Explore our collection of theological essays, biblical studies, and reflections on faith and culture.
Stories, frankly all human stories are practically always about one thing aren’t they? Death. The inevitability of death. . . . “There is no such thing as a natural death. Nothing that happens to man is ever natural, since his presence calls the whole world into question. All men must…
Matthew is organized around 5 discourses, which trace out the history of Jesus as a recapitulation of the history of God and Israel in the Old Testament. Jesus first speaks as a new Moses, instructing His disciples on a mountain about a righteousness that surpasses the righteousness of the scribes…
The fall of the Sethites in Genesis 6 is the third fall of mankind, or the third degree of Adam’s original fall. Adam sinned in a Garden against his Father by stealing something he was supposed to wait to obtain. (“Every tree shall be food for you” Genesis 1:29.) Cain…
The recent fantasy film Noah and a slightly related blog comment by my friend Douglas Wilson have stirred up again the question of whether the “sons of God” in Genesis 6 who married the “daughters of men” were fallen angels or the priestly line of Seth. Doug argues for angels,…
The prophecy of Jude concerns apostasy. An illustration of apostasy and its consequences is found in verse 6, which the New American Standard Bible translates this way: "And angels who did not keep their own domain, but abandoned their proper abode, He has kept in eternal bonds under darkness for…
At His death, Jesus is surrounded by a Roman centurion and his cohort of Gentile solders. Matthew doesn't say that any disciples are there. But women are, and so is Joseph of Arimathea, identified as a “disciple” but, as John tells us, a “secret disciple for fear of the Jews,”…
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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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