There is one further subject for painting in connection with Mary the mother of Jesus, and that is her death and assumption. Schoreel has with exceptional beauty depicted a death of Mary in which we find the charm of her youth once more restored[264]. This master has united in his picture the expression of somnambulism, presence of death, rigidity, and blindness towards the exterior world with one which seems to suggest that the spirit, which seems somehow to penetrate through their general aspect, has found a home elsewhere and is blessed therein.
(_γγ_)_Thirdly_, we must include within the sphere of the actual presence of God in the life, sufferings, and glorification of Himself, _mankind at large_[265], that is to say the consciousness of _individual human life_, which God, or more accurately the events of His history, constitutes as itself an object of His love, communicating to it a content which is not merely finite but absolute in its significance. Here, too, we may emphasize the three aspects of tranquil _devotion_, _repentance_, and _conversion_, which both from the point of view of the soul and that of external condition the history of the Divine Passion repeats to mankind, no less than the ideal _consummation_ in glory and the blessedness of pure attainment.