At first the painting is done only with four
unmixed colours. A pecularity of it is that the face is modelled with customary in trade plaster which had been put
on the canvas before the application of the oil colours. The plaster had been wetted with terpentine, which quickly
dried, but only partly crumbled down. Then the oil colours were fatly and thickly stroken on the canvas, so that one
almost can speak of painted stucco.
During the work which lasted several days and several hours each day, the room
in which it happened was filled with an undiscribable atmosphere, an atmosphere of which many people would envy me if
I would be able to describe. It was an atmosphere as if time and space wouldn´t exist anymore, as if every ballast
would have been taken away from the breast. It was a feeling that could be described as love in its purest form, as a
taste of heaven already on earth. For a long time after the creation of the painting and also while writing these lines
my eyes are getting wet only by thinking of this extraordinary emotion.
The first of such a happening occured during
a trip some days after the visit of the Emma Kunz Cave. The emotion was unbelievable and I told nobody about the
My research on the work number 168 of Emma Kunz resulted in a manuskript that has been read by a Swiss
Publisher but has not been published. The results of my research were quite different of the opinions of other autors.
In total it can be said my results are neither esoteric nor art historic or nature scientific, but they are religious
in the sense of the oldest Hebrew tradition.