[356] 28) HIERONYMOUS BOSCH^a, TEMPTATION--I can simply repeat the same thing about the demonic^b character of the world. It is astonishing that these figures have been invented at that time and have been brought to the surface. In former pictures they were kept in the Hell, as Hell demons. Now they rule the surface, which means the unconscious has come into the open, in these pictures-- ...the coming of the unconscious anxiety elements. This period became increasingly a period of tremendous anxiety^c, anxiety both of death and of guilt--that’s combined--and [in the] hope to overcome it, the Reformation came, to a great extent. 29) EL GRECO, CORONATION OF THE VIRGIN--This is post-Renaissance, while the others were mostly pre-Renaissance. What has happened here? The religious spirit broke into the later Renaissance^d and produced what we call Mannerism [this] and Baroque--the attempt to give the mood of the natural forms again in religious ecstasy, just as the Spanish mystics tried to do it in steps going up, while Medieval mysticism, so to speak, was something lying above us, which comes down to us.

Now the tremendous bodily, even, and vital naturalistic ecstasy is needed in order to reach the religious expression. 30) REMBRANDT^e, three crosses--Here we come to the end of that period after which the great gap started, as I told you--this is also one of the greatest religious pictures, I would say, because it expresses, with the MEANS of Rembrandt (light and lines), the reality of the human situation, in all these figures, but nevertheless in the triangular lines going up, at the same time the triumph. But not a visible triumph, so to speak, but a triumph in terms of an indication of a "beyond the situation,"