[322a] to write about the merits of these singers or of this music? These are two different attitudes which are based on the fact of double symbolization. This expresses itself for instance in the fact that often works of music^a can be great works of music with a religious subject matter, but they cannot be used for the cult, for ritual activity, because of the predominance of the aesthetic side. And often, for instance in our hymns, there are hymns which are aesthetically poor---and I am sorry to say that probably four-fifths, or nine-tenths, of all [the hymns] in our hymnbooks are so! But nevertheless they can have religious connotations which are strong enough to overcome, if the congregation is singing, the limits of aesthetic perfection. Ideal, of course, is the unity, but this ideal presupposes the having-appeared of the Kingdom of God, or the Heavenly Jerusalem, in which there is no religion nor art as something special, but because God is everything in everything, all functions of man are

filled with His presence! On earth, you are in a dialectical situation whenever you encounter religious art; you have these two sides, these two sets of symbols, and you have the phenomenon of double symbolization. I would say the same about visual arts^b---and on this basis my showing of pictures will go on--- namely there are religious contents, subject matters, taken from the traditional symbols---of Christianity, for instance: we have the scene of Crucifixion, and the way to this ultimate moment; we have the scene of Resurrection, which, in the Easter story, already has a double symbolization^c (a mythological and a poetical).