According to the terms stipulated in the contract and the prevailing scholarly approach, the painting is divided into two zones, juxtaposing the earthly with the heavenly world, which are brought together compositionally (e.g., by the standing figures, by their varied participation in the earthly and heavenly event, by the torches, cross etc.).* S. Schroth, "Burial of the Count of Orgaz", 7 * </ref> Franz Philipp emphasizes the element of the assumption of the soul ("assumptio animae"), and argues that the work should be considered as tripartite: the central division of the painting is occupied by the "assumptio animae", in the form of a newborn, "ethereal" baby. Augustine's perception of the soul and its ascent, which evolved from a Neoplatonic basis, is a possible inspiration for the painter's imagery of "assumptio animae". Greco's way of thematically and artistically linking the upper with the lower zone of the painting has been characterized by art scholars as ingenuous, and as further accomplishing the main message of the painting, that veneration and good works lead to