At a key point in his essay Art and Christianity, Mauer asserts that the flesh of Christ serves as the locus of the highest symbolism of which matter is capable (and of which the incarnation of the Son is thus precisely an instance—albeit the highest—rather than a mere analogy), the very highest becoming graspable in what is ontologically farthest removed from it. He goes on to claim that the relation of appropriate "likeness" established between divine and human natures by their hypostatic union in the existence of the incarnate Son may be a type of all those "likenesses" shot like filigree through the fabric of creation, on which the meanings of art (and meaningfulness as a whole) depend; but it is not their ultimate source. As a movement of God ad extra it is itself possessed of background which both accounts for it and upon which it is grounded. In the eternal relation of the Son's trinitarian procession alone, Mauer argues, is there to be found such a thing as complete identity between image and imaged, "the Son's essence [being] identical with the essence of his Father." It is on this eternal "likeness" that everything hangs; the likeness of the incarnate Son to his heavenly Father (the only true "image" of God in creation), and those myriad relations of likeness in distinction around which the fabric of creation as a whole is woven, and which are of particular significance in the artist's interpretation of the world. Taking this passage as a waypoint, this paper will trace how similar moves to ground art in the Incarnation actually end up grounding it within the eternal processions of the Immanent Trinity. George Steiner, Jacques Maritain, George MacDonald, Eric Przywara, and Dorothy Sayers all have a similar logic. Through Mauer this logic is articulated for the sake of further development in how theology can find a ground for art in the doctrine of God.