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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.