[351] feel very much any more of the divinity of the Madonna, but you have a picture of Mother and Child, and almost nothing else than this. The prayer book which she has in her hand is a little bit removed from her eyes, and lovingly she looks at the nice Baby, but the babies in the Byzantine period were already, as babies, if you look at their faces, Pantokrator, world-governing powers, even as babies. Of this, nothing is seen here any more. 15) Reni^a, MAGDALEN--Now you come into the realm of sentimentality^b, which is the object of my fight, and I want to call upon all of you to follow me in this fight against the sentimental religious art. Out of the feeling of the terrible distortion of religion, in terms of sentimentality, much of my interest in religion and the visual arts has really arisen. And this polemic still has to go on in many

places of this country, although there is a break already, and I hope that in more and more of the parish papers, Sunday papers, etc., such things like this will disappear very soon. But that is a matter of a crusade, to which I call you! 16) Fritz von Uhde^c, THE CHRIST WITH THE PEASANTS--German painter, end of the 19th century. Now from the point of view of naturalistic, half-impressionistic painting, this is not a bad picture. But from the point of view of a village school teacher coming to a poor surroundings and having a meal together with them, it is a terrible expression of the deterioration of the meaning of the Christ in the period in which He was either a social reformer or a teacher of morals, or something like that, and the real metaphysical power of CHRIST was completely gone! 17) Manet^d, ECCE HOMO--Here I will speak about a very interesting phenomenon. Manet is