[358] into the sun, which means it is a completely transcendent event, and not an event of a physical transformation of atoms. And according to this, perhaps we might be able again to paint the resurrection^a, but not in terms of those where Jesus then walks around as if nothing had happened, and there He is again, He had disappeared for a few days, which is entirely against the Christian and the religious meaning of the resurrection. 34) ROUAULT^b, CRUCIFIXION--Now here you have the modern attempts--I come to them now-- to show in modern forms, in the forms which have been created by the modern development, not

only the secular contents, but also religious symbols coming from the tradition. I feel not able to judge, myself, about the success with full conviction. And that is [what] your generation will have to do more than we are able to do it. In any case, as an attempt to overcome that against which we have to fight, the beautifying naturalism combined with sentimentality^c, this is a tremendous progress. 35) ROUAULT, HEAD OF CHRIST--This is also in the Life Magazine issue of Christmas. We chose it because it is a Rouault, which is most radical, while sometimes his stained- window method makes him less radical. This is not colored, but this is something in which he concentrates his vision of the metaphysical element of the suffering Christ, in the head of the Christ. And I just wrote to somebody that I would believe that such a picture could appear as a mural in a modern church, and that would be the first step, perhaps, toward a renewal of religious art which is possible for cultic activities.