Nothing in Bahá'í practice represents God. Houses of Worship are architecturally distinctive and doctrinally empty: nine sides and nine entrances signifying openness from every direction, a dome, and inside an unfurnished space with no altar, no image, no statue, no pulpit and no sanctuary. Prayers address God under a great many names — the All-Merciful, the Ever-Forgiving, the Self-Subsisting — and the writings state plainly that these describe the worshipper's conception rather than the reality. The Greatest Name calligraphy that hangs in Bahá'í homes is an inscription rather than an image. The strictness here is comparable to Islamic and Jewish aniconism, and it has an interesting effect on Bahá'í visual culture, which is essentially architectural and calligraphic and produces almost no devotional art. Photographs of Bahá'u'lláh exist; they are shown to pilgrims at the International Archives in Haifa and are not otherwise displayed or reproduced, a restriction Bahá'ís take seriously and outsiders regularly breach.