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Paul Klee was attributed to in a really beautiful angelic exhibition of the Holy divine called Making Visible, in London. A really appropriate name for making his Holy order of God visible. These delicate small paintings brushed your cheeks as if by angel wing with his musical understanding of composition. Composition was the Holy angel. Attributing his Platonic love philosophy to paper and canvas and a divine contribution of the Holy divine with angel wing rendering of compositional practice. If he were to be a music composer you would feel the musing of angels. His usage of colour in palate is completely of the colourist tradition of early 20th Century art that would have influenced him in view. You, premise feel his understanding of God by ascension up the Swiss Alps, their understanding of God and where your spirit goes at death, is very Swiss and reminiscent of Giacometti whose whole oeuvre was of a similar angel. God must have planted Swiss people next to a snow peaked mountain range to teach them about ascension via the angel of God. When you listen to Giacometti talking about his work, you feel like you must have missed somewhere with an understanding of God as all he ever speaks about is the composition of death and the disintegration of the soul to matter. Paul Klee gives us a similar angel of ascension with colour.

  

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Antonello da Messina gave us as if by angel wing, The Dead Christ supported by an Angel, c. 1475-1476, now housed in the Prado Museum in Spain. Magnificently painted with human rendering Christ is surrounded in the Virgin's veil and the angel is mourning the passing of his spirit to Heaven, the angel has a divine golden cloth around her chest to support her heart from his human element. The divine angel was sent by God to ascend Christ to happiness. The earthly grief on the ground from his passing spirit would make anyone weep. Her ascendency to God is nominated in the Holy divine colours of ascension via her wings and death is contemplated by the presence of a skull in the left hand corner of the painting while the view of a pristine understanding of Jerusalem because of Christianity flanks the right. Unfortunately other remnants of the crucifixion litter the ground. This was a contemplation of the 1st Century of Christianity, when Christ was born. The painting makes me weep from sadness.

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Andrea del Sarto made a visit to the Pitti Palace blessed by angels. With the painting Annunciation, 1528, mother Mary is given a message by an angel sent by God. His angelic wings of the angels closest to God feel like his earthly presence would appear more of the colours of ascendency than have a human countenance but this would be Gods communication to the Virgin Mary's heart. The garden of the heart would feel Gods message and be taken to Heaven there. Angels of God only appear when the divinity of the Holy divine has the most angelic purpose. The angel is human. Christ was sent to us by God to understand the love the angels place in our hearts and why God is love. Love takes you to Heaven and God takes you to love via the angels wing. The orange colour Andrea del Sarto gave his angel in this painting nominates his ranking. God love the angels who love God.

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Dame Barbara Hepworth offers her divine marble goddess self with a miraculous contribution from the Holy divine called Three Forms, 1935, at the Tate Britain in London. Both Hepworth and Moore had a similar upbringing in country England. This involved looking at several ancient rock sculptures left behind by the Celtic tradition and a divine understanding of the circle as form was their contribution to God. This hollowed out space equalled the womb of a woman but after birth. Moore and Hepworth both contributed to this divine understanding through their Modernist sculpture. Three Forms was an early sculpture of Barbara Hepworth and as though to invert this philosophy of God equalling the goddess by birth would be the echo of her womb, nominated the triplets her womb produced as if by a premonition of her Holy birth. Several people do mention the mother and child image when communicating about Moore and Hepworth, they were talking divinity about the Holy divine and one could almost describe their philosophy as being like an Early Christian notion of the Mother and Child image. The mothers three of this beautiful contemplation of the self as goddess offers a really special message about God. Her work takes you to stardust. God bless Barbara Hepworth.

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Triumph of the Virtues, c. 1502, by Andrea Mantegna is the painting for the goddess. Represented here by many earth goddesses, we have Daphne, Minerva, Diana along with Pans, a Centaur and other gods nominating Vices. This is looked over by God with St. John, Mary Magdalene and the Virgin Mary in a circular cloud in the sky. This is a commission by Isabella d'Este for her studioli and premise Andrea Mantegna appears to have fallen in love with her in the garden, with beautiful winged cupids among peach groves to nominate her beauty of divine wealth. Diana seems victorious with this. Such a glorious garden is represented for the water nymphs and the turret of vine leaves appearing to have grown over a water duct represent the watery flow.

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Leonardo da Vinci made several versions of The Virgin of the Rocks. This painting has one version in the Louvre Museum and another in the National Gallery in London, the Paris version appears more of an equation of the goddess. The plant life in the garden of the heart is better resolved in the Louvre version and almost feels clumsy in the National Gallery version as though finished off by his students. The grotto of the cave talks about the cavern of the heart, this is nominated in the Louvre painting by the beauty of the goddess. We also notice the child in the foreground who has represented Christ in other paintings and always appears to have the wrong perspective, this could be a representation of the artist as the divine element. With the London version you feel this rendition could simply be a student copy of the master, Leonardo da Vinci. The Louvre painting is a far more satisfying offering to the goddess. All the indications of the hands appear to represent Christ, especially the raised hand of the Virgin as though in protection.

  

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Adam and Eve participate in the Holy divine with Durer. The 1504 print of the same name speaks of divinity and even the serpent god nor python in the tree wears a crown of the Holy divine order of Christ. A sacred serpent. The Holy forest contains mystical creatures usually found in the Black Forest by male Black Knights, there is another famous print about this place too. This corner of the Holy divine region of the heart more than likely about Durer in his drawing studio or study, appears to refer to what he had for dinner and the family pet, obviously his night time ascension involved his print work as a form of study of God. Cattle, deer, rabbits and snakes would be found in most German forests and maybe he never went to one but premise seem to be referring more to his sensuality. There are bears who live in the forest but would not like the smell of humans more the taste of honey. The Eve in Durer's print of Adam and Eve appears to be giving the serpent a feed of the golden fruit, this is all snakes would be naturally interested in, the sweet sap out of a tree to come down and drink. I am imagining the biblical story about Adam and Eve gets all too sexual for most men who read the book let alone Christian men from Durer's time reading the bible after dinner. Not that we have missed out on a divine understanding of the goddess in this extraordinary masterpiece. Adam in the print does look as though instruction about the golden fruit is necessary, the message from God.