In part of the research, I allude to the imagery of Tarot, more specifically the Tarot of Marseilles, and together with it, to a whole ambience of Jungian interpretation of archetypes. Thus, I sometimes commit myself to reinvent archetypes or make up new comments on some already stablished archetypes. The Lover is one of them, and in this case, the depiction is nearly didactic, many times representing this lover as a footless, handless figure, as if he is completely tied to a situation that misplaces the heart outside his body, upside down. This “heart out of the body” thing is very much present in the Cristian iconography. Resembling some picture of Christ himself, or some of Mary. There is a sense of donation in it. Hence, it bears this feeling of sacrifice somehow, a transfiguration, since this body which is completely immobilized, or precluded from having ground, from having hands, is raised by these two winged creatures, these birds, that elevate him to a sort of superior condition regardless.