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The Virgin Mary is a divine angel. Her countenance was one of the goddess. Our lady divine is the Virgin Mary, her seven sacred verses equal the seventh Heaven of the seven Holy divine. Seven angels would equal God and the places in Heaven where God takes you through your life to experience the seven denominations of the Holy divine. Seven ages of being, seven lives of the Holy scripture for God, seven angels take you to seven places in your heart before you enter Heaven, angels speak for the angels. Heaven for the Holy divine Virgin Mary equals her Holy domain. The royal blue of this Holy divine colour equals God via the Holy Virgin.

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The Virgin Mary is of the Holy divine. The Italians quite often see her in the trees. You would imagine they would frequent the orchards. For the Holy divine the Virgin would bless the fruit. This divine sermon would be on offer in Spring season in what you eat. The Virgin would have visited Renaissance Italy in the form of the Holy divine. She is nominated in the painting of the day with her royal Holy blue. This incredible blue would be something like Yves Klein and his royal ascension to the Virgin. Paris would have been blessed by his sermon. The Void would be nothing. The dark matter close to God is where the French take themselves to Heaven, through the centre of the earth. An incredibly dark countenance about death and the Virgin something like Death and the Maiden for the Germans. More Monasteries would have left behind secular libraries. These Christians would have also studied the devil. The dark understanding did not ever take them to him via sin as a more healthy relationship to insemination and Immaculate Inception would have been taking them to Heaven. God loves the Virgin Mary.

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The Virgin Mary is blue. Her sacred colour is nominated by God. Her veil is royal blue and worn to protect her view. God sends the Virgin Mary to protect woman from anyone evil. He makes her image the Holy divine to view. Her breath gives you hope when all else has failed his divine workers. The veiled capacity to know something special in your heart needs ascension. God tries to communicate his love via divine access. The Virgin Mary is of royal blue because of her sacred person.

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Our procession to God via the cross is a difficult one. The ascension ceremony from the cross to the tomb feels not very far away. The distance travelled appears to be somewhere quite close to the cross and the family are in a state of Holy rapture. Holy ascension for some Christians involves Easter and for others another festival on feast day. Joyous Christians believe the Holy ascension of the Christian view of Christ being ascended to himself happens on the cross. Bind thy feet and carry on, bind thy breast and carry none, cure thy hands and cure thy breast.

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This divine procession from the cross to the tomb is of nominated worth. From the Virgin Mary's gracing of God, to Saint Mary Magdalene holding the candle for the spirit of Christ, the pristine view of ascension with the Holy bible and Holy scripture for the led procession to the tomb, all divining the way to the human heart and God. This ascension group talks about the divinity in man and what it is to be a human being. God gave us the view of the human heart to take ourselves to the Holy divine and via the ascension colours of the angels carries us unto him. The Heavenly view of love is transcribed into our hearts and etched, if not sculpted there by his divine offering of an ivory deposition and procession to God. Love will take you there.

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The Virgin Mary remains. Her Christian life is nominated by her headscarf. Traditionally there would be a blue headscarf worn by the divine goddess nominated by God. This you would believe would reflect the Heavenly domain by a Christian view of where God lives, in the sky. This Heavenly blue shade would also nominate the class of the woman wearing the veil and like other religions nominated as a result of Christianity, divine coverage of her face would have been her public appearance, usually covering the whole face. The Virgin is of an age in this divine grouping of ivory sculptures of the deposition to be a suitable age for the mother of Christ. In her piety the Virgin kisses the hand of her dead son, possibly one of the most painful things a mother would have to face. Although Christ looks at peace in his ascension death to God, the Christ bearer also is importantly happy to rescue his son and the trance of the Virgin Mary nominates her grace.

  

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Now to talk about divinity, the Saint Mary Magdalene figure in this divine little altar offering unto God, holds a candle with a divine cloth to communicate the Holy divine. The scripture reader reads her a message to ascend Christ to God via the scripture and the flame of the candle, not that the sermon would have happened at night, premise dawn. One is remaining. You are reminded of Georges de la Tour and his Magdalen with the smoking flame of a candle, contemplating death. This French understanding of the eternal flame and God via the divine angel ascends Christ by the smoke of the flame. Georges de la tour possibly led a hermetic life. His life goddess does not appear wed nor have led the life of a prostitute. Her countenance is more the appearance of Early Christian piety. Not the earth goddess mother, often all the artistic symbolism to do with Mary is so potent we have Clotho wound up with the River goddess. Something really similar to Camille Claudel's representation of Clotho entwining life through her hair and divine fate. The small ivory representation of Saint Mary Magdalene in the Louvre deposition appears like an older woman already experienced of life.

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Few people tread on this pathway to God. Following through with Christ being carried on a pathway to the tomb, his spirit has already been ascended to God. The carrier appears triumphant with the glory to God and happening the bearer of the cross. The tomb would be a cave on ground level with a tomb door. Christ would be laid to rest here awhile to recover strength to carry on. The tomb door was covered by a rock door and while Christ lay there to rest the divine angel of death took his spirit unto him. He then ascended to God and as though he was not dead on the cross but unconscious from having ten inch nails through his hands and feet arose as if from death. He appears to have left the tomb to carry through his life some place else.

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Furthering along the way to Gods heart to the cross, other figures who nominate the Holy ascension would be St. John with a Holy locked bible, crying with a big handkerchief, the Virgin Mary, helping with the deposition and a pilgrim Saint with a tied kerchief around her eyes to protect her from the ascension of Christ. The two to perform ascension next, not by anything other than marriage, would be St. John and the pilgrim Saint. All the divine principles of God to the cross by this altarpiece of the Holy divine are nominating the Holy divine pathway to God.

   

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The cross is nominating God and the Holy divine with the early French Gothic sculpture, Deposition from the Cross, c. 1250-1260, now housed in the Louvre Museum. This divine offering from God takes you to the special place of a heavenly door in the heart. Christ is prosaic in white ivory with golden hair and appears to nominate the love of God through the death of the Lord. You feel he is a divine offering of an ascension of the word. This really deep comprehension of the Holy divine appears to transcend Gods love through the church door and out through a stained glass window, a steeple of philosophy. All the Gothic church architecture took you to God through extreme elongation of tympanum sculpture, your consciousness being taken even further via the ascension of church interiors. The angels taking you to Heaven on high by the roofline but descending down to this exquisite ivory sculpture group, you feel the Holy Trinity is found and Christ's Holy physical body served its purpose.

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The Virgin and Child Enthroned, c. 1475, by Cosimo Tura is embroidering the constellations for God. We notice the Virgin Mary wearing the divine cloth woven in the breast jacket she wears. Her head has a divine crown reminiscent of a circle of stars often associated with a divine being. The Christ child is surrounded by the golden divine. The two principles in the front either side of a baptismal font seem also part of the Holy sermon for Christ. The folds and velvet cloth of the blue of Virgin Mary are luscious and the royalty seems her message. The style of Cosimo Tura is evident with both the faces and the emotional use of the hands. The frontal position of the picture plane and the minimal use of perspective is highlighted by the background blue. The Virgin Mary stands upon a many sided hexagon to nominate the divine and the coming of the season. His use of fruit is suggestive of Saint Anthony and the divine garden of Holy fruit.

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In the National Gallery in London we also have on offer, Carlo Crivelli's, The Annunciation, with Saint Emidius, 1486, giving us the Holy birth.

Several symbolic references suggest this occurrence, for example, the peacock on the roof whose divine foliage is complemented by the seven colours of ascension in each eye of the peacock, the fruit on the ground would be about the fall, the divine dove above the Virgin Mary would be divan inspiration reading the bible, this would be attended by the divine angel with St. Anthony's divan Lily. Saint Emidius shows the divine angel the Papal Palace, more than likely, the Vatican to nominate the Holy Roman Empire. Other important reference would be the Jewish rug under a cactus bush to nominate insemination, the kind of woman's class the Virgin Mary was situated with would be suggested with the medical instruments above her head on a shelf. All the rest of the people in the background would be significant to Papal Palace life. And the building seeming a slight wrong usage of perspective would be internal geometry from the Holy divine.

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Carlo Crivelli contributed The Dead Christ supported by Two Angels, c. 1470-1475.

This divine offering from God allows you to be transcended to Heaven with Gods love. The two divine angels sent from Heaven appear so sad that Christ died for the love in his heart. What was Gods message here? To love and to feel God in your heart for your fellow human beings will only lead to him. The cherub like angels of love and the golden background take you further. Carlo Crivelli's style is significant and Christ's big boned fingers are reminiscent of the hands of God. The torso, the body and the hair of Christ have a linear divine countenance. Again mathematical equations equalling the divine through proportions equated with geometrical philosophy seem to apply here. This sublime painting would have to be one of the most important works of art describing the human being equalling the divine.

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Following through from his divine message from God we have a really strange reminder of how other people perceive the divan. Paolo Uccello's, Saint George and the Dragon, c. 1470, gives us a dragon led by a fantastical goddess who is reminiscent of something from a science fiction movie. 

The proportions are all worked out with mathematical precision. The dragon appears to have flown out of some Heavenly domain in the sky to challenge Saint George. The garden of Christ appears to have a symbol that suggests his name. You can imagine that given how contemporary this painting is to observe that the divan possibilities of this being the most masterful painting ever executed would still surpass our notice. Maybe we will never get there and Paolo Uccello took his knowledge to Heaven via another door.