The Magian hierarchy of heaven—angels, saints, persons of the Trinity— has grown paler and paler, more and more disembodied, in the sphere of the Western pseudomorphosis,[200] supported though it was by the whole weight of Church authority, and even the Devil—the great adversary in the Gothic world-drama[201]—has disappeared unnoticed from among the possibilities of the Faustian world-feeling. Luther could still throw the inkpot at him, but he has been passed over in silence by perplexed Protestant theologians long ago. For the _solitude_ of the Faustian soul agrees not at all with a duality of world powers. God himself is the All. About the end of the 17th Century this religiousness could no longer be limited to pictorial expression, and instrumental music came as its last and only form-language: we may say that the Catholic faith is to the Protestant as an altar-piece is to an oratorio. But even the Germanic gods and heroes are surrounded by this rebuffing immensity and enigmatic gloom. They are steeped in music and in night, for daylight gives visual bounds and therefore shapes bodily things. Night eliminates body, day soul. Apollo and Athene have no souls. On Olympus rests the eternal light of the transparent southern day, and Apollo’s hour is high noon, when great Pan sleeps. But Valhalla is light-less, and even in the Eddas we can trace that deep midnight of Faust’s study-broodings, the midnight that is caught by Rembrandt’s etchings and absorbs Beethoven’s tone colours. No Wotan or Baldur or Freya has “Euclidean” form. Of them, as of the Vedic gods of India, it can be said that they suffer not “any graven image or any likeness whatsoever”; and this impossibility carries an implicit recognition that eternal space, and not the corporeal copy— which levels them down, desecrates them, denies them—is the supreme symbol. This is the deep-felt motive that underlies the iconoclastic storms in Islam and Byzantium (_both_, be it noted, of the 7th century), and the closely similar movement in our Protestant North. Was not Descartes’s creation of the _anti-Euclidean_ analysis of space an iconoclasm? The Classical geometry handles a number-world of day, the function-theory is the genuine mathematic of night. ----- Footnote 189: This zero, which probably contains a suggestion of the _Indian_ idea of extension—of that spatiality of the world that is treated in the Upanishads and is entirely alien to our space-consciousness—was of course wholly absent in the Classical. By way of the Arabian mathematics (which completely transformed its meaning) it reached the West, where it was only introduced in 1554 by Stipel, with its sense, moreover, again fundamentally changed, for it became the mean of +1 and -1 as a cut in a linear continuum, i.e., it was assimilated to the Western number-world in a wholly un-Indian sense of _relation_. Footnote 190: