In the upper part, the heavenly one, the clouds have parted to receive the "righteous man" in Paradise. Heaven is evoked by swirling icy clouds, semiabstract in their shape, and the saints are tall and phantomlike. Christ, clad in white and in glory, is a radiance of light, and the crowning point of the triangle formed by the figures of the Madonna and Saint John the Baptist in the traditional Orthodox composition of the Deesis.* D. Davies, "El Greco & the Reform Movements in Spain", 70* S. Schroth, "Burial of the Count of Orgaz", 9</ref> These three central figures of heavenly glory are surrounded by apostles, martyrs, Biblical figures (including Moses, Noah and David) as well as Philip II of Spain, though he was still alive. The "righteous" Philip II is spiritually united with Christ and the heavenly creatures in a City of God as conceived by Augustine. The heavenly and terrestrial land both blend together in an amazing fashion, but there is little sense of duality. In the central part of the composition, an angel powerfully pushes the nascent soul upwards, a movement interpreted once again as a visualization of the Counter-Reformation teaching of salvation.