After noting the inequality of images to words in Western scriptural heritage, asserts that there is nonetheless a visual element in the Bible, citing, among other symbols and immanations, the rainbow, the specifications of the Tabernacle, the human form, and the world itself, all of which exist outside the text's moral-injunctive structure. Examines Dalí's Crucifixion (1954; New York, Metropolitan Museum of Art) and claims that abstract expressionist canvases, in their duplication of the scale and thinness of the vast supreme being, conjecture on the nature of divinity.
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