[331] LECTURE XXVII, Feb. 16, 1956 I do this with fear and trembling, not so much because of the beautiful pictures and their interpretation but because of the technical problems, to which I am not used, and for which this room is not directly made. Nevertheless I will try. I distinguished four levels, and I will read them again: 1) Naturalistic style, secular subject matter. 2) Non-naturalistic style, secular subject matter. 3) Naturalistic style, religious subject matter. 4) Non-naturalistic style, religious subject matter.

I must have produced a little confusion at the end when sometimes, for "non-naturalistic" ^aI said "expressionistic," or even "religious." What I want to do is to go from one of these levels to the other and start first with the naturalistic style ^band secular subject matter. Now let me say first a few things in general. This is not a lecture in history of art^c. Those ofyou [sic.] who are students of history of art will be able to correct me and to imagine much better examples. What I want to do is to show you in these four groups a large choice of pictures which can give you an impression of what is going on in all four levels with respect to the relation of religion and art. So it is the main point of the lecture as such, namely the point of relation to religion, relation between religion and culture, which is the point of my interest in showing you these pictures. History-of-art considerations are

of course somehow presupposed, but they are not the theme. I will not talk to every picture---that would be much too much because I have the feeling it is good to show you many. Protestantism, ------------------------------- *See APPENDIX, below, page 344, for list of slides used in Lectures 27-28. -- ED.