[354] through it. Here you can also see what I said before: this Baby is already the same world-ruler as in the picture before is, the Christ^a on His throne. This is the interpretation of the Eastern church, of the divine Presence in the human, the infinite in the finite, so that the finite is almost swallowed. For those who know history of Christian though, [you] will remember that this was the monophysitic^b [sic.] trend, the trend to eliminate the human nature for the sake of the divine nature. But just this transparency made these pictures so religiously great and powerful.

23) BYZANTINE, 15th century--RESURRECTION--I don't need to say anything. Here you have the same situation--nothing naturalistic in time^c and space^d. I will say one more--the two-dimensional character of the religious picture is a very important element in it, because the 3-dimensional character, which was really invented in the Renaissance, and of course before that sometime in the ancient period, puts the divine into time and space. THIS takes it into a dimension which is in itself beyond the actuality in time and space; what I called "going-around," even in an illusionistic naturalistic way, doesn’t exist here--there is no illusion of a depth of space. It is simply totality of symbols^e, which appear here [in this picture].

24) ITALIAN--We are now [in] the Romanesque era, where we have such, and many less beautiful, Crucifixions. I remind you of the cover of the Life [Magazine] issue for Christmas, where the Christ^f pictures were given. There we have a similar Romanesque picture, but more distorted, even, than this, and less naturalistic. But this is the Romanesque period.