ABSTRACT
The Medievais operated with an instrument of analogy in which they sought to clarify the status of ambivalence, acknowledging the lack of proportion between God and man while preserving the connection between them without which human thought and speech of God would be meaningless. The incapacity of human language adequately to render divine reality may be said to extend to a general aporia of representation, which is inherently metaphorical. The humanization of the two men depends on their movement beyond the force fields of the images that had held them captive, into the blank white space in which Inger lies in her open coffin. Relations between man and man, and man and woman, appear easier to conceptualize than those between humankind and the transcendent. Not the architecture itself, but the drama of a man who is the victim of the architecture can affect and move the spectator.
