It's astonishing that despite the clear figural references in Rothko's "No. 10" of the same year, there's a sense that the painter is moving toward the glowing rectangular shapes with which he and ultimately we have become so comfortable.
Figural and symbolic reliefs are not high overhead as in the Parthenon or Chartres Cathedral, but at one's own level so that one is immersed in the visual experience most of the piers are little more than twice my height, and the figuration begins immediately above the socle (base).