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God equals Settignano and Donatello, we see this with The Martelli Saint John the Baptist.  The royal coupling of this pair of sculptors equals gilt gold. The elegant dress of the divine sculpture consists of something like half the patron Saint Mars equalling half the patron Saint, St. John. This would be Donatello being blessed by Settignano who would have completed the upper half of this sculpture while Donatello completed the lower self. The fleece dress feels more of a design similar to current design house clothing and of an incredibly well tailored design, no rough sheep fleece. The cloth thrown over his shoulder feels ready made Ancient Greece. Their togas are no basic piece of cloth tied around the middle this we see in the design of fragments of Ancient Greek clothes design on Ancient Greek sculptures similar to the goddess Athene tympanum, stolen from the Acropolis temple in Athens. The garment appears to be tied with a silk sash. Like most sculptures of this day and mainly for the Germans, made of wood, this sculpture was made lying down. Hence why Donatello hated stone working as it would have felt like he was carving a dead Christ. His passion was bronze and this clay model he could work standing up to make a better inner equation of form. Settignano on the other hand was more used to relief and more resolved with smaller stone sculptures. This he could also model standing up or on a vertical rather than a horizontal plane.

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Antonello da Messina's, Cristo benedicente (o Salvator Mundi), 1465-1475, is disturbingly apocalyptic, describing the final union of Christ with the celestial angels, his soul already ascended to end of time or the living Christ already dead. Such a divine union with God for Messina appears to be worked out through an incredible mathematical equation that feels more inline with his inner geometrical description of perspective, this donating a cross by definition equalling the circumference of his head. The garden of Gods love feels antiquated with the only thing left after the perspective had been ascended was an empty casket of the self like a concrete tomb. God had passed through the garden long ago. Our whole life feels like the human being equals Christ, God blessing the angel Messina.

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With Pisanello's Portrait of Princess Ginevra d'Este, 1435-1449, flowers and butterflies permeate the background from another view of the garden. This royal princess looks like a ceremonial wedding has taken place and several emblems suggest her royalty. This view of an interior view of God has other residencies in the heart. You feel her dreaming of a similar interior perspective and her very well proportioned profile would be an inner consciousness and a literary view. The artists of this time had a consciousness of finding God in the garden. This was mainly via silk thread and the butterflies. This fertile garden could be talking about her marriage but feels more to be talking about the goddess within for the portrait painter and the feeling is the royal princess is an imaginary figure.

  

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Furthering an explanation of Heaven equalling Hell would be Pieter Bruegel the Elder's painting Fall of the Rebel Angels, 1561, you feel Bruegel had some kind of health issue, not psychologically, but physical. The angels sent from Heaven in his own capacity could have been nursemaids sent to give his bedroom a Heavenly sent by washing him. You can just about smell Hell with grotesque fish and toad like creatures smelling like a backyard fishpond in summer. One would have to be aware about the highly imaginary style of his painting and how little most people of his class would have moved around. You feel like he would have premise been able to walk around the garden once a year in spring and failing this was bedridden. His highly imaginary state does not feel like anything other than an interior view of the unconscious mind. Other angel like creatures have butterfly wings and are reminiscent of Mantegna. One wonders if he post dated his art works and gave himself other personalities as a projected view. Something more common with writers so they could write in another style and still sell their books. However, given the class of gentleman he probably did afford a private income and like Casper David Friedrich would not have had to sell in his lifetime to acquire an income. This would have been none other than an evening ascension and usually these gentleman also worked for a government office. The angels in white do not appear to be anything other than reminiscent of other Belgium artists work.

  

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Martin Schongauer is another divine worker close to God. With his engraving St. Anthony Tormented by Demons, 1470-1475, the German artist appears to represent an internal state. Tormented by his emotions, the devil, his souls abyss and Hell, half human animal, bird, fish demons taunt him, club him and pull on his clothing. The look on St. Anthony's face suggest these are personal demons. Another view of St. Anthony to suggest empathy is Gustave Flaubert's The Temptation of St. Anthony. Here St. Anthony teeters around on top of a cliff face, hallucinating from lack of water. You feel Schongauer's internal garden view of the heart in this engraving especially, his ascetic view allows him access with the angels and his demonic breath is dealing with the pain of loving God or what it feels to be a human being. God would need to deal with his love by a garden pathway.

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With Philip Guston, his late works appear very Dutch Flanders in philosophy, although this  is not his heritage, maybe an acquired understanding and would simply be his relationship to his own body. This would equal everything he equalled, for example, his emotional state, his place of residence, all the reference he would observe and his subconscious. Premise his early abstract work appears to be formless and his later figuration did gather strength in this direction to the point of being formerly resolved. When looking at the history of American culture, Guston seems to be on his own as an individual thinker. His resolve would have to broken down to every American influence he saw while walking and museum viewing would have been part of this living in New York. It is quite often noticed, all American contemporary art came from the Europeans who frequented New York. In the early part of the twentieth century, prominent on view would be Stieglitz. His first of a type of dealership gallery, not only showed his wife of the time, Georgia O'Keeffe but several photographers and these he published in a journal called Camera Work. This would have been an influence and premise why philosophy for the Americans seems frontal when thinking about the history of American abstraction, most use flat planes. Guston also conceives in two-dimensional planes and his paintings have no formal depth. His body image, therefore, would be what he would see in front of him. 

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Further exhibitions in gay Paris on view included Le renaissance et le reve, and on offer was a Bosch painting, nothing to do with dreaming, simply a divan reflection of the garden of earthly delights philosophy. For the French Flanders this reflection would equal the four parts of Hell. Something like Dante's Inferno, Purgatorio and Paradiso with the final place being Hell. Bosch was misunderstood in his lifetime and often seemed on the run from people calling him the devil but he was living in medieval times and mainly would have come across superstition about foreigners from the next village across. This would of included the peasant farming community on the way to a village and perhaps the fashionable dress from a neighbouring village may have looked different to something they recognized. These half animal, half human, hommeanimal, hybrid people are quite often represented in a different guise in other Bosch paintings. These peasant farming people are described in a different way but of a similar time and place with Bruegel paintings.

  

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With former times gone by the atmosphere of God would equal the divine light offered by God for a divine view. This glimpse of Gods love could be something external in nature like the sunset and the setting sun. In European centres there has been such a wealth of history such as the remnants of Gothic sculptures now found not in churches but museums like the Louvre. These once church altars are altars for the spirit by a different nature. A little group of carved ivory sculptures in different publications used to include seven in all and a sculpture of the Virgin Mary no longer appears visible. Six sculptures would never have been the artists intention and feels at odds with God, one would almost want to pray to the Virgin Mary that someone relocate her. The addition of St. John and a figure representing a Christian pilgrim needing an interior view, has been failed by the reduction of the original pieces. So, God will need an explanation why the other one went missing.

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Places South of the equator are something like the lower regions of the body and are really primal in quality. God calls them divine places of the heart. They do feel like the tribes who frequented these divine places beat a different drum. They definitely have left a permanent mark and you feel this in their past places of residence, assumably because their dead were laid to rest nearby. You feel they lived in these places as they were special for a sacred funeral for the dead. And this place took the soul to its final resting place in an infinity zone in the open sea, somewhere where the sea meets the sky or the equator, something like the horizon line, the green zone for sailors. The tribal feeling left behind must be because really powerful tribal elders are laid to rest in this place for eternity. To protect sacred sites from any predatory behaving or the sacrilegious with no order of God. Like more wealthy, in a Western sense, Asian countries have usually not tolerated countries throwing people at them who they could not do business with, these divine countries should close all sacred sites to tourism.

46

The atmosphere that surrounds you in one given place, always refers you to God. Divine pathways feel like they make themselves known for you to follow. We always follow the star we were born underneath and waterways, the rivers and the sea feel they speak more about your death. In Germany the dark feeling of powerful sacred pathways feel nominated by the ravens and crows, premise nominating a cemetery and a journey to take you on a deeper spiritual pathway. Other countries like the United Kingdom appeal to a lighter spirit of white heat. You feel the Christian pilgrims that frequented not only current and existent roadways on a pathway via watering holes, current public bars these days or some tavern you would be able to stop at for a meal, have been well traversed by those lighter of spirit. In France, it is always such a joy to go to gay Paris. Here the pathway has something to do with early court life. You notice the Royal apartments of the Louvre museum and churches frequent more places along the river that feel they have served a very different function in times gone by. Italy is a place of really immense history and you feel the weight in the Renaissance, God lives here.

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In New Zealand the focus for the earth god is the sea. They have several gods. Some tend the food they eat and some equal white spirits and dark. In the rain forests lingering mists after temporal rain equal the male dark spirits, lingering. These earth gods also frequent the bottom of the harbour to protect what they call "Hell Place". This has been described as a place where they see a triangle akin to a right angle triangle going all the way down until it hits rock. The place they nominate as "Hell Place" is somewhere where old extinct volcano's would have erupted once and still produce warm thermal waters something akin to a rock pool under the sea where some nations would find Heaven. This incredibly sacred place where the earth god lives is also where whales come to foal. You often barely see them just sense them just glimmering on the surface. The clouds above the harbour appear to race along with the wind. The changing light on the harbour also changes as frequently as the wind. The wind patterns like the plant life appear otherworldly. The island is really ancient and originally was attached to the Eastern flank of Australia. The plant life seems to have grown apart from anything currently in Australia and although we do share some native species of field bird mostly they are migratory species who travel as far as Africa. You notice some similar varieties of plant life at the bottom of the United Kingdom. Like all mammals who frequent the island and travel back and forth to the South Pole for mating season, the birds prefer New Zealand. You can understand them finding God in this place, especially when you go and view the open sea.

44

For the native people of Australia, living equals death. This very sacred sermon you may equate with a really Anglo Saxon Christian view of Christ equalling the dead. There was correspondence between native Australians and the French. This pathway was traversed for secular reasons or a French Christian view of the sky equalling the sea. This may not have been understood as the message they were trying to ascend. For a native person of Australia they would see your ascension on the sand. This would reflect the stars above and their understanding is more used by early Christian astronomers who mapped a Heavenly way. Something akin to Ancient Egyptian eternal life mythology and their understanding of the Ancient gods useful for worship. The Ancient Eygptians would not be as old as native Australian mythology but would have a very similar earth god background something akin to current Taoist Chinese philosophy. All on a similar plato and line up of the stars of the Milky Way. This star pattern on the ground the native Australians would have followed from Africa to Australia, straight across.

43

An equation of God equalling philosophy and an infinity equalling the eternal, appears to take your mind past the horizon line where the ocean sea meets the sky, somewhere where the unconscious meets God. This infinite expansion of understanding would for most it seems be where the angels meet God. Describing there being a language in the unconscious feels more inline with a conscious awareness of God. God speak with the angels equalling infinity. A finite comprehension of the eternal taking you consciously as far as consciousness will take you before it parts company but always this view has unconscious empathy so as madly as you may be trying to understand consciously, the unconscious takes you past your view.

42

Like roses left in an untended garden the love of the heart is somewhere God needs you to contemplate. This you feel you are honoured with bunches of stemmed roses for performing an honoured task. Unlike giving roses to great performance players at a concert of music, giving roses to your loved ones or giving flowers for ceremonial reasons, finding the wild garden of roses in your heart or finding God is not always easy. A rose should equal God and does for certain Eastern religions but so should all roses equal God. The rose has to be propagated by the bee. A nice job for one of Gods divine workers, gathering pollen all day for the hive. These little really ancient creatures for God have been well thought of by humans and have been useful for empathy always. Anything from the divine substance of honey to the smell of French perfume. Wild bees, like wild honey, serve wild hives with their philosophy.

41

With maenads nominated by Euripides for a festival of Dionysus they would celebrate a wheat festival. With this they would often chew laurel leaves, this would have an effect like a famous rock concert passing through a town and they would go hysterical. You would wonder what the hysterical woman in front row seats consumed before the concert, probably only fizzy drink and lollies. Laurel leaves for the majority of the world populace would simply put you to sleep but for Greek woman it would be like a drug sports people would use. This is alright if you are running a marathon in the Olympic games, nothing to do with Olympus but Dionysus was the god of wine and these woman could probably not consume alcohol.

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Unlike churches of today, Ancient Greek temples like the Acropolis are important as temples of the wind. This divine temple towards the goddess Athene, goddess of just war, divine courage and wisdom. These temples were not for divine worship like those in honour of God but you feel as with visiting these divine palaces the goddess is the breath behind the wind. Some interpretations include the Ancient Greeks always understanding divan oracle but this heavenly view was nothing to do with gazing at the sky more looking at the earth. Once again this divine interpreting of the male and female self seems so powerful that Ancient Greek philosophy appears to rush straight through you as the heart has to let the emotions pass through you like the wind.