[353] looks. You cannot go around him. He is not a figure which stands in time^a and space^b. In the Greek temple^c, you had to go AT him, in a long way, and he was half in the dark and looked at you. He didn’t go out to you, but he remained in his divine majesty, often in terms of what one calls the archaic smile, which is not laughing, in any way, and not "keep smiling," but which is the inner fulfilment and perfection of the divine in itself in relationship to the world. 19) ARCHAIC FEMALE FIGURE...--Here a goddess, in the same way, the same kind of being-itself, representing being-itself, so to speak, as a divine figure, looking at you and asking you to come before

her, but not going around her, as if she were the figure in time and space. 20) GREEK SCULPTURE... 21) MOSAIC, CONSTANTINOPLE--Now we come to that art which I would like to call the most expressive religious art in Western culture: the Byzantine^d. Here are the elements of Greek and Roman naturalistic possibilities, but they have been made transparent. It is again a kind of transitory style, if you want, although it covers the whole Byzantine period, which means from about 400 or even earlier after Christ, till 900. This is a Christ^e Pantokrator [sic.], which always

means the Christ as the Ruler of the world, the Christ as a cosmic figure. The decisive thing--which would come out much better if it were in color--is the transparence of the color, the translucency of the Spiritual through the material, of the infinite through the finite. 22) BYZANTINE^f SCHOOL...--This shows you in the same way the transparency of the natural, the fact that it has become translucent for the divine, and the Spiritual (capital "S") translucent