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Parable of the Ten Bridesmaids
"Then the Kingdom of Heaven will be like ten bridesmaids who took their lamps and went to meet the bridegroom. Five of them were foolish, and five were wise. The five who were foolish didn’t take enough olive oil for their lamps, but the other five were wise enough to take along extra oil. When the bridegroom was delayed, they all became drowsy and fell asleep.
“At midnight they were roused by the shout, ‘Look, the bridegroom is coming! Come out and meet him!’
“All the bridesmaids got up and prepared their lamps. Then the five foolish ones asked the others, ‘Please give us some of your oil because our lamps are going out.’
“But the others replied, ‘We don’t have enough for all of us. Go to a shop and buy some for yourselves.’
"But while they were gone to buy oil, the bridegroom came. Then those who were ready went in with him to the marriage feast, and the door was locked. Later, when the other five bridesmaids returned, they stood outside, calling, ‘Lord! Lord! Open the door for us!’
“But he called back, ‘Believe me, I don’t know you!’
“So you, too, must keep watch! For you do not know the day or hour of my return.
[Matthew 25:1-13 NLT]
5 THINGS YOU SHOULD KNOW:
1. Like it or not, we are ALL sinners: As the Scriptures say, “No one is righteous—not even one. No one is truly wise; no one is seeking God. All have turned away; all have become useless. No one does good, not a single one.” (Romans 3:10-12 NLT)
2. The punishment for sin is death: When Adam sinned, sin entered the world. Adam’s sin brought death, so death spread to everyone, for everyone sinned. (Romans 5:12 NLT)
3. Jesus is our only hope: But God showed his great love for us by sending Christ to die for us while we were still sinners. (Romans 5:8 NLT) For the wages of sin is death, but the free gift of God is eternal life through Christ Jesus our Lord. (Romans 6:23 NLT)
4. SALVATION is by GRACE through FAITH in JESUS: God saved you by his grace when you believed. And you can’t take credit for this; it is a gift from God. Salvation is not a reward for the good things we have done, so none of us can boast about it. For we are God’s masterpiece. He has created us anew in Christ Jesus, so we can do the good things he planned for us long ago. (Ephesians 2:8-10 NLT)
5. Accept Jesus and receive eternal life: If you openly declare that Jesus is Lord and believe in your heart that God raised him from the dead, you will be saved. (Romans 10:9 NLT) But to all who believed him and accepted him, he gave the right to become children of God. (John 1:12 NLT) And this is what God has testified: He has given us eternal life, and this life is in his Son. Whoever has the Son has life; whoever does not have God’s Son does not have life. (1 John 5:11-12 NLT)
Read the Bible for yourself. Allow the Lord to speak to you through his Word. YOUR ETERNITY IS AT STAKE!
Google No Evil - Stream No Evil - eMail No Evil
The We are Here challenge on January 6 2015 was: Three Wise Monkeys
Lighting: 1 YN-560-III 1/8 right, 1 SB600 1/8 left, wireless triggers.
"‘While he was still a long way off, his father saw him and was moved with pity. He ran to the boy, clasped him in his arms and kissed him tenderly. Then his son said, “Father, I have sinned against heaven and against you. I no longer deserve to be called your son.” But the father said to his servants, “Quick! Bring out the best robe and put it on him; put a ring on his finger and sandals on his feet. Bring the calf we have been fattening, and kill it; we are going to have a feast, a celebration, because this son of mine was dead and has come back to life; he was lost and is found.” And they began to celebrate.
‘Now the elder son was out in the fields, and on his way back, as he drew near the house, he could hear music and dancing. Calling one of the servants he asked what it was all about. “Your brother has come” replied the servant “and your father has killed the calf we had fattened because he has got him back safe and sound.” He was angry then and refused to go in, and his father came out to plead with him; but he answered his father, “Look, all these years I have slaved for you and never once disobeyed your orders, yet you never offered me so much as a kid for me to celebrate with my friends. But, for this son of yours, when he comes back after swallowing up your property – he and his women – you kill the calf we had been fattening.”
‘The father said, “My son, you are with me always and all I have is yours. But it was only right we should celebrate and rejoice, because your brother here was dead and has come to life; he was lost and is found.”
– Luke 15:20-32, which is part of today's Gospel at Mass.
Stained glass window from St Vincent's Archabbey in Latrobe.
" ‘When he had spent it all, that country experienced a severe famine, and now he began to feel the pinch, so he hired himself out to one of the local inhabitants who put him on his farm to feed the pigs. And he would willingly have filled his belly with the husks the pigs were eating but no one offered him anything. Then he came to his senses and said, “How many of my father’s paid servants have more food than they want, and here am I dying of hunger! I will leave this place and go to my father and say: Father, I have sinned against heaven and against you; I no longer deserve to be called your son; treat me as one of your paid servants.” So he left the place and went back to his father."
– Luke 15:14-19, which is part of today's Gospel.
Painting by Pierre Puvis de Chavannes, c.1879.
Pompeo Girolamo Batoni, 1708 Lucca - 1787 Rom
Das Gleichnis vom verlorenen Sohn oder Die Rückkehr des verlorenen Sohns / The Parable of the Prodigal Son aka The Return of the Prodigal Son (1773)
Kunsthistorisches Museum, Wien
The Italian painter Pompeo Girolamo Batoni displayed a solid technical knowledge in his portrait work and in his numerous allegorical and mythological pictures. The high number of foreign visitors travelling throughout Italy and reaching Rome during their Grand Tour, made the artist specialized in portraits.
28x22 in.
Oil, oil stick, oil pastel on posterboard
To purchase original please contact ajeffries101958@yahoo.com
Prints, etc. are available at www.redbubble.com/people/atj1958 and www.artslant.com/global/artists/show/52481-alan-taylor-je...
Thanks for taking the time to look at my work.
Scandalous Dining
We typically fill our parties with people similar to ourselves. We invite into our homes those we work with, play with, or otherwise have something in common with. We celebrate with fellow graduates, entertain people from our neighborhoods, and open our doors to four year-olds when our own is turning four. Psychologists concur: we socialize with those in our circles because we have some ring of similarity that connects us.
The man in the parable of the great banquet is no different. The story is told in Luke chapter 14 of an affluent master of ceremonies who had invited a great number of people like himself to a meal. The list was likely distinguished; the guests were no doubt as prosperous socially as they were financially. Jesus sets the story at a critical time for all involved. The invitations had long been sent out and accepted. Places were now set; the table was now prepared. All was ready. Accordingly, the owner of the house sent his servant to bring in the guests. But none would come.
Anthropologists characterize the culture of Jesus’s day as an “honor/shame” society, where one’s quality of life was directly affected by the amount of honor or shame socially attributed to him or her. The public eye was paramount; every interaction either furthered or diminished one’s standing, honor, and regard in the eyes of the world.
Thus, in this parable, the master of the banquet had just been deliberately and publicly shamed. He was pushed to the margins of society and treated with the force of contempt. Hearers of this parable would have been waiting with baited breath to hear how this man would attempt to reclaim his honor. But scandalously, in fact, the master of the feast did not attempt to reverse his public shame. Altogether curiously, he embraced it.
Turning to the slave, the owner of the house appointed the servant with a new task: “Go out quickly into the streets and lanes of the city, and the poor and maimed and lame and blind bring in here.”(1) Returning, the servant reported, “Lord it has all occurred as you ordered, and still there is room.” So the owner of the house responded again, “Go out into the waves and hedges and compel them to come in, that my house may be filled.”
The slave is told to do what he must to compel the masses to come, liberating the blind, the lame, and the excluded of their social status and stigma with an invitation to dine with none other than the master. It is a staggering portrayal of a God who is shamed by the rejection of his people, and yet continues to respond with lavish grace and scandalous invitation into his presence. The owner of the house has opened wide the doors. The feast is ready—and there is yet room.
The longing to belong in the right circles is a desire that touches us all. Even so, one only has to watch a group of kids on playground to see how easily our desire to belong is corrupted by our need to exclude: the inner circle is not inner if there are no outsiders. Lines of honor and shame are futile if the majority is not on the wrong side. But in this story, God scandalously breaks these lines of demarcation and stratification. The Father forever challenges the notion that his house will be filled only with the rich or the righteous or those without shame.
The banquet is ready and there is a call to fill the house with the lost and unworthy, the homeless, the blind, the outsiders and the out-of-place. The invitation Jesus presents is wide enough to scour the darkest of hedges and the depths of the city streets. Whether we find ourselves outside of the circle because we have rejected him or at the table communing with his guests, it is a thought to digest: the kingdom of God is like a great banquet. God’s compulsion is our nourishment. The feast is ready and there is still room.
Jill Carattini is managing editor of A Slice of Infinity at Ravi Zacharias International Ministries in Atlanta, Georgia.
A resident at the retirement community where I work loaned me a book that he promised I would like. The title is, "The Parable of the Tares in Twenty-One Sermons."
A quick Google search revealed that the original manuscripts were once again printed in 2018. But, the title page of the one in my possession indicates that it was printed in 1771.
Before reading any of it, I gave my macro lens a feast. More photos to come.
"Jesus told this parable to his disciples: ‘The kingdom of heaven will be like this: Ten bridesmaids took their lamps and went to meet the bridegroom. Five of them were foolish and five were sensible: the foolish ones did take their lamps, but they brought no oil, whereas the sensible ones took flasks of oil as well as their lamps. The bridegroom was late, and they all grew drowsy and fell asleep. But at midnight there was a cry, “The bridegroom is here! Go out and meet him.” At this, all those bridesmaids woke up and trimmed their lamps, and the foolish ones said to the sensible ones, “Give us some of your oil: our lamps are going out.” But they replied, “There may not be enough for us and for you; you had better go to those who sell it and buy some for yourselves.” They had gone off to buy it when the bridegroom arrived. Those who were ready went in with him to the wedding hall and the door was closed. The other bridesmaids arrived later. “Lord, Lord,” they said “open the door for us.” But he replied, “I tell you solemnly, I do not know you.” So stay awake, because you do not know either the day or the hour.’"
– Matthew 25:1-13, which is today's Gospel.
My sermon for today can be read here.
Stained glass window from the National Cathedral in Washington DC.
Beginning on foto's mid-left border and drooping down to left are what branches on this whispy 15-20 feet tree. Then there is the red-yellow flower, ohhhh! Foto's right 1/3 is God's blue sky studded with white clouds. What a sight to behold! Glad you could join me!
Did you hear this parable about the THREE OLD MEN?
A woman came out of her house and saw 3 old men with long white beards sitting in her front yard. She did not recognize them.
She said "I don't think I know you, but you must be hungry. Please come in and have something to eat."
"Is the man of the house home?", they asked.
"No", she replied. "He's out."
"Then we cannot come in", they replied.
In the evening when her husband came home, she told him what had happened.
"Go tell them I am home and invite them in!"
The woman went out and invited the men in.
"We do not go into a House together," they replied.
"Why is that?" she asked.
One of the old men explained: "His name is Wealth," he said pointing to one of his friends, and said pointing to another one, "He is Success, and I am Love." Then he added, "Now go in and discuss with your husband which one of us you want in your home."
The woman went in and told her husband what was said. Her husband was overjoyed. "How nice!", he said. "Since that is the case, let us invite Wealth. Let him come and fill our home with wealth!"
His wife disagreed. "My dear, why don't we invite Success?"
Their daughter-in-law was listening from the other corner of the house. She jumped in with her own suggestion: "Would it not be better to invite Love? Our home will then be filled with love!"
"Let us heed our daughter-in-law's advice," said the husband to his wife. "Go out and invite Love to be our guest."
The woman went out and asked the 3 old men, "Which one of you is Love? Please come in and be our guest."
Love got up and started walking toward the house. The other 2 also got up and followed him.
Surprised, the lady asked Wealth and Success: "I only invited Love, Why are you coming in?"
The old men replied together: "If you had invited Wealth or Success, the other two of us would've stayed out, but since you invited Love, wherever He goes, we go with him. Wherever there is Love, there is also Wealth and Success!!!!!!"
MY WISH/PRAYER FOR YOU THIS NEW YEAR 2008
Where there is pain, I wish you peace and mercy. Where there is self-doubting, I wish you a renewed confidence in your ability to work through it. Where there is tiredness, or exhaustion, I wish you understanding, patience, and renewed strength. Where there is fear, I wish you love, and courage.
Invite love by sharing this story with all the people you care about.
EXPLORE # 201 on Wednesday, February 6, 2008
St John the Baptist, Dronfield, Derbyshire.
The Parable of the Labourers in the Vineyard window.
Memorial Window to Edward (1824-1894) & Charlotte Lucas (1827-1913).
By Burlison & Grylls, 1921.
The firm of Burlison & Grylls was founded in 1868 at the instigation of the architects George Frederick Bodley and Thomas Garner.
Thomas John Grylls (1845-1913) and John Burlison (1843-1891) were encouraged to leave their apprenticeships with Clayton & Bell and set up their stained glass firm which built a considerable reputation for its fine work over the next 40 years. They became one of the most successful stained glass firms in England.
Following Thomas John Grylls' death in 1913, the firm was continued by his son Thomas Henry Grylls (1873-1953), although effectively it can be said to have closed shortly after its London premises were bombed and all records destroyed in 1945.
This is one part of a four part series created for my Introduction to Digital Imaging Final. It's based on the parable of the sower from the Gospel of Matthew. All comments and criticism are appreciated!
If you're going to use this image for a project, please let me know by posting a link in the comments, thanks!
Photo credits:
ToNToN CoPT
Lodigs
Aaron Escobar
The Parable of the Sower
1That same day Jesus went out of the house and sat by the lake. 2Such large crowds gathered around him that he got into a boat and sat in it, while all the people stood on the shore. 3Then he told them many things in parables, saying: "A farmer went out to sow his seed. 4As he was scattering the seed, some fell along the path, and the birds came and ate it up. 5Some fell on rocky places, where it did not have much soil. It sprang up quickly, because the soil was shallow. 6But when the sun came up, the plants were scorched, and they withered because they had no root. 7Other seed fell among thorns, which grew up and choked the plants. 8Still other seed fell on good soil, where it produced a crop—a hundred, sixty or thirty times what was sown. 9He who has ears, let him hear."
10The disciples came to him and asked, "Why do you speak to the people in parables?"
11He replied, "The knowledge of the secrets of the kingdom of heaven has been given to you, but not to them. 12Whoever has will be given more, and he will have an abundance. Whoever does not have, even what he has will be taken from him. 13This is why I speak to them in parables:
"Though seeing, they do not see;
though hearing, they do not hear or understand. 14In them is fulfilled the prophecy of Isaiah:
" 'You will be ever hearing but never understanding;
you will be ever seeing but never perceiving.
15For this people's heart has become calloused;
they hardly hear with their ears,
and they have closed their eyes.
Otherwise they might see with their eyes,
hear with their ears,
understand with their hearts
and turn, and I would heal them.'[a] 16But blessed are your eyes because they see, and your ears because they hear. 17For I tell you the truth, many prophets and righteous men longed to see what you see but did not see it, and to hear what you hear but did not hear it.
18"Listen then to what the parable of the sower means: 19When anyone hears the message about the kingdom and does not understand it, the evil one comes and snatches away what was sown in his heart. This is the seed sown along the path. 20The one who received the seed that fell on rocky places is the man who hears the word and at once receives it with joy. 21But since he has no root, he lasts only a short time. When trouble or persecution comes because of the word, he quickly falls away. 22The one who received the seed that fell among the thorns is the man who hears the word, but the worries of this life and the deceitfulness of wealth choke it, making it unfruitful. 23But the one who received the seed that fell on good soil is the man who hears the word and understands it. He produces a crop, yielding a hundred, sixty or thirty times what was sown."
A parable is told of a person who wants to eat and who feels a great hunger for a certain food. He then sees the very food he wants in a place high above him, beyond his reach. In his hunger he begins to imagine that he is eating the food that he desires. But what has he gained by such imaginings? He is only more hungry than before. The same is true of those who try to reach for the highest esoteric meaning of each prayer. They are far from such things; their minds simply cannot reach the heights for which they strive. Better not to reach for things beyond your grasp.
-Or ha-Me’ir, vol. 1, va-yera, p. 31. On early Hasidic attitudes toward esoteric prayer, see Joseph Weiss, “The Kavvanoth of Prayer in Early Hasidism,” Studies in East European Jewish Mysticism and Hasidism, ed. David Goldstein (Oxford: Littman Library of Jewish Civilization, 1997), pp. 99–105, where the present text is discussed; and Menachem Kallus, “The Relation of the Baal Shem Tov to the Practice of Lurianic Kavvanot in Light of His Comments on the Siddur Rashkov,” Kabbalah 2 (1997): 151–167.
From antique myths to Tarantino and Iosseliani...
In a composition works of authors are used:
Gabriel Willow.Heron
Nguyen Hung Cuong.Water buffalo
" ‘A man had two sons. The younger said to his father, “Father, let me have the share of the estate that would come to me.” So the father divided the property between them. A few days later, the younger son got together everything he had and left for a distant country where he squandered his money on a life of debauchery.
‘When he had spent it all, that country experienced a severe famine, and now he began to feel the pinch, so he hired himself out to one of the local inhabitants who put him on his farm to feed the pigs. And he would willingly have filled his belly with the husks the pigs were eating but no one offered him anything. Then he came to his senses and said, “How many of my father’s paid servants have more food than they want, and here am I dying of hunger! I will leave this place and go to my father and say: Father, I have sinned against heaven and against you; I no longer deserve to be called your son; treat me as one of your paid servants.” So he left the place and went back to his father.
‘While he was still a long way off, his father saw him and was moved with pity. He ran to the boy, clasped him in his arms and kissed him tenderly. Then his son said, “Father, I have sinned against heaven and against you. I no longer deserve to be called your son.” But the father said to his servants, “Quick! Bring out the best robe and put it on him; put a ring on his finger and sandals on his feet. Bring the calf we have been fattening, and kill it; we are going to have a feast, a celebration, because this son of mine was dead and has come back to life; he was lost and is found.” And they began to celebrate.
– Luke 15:11-24, which is part of today's Gospel at Mass.
Stained glass from Baltimore Cathedral illustrating the parable of the Prodigal Son.
"Jesus said to the Pharisees:
"There was a rich man who dressed in purple garments and fine linen
and dined sumptuously each day.
And lying at his door was a poor man named Lazarus, covered with sores,
who would gladly have eaten his fill of the scraps
that fell from the rich man's table.
Dogs even used to come and lick his sores.
When the poor man died,
he was carried away by angels to the bosom of Abraham.
The rich man also died and was buried,
and from the netherworld, where he was in torment,
he raised his eyes and saw Abraham far off
and Lazarus at his side.
And he cried out, 'Father Abraham, have pity on me.
Send Lazarus to dip the tip of his finger in water and cool my tongue,
for I am suffering torment in these flames.'
Abraham replied, 'My child,
remember that you received what was good during your lifetime
while Lazarus likewise received what was bad;
but now he is comforted here, whereas you are tormented.
Moreover, between us and you a great chasm is established
to prevent anyone from crossing
who might wish to go from our side to yours
or from your side to ours.'
He said, 'Then I beg you, father, send him
to my father's house,
for I have five brothers, so that he may warn them,
lest they too come to this place of torment.'
But Abraham replied, 'They have Moses and the prophets.
Let them listen to them.'
He said, 'Oh no, father Abraham,
but if someone from the dead goes to them, they will repent.'
Then Abraham said,
'If they will not listen to Moses and the prophets,
neither will they be persuaded
if someone should rise from the dead.'""
– Luke 16:19-31, which is today's Gospel at Mass.
Stained glass window from Sacred Heart Seminary chapel, Detroit.
Stained glass in 14c stonework depicting the parable of the Good Samaritan & Solomon building the temple "To the pious memory of the Very Rev. Henry Parr Hamilton MA, Fellow of Trinity College Cambridge; Fellow of the Royal Society; For upwards of 20 years, rector of this parish and subsequently Dean of the Cathedral Church of New Sarum. This window is erected by his affectionate pupil Ernest Augustus Charles, 3rd Marquis of Ailesbury AD 1883 ..."
At the top is the Clan Hamilton heraldry
(Curiously earlier Ernest Augustus's father the 1st Marquis had remembered his own tutor Thomas Brand with a monument www.flickr.com/gp/52219527@N00/B210gB - Church of St Mary, Wath, North Yorkshire
"“There was a rich man* who dressed in purple garments and fine linen and dined sumptuously each day. And lying at his door was a poor man named Lazarus, covered with sores, who would gladly have eaten his fill of the scraps that fell from the rich man’s table. Dogs even used to come and lick his sores..."
– The beginning of today's Gospel parable from Luke 16:19-31, which is illustrated in this stained glass window in Washington DC's National Cathedral.
My copy of Lego set 31094 - (Creator 2019) Race Plane's box was so wet from my recent flood, that I had to scoop it up in handfuls. Thankfully, the plastic bags kept the Lego from being harmed. The manual / stickers, on the other hand, were destroyed. I wonder how the bricks would have fared if it were in paper bags, like LEGO is planning on switching to next year...
Moral of the story:
- Rock smashes scissors
- Scissors cut paper
- Paper covers rock
- plastic beats ALL!
Johann Wilhelm Schirmer (1807 - 1863; active in Dusseldorf and Karlsruhe
The Evening
The Good Samaritan, 1857
From the series "The Four Times of Day" with scenes from the parable of the Good Samaritan
Acquired in 1858 as grand-ducal private property, inventory 615
Johann Wilhelm Schirmer (1807 - 1863; tätig in Düsseldorf und Karlsruhe
Der Abend
Der Barmherzige Samariter, 1857
Aus der Serie "Die Vier Tageszeiten" mit Szenen aus dem Gleichnis vom Barmherzigen Samariter
Erworben 1858 als großherzogliches Privateigentum. Inventar 615
Collection
The foundation of the collection consists of 205 mostly French and Dutch paintings from the 17th and 18th centuries which Margravine Karoline Luise acquired 1759-1776. From this collection originate significant works, such as The portrait of a young man by Frans van Mieris the Elder, The winter landscape with lime kiln of Nicolaes Pieterszoon Berchem, The Lacemaker by Gerard Dou, the Still Life with hunting equipment and dead partridge of Willem van Aelst, The Peace in the Chicken yard by Melchior de Hondecoeter as well as a self-portrait by Rembrandt van Rijn. In addition, four still lifes of Jean Siméon Chardin and two pastoral scenes by François Boucher, having been commissioned directly by the Marchioness from artists.
A first significant expansion the museum received in 1858 by the collection of canon Johann Baptist von Hirscher (1788-1865) with works of religious art of the 15th and 16th centuries. This group includes works such as two tablets of the Sterzinger altar and the wing fragment The sacramental blessing of Bartholomew Zeitblom. From 1899 to 1920, the native of Baden painter Hans Thoma held the position of Director of the Kunsthalle. He acquired old masterly paintings as the tauberbischofsheim altarpiece by Matthias Grünewald and drove the expansion of the collection with art of the 19th century forward. Only his successors expanded the holdings of the Art Gallery with works of Impressionism and the following generations of artists.
The permanent exhibition in the main building includes approximately 800 paintings and sculptures. Among the outstanding works of art of the Department German painters of the late Gothic and Renaissance are the Christ as Man of Sorrows by Albrecht Dürer, the Carrying of the Cross and the Crucifixion by Matthias Grünewald, Maria with the Child by Lucas Cranach the Elder, the portrait of Sebastian Brant by Hans Burgkmair the elder and The Nativity of Hans Baldung. Whose Margrave panel due to property disputes in 2006 made it in the headlines and also led to political conflicts. One of the biggest buying successes which a German museum in the postwar period was able to land concerns the successive acquisition of six of the seven known pieces of a Passion altar in 1450 - the notname of the artist after this work "Master of the Karlsruhe Passion" - a seventh piece is located in German public ownership (Wallraf-Richartz Museum, Cologne).
In the department of Dutch and Flemish paintings of the 16th century can be found, in addition to the aforementioned works, the portrait of the Marchesa Veronica Spinola Doria by Peter Paul Rubens, Moses strikes the rock and water flows for the thirsty people of Israel of Jacob Jordaens, the still life with kitchen tools and foods of Frans Snyders, the village festival of David Teniers the younger, the still life with lemon, oranges and filled clay pot by Willem Kalf, a Young couple having breakfast by Gabriel Metsu, in the bedroom of Pieter de Hooch, the great group of trees at the waterfront of Jacob Izaaksoon van Ruisdael, a river landscape with a milkmaid of Aelbert Jacobsz. Cuyp as well as a trompe-l'œil still life of Samuel van Hoogstraten.
Further examples of French paintings of the 17th and 18th centuries are, the adoration of the golden calf of Claude Lorrain, preparations for dance class of the Le Nain brothers, the portrait of Marshal Charles-Auguste de Matignon by Hyacinthe Rigaud, the portrait of a young nobleman in hunting costume of Nicolas de Largillière, The storm of Claude Joseph Vernet and The minuet of Nicolas Lancret. From the 19th century can be found with Rocky wooded valley at Civita Castellana by Gustave Courbet, The Lamentation of Eugène Delacroix, the children portrait Le petit Lange of Édouard Manet, the portrait of Madame Jeantaud by Edgar Degas, the landscape June morning near Pontoise by Camille Pissarro, homes in Le Pouldu Paul Gauguin and views to the sea at L'Estaque by Paul Cézanne further works of French artists at Kunsthalle.
One focus of the collection is the German painting and sculpture of the 19th century. From Joseph Anton Koch, the Kunsthalle possesses a Heroic landscape with rainbow, from Georg Friedrich Kersting the painting The painter Gerhard Kügelgen in his studio, from Caspar David Friedrich the landscape rocky reef on the sea beach and from Karl Blechen view to the Monastery of Santa Scolastica. Other important works of this department are the disruption of Adolph Menzel as well as the young self-portrait, the portrait Nanna Risi and The Banquet of Plato of Anselm Feuerbach.
For the presentation of the complex of oeuvres by Hans Thoma, a whole wing in 1909 at the Kunsthalle was installed. Main oeuvres of the arts are, for example, the genre picture The siblings as well as, created on behalf of the grand-ducal family, Thoma Chapel with its religious themes.
Of the German contemporaries of Hans Thoma, Max Liebermann on the beach of Noordwijk and Lovis Corinth with a portrait of his wife in the museum are represented. Furthermore the Kunsthalle owns works by Ferdinand Georg Waldmüller, Carl Spitzweg, Arnold Böcklin, Hans von Marées, Wilhelm Leibl, Fritz von Uhde, Wilhelm Trübner and Max Klinger.
In the building of the adjacent Orangerie works of the collection and new acquisitions from the years after 1952 can be seen. In two integrated graphics cabinets the Kupferstichkabinett (gallery of prints) gives insight into its inventory of contemporary art on paper. From the period after 1945, the works Arabs with footprints by Jean Dubuffet, Sponge Relief RE 48; Sol. 1960 by Yves Klein, Honoring the square: Yellow center of Josef Albers, the cityscape F by Gerhard Richter and the Fixe idea by Georg Baselitz in the Kunsthalle. The collection of classical modernism wandered into the main building. Examples of paintings from the period to 1945 are The Eiffel Tower by Robert Delaunay, the Improvisation 13 by Wassily Kandinsky, Deers in the Forest II by Franz Marc, People at the Blue lake of August Macke, the self-portrait The painter of Ernst Ludwig Kirchner, the Merzpicture 21b by Kurt Schwitters, the forest of Max Ernst, Tower gate II by Lyonel Feininger, the Seven Deadly Sins of Otto Dix and the removal of the Sphinxes by Max Beckmann. In addition, the museum regularly shows special exhibitions.
Sammlung
Den Grundstock der Sammlung bilden 205 meist französische und niederländische Gemälde des 17. und 18. Jahrhunderts, welche Markgräfin Karoline Luise zwischen 1759 und 1776 erwarb. Aus dieser Sammlung stammen bedeutende Arbeiten, wie das Bildnis eines jungen Mannes von Frans van Mieris der Ältere, die Winterlandschaft mit Kalkofen von Nicolaes Pieterszoon Berchem, Die Spitzenklöpplerin von Gerard Dou, das Stillleben mit Jagdgeräten und totem Rebhuhn von Willem van Aelst, Der Friede im Hühnerhof von Melchior de Hondecoeter sowie ein Selbstbildnis von Rembrandt van Rijn. Hinzu kommen vier Stillleben von Jean Siméon Chardin und zwei Schäferszenen von François Boucher, die die Markgräfin bei Künstlern direkt in Auftrag gegeben hatte.
Eine erste wesentliche Erweiterung erhielt das Museum 1858 durch die Sammlung des Domkapitulars Johann Baptist von Hirscher (1788–1865) mit Werken religiöser Kunst des 15. und 16. Jahrhunderts. Zu dieser Gruppe gehören Werke wie zwei Tafeln des Sterzinger Altars und das Flügelfragment Der sakramentale Segen von Bartholomäus Zeitblom. Von 1899 bis 1920 bekleidete der aus Baden stammende Maler Hans Thoma die Position des Direktors der Kunsthalle. Er erwarb altmeisterliche Gemälde wie den Tauberbischofsheimer Altar von Matthias Grünewald und trieb den Ausbau der Sammlung mit Kunst des 19. Jahrhunderts voran. Erst seine Nachfolger erweiterten die Bestände der Kunsthalle um Werke des Impressionismus und der folgenden Künstlergenerationen.
Die Dauerausstellung im Hauptgebäude umfasst rund 800 Gemälde und Skulpturen. Zu den herausragenden Kunstwerken der Abteilung deutsche Maler der Spätgotik und Renaissance gehören der Christus als Schmerzensmann von Albrecht Dürer, die Kreuztragung und Kreuzigung von Matthias Grünewald, Maria mit dem Kinde von Lucas Cranach der Ältere, das Bildnis Sebastian Brants von Hans Burgkmair der Ältere und die Die Geburt Christi von Hans Baldung. Dessen Markgrafentafel geriet durch Eigentumsstreitigkeiten 2006 in die Schlagzeilen und führte auch zu politischen Auseinandersetzungen. Einer der größten Ankaufserfolge, welche ein deutsches Museum in der Nachkriegszeit verbuchen konnte, betrifft den sukzessiven Erwerb von sechs der sieben bekannten Tafeln eines Passionsaltars um 1450 – der Notname des Malers nach diesem Werk „Meister der Karlsruher Passion“ – eine siebte Tafel befindet sich in deutschem öffentlichen Besitz (Wallraf-Richartz Museum, Köln).
In der Abteilung niederländischer und flämischer Malerei des 16. Jahrhunderts finden sich, neben den erwähnten Werken, das Bildnis der Marchesa Veronica Spinola Doria von Peter Paul Rubens, Moses schlägt Wasser aus dem Felsen von Jacob Jordaens, das Stillleben mit Küchengeräten und Lebensmitteln von Frans Snyders, das Dorffest von David Teniers dem Jüngeren, das Stillleben mit Zitrone, Orangen und gefülltem Römer von Willem Kalf, ein Junges Paar beim Frühstück von Gabriel Metsu, Im Schlafzimmer von Pieter de Hooch, die Große Baumgruppe am Wasser von Jacob Izaaksoon van Ruisdael, eine Flusslandschaft mit Melkerin von Aelbert Jacobsz. Cuyp sowie ein Augenbetrüger-Stillleben von Samuel van Hoogstraten.
Weitere Beispiele französischer Malerei des 17. bzw. 18. Jahrhunderts sind Die Anbetung des Goldeen Kalbes von Claude Lorrain, die Vorbereitung zur Tanzstunde der Brüder Le Nain, das Bildnis des Marschalls Charles-Auguste de Matignon von Hyacinthe Rigaud, das Bildnis eines jungen Edelmannes im Jagdkostüm von Nicolas de Largillière, Der Sturm von Claude Joseph Vernet und Das Menuett von Nicolas Lancret. Aus dem 19. Jahrhundert finden sich mit Felsiges Waldtal bei Cività Castellana von Gustave Courbet, Die Beweinung Christi von Eugène Delacroix, dem Kinderbildnis Le petit Lange von Édouard Manet, dem Bildnis der Madame Jeantaud von Edgar Degas, dem Landschaftsbild Junimorgen bei Pontoise von Camille Pissarro, Häuser in Le Pouldu von Paul Gauguin und Blick auf das Meer bei L’Estaque von Paul Cézanne weitere Arbeiten französischer Künstler in der Kunsthalle.
Einen Schwerpunkt der Sammlung bildet die deutsche Malerei und Skulptur des 19. Jahrhunderts. Von Joseph Anton Koch besitzt die Kunsthalle eine Heroische Landschaft mit Regenbogen, von Georg Friedrich Kersting das Gemälde Der Maler Gerhard Kügelgen in seinem Atelier, von Caspar David Friedrich das Landschaftsbild Felsenriff am Meeresstrand und von Karl Blechen den Blick auf das Kloster Santa Scolastica. Weitere bedeutende Werke dieser Abteilung sind Die Störung von Adolph Menzel sowie das Jugendliche Selbstbildnis, das Bildnis Nanna Risi und Das Gastmahl des Plato von Anselm Feuerbach.
Für die Präsentation des Werkkomplexes von Hans Thoma wurde 1909 in der Kunsthalle ein ganzer Gebäudetrakt errichtet. Hauptwerke des Künstlers sind etwa das Genrebild Die Geschwister sowie die, im Auftrag der großherzöglichen Familie geschaffene, Thoma-Kapelle mit ihren religiösen Themen.
Von den deutschen Zeitgenossen Hans Thomas sind Max Liebermann mit Am Strand von Noordwijk und Lovis Corinth mit einem Bildnis seiner Frau im Museum vertreten. Darüber hinaus besitzt die Kunsthalle Werke von Ferdinand Georg Waldmüller, Carl Spitzweg, Arnold Böcklin, Hans von Marées, Wilhelm Leibl, Fritz von Uhde, Wilhelm Trübner und Max Klinger.
Im Gebäude der benachbarten Orangerie sind Werke der Sammlung und Neuankäufe aus den Jahren nach 1952 zu sehen. In zwei integrierten Grafikkabinetten gibt das Kupferstichkabinett Einblick in seinen Bestand zeitgenössischer Kunst auf Papier. Aus der Zeit nach 1945 finden sich die Arbeiten Araber mit Fußspuren von Jean Dubuffet, Schwammrelief >RE 48:Sol.1960< von Yves Klein, Ehrung des Quadrates: Gelbes Zentrum von Josef Albers, das Stadtbild F von Gerhard Richter und die Fixe Idee von Georg Baselitz in der Kunsthalle. Die Sammlung der Klassischen Moderne wanderte in das Hauptgebäude. Beispiele für Gemälde aus der Zeit bis 1945 sind Der Eiffelturm von Robert Delaunay, die Improvisation 13 von Wassily Kandinsky, Rehe im Wald II von Franz Marc, Leute am blauen See von August Macke, das Selbstbildnis Der Maler von Ernst Ludwig Kirchner, das Merzbild 21b von Kurt Schwitters, Der Wald von Max Ernst, Torturm II von Lyonel Feininger, Die Sieben Todsünden von Otto Dix und der Abtransport der Sphinxe von Max Beckmann. Darüber hinaus zeigt das Museum regelmäßig Sonderausstellungen.
de.wikipedia.org/wiki/Staatliche_Kunsthalle_Karlsruhe
"Jesus sat down opposite the treasury and watched the people putting money into the treasury; and many of the rich put in a great deal. A poor widow came and put in two small coins, the equivalent of a penny. Then he called his disciples and said to them, ‘I tell you solemnly, this poor widow has put more in than all who have contributed to the treasury; for they have all put in money they had over, but she from the little she had has put in everything she possessed, all she had to live on.’"
– Mark 12:41-44, which is part of today's Gospel at Mass.
My sermon for Remembrance Sunday can be read here.
Mosaic from the 6th-century church of Sant'Apollinare Nuovo in Ravenna.
"Hakidame ni tsuru." ("Like a crane in a garbage dump.")
:A crane in a garbage dump" is a Japanese proverb. A parable of how an exceptionally talented person or beautiful woman appears in an ugly place like a garbage dump".
twicomi.com/manga/ikkokukan0405/1627503979721822212
Tancho Kushiro Crane Reserve, Kushiro City, Hokkaido.
This is a nature park for tancho cranes, one of the world's rarest bird species. In 1970 it became the first location in the world to successfully breed tancho cranes. Here, around ten of tancho cranes, which are designated as a special natural monument of Japan, are raised permanently in an environment as close to nature as possible. The draw of this park is that visitors have the chance to watch the cranes any time of the year. You may be able to see juvenile tancho cranes between April and June. The park is located just a 10-minute drive by car from Kushiro Airport.
en.kushiro-lakeakan.com/things_to_do/3778/
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Tancho Kushiro Crane Reserve, Kushiro City, Hokkaido.
The reserve's brochure says:
Special Natural Monument
Japanese Crane/Red-crowned Crane
Scientific name: Grus japonensis
Japanese cranes appear in old Japanese folk tales, and were seen in various parts of Japan until the Edo period.
In and after the Meiji era, however, the birds disappeared from view due to their dwifldling population.
In 1924, more than 10 Japanese cranes were discovered in Kushiro Marsh, and locals have endeavored to protect them ever since. Japanese cranes were designated as a special natural monument of Japan in 1952.
History of the Kushiro Crane Reserve
In August 1958, the Kushiro Crane Reserve was
opened with the release of five Japanese cranes in
Kushiro's Tsuruoka area with the aim of protecting and propagating this endangered species.
In the early days, staff at the reserve did not know the ecology of the crane and thus underwent a trial and error learning process. They finally succeeded in natural hatching after 10 years of attempts at reproduction, followed by the success of artificial hatching in 1970.
Since then, they have bred a number of cranes.
A complete overhaul of the reserve's buildings,
including the management office, started in 1987 and took two years to complete.
With the establishment of a lecture room and an exhibition space, the site was improved not only as an observation facility but also as an academic institution.
At present, about 20 Japanese cranes roam the reserve.
The site was placed under the management of
Kushiro Zoo in April 2000, and efforts have been made to promote the protection and propagation of Japanese cranes through collaboration with the zoo's Japanese Crane Conservation and Propagation Center.
(Tyto alba) B28I0324.jpg
Habitat: The Barn Owl lives in open areas, cultivated, with scattered trees, shrubs and hedges, old buildings, barns, stables, ruins and towers. She hunts along the edge of the desert and canyons.
Behaviour: The Barn Owl feeds mainly on rodents, especially at night. It traverses the fields in silent flight, and when a prey is located, she grabbed with his long talons. She swallows it whole, bones, skull and everything else. She rejects pellets including the indigestible parts, in the dorm or near the nest.
The Barn Owl can locate the rodent making small noises in the grass as she flies over the ground. Sounds are collected and brought to the ears by facial disks, as a parable. The downy feathers enable the bird to be quiet while he flies through fields, about 1.5 to 4.5 meters from the ground.
The Barn Owl is found solitary or in pairs. It is a nocturnal bird, sleeping in cavities during the day. It is a sedentary specie.
Habitat : L'Effraie des clochers vit dans des zones découvertes, cultivées, avec des arbres clairsemés, des arbustes et des haies, de vieilles bâtisses, granges, étables, ruines et clochers. Elle chasse le long de la lisière du désert et dans les canyons.
Comportements : L'Effraie des clochers se nourrit principalement de rongeurs, et surtout la nuit. Elle traverse les champs en vol silencieux, et quand une proie est localisée, elle la saisit avec ses longues serres. Elle l'avale entière, les os, le crâne et tout le reste. Elle rejette des pelotes comprenant les parties indigestes, au dortoir ou près du nid.
L'Effraie des clochers peut localiser le rongeur faisant de petits bruits dans l'herbe tandis qu'elle vole au-dessus du sol. Les sons sont collectés et portés vers les oreilles par les disques faciaux, comme une parabole. Les plumes duveteuses permettent à l'oiseau d'être silencieux tandis qu'il vole à travers champs, à environ 1,5 à 4,5 mètres du sol.
L'Effraie des clochers est solitaire ou trouvée en couples. C'est un oiseau nocturne, dormant dans des cavités pendant le jour. Elle est sédentaire.
"Jesus said to the crowds, ‘The kingdom of heaven is like treasure hidden in a field which someone has found; he hides it again, goes off happy, sells everything he owns and buys the field.
‘Again, the kingdom of heaven is like a merchant looking for fine pearls; when he finds one of great value he goes and sells everything he owns and buys it.
‘Again, the kingdom of heaven is like a dragnet cast into the sea that brings in a haul of all kinds. When it is full, the fishermen haul it ashore; then, sitting down, they collect the good ones in a basket and throw away those that are no use. This is how it will be at the end of time: the angels will appear and separate the wicked from the just to throw them into the blazing furnace where there will be weeping and grinding of teeth.
‘Have you understood all this?’ They said, ‘Yes.’ And he said to them, ‘Well then, every scribe who becomes a disciple of the kingdom of heaven is like a householder who brings out from his storeroom things both new and old.’"
– Matthew 13:44-52, which is today's Gospel at Mass (17th Sun)
Stained glass window from the Episcopal National Cathedral in Washington DC.
Today I visited the Imperial War Museum (especially floors 2 and 3.) John Singer Sargent's late masterpiece Gassed finished March 1919 . It depicts the aftermath of a mustard gas attack during the First World War, with a line of wounded soldiers walking towards a dressing station. Sargent was commissioned by the British War Memorials Committee to document the war and visited the Western Front in July 1918 spending time with the Guards Division near Arras. The painting is a harrowing scene depicting the ugliness of war and its victims, it references Pieter Bruegel the Elder's The Parable of the Blind leading the blind of 1568. If you are in London you should go and see this powerful work.
On a happier note I visited my friend Kate Wilson and her show "Total Rubbish." The paintings although depicting rubbish were very far from rubbish, but a powerful comment on what is often discarded or seen as waste. In some ways there is a sort of link with Sargent and the human detritus of war.
Some Quranic references on Charity
1. "The parable of those who spend their property in the way of Allah is as the parable of a grain growing seven ears with a hundred grains in every ear, and Allah multiplies for whom He pleases, and Allah is Ample-giving, Knowing" (2 : 261).
2. "O you who believe! Give in charity of the good things you earn and of what We have brought forth for you out of the earth, and do not aim at giving in charity what is bad" (2 : 267).
3. "If you give in charity openly it is well, and if you hide it and give it to the poor it is better for you" (2 : 271).
4. "Righteousness is this that one believes in Allah and the last day and the angels and the Book and the prophets, and gives away wealth out of love for Him to the near of kin and the orphans and the needy and the wayfarer and the beggars and for the emancipation of the captives, and keeps up prayer and pays the zakat" (2 : 177).
5. "(Zakat) charity is only for the poor and the needy, and the collectors appointed for its collection, and those whose hearts are made to incline to truth, and the ransoming of captives, and those in debt, and for the way of Allah, and (for) the wayfarer" (9 : 60).
Pen : Lamy Safari Charcoal fountain pen
Ink : Noodler's Ink – Polar Black
Colours : Daler-Rowney Aquafine watercolour pocket set + Daler Rowney White Acrylic
Brush : Raphaël Red Sable, #6
on my Moleskine pocket diary.
"Jesus began to speak to the chief priests and elders of the people in parables: ‘The kingdom of heaven may be compared to a king who gave a feast for his son’s wedding. He sent his servants to call those who had been invited, but they would not come. Next he sent some more servants. “Tell those who have been invited” he said “that I have my banquet all prepared, my oxen and fattened cattle have been slaughtered, everything is ready. Come to the wedding.” But they were not interested: one went off to his farm, another to his business, and the rest seized his servants, maltreated them and killed them. The king was furious. He despatched his troops, destroyed those murderers and burnt their town. Then he said to his servants, “The wedding is ready; but as those who were invited proved to be unworthy, go to the crossroads in the town and invite everyone you can find to the wedding.” So these servants went out on to the roads and collected together everyone they could find, bad and good alike; and the wedding hall was filled with guests. When the king came in to look at the guests he noticed one man who was not wearing a wedding garment, and said to him, “How did you get in here, my friend, without a wedding garment?” And the man was silent. Then the king said to the attendants, “Bind him hand and foot and throw him out into the dark, where there will be weeping and grinding of teeth.” For many are called, but few are chosen.’"
– Matthew 22:1-14, which is today's Gospel at Mass.
Stained glass from the Episcopal National Cathedral in Washington DC.
Explored #234
Florabella textures. I used Reverie (warm) and Champagne (warm). This was done in Picnik. I couldn't use the overlay's in Picnik, though. BUMMER! I can't wait to figure out PS Elements and then maybe I can really work with these wonderful textures and overlays. I love them!!!!!! Shana is a genius! :0)
Please be honest! :0) If the texture work is bad........please tell me. I can take it!
So Abram rose, and clave the wood, and went,
And took the fire with him, and a knife.
And as they sojourned both of them together,
Isaac the first-born spake and said, My Father,
Behold the preparations, fire and iron,
But where the lamb for this burnt-offering?
Then Abram bound the youth with belts and straps,
and builded parapets and trenches there,
And stretchèd forth the knife to slay his son.
When lo! an angel called him out of heaven,
Saying, Lay not thy hand upon the lad,
Neither do anything to him. Behold,
A ram, caught in a thicket by its horns;
Offer the Ram of Pride instead of him.
But the old man would not so, but slew his son,
And half the seed of Europe, one by one.
Wilfred Owen 1893-1918
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I think this is the most powerful and poignant anti-war poem ever written, Lieutenant Owen was killed 1 week before the armistice. Ironically, he was a war hero, winning a citation for conspicuous gallantry.
The Harriet Mary Ellis Memorial stained glass window may be found in the northern wall of St Jude's Church of England in Carlton. Facing out onto Palmerston Street, the window was dedicated to friends of the parish in 1948. The window features the story of Jesus in the House of Martha and Mary (also known as Christ in the House of Martha) which appears in the Gospel of Luke after the Parable of the Good Samaritan. Jesus sits with Mary listening to his wise words at his feet, whilst Martha busies herself in the background setting out a feast on the table. Both Jesus and Mary have been depicted in classical Renaissance style. The colours in this stained glass window are especially vivid and beautiful, in particular the rich reds and pinks of Jesus'robes and the blues and purple of Mary's gown.
In 1866 the original St Jude's Church of England was simply a temporary wooden structure erected for worship on a triangular block of land between Lygon, Palmerston and Keppel Streets in the busily growing working class suburb of Carlton, in Melbourne's inner north. However, between 1866 and 1867 the church's chancel, four bays of the nave, and vestry of the church that we see today were erected. St Jude's Church of England was built to the designs of Melbourne architects Reed and Barnes. The contractor awared the building of St Jude's was John Pigdon. Between 1869 and 1870 the remaining four bays of the nave, balcony, narthex and crypt were erected. In 1874 the south porch and steps and area wall were erected, and the iron railings and Lygon Street gates were erected in the same year.
Designed in Gothic style so popular with the Victorians, St Jude's Church of England is a beautiful polychromatic brick ecclesiastical building erected on a bluestone plinth with dark hawthorn brick walls and red and cream brick quoining, diaperwork and window surrounds. The plastered interior includes a western gallery, an 1868 George Fincham pipe organ, and stained glass by several prominent glass designers and makers, including Melbourne based stained glass window manufacturers Ferguson and Urie, Rogers and Hughes, Brooks Robinson, and William Montgomery. St Jude's Church of England is of architectural significance as it is an early example of Gothic-polychrome and one of the first fully polychromatic brick churches in Australia, and the building is heritage listed.
In 2009, after much fundraising from the parish, St Jude's Church of England went under a full restoration at the cost of one million dollars, which included painstaking picking out of the bricks with newly laid mortar and a renovated slate roof. On the 18th of October 2014 in the wee hours of the morning, a fire was deliberately started in St Jude's basement. The fire was noticed around four o'clock in the morning when flames were seen engulfing the roof, chancel windows and basement. Fifty Melbourne Metropolitan Fire Brigade trucks were required to bring the blaze under control, which they managed to do in around an hour. Whilst the fire was contained to the chancel and did not burn down the vicarage built against the chancel, St Jude's Church has lost several of its largest and most stunning original Victorian windows which were installed in the chancel. The damage bill is still estimated to be around $500,000.00 and the congregation has been forced to temporarily give up their beautiful place of worship. At the time of writing this, an appeal has been established to raise funds to restore the church and the congregation is meeting in various places within close proximity of St Jude's.
On a personal note, I was very fortunate to have visited St Jude's Church of England on my birthday, just over a month before the fire, after being granted a special request to photograph their stained glass windows in detail. I am very grateful to the staff of St Jude's for granting my request, even more so now that some of the windows are no longer there to admire. It is to the staff and congregation of St Jude's Church of England that I dedicate this set of photographs of their beautiful church; both inside and out.
"“Hear another parable. There was a landowner who planted a vineyard, put a hedge around it, dug a wine press in it, and built a tower. Then he leased it to tenants and went on a journey. When vintage time drew near, he sent his servants to the tenants to obtain his produce. But the tenants seized the servants and one they beat, another they killed, and a third they stoned."
– Matthew 21:33-35.
Stained glass detail from Chartres Cathedral.
Then Jesus told them this parable: 4 ‘Suppose one of you has a hundred sheep and loses one of them. Doesn’t he leave the ninety-nine in the open country and go after the lost sheep until he finds it? 5 And when he finds it, he joyfully puts it on his shoulders 6 and goes home. Then he calls his friends and neighbours together and says, “Rejoice with me; I have found my lost sheep.” 7 I tell you that in the same way there will be more rejoicing in heaven over one sinner who repents than over ninety-nine righteous people who do not need to repent. Luke 15:3-7 N.I.V. Bible.
"The kingdom of heaven is like treasure hidden in a field, which a man found and covered up; then in his joy he goes and sells all that he has and buys that field."
– Matthew 13:44, which is part of today's Gospel.
Stained glass from the National Cathedral in Washington DC.
The Parable Of The Windmill
(Performed & Recorded by Susie McEntire)
Enjoy: carolynspreciousmemories.com/Spiritual/ParableOfTheWindmi...
Now Jesus is turning the windmills
He's turning them out on the plains
When Jesus is pumping the water
You'll never be thirsty again
A lady rode up to the windmill
Her heart was heavy and sad
And sin had been her companion
And much of her life had been bad
At noontime a stranger came riding
Up to the windmill that day
And asked for a cool drink of water
To help Him on his way
She said sir the mill is not turning
The wind is silent and still
And there will be no more water
Until the wind turns the wheel
I can give you some water dear lady
And you'll never be thirsty again
It flows from a fountain in Heaven
It'll wash your life of all sin
Now the men in your life have brought sorrow
And the shame it shows on your face
She knew then that she'd met the Master
And walked now under His grace
This lady she jumped on her pony
Her sins washed whiter than snow
And she wanted to tell all the people
From whom all her blessings would flow
She told them that she had met Jesus
Out on the plains that day
And how His spiritual water
Had made her happy to say
Now Jesus is turning the windmills
He's turning them out on the plains
When Jesus is pumping the water
You'll never be thirsty again
You'll never be thirsty again
Written by John Gaither
Enjoy: gloriousgrace.net/windmill/windmill.htm
and
dl.dropboxusercontent.com/u/8784522/SM/CountItAllJoy/10.mp3
See: www.susiemcentire.com/about/music/
Based on the story from the Bible in John 4 about
the woman at the well... read and enjoy: