It may or may not have been calculated, but there is an awesome appropriateness in the Michelangelo segment—the hand of God extended toward the hand of Adam—which appears on the cover of Sterling McMurrin’s The Theological Foundations of the Mormon Religion. For the central conclusion of this essay is that in Mormonism “there is not a total disparity of the Divine and human natures.” (p. 23) Christendom owns the painting but firmly disowns the thesis. Official theology insists on an “infinite qualitative distinction” between divine and human, a mysterious chasm that is only the more mysterious in the “bridging” supposed to have been achieved by Christ. Powerful religious motives have no doubt contributed to this dualism. But McMurrin’s task is to trace the technical philosophical involvements and offshoots of the conception, comparing them at crucial points with the Mormon view.