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.).
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 
salvation.

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.
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.

The scene of the miracle is depicted in the lower part of the composition, in the terrestrial section, where all is normal as regards the scale and proportions of the figures.
Saint Augustine, bearing the characteristics of Gaspar de Quiroga y Vela, the Archbishop of Toledo, and Saint Stephen, in golden and red vestments respectively, bend reverently over the body of the count, who is clad in magnificent armor that reflects the yellow and reds of the other figures.
The armor is contemporary with Greco's time, and inspired by the ceremonial military dress of the Spanish royals as depicted in Titian's portraits.
The noblemen contemplate the event in a detached and restrained manner.
Their subdued composure has been interpreted either as another visual element of the didactic purpose of the painting under the Counter-Reformation influence or as an expression of the Byzantine origins of Greco's art.
The young boy at the left is El Greco's son, Jorge Manuel; on a handkerchief in his pocket is inscribed the artist's signature and the date 1578, the year of the boy's birth.
Jorge Manuel's inclusion emphasizes the didactic purpose of the painting: the boy occupies a prominent position close to the spectator's view, directing the latter with his pointing finger.
The artist himself can be recognised directly above the raised hand of a knight of the Order of Santiago.

The painting has a chromatic harmony that is very rich, expressive and radiant.
On the black mourning garments of the nobles are projected the gold-embroidered vestments, thus creating an intense ceremonial character.
In the heavenly space there is a predominance of transparent harmonies of iridescence and ivoried greys, which harmonize with the gilded ochres, while in the Madonna's maphorion (mantle) deep blue is closely combined with bright red.
The rhetoric of the expressions, the glances and the gestural translation make the scene very moving.
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.). 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 
salvation.
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. 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.
The scene of the miracle is depicted in the lower part of the composition, in the terrestrial section, where all is normal as regards the scale and proportions of the figures. Saint Augustine, bearing the characteristics of Gaspar de Quiroga y Vela, the Archbishop of Toledo, and Saint Stephen, in golden and red vestments respectively, bend reverently over the body of the count, who is clad in magnificent armor that reflects the yellow and reds of the other figures. The armor is contemporary with Greco's time, and inspired by the ceremonial military dress of the Spanish royals as depicted in Titian's portraits. The noblemen contemplate the event in a detached and restrained manner. Their subdued composure has been interpreted either as another visual element of the didactic purpose of the painting under the Counter-Reformation influence or as an expression of the Byzantine origins of Greco's art. The young boy at the left is El Greco's son, Jorge Manuel; on a handkerchief in his pocket is inscribed the artist's signature and the date 1578, the year of the boy's birth. Jorge Manuel's inclusion emphasizes the didactic purpose of the painting: the boy occupies a prominent position close to the spectator's view, directing the latter with his pointing finger. The artist himself can be recognised directly above the raised hand of a knight of the Order of Santiago.
The painting has a chromatic harmony that is very rich, expressive and radiant. On the black mourning garments of the nobles are projected the gold-embroidered vestments, thus creating an intense ceremonial character. In the heavenly space there is a predominance of transparent harmonies of iridescence and ivoried greys, which harmonize with the gilded ochres, while in the Madonna's maphorion (mantle) deep blue is closely combined with bright red. The rhetoric of the expressions, the glances and the gestural translation make the scene very moving.
The Burial of the Count of Orgaz