The life of Moses is the pre-text and the figure of Christ is elevated on a higher level. Kemp concludes that in its basic and natural form the structure of the door of the church of Santa Sabina represents a transcultural and transhistorical phenomenon.
The narrative intensifies life, because if we see the relief through the Judeo-Christian traditions the scene of calling, or the vocation demonstrates the special relationship between God and the nation of Israel. That is why this narrative is closely linked with the Book of Exodus 3, where human and superhuman (an angel) meet. The angel summons the human to carry out a task that exceeds his abilities, but which he accepts to perform. Kemp comments that both in the Book of Exodus as well as in the relief, these elements are methodically arranged. Moses is pasturing the flocks, afterwards comes the divine which summons him in the form of a burning bush and a personification of an angel and then come God's charges to Moses. The episode of Moses and the encounter with the burning bush represents the starting point of the whole biblical narrative. The embodiment of the creator surpasses all doubts when he hands to Moses the scroll of the covenant.
What is depicted in the relief is the sacred, biblical historical narrative. The narrative is situated within the context of the fulfillment and the promise. Furthermore, the idea and concept of the covenant is deeply rooted in the structural study of this particular narrative in Santa Sabina Church relief. The pictorial narrator shows the transitional state - Moses chosen as a messiah and God in the form of sheep. In the relief, Moses is sitting while the angel approached him. Moses posture speaks about his submission to the omnipresent power and humbly comprehending his mission. His sitting position conveys the idea that he is below God and that the almighty possess him. In the relief the pastoral closeness to nature can be felt around. The divinity can be best delivered among the surroundings of nature. The scene with the angel speaking to Moses and he listening clearly marks the approval of Moses and his vocation.
Kemp says that the narrative in the panel of the doors of Santa Sabina Church is eternal. There are several lines of dialogue - between the narrator and the audience and Moses and God. Another theme that is inscribed in the relief is the narrative of giver and receiver. This implies the concept of communication between humans and superhuman. The narration consists of reception and communication storyline. The manifestation of this exchanged is celebrated when Moses is handed the scroll. This representation of communication exchange and the physical transformation indicates the profound meaning behind the pictorial narrative. What Kemp notes in his article is that the story of the relief demonstrates the "utterance in which an awaited (or desired) transformation occurs (Kemp, 66)."
In the other article, the author analyses two windows in Chartres and Bourges depicting the Prodigal Son. The author shows that even though both have the same preconditions, they end on different narratives. Of the works handles the two-dimensional geometry of the windows, and the other does not. The Prodigal Son window in Chartres delineates an older stage, because it does not apply the hypotactic structures in the geometric forms. There are multiform patterns which are divided and which present the