In the so-called "analogy of the divided line," Plato seems to suggest the existence of a hierarchy between the sensible and the intelligible and, within that, between figuration and intuition. However, what if one would think of such a line not as a hierarchy but as an act of proportioning? This suggestion liberates the image from an epistemological and analytical understanding and places it within an architectonic domain. The image is not a 'lesser being’, but rather a sort of intra-material species that puts sensible and intelligible, figuration and intuition in communication with each other. This understanding can be illustrated further by examples such as Henry Corbin’s Imago Templi—the "image of the temple," that puts heavens and earth in communication with each other, and that by doing so makes room for contemplation; or Gilles Clement's notion of the garden, as what tempers the opposition between the subjective image of paysage and the objective one of environnement; or again Pavel Florensky's iconostasis, as what articulates the border between "real-time consciousness" and "dream-time consciousness", earthly matter and divine light. It is within such architectonic understanding that image and schema can perhaps find an interesting commonance.