Explore our collection of theological essays, biblical studies, and reflections on faith and culture.
I grew up in the 1950s. This was before the "Sixties" and the democratization, informalization, and general cheapening of the church and her worship. Ministers were Father Donovan, Pastor Eckhart, Reverend MacPherson, Mister (Episcopal) Parker, and Brother Smith. Liturgical speech was high language, sounding kind of like the King James…
Metaphor exerts a surprisingly powerful influence within our thinking. Although it is easily dismissed as little more than a figure of speech, when we attend more closely to the ways in which we use it, metaphor’s importance swiftly becomes more apparent. Although many of our metaphors have become quite invisible…
What is a tree, scientifically speaking? A mere googling gives the following answer: “a woody perennial plant, typically having a single stem or trunk growing to a considerable height and bearing lateral branches at some distance from the ground.” We can increase detail by describing its family, genus, species and…
The majority of Western evangelical Christians rarely, if ever, fast as a form of spiritual discipline. In our culture, fasting is more connected with dieting than worship, the other side of our deeply ambiguous fascination with food. Food is everywhere. We eat more than ever before, at greater speed, and…
A Grammar of Creation An understanding of the visual-musical language of the Bible must begin with Genesis 1. This is fortunate, because when explaining biblical types to academics, as opposed to children, one is repeatedly forced to start from scratch. From birth, a healthy child is attuned to rhythm and…
In an inverse Eden, a land laid waste, one works alone tending the trash. There are none like him in all the earth, inquisitive, playful and most drawn to those mysterious, dancing bipedal creatures who lost earth and left it to go wandering the vast wilderness of space. Humans have…
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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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