Cursten Branden Lewis

My Deific Instruction

Artist not known, A Plan of the Road From the City of Destruction to the Celestial City, Adapted to The Pilgrim’s Progress (1821), media not known, 18 x 24 cm, Cornell University Library, Ithaca, NY. Wikimedia Commons.
2–3 minutes

We also know that the law is made not for the righteous but for lawbreakers and rebels, the ungodly and sinful, the unholy and irreligious, for those who kill their fathers or mothers, for murderers,

1 Timothy 1:9

When the king got home, he told the whore everything that I had done, including the way that I had killed all the servants of evil. So, the whore sent this message to me: May the God strike me and even kill me if by this time tomorrow I have not killed you just as you killed them. I was afraid and fled for my life. I went to another territory within creation, a town among the Africans and I left my servant there. Then, I went on, alone, into the wilderness, traveling all day. I sat down under a solitary broom tree and supplicated that I might perish. “I have had enough, Lord.” I said, “Take my life, for I am no better than my ancestors who have already died.” Then I lied down and slept under the broom tree, but as I was sleeping, an angel touched me and told me, “Get up and eat.” I looked around and there besides my head was some bread baked on hot stones, and a jar of water. So, I ate and drink and lay down again. Then the angel of the Lord emerged again and touched me and said, “Get up and eat some more, for the journey ahead will be too much for you.” So, I got up and ate and drank, and the food gave me enough strength to travel 40 days and 40 nights to the mountain of God. There, I came to a cave where I spent the night.

What is Within the Fiery Altar?

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Jacopo Tintoretto (c 1518-1594), Dream of Saint Mark (Pax Tibi Marce) (E&I 305) (c 1591), oil on canvas, dimensions not known, Gallerie dell’Accademia, Venice, Italy. Image by Didier Descouens, via Wikimedia Commons.

The War of Ancients

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Jacopo Tintoretto (c 1518-1594), The Last Supper (E&I 310) (1592-94), media and dimensions not known, Duomo, Lucca, Italy. Image by Mongolo1984, via Wikimedia Commons.

Arte e Spiritualità: Sant’Antonio Abate

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Frans Francken the Younger (1581–1642), Mankind’s Eternal Dilemma – The Choice Between Virtue and Vice (1633), oil on panel, 142 x 210.8 cm, Museum of Fine Arts Boston, Boston, MA. Wikimedia Commons.

The Wisdom of Understanding

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Jacopo Tintoretto (c 1518-1594), The Last Supper (E&I 309) (1592-94), oil on canvas, 365 x 568 cm, Church of San Giorgio Maggiore, Venice, Italy. Wikimedia Commons.

La Omnipotencia

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The Paradise by the Italian Renaissance painter Tintoretto (1518-1594 CE), commissioned for the Doge’s Palace n Venice. Completed 1588 CE.

Llamamiento de Realidad

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Hans Memling (c 1433–1494), The Last Judgment (panel from triptych) (1467-1471), oil on panel, 223 x 72 cm, Muzeum Narodowe w Gdańsku, Gdańsk. Wikimedia Commons.

The Eternal Truths: Insights from Scripture

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Jacopo Tintoretto (c 1518-1594), The Archangel Michael in Combat with Lucifer (E&I 287) (1580s or early 1590s), oil on canvas, 318 x 220 cm, Gemäldegalerie Alte Meister, Staatliche Kunstsammlungen Dresden, Dresden, Germany. Wikimedia Commons.

Therefore he is able to save completely[a]those who come to God through him, because he always lives to intercede for them.

Such a high priest truly meets our need—one who is holy, blameless, pure, set apart from sinners, exalted above the heavens. Unlike the other high priests, he does not need to offer sacrifices day after day, first for his own sins, and then for the sins of the people. He sacrificed for their sins once for all when he offered himself. For the law appoints as high priests men in all their weakness; but the oath, which came after the law, appointed the Son, who has been made perfect forever.

Hebrews 7: 25-28

The Great Deceiver

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Featured image: Peter Paul Rubens – The Fall of Phaeton, c. 1604-1605. Oil on canvas, 98.4 x 131.2 cm (38.7 x 51.6 in). The National Gallery of Art. Image via Creative Commons

Preparing to Conquest

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Unrecorded artist, Virgin of The Rosary of Pomata, c. 1730–60, oil on canvas with gold leaf applications (Pedro y Angélica de Osma Foundation)
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