[340] in the spiritual, and vice versa. They are expressions of the one reality which is man. This makes it possible to recognize the identity of every individual person in his face-expression. This is something very miraculous, if you ever think about it, that the cells of the body^a, the cells of the face, are able to express the spirituality which is in you. And this is the importance of the portrait. Now the portrait had the same problem, where somebody might ask, "Why not the reality itself? Why a portrait? What is changed?" What is changed is the following, that in a creative portrait the WHOLE of this

human being is expressed in the moment in which the painter brings it into existence as a picture. We will find something of it more characteristic later on, but it is something which is very decisive for the art of the portrait itself. Perhaps we go on, because I must say more about it. 16) Titian^b, THE DUKE OF URBINO--another Renaissance portrait. 17) Here I want to stop for a moment. Here you see what I said much more realized than in the two others, namely you see here the history of this old woman embodied, represented, in every trait of her face. It is not a photograph of her in her 70th year, or whatever it may be, but it is a reproduction and concentration of the spiritual pilgrimage of this human being embodying the ultimate meaning of such a being in the dimension of the eternal. For this reason, secular portraits can, in spite of the fact that they are not religious, mediate ultimate reality^c by their power to bring into our vision something about a person which otherwise we never would be able to realize in this way.