The Burial of the Count of Orgaz (1586) by El Greco:

What is going on in these strange paintings where saints and sinners separated by centuries inhabit the same scene? Is this a feature of ignorance, a quaint relic of a primitive humanity for whom historical consciousness had not yet dawned? Could these painters not tell time? Or is it, rather, a signal of the peculiar nature of sacred time? In these paintings, all created for liturgical contexts, Christian spirituality is the original quantum theory. The burghers of a fourteenth-century Spanish town and the bishop of a fifth-century African city are part of the same worship service. Mendicant friars from the early Renaissance encounter the resurrected Jesus alongside desert fathers. In a chapel, at prayer, the cosmos folds in such a way that Christ and Cecilia are contemporaries.

(from How to Inhabit Time by James K. A. Smith)