This article accompanies the fable
In Christianity, the Annunciation, the Ascension, the Assumption (or Dormition), the Immaculate Conception, and of course in Jewish Kabbalist theology the 10 Sefirot, all involve the Divine Elevator. In apocalyptic theologies the Rapture derives from ancient beliefs about the descent of the Sophia (see Matthew 24) and it's hard to think of Intelligent Design any other way (see John 1). It's beams of light, emanations, the breath of God, with a few clouds thrown in...
Titian's Assumption of the Virgin (1516-1518) is in Venice, that most Byzantine of cities. Note the dome and golden mosaic effect at the top as Mary ascends toward the light.
The style persists through the Baroque period in the next century. Below is Bernini's The Ecstasy of Saint Teresa (1645-52), in Rome's Santa Maria della Vittoria church. That is Saint Teresa of Ávila on the right, an angel on the left. Although it is hard to see in the photo, Teresa is levitating on a cloud and while the dome is now out of sight, golden rays reach down to caress her.
Although Bernini intended it as a serious mystical work, cynics have read orgasm into her pose - see the closer image below. They are both right. There is no way to get around the associations that come with the word ecstasy ("Estasi") or rapture, let alone her pose, and so the more interesting question here has always been: What are the links between ecstatic religion and sexual desire?
Take, for example, what Teresa of Avila wrote in Libro de la vida:
Similar sentiments can be found in the writings of her younger associate John of the Cross (San Juan de la Cruz). Interestingly, both Teresa and John were believed to be of converso (Jewish) descent.
Photo credits: Peter Viktor Jurik (middle); Napoleon Vier (bottom).