Explore our collection of theological essays, biblical studies, and reflections on faith and culture.
Click HERE for part 1. III This leads to a further question. I have argued that silence cannot by itself establish a Scriptural principle, but does Scripture’s silence carry any weight in itself? Does the fact that something is unbiblical in a weak sense tell us anything at all? In…
Although nowadays gap theories are associated with dispensationalism, it was not always so. In the nineteenth century, scholars from a variety of backgrounds (Anglican, Reformed, and proto-fundamentalist) seem to have become fascinated by gaps. If you are not familiar with what I am talking about, this newsletter will acquaint you…
If the debate over Operation Rescue has proven anything, it has proven that there is absolutely no consensus among evangelicals in general, or among "reconstructionists" in particular, about how to use the Bible to judge political actions and movements. Each side of the debate claims biblical authority for its position,…
Two things I asked of Thee, Do not refuse me before I die: Keep deception and words of falsehood far from me, Give me neither poverty nor riches, Feed me with the food that it my portion, Lest I be full and deny Thee, And say, "Who is the LORD?"…
Umberto Eco’s "The Name of the Rose" was certainly one of the best literary works of the past decade, though the film version hardly measured up to it. Now Eco has given us a new novel, "Foucault’s Pendulum." Like Rose, Foucault’s Pendulum reflects on the limitations of human knowledge, and…
From time to time people ask me about "interpretive maximalism." They want to know what it is, and sometimes want to know if it represents some departure from the Reformed grammatico-historical, Biblico-theological approach to the Bible. I have something of a problem with these questions, because "interpretive maximalism" is not…
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Ruskin's concept of "typical beauty" is a piece of theological aesthetics. In the second volume of Modern Painters , Ruskin distinguished kinds of beauty, the typical and the vital. Of the first, he says: "that external quality of bodies already so often spoken of, and which, whether it occur in…
In the third volume of Modern Painters , Ruskin addresses the "German dulness, and English affectation" that has "multiplied among us the use of two of the most objectionable words that were ever coined by the troublesomeness of metaphysicians,—namely, 'Objective,' and 'Subjective.'" The words are "exquisitely . . . useless"…
George Landow argues ( Victorian Types, Victorian Shadows ) that the poetry of Gerald Manley Hopkins would look less bizarre, though no less innovative, if we placed Hopkins more firmly in the poetics of his time. Which is to say, placed him in the context of a typological poetics. Hopkins's…
Architecture, Ruskin claims ( Seven Lamps of Architecture ), isn’t the same as building. Architecture refers to the specifically artistic features of a building, and the specifically artistic features have to do with adornment and not function: “Architecture concerns itself only with those characters of an edifice which are above…
John Ruskin was the main art critic of his time; he was an artists himself, and also wrote on a variety of other topics, especially on the state of English politics and economy. He abandoned explicit attachment to Evangelical Christianity but remained deeply indebted. He provides an excellent example of…
Typological forms of thought weren't confined to sermons and commentaries, but made their way into 19 th -century English poetry. -Some poets put typology to orthodox uses, though here we can see divergent deployments of a similar typology. Elizabeth Barrett Browning wrote a poem, Casa Guidi Windows (1851) about the…
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