In the element of the horns or the beams of light which emanated from the head of Moses when he descended from Mount Sinai, Rosenfeld sees further proof of Freud's contention that what Michelangelo depicted in his statue of Moses was not the scorning, angry man, but the silent, meditating spirit; not the man who smashed the tablets in his wrath, but the man who remembered his mission and renounced for its sake an indulgence of his feelings. His hand returned and saved the unsupported tablets before they had actually fallen to the ground. Whereas Reik elaborates the idea that Moses killed the totem God on Mount Sinai, Rosenfeld, following Freud, concentrates on the theory that the Jewish people killed Moses after his return from Mount Sinai. It is this internal image of the murdered father transfigured which Michelangelo has immortalized. This more reasonable father image has been introjected into the superego, taking its place historically with other good introjected objects. In this way the image of Moses has been of utmost significance in elevating the moral level of humanity.