the patterns, suggests the following definition: "a matrix which influences human conduct, both in terms of ideas and those of moral, ethics and conduct in general" [4]. Artistic archetypes of music and architecture belong to "the universally unconscious dimension. Being sediment of the experiments of the species..." [5]. There lays the custodian of models, Jung outlining that the archetypes operate with symbols and suggesting that all archetypal markings are symbols. Thus, in the dimension of the two subjects, the symbols ever so present are projections of archetypes, with direct lineage from the collective unconsciousness.

The convergence between the two fields, music and architecture, through structuralism and heuristics is explained by the very principles demonstrated in the evolution of this orientation of ideological, philosophical and artistic nature.

The esthetical categories decisive for this period would shape the thinking of the creators, effectively regulating the balance between the Gothic past, the Romantic present and modern future for Romanticism: humour with its nuances, satire, sarcasm, irony, tragedy, sublime, grotesque and fantastic.

Romanticism, an aesthetic of the end of eighteenth century and the entire nineteenth century, proved to be a custodian of several tendencies, values and renewals. The tumult of the French Revolution (1789) has triggered the voluntary effort of a nation, then through mimesis and of others, to free itself from any constraints. Liberté, Egalité, Fraternité was the impulse which drove a generation and others in the future, towards a new dimension of consciousness, of the power which needed to be removed. It was followed by independence wars of nations, which entailed the break-up of Feudal and the imminence of Capitalist relations. The undetermined potential of consciousness, accountable for the evolution of mankind "provides, at the same time, a pragmatic map of the obstacles which need to be overcome in order to reach the optimal and more beneficial levels of consciousness" [6]. The obstacle of that time was the aesthetic of Classicism, one of the most important orientations of universal culture, which has promoted righteousness, rigor, balance and harmony. These characteristics have become redundant, inflexible for a Romantic hero animated by feelings, restlessness, imagination, bucolic, endless, Thanatos and transfiguration.
