Explore our collection of theological essays, biblical studies, and reflections on faith and culture.
In the 48th year, the third month, and the fourteenth night, while I slept in my bed, I was taken in vision to Xanadu and set upon a high hill. Looking to the west, I saw a large building, surrounded with gardens and fountains, walks and gravestones, and a bell…
‘Tis the season to be informed–sometimes in gentleness, often with vigor–by a variety of Christians (and others) 1 claiming that it is wrong to celebrate Christmas. I have no desire to force anyone to celebrate Christmas against their will. Indeed, it would be insulting to the high holiday to pretend…
Part 2: The Enoch Factor Back in Open Book 21 we discussed "The Enoch Factor." Because that was several years ago (May 1994) and many people have begun reading this letter since that time, we shall return to the subject here and expand what we wrote at that time. After…
Day 6. The sixth day provides the creation of land animals and of humanity. As we saw above, the second day spills over to the first half of the third day, for only at that point did God say that it was good. Similarly, it seems that the fifth day…
During the past two decades, the "quest of the historical Jesus" has entered a new phase. The first incarnation of the quest was rudely shaken by the publication of Albert Schweitzer’s classic Quest of the Historical Jesus , easily the most devastating and funniest work of New Testament scholarship ever…
At the 1997 Biblical Horizons Summer Conference, the Rev. Jeffrey Meyers presented a series of remarkable lectures on the gospel of Mark. Among his many insightful comments, he suggested that the second gospel continues where the first gospel ends; Matthew ends with Jesus saying "Go" (Matthew 28:19), and Mark’s shows…
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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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