(1) Above we have a Twofold. The three celestial light-seekers who soar rapturously to the invisible source of light, and below them, the three disciples swooning beneath the power of the celestial vision. (2) Then below the mountain we have a similar contrast in the two groups; the one broken in spirit by the calamity that “pierces their own souls,” and the other group powerfully affected by sympathy, and feeling keenly their impotence during the absence of their Lord. Again even, there appear other antitheses. So completely does the idea penetrate the material in this work of art, that everywhere we see the mirror of the whole. In the highest and most celestial we have the antithesis of Christ and the twain; Moses the law or letter, Elias the spirit or the prophet, and Christ the living unity. Even Christ himself, though comparatively the point of repose of the whole picture, is a contrast of soul striving against the visible body. So, too, the antitheses of the three disciples, John, Peter, James,—grace, strength, and humility. Everywhere the subject is exhaustively treated; the family in its different members, the disciples with the different shades of sympathy and concern. (The maniac boy is a perfect picture of a being, torn asunder by violent internal contradiction.) (_c_) The unity is no less remarkable. First, the absolute unity of the piece, is the transfigured Christ. To it, mediately or immediately, everything refers. All the light in the picture streams thence. All the action in the piece has its motive power in Him;—first, the two celestials soar to gaze in his light; then the three disciples are expressing, by the posture of every limb, the intense effect of the same light. On the left, the mediating strangers stand imploring Christ to descend and be merciful to the miserable of this life. Below, the disciples are painfully reminded of Him absent, by the present need of his all-healing power, and their gestures refer to his stay on the mountain top; while the group at the right, are frantic in supplications for his assistance. Besides the central unity, we find minor unities that do not contradict the higher unity, for the reason that they are only reflections of it, and each one carries us, of its own accord, to the higher unity, and loses itself in it. To illustrate: Below, the immediate unity of all (centre of interest) is the maniac boy, and yet he convulsively points to the miraculous scene above, and the perfect unrest exhibited in his attitude repels the soul irresistibly to seek another unity. The Christ above, gives us a comparatively serene point of repose, while the unity of the Below or finite side of the picture is an absolute antagonism, hurling us beyond to the higher unity.