Perhaps it is appropriate that the rose window tradition began at the Abbey of Saint-Denis. For Saint-Denis, the patron saint of France, is none other than Dionysius the Areopagite, the author of the Early Christian Celestial Hierarchy, which first described the Illumination ist doctrine ot the nine choirs of angels, and inspired Saint Augustine [13]. In any case it was there, in 1144, that Abbe Suger envisioned the first Gothic bulding, illumined by enormous, jewel-like, stained glass windows. By 1200, his inspiration had spread to numerous churches around Paris. The giant rose windows appeared along the way, and a trinity of them adorned each of the three early large cathedrals of Chartres, Reims, and Amiens. At Chartres, in particular, the three rose windows, facing north, south, and west, were devoted to the past, the present, and the future, respectively. Thus, the whole of human history was stretched over the plan of the building. The north (past) symbolizes the Old Testament, the south (present) the New Testament, and the west (future) the Last Judgment and the New Jerusalem. Also, Christ appears at the center of each rose: as the child in the north, resurrected in the south, and in judgment in the west. The integrity of the entire stained glass environment at Chartres was based on the Logos of Philo Judeus and the Gospel of Saint John, embodying geometry, number, and light. All this sacred art, divine geometry, and Pythagorean philosophy was characteristic of the School of Chartres, which flourished at that time (a century after Bernard de Silvestris) under John of Salisbury and Chancellor Thierry. [14].