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This started off as a photo of a brick wall with one quarter of the final image. Mirrored horizontally, then again vertically, before applying the spherize filter and some transformations to fill the frame while excluding some other detail.
This was an experiment and I would like to hear what you think of it.
"Jesus and his disciples left for the villages round Caesarea Philippi. On the way he put this question to his disciples, ‘Who do people say I am?’ And they told him. ‘John the Baptist,’ they said ‘others Elijah; others again, one of the prophets.’ ‘But you,’ he asked ‘who do you say I am?’ Peter spoke up and said to him, ‘You are the Christ.’ And he gave them strict orders not to tell anyone about him.
And he began to teach them that the Son of Man was destined to suffer grievously, to be rejected by the elders and the chief priests and the scribes, and to be put to death, and after three days to rise again; and he said all this quite openly. Then, taking him aside, Peter started to remonstrate with him. But, turning and seeing his disciples, he rebuked Peter and said to him, ‘Get behind me, Satan! Because the way you think is not God’s way but man’s.’
He called the people and his disciples to him and said, ‘If anyone wants to be a follower of mine, let him renounce himself and take up his cross and follow me. For anyone who wants to save his life will lose it; but anyone who loses his life for my sake, and for the sake of the gospel, will save it.’"
– Mark 8:27-35 which is today's Gospel at Mass.
Fresco by Blessed Fra Angelico in the Dominican convent of San Marco in Florence.
Christ's Resurrection Basiilica (Lithuanian: Kauno mūsų Viešpaties Jėzaus Kristaus Prisikėlimo bazilika) in Lithuania's second city, Kaunas, was consecrated in 2004 and finished in 2005. It is located on a hill immediately to the north of the city centre and is on a monumental scale, with the main tower rising to 70 metres.
After Lithuania regained independence in 1918, the concept of a new church that would express gratitude to God for its regained freedom arose. A committee led by president Antanas Smetona was established in 1926 to oversee its construction. The City of Kaunas was chosen as its site, since the historic capital of Lithuania, Vilnius, was part of Poland between 1920 and 1939. A design competition was held in 1928 and the proposal drawn up by Karolis Reisonas was chosen for the church as the best. Due to the technical difficulties arising from the grand scope of the design, and dramatic escalation of its cost estimates, the final design was not approved until 1933.
The first cornerstone for the church was brought from Jerusalem's Mount Olive in 1934, marking the church's first symbolic milestone. Funds for the construction were raised in Lithuania and abroad. The prominent Lithuanian parson Feliksas Kapočius was particularly involved not only in the details of the building project, but also in its funding. He traveled through the United States, where many Lithuanian émigrés were living, to enlist support. The construction underwent several setbacks, and at times was suspended for lack of funding.
In 1936 certain Czechoslovak architects from Prague said that the church will become a masterpiece of modern architecture in the Baltics.[2] In 1938 the walls and roof of the church were completed, and by 1940 it was largely finished; at this point around one million litas had been spent, most of it from individual donations. Further work on the church was suspended during World War II. The Nazi occupational authorities used the church as a storeroom; during the Soviet period of Lithuanian history, the building was confiscated by the government. In 1952 Stalin decreed that it be used as a factory; the cross atop the tower was demolished, as was the chapel.
The church structure was used as a radio factory until the Lithuanian national awakening in 1988. Soon thereafter, control of the church was returned to a newly founded council. During the 1990s, its rehabilitation met with further obstacles; church and state had been officially separated, and Lithuanian citizens struggled with economic downturns during the transition to a market economy. In any event, the work continued. Funding was provided by both private sources and the Lithuanian government, and the church was consecrated in 2004.
In 2015 the church received the minor basilica title from Pope Francis.
This description incorporates text from the English Wikipedia.
Res 'Skoda' No. 90020 stands at the head of the 19.33 KX - Edinburgh parcels.
A night time bash after work - heady days!!
All images on this site are exclusive property and may not be copied, downloaded, reproduced, transmitted, manipulated or used in any way without expressed written permission of the photographer. All rights reserved – Copyright Paul Townsend
A belly front view of a St. Andrew's Cross spider (Argiope keyserlingi) trying to hide behind its web.
SMC TAKUMAR 55mm f1.8 @ f8
Day 26 of Pentax Forum's Daily in November 2019 Challenge.
My own photograph, with added effects. Completed November 2015. Created in Corel Paint Shop Pro Photo X2.
I love doing 'out of bounds' work, so that was straightforward enough, if a bit time consuming. However, the finished article is something a bit different for me. I surprised myself :)
Thanks for all views, comments and fave adds.
Often times when we encounter diffculties,
we are so busy thinking of a solution that we forget to turn to God.
Find a quiet place.
Bow down on your knees.
Pray truthfully and whole-heartedly.
A white-tailed buck in the Oklahoma Cross Timbers. The Cross Timbers are great deer habitat, but the monster bucks usually come from areas where the deer have access to ag crops and grow bigger. Deer hunters putting out minerals that promote antler growth help, too. The deer I watch have a little access to winter wheat, but pretty much live off natural foods as they have done for tens of thousands of years.
Rosehill Cemetery in Chicago
graveyards.com/IL/Cook/rosehill/
5800 N. Ravenswood
Chicago, IL
An article by Stephen Walker, Jewelry Designer
Celtic Cross History and Symbolism
By Stephen Walker, copyright 1996. All rights reserved.
What is the symbolism of the Celtic Cross? is a question I am often asked. As a craftsman and jewelry designer in the Celtic tradition I bring some very ancient symbols to a contemporary audience. The answer is not as straight foreword as one might hope. The history of this powerful symbol is ambiguous. There are many variations of interpretations and legends about the original meaning that are commonly repeated even today. The Presbyterian and Catholic are often startled to learn that the other considers this symbol their own. In our modern multicultural world the ringed cross is as much a symbol of ethnic heritage as it is of faith and it is often used as an emblem of ones Irish, Scottish or Welsh identity.
If you spend much time rooting around in the history of the Celtic lands you are sure to have many explanations and historical anecdotes offered to you in forms ranging from casual explanations from individuals to historical markers, tour guide banter, grandmother’s family lore and souvenir shop hang tags. This variety of sources of information is available on many topics of history, customs, superstition and when the subject is Celtic Art I have found that the popular and casual sources of information are very generous. Conversely the academic and scholarly sources of information are very cautious to the point of being truly a disappointment if your seek confirmation of the meaning of mysterious ancient symbols.
The Irish Catholic priest will have no hesitation telling you that the circle of the Celtic Cross is a symbol of eternity that emphasizes the endlessness of God’s love as shown through Christ’s sacrifice on the cross. That is unless he says the circle is a halo. He may go on to explain that the crucifixion is important not just as an event at a certain point in time but, as the circle symbolizes, as the unending mystery of how through the crucifixion and resurrection Christ continues to offer the hope of salvation to the faithful throughout all time.
At the pub when the subject comes up you might just as likely hear the explanation that the great stone Celtic Crosses were carved from the standing stones of the Druids and were originally phallic symbols, just carved into crosses to disguise their original purpose. No proof of this theory is offered and the in-your-face delivery of this information will probably intimidate you from asking for any. The barroom iconographer will swear on the graves of all his ancestors that it is true. With the rise of interest in the occult and pagan ideas in recent years you are likely to read New Age interpretations about how the cross in the circle is a symbol of the Sun that was worshipped by the Druids and that this symbol was appropriated by the Christians. Look for these sorts of explanations on the cards that accompany jewelry and head shop bric-a-brac. Born Again Pagans are enthusiastic about Celtic designs and are successfully appropriating Christian symbols back to their supposed primal meaning. Just how much of this is fantasy and how much is based in historical fact is difficult to sort out since the academic keepers of the facts are so reluctant to discuss symbolic meaning.
There is a legend of how St. Patrick when preaching to some soon-to-be converted heathens was shown a sacred standing stone that was marked with a circle that was symbolic of the moon goddess. Patrick made the mark of a Latin cross through the circle and blessed the stone making the first Celtic Cross. This legend implies that the Saint was willing to make ideas and practices that were formerly Druid into Christian ideas and practices. This is consistent with the belief that he converted and ordained many Druids to lives as Christian priests.
These and many other stories and beliefs are the sort of folk lore history that cannot be substantiated by the academic convention of looking back into the written record for early citations or for iconographic precedence that contains enough supporting evidence of what the artist is really trying to say. What we have from the modern scholars and archeologists about Celtic art from early times are careful descriptions and comparisons. The questions the scholars attempt to answer are about dates and the migration of ideas. Which came first? Who was exposed to which prototypes? Figurative panels are often easier to interpret such as the scene of a Samson striking a Philistine with the jaw of an ass as depicted on the back of the Inchbraoch Stone. The knotwork, spirals and key patterns on the carved cross side of this 7th or 8th century Pictish monument are usually treated by scholars as a subject that can be described and classified but is rarely interpreted. When the meaning of the decorative elements are attempted the academic scholar tends to be very cautious and will often cite obscure references in ways that make their text difficult to understand.
George Bain, in 1951 in the preface his excellent book Celtic Art; the Methods of Construction wrote the following about meaning:
"After consultation with an eminent prehistorical Archaeologist, his advice to publish the meanings that the evidences suggest was accepted, with the qualification that if others could bring evidences to prove other meanings, agreement to such would benefit truth. In such a way, the art which was communicative and ornamental might regain its original communicative purpose."
That statement sounds sensible enough but it is neither followed nor preceded by more than the vaguest of hints of what the original communicative purpose might have been. Frustratingly this is just about all Bain has to say that even suggests that his subject even has any meaning. Bain’s book is a text book on how to construct Celtic Art. By following his instructions the student of Celtic Art learns a lot. By learning the creative process of construction one comes to feel a sense on knowing on a intuitive level what this is all about. In this way Bain succeeds brilliantly in communicating his message. What he writes is rather typical of the scholar who is concerned about being right in a way that can be defended with the proof of facts. If the reader expects a code book to interpret ancient symbols, Bain does not offer any convenient, quotable explanations.
It seems that most people who know about Celtic Art as part of their personal heritage have the sort of knowledge that the academic cannot cite as fact since the source is mainly oral tradition. This does not prevent common knowledge from being strongly, even passionately believed nor does it mean that it is not true. Where the scholar fears to venture writers who are more interested in satisfying fantasy views of history and mysticism have fewer qualms. The popularity of Celtic images and symbols has produced plenty of blurb cards that give the buyer of gift ware designs the sort of meaning they want to hear. The scholarship and authenticity of these statements ranges from very responsible to outright quackery. Right or wrong all this information adds to the modern folk lore of what Celtic Art means.
The Cross did not become a common symbol of Christianity until the 4th century. Images of the cross were in fact quite rare before the Golden Legend became popular and the "discovery" of the "True Cross" promoted fragments of the "True Cross" as powerful relics.
There are in Britain stone monuments that may be the ancestor of the Celtic Cross. The Chi-Rho symbol, the monogram of Christ was a commonly used symbol of Christianity in the 4th century Roman Empire. The Emperor Constantine who made Christianity the official religion of the Roman Empire used as his emblem the Chi-Rho in a laurel wreath. Thus combined were a pagan Imperial symbol of Rome with a symbol of the new faith. The diagonal cross members of the Chi were eventually conventionalized to a single horizontal cross member that made its cross with the vertical stem of the Rho and the wreath was conventionalized into a simple circle. There are examples of this where the loop of the Rho is also conventionalized into a shepherd’s crook. One can easily see how the curved crook of the staff could disappear to leave just a cross in a circle as is common in many Welsh crosses of the early Celtic Christian period which followed the Roman withdrawal from Britain.
Constantine used the Chi-Rho as a military insignia and victory symbol as well. The cross symbolizes Christ's victory. Military use of the cross as a favorite element of heraldry descends from the shields and standards of the Roman Empire.
The early circled cross stone monument as it survives in Ireland and Scotland exists in two forms, the incised slab and the free standing cross. The slab form has a cross carved in relief where the free standing cross has the stone cut away so that the shape of the ringed cross is carved in the round. In both types there are examples that range from crude and primitive to the very ornately decorated. In many cases the most highly decorated have carving on all the surfaces, even the edges of the ring and ends of the arms.
The carvings fall into several categories, with several or all of these present on any example. Human figures representing Biblical stories or the crucifixion offer the most obvious meaning. Endless knotwork, spirals, meanders and "key patterns" and zoomorphic animal patterns make up the majority of early cross carving subjects. These are the same elements that are used in much the same way in metalwork and in Gospel illumination. The term insular is used to describe this style. There are many regional variations. The Iona group crosses are distinctive in their shape. Many of the Irish High crosses of the 10th century are capped with a pitched roof or "house cap" that are similar to reliquaries made to resemble a Celtic oratory.
The stone monuments can be attributed to specific places since they rarely were moved more than short distances. Metalwork and books were portable and their places of creation are therefore more difficult to know. The surviving manuscripts were carefully cared for over the centuries. Stones from this period are usually very weathered and the best preserved examples were often buried or sheltered for many of the years since their creation and thus were spared some of the damage an wear of the centuries. The metalwork that survives from those time was likewise buried and discovered in modern times. What may have been carved in wood, ivory or embroidered has been lost to us. Surviving work from earlier than the 10th century in those materials are extremely rare. St. Adomnán writing in the 7th century reports that there were several hundred wooden crosses on Iona, but none survive today. Materials and available craft skills influence design. Often design innovations that take advantage of one material’s nature are then transferred to another material. The hemispherical bosses carved on the more elaborate stone crosses were stylistically imitating the metalwork of the time. The semicircular arm pits that narrow at the center of many crosses are a graceful design innovation that may have evolved from notches carved in simpler wooden crosses that were lashed together at the center. These notches would be an impractical weak point in a free standing stone were it not for the structural support of the ring.
The term insular is used to take into account the possibility that an object found in Scotland may well have been made in Ireland. There was no political, religious or ethnic unity in the several centuries known as the Dark Ages, after the Romans withdrew from Britain. The artistic styles that emerged were the combined heritages and innovations of several cultures. The Angles and Saxons contributed the animal motifs to this mix and adopted many of the Celtic elements most notably in Northumbria where the Lindisfarne Gospels were most likely produced in the 9th century. Thus the style is also often called Hiberno-Saxon. The period from the 7th to the 9th century when this style reached its greatest development was a time when the Celtic Church was at its greatest influence. These styles were exported with missionaries to Northern Europe. The term insular is also a diplomatic term as it avoids the ethnic associations that are likely to offend national pride. The heritage of these motifs is part of the self image of the modern Scots, Irish and Welsh. Labeling a style as Celtic, Pictish, Irish or Hiberno-Saxon places credit for these styles and motifs where another group may feel their claim slighted. An English scholar arguing that Northumbrian prototypes influenced the Pictish or Iona schools of design risks claims that he is yet another Sassunsach that is unwilling to give the Celtic people full credit for their accomplishments. On the other hand the Celtic nationalists are going to want to see their people as the true geniuses. In it's day the insular style was an international style.
The monumental stone crosses by the nature of their size and material still stand in many cases where they were placed 12 centuries ago. These often served as prototypes for newer monuments down through the ages into modern times. Styles and decorative motifs changed with time. During the middle ages foliage designs, often referred to now as Tree of Life designs became increasingly common. In old Irish or Scottish church yards most of the stone crosses are relatively modern. Some of the stone crosses even back to some of the earliest ones have inscriptions that dedicate them to the memory of certain individuals. While many of these were not specifically grave markers, some quite likely were and in this way the purpose of the monumental stone Celtic Cross has remained constant since the beginning.
What these crosses mean to us today and what they meant when Christianity was new to Celtic Britain and Ireland are in some ways the same and in some ways different. The cross either vertical or diagonal with equal length arms is a universal mark. It is so primal that it exists in all cultures as does the circle. There are no human cultures that have no art or symbols and there are no systems of symbols that do not include circles and crosses. These marks are opposites. The circle contains and is unending while the cross both reaches out and marks a specific, finite point at the center. Contemplation of this yields many possibilities and in this way temps the designer or the viewer to find personal meanings besides the traditional ones. A plain circle is often a symbol for the moon and a circle with a cross within or the arms of a cross without are universal symbols for the sun. The swastika is a related sun symbol. The Druids did indeed worship the sun and moon. These were important symbols to them. The cross by itself relates to other ideas. The four directions or the four corners of the Earth, the vertical and the horizontal coming together imply the joining of forces such as Heaven and Earth. Just as since the swastika became associated with the Nazis and became a symbol for anti-Semitism and hate the strength of that association supersedes its older meaning. The cross likewise when it became the predominate symbol of Christianity is no longer thought of by most people as a symbol for anything else. The older meanings do not entirely vanish. They are waiting to be rediscovered.
It is my opinion that the story of St. Patrick making the cross over the circular pagan symbol is in itself symbolic of the way things really happened. Celtic Christianity used symbols and ideas that were familiar to the Druids to bring them to Christ. The Celtic monks of the early Church practiced a simple life, close to nature that found joy in the love of God’s creation. This was what the Druids already sought in their worship of nature so the missionaries were able to build on what they already had in common with the Druids to convert them to Christianity.
That the cross within a circle also evolved from the Chi-Rho coincides with the emergence of the cross as a symbol throughout Christendom at a time when the Gospel was being delivered to a sun worshipping culture presents just the kind of multiple choice mystery that is characteristic of Celtic history. Which of these three possibilities are true? They all are.
The Celtic Cross is visually a very appealing shape. Unlike the crucifixes of Southern Europe that display Christ’s suffering the Celtic Cross, be it plain or highly ornamental is made to be visually beautiful. When human figures appear on the cross they are usually quite simple in contrast to highly complex and sophisticated ornamental patterns that complete the design. When the body of Christ is depicted in crucifixion it is usually robed in colobium along the Byzantine model and the overall effect is less about pain than it is about beauty. The Roman model of the corpus semi-naked in only a loin cloth occurs also but less frequently on early crosses and even then it is usually part of a larger ornamental program. On several crosses, notably the Cross of Muiredach at Monasterboice and the Cross of the Scriptures at Clonmanois, both in Ireland Christ is enthroned in Glory at the center of the cross.
If the Celtic Cross borrowed a pagan sun symbol, just as the Chi-Rho borrowed the pagan imperial laurel wreath, applying these to a Christian symbol were expressions of honor and reverence that should be seen in the context of the cultures that brought them forth. There are Christians who unfortunately see these vestiges of paganism as unholy. They ought to be regarded as the reverent tributes they were as these great cultures accepted the Gospels. The Celtic Crosses made at Iona and elsewhere from the 6th century onwards were made by Christians for the Glory of God. Like much of what they did and believed, their pagan heritage influenced their art. The early Christians certainly were erecting neither phallic symbols nor pagan monuments in their own minds when they carved these splendid creations.
The circle on the ringed crosses have been explained as a symbol of eternity as long as anyone can remember. It has meant that as long as the ringed cross has had meaning as a Celtic Christian symbol. But this is only the most common of several meanings.
(c) copyright Stephen Walker April 17, 1996 All rights reserved
Balfour Beatty liveried Choppers 20142 and 20189 head past Clay Cross working 6Z41 Doncaster to Sandiacre and Stapleford on the 6/5/14
Pictured at Woodside Bus Station is this Arriva North West owned Volvo B5LH with Wrightbus Eclipse Gemini 2 bodywork. It is registered MX13 AEM with the fleet number of 4510 and is captured working the 411 service to New Brighton.
Close-up of a Celtic cross gravestone from the Abbey Graveyard in Donegal (Ireland).
This photo is offered under a standard Creative Commons License - Attribution 3.0 Unported. It gives you a lot of freedom to use my work commercially as long as you credit and link back to this image on my Flickr page.
Flickr resolution: 1200 x 1800 px
Also available for download at 3333 x 5000 px on my Patreon page, an ever-growing collection of high res images for one low monthly subscription fee. You can find this specific photo at the following post:
In light of the popularity of Germany's "Heide" the cross-eyed possom, I decided to re-post this photo I took in the Summer of 2007 in Oregon. No need to comment if you've already seen it....
I couldn't remember her name, so I called her Sofia....
She was residing in a petting zoo in Bandon at the time; not sure if she is still there...
Ted puts up so many great pictures of Anderston Cross from when he worked there and this is one from that period that I took. RSD970R or MS2667 is heading off to Kennacraig on the Campbeltown service while a new Dominator heads out to East Kilbride amid the somewhat 1970s brutalist architecture of the period of Anderston which love it or loathe it was a background to some great days on the buses for me.
An early 12th-century church which stood here probably consisted only of a chancel and nave; the east and west walls of the nave of this church survive. Early in the 13th century the north aisle with its nave arcade was added and in the middle of the same century the western tower was built. Possibly owing to defects in the foundations, the north wall of the north aisle was rebuilt in the 14th century. About 1400, considerable alterations were again made, the chancel and south wall of the nave were rebuilt and new windows inserted in the north aisle. Towards the end of the 15th century, the large chapel west of the tower was built, possibly as a Lady Chapel. The chancel was shortened by about 13 ft., probably in the 16th century, as may be seen by the remains of two windows at the eastern angles of the church. The porch was built and the church restored in 1889.
This new 80-400mm af-s lens really allows me to zoom into far away subjects with ease...
It's color, contrast, and sharpness makes the lens a joy to own and work with as I capture so much beauty all around me. I was almost a block away from this cross when I took this picture.
I zoomed the lens all the way to it's max at 400mm and this was the result...
I'm very pleased and it looks like I won't be sending this lens back to Amazon, but it will stay in my grubby little hands for many years :)
Founded in 1910 largely through the efforts of Rev. James Cherne, this Slavonic Catholic Church continues to worship in this impressive building. A cherished landmark in our city, the stone edifice and tower can be seen overlooking the Sheboygan River on South New Jersey Avenue.
I was fortunate to have a beautiful sky for a backdrop as I captured the church's bell tower today...
This is the largest and oldest recorded cross on Dartmoor, being mentioned in the 1240 Perambulation of the Forest of Dartmoor. It was historically known as Siward's Cross, most likely in connection with Siward, Earl of Northumbria at the time of Edward the Confessor. Siward was Lord of the Manor of Tavei (probably today's Mary Tavy) and witnessed the founding charter of Exeter Cathedral in 1050. The derivation of its alternative name of Nun's Cross, which was first recorded as "Nannecross" in 1699, is unknown, but William Crossing suggested that it may be derived from the Cornu-Celtic "nans" or "nant" meaning valley or ravine.
The cross was probably erected during Edward the Confessor's reign (1042–1066), and stands at the junction of two main tracks across the moor: The Monks’ Path and the Abbots’ Way, both of which link Buckfast Abbey to Tavistock Abbey and Buckland Abbey. It was knocked down in 1846 and the shaft broken. It was restored in 1848 at the instigation of Sir Ralph Lopes.
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Most people in the religious world think: When the Lord Jesus was crucified and said before He expired “It is finished,” this proved that God’s work of salvation was entirely complete, and there would be no more work. Thus, upon hearing that God is doing a new stage of work in the last days, many people absolutely deny it. They think it an impossible thing. Well, when it comes down to it, what is the truth of the matter? When the Lord Jesus was crucified, did it or did it not represent that God’s work of saving mankind was entirely “finished”? Did the Lord saying “It is finished” mean that all the Lord’s work of redeeming mankind was accomplished, or did it mean that all God’s work of saving mankind was accomplished?
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Let us imagine: If the Lord Jesus on the cross saying “It is finished” meant that all God’s work of saving mankind was complete, then could God still prophesy to us later work of salvation? Certainly not! On this point every brother and sister must agree. And it is well known, all the prophecies in the Book of Revelation are about God’s work of salvation in the last days, as in Revelation chapter 1 verses 1 to 3, which read: “The Revelation of Jesus Christ, which God gave to him, to show to his servants things which must shortly come to pass; and he sent and signified it by his angel to his servant John: Who bore record of the word of God, and of the testimony of Jesus Christ, and of all things that he saw. Blessed is he that reads, and they that hear the words of this prophecy, and keep those things which are written therein: for the time is at hand.” In the Book of Revelation, Jesus Christ revealed to John things that would soon come to pass and let him bear record of these things so that we could believe. Revelation chapter 14 verses 6 and 7 also specifically record things God would do in the last days: “And I saw another angel fly in the middle of heaven, having the everlasting gospel to preach to them that dwell on the earth, and to every nation, and kindred, and tongue, and people, Saying with a loud voice, Fear God, and give glory to him; for the hour of his judgment is come: and worship him that made heaven, and earth, and the sea, and the fountains of waters.” And when He was on earth, the Lord Jesus Himself also prophesied: “I have yet many things to say to you, but you cannot bear them now. However, when he, the Spirit of truth, is come, he will guide you into all truth: for he shall not speak of himself; but whatever he shall hear, that shall he speak: and he will show you things to come” (Jhn 16:12-13). From these prophecies, we know that in the last days God still has work of salvation to do; that is, in the last days, God will do the work of judgment, and the Spirit of truth will guide us into all truth. Thus we can conclude: The Lord Jesus’ work of being crucified was not the end of all God’s work of salvation, and the Lord Jesus on the cross saying “It is finished” simply meant that His crucifixion accomplished the work of redeeming mankind; it did not mean that all God’s work of saving mankind was complete.
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Almighty God says: “To man, God’s crucifixion concluded the work of God’s incarnation, redeemed all of mankind, and allowed Him to seize the key to Hades. Everyone thinks God’s work has been fully accomplished. In actuality, to God, only a small part of His work has been accomplished. He has only redeemed mankind; He has not conquered mankind, let alone changed the ugliness of Satan in man. That is why God says, ‘Although My incarnate flesh went through the pain of death, that was not the whole goal of My incarnation. Jesus is My beloved Son and was nailed to the cross for Me, but He did not fully conclude My work. He only did a portion of it’” (“Work and Entry (6)” in The Word Appears in the Flesh).
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A Red Fox pup (cross fox colour morph) rests in a boulder field in the Cariboo Region of British Columbia, Canada.
Canon 7DM2 | Canon 400mm f/5.6 | 1/100th | f/10 | ISO 800
Throughout this spring and summer, myself and Connor Stefanison have been developing a 2016 workshop here in BC. Highlights include, photographing Common Loons with chicks and Red-necked Grebes from boats, Red Fox dens, Great Grey Owls, and some other incredible birds. If you're interested in joining the growing wish list for this workshop, please email me at jfindlayphotography@gmail.com
Check out my Facebook photography page to follow along with my travels!