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Portrait of Jones by William Crubb
Peter Jones (January 1, 1802 – June 29, 1856) was an OjibweMethodistminister, translator, chief and author from Burlington Heights, Upper Canada. His Ojibwa name was Kahkewāquonāby (Gakiiwegwanebi in the Fiero spelling), which means "[Sacred] Waving Feathers". In Mohawk, he was called Desagondensta, meaning "he stands people on their feet". In his youth his band of Mississaugas had been on the verge of destruction. As a preacher and a chieftain, as a role model and as a liaison to governments, his leadership helped his people survive contact with Europeans.
Jones was raised by his mother Tuhbenahneequay in the traditional culture and religion of the Mississauga Ojibwas until the age of 14. After that, he went to live with his father Augustus Jones, a Welsh-bornUnited Empire Loyalist. There he learnt the customs and language of the whiteChristian settlers of Upper Canada and was taught how to farm. Jones converted to Methodism at age 21 after attending a camp-meeting with his half sister. Methodist leaders in Upper Canada recognised his potential as a bridge between the white and Indian communities and recruited him as a preacher. As a bilingual and bicultural preacher, he enabled the Methodists to make significant inroads with the Mississaugas and HaudenosauneeSix Nations of Upper Canada, both by translating hymns and biblical texts in Ojibwe and Mohawk and by preaching to Indians who did not understand English. Beyond his preaching to the Indians of Upper Canada, he was an excellent fundraiser for the Canadian Methodists, and toured the United States and Great Britain giving sermons and speeches. Jones drew audiences of thousands, filling many of the buildings he spoke in, but came to resent the role, believing the audiences came to see Kahkewāquonāby, the exotic Indian, not Peter Jones, the good Christian he had worked so hard to become. (Full article...)
Image 2A compact diagram of the Trinity, known as the "Shield of Trinity". The Shield is generally not intended to be a schematic diagram of the structure of God, but it presents a series of statements about the correlation between the persons of the Trinity. (from Trinity)
Image 10Atypical depiction The Son is identified by a lamb, the Father an Eye of Providence, and the Spirit a dove; the painting is by Fridolin Leiber (d. 1912). (from Trinity)
Image 11The Father, The Holy Spirit, and Christ crucified, depicted in a Welsh manuscript c. 1390–1400 (from Trinity)
Image 12A depiction of the Council of Nicaea in AD 325, at which the Deity of Christ was declared orthodox and Arianism condemned (from Trinity)
Image 17Renaissance painting by Jerónimo Cosida depicting Jesus as a triple deity Inner text: The Father is God; the Son is God; the Holy Spirit is God (from Trinity)
Image 18Representation of the Trinity in the form of the mercy seat (epitaph from 1549) (from Trinity)
Image 24The Adoration of the Trinity by Albrecht Dürer (1511) From top to bottom: Holy Spirit (dove), God the Father and Christ on the cross (from Trinity)
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Samuel Palmer's pencil black and white landscape study, "Eclogue IV: Thy Very Cradle Quickens" (1876).
Eclogue 4, also known as the Fourth Eclogue, is the name of a Latin poem by the Roman poet Virgil. Part of his first major work, the Eclogues, the piece was written around 40 BC, during a time of brief stability following the Treaty of Brundisium; it was later published in and around the years 39–38 BC. The work describes the birth of a boy, a supposed savior, who once of age will become divine and eventually rule over the world. During late antiquity and the Middle Ages, a desire emerged to view Virgil as a virtuous pagan, and as such the early Christian theologian Lactantius, and St. Augustine—to varying degrees—reinterpreted the poem to be about the birth of Jesus Christ.
This belief persisted into the Medieval era, with many scholars arguing that Virgil not only prophesied Christ prior to his birth but also that he was a pre-Christian prophet. Dante Alighieri included Virgil as a main character in his Divine Comedy, and Michelangelo included the Cumaean Sibyl on the ceiling painting of the Sistine Chapel (a reference to the widespread belief that the Sibyl herself prophesied the birth of Christ, and Virgil used her prophecies to craft his poem). Modern scholars, such as Robin Nisbet, tend to eschew this interpretation, arguing that seemingly Judeo-Christian elements of the poem can be explained through means other than divine prophecy. (Full article...)
The Life of Christ as a narrative cycle in Christian art comprises a number of different subjects, which were often grouped in series or cycles of works in a variety of media, narrating the life of Jesus on earth, as distinguished from the many other subjects in art showing the eternal life of Christ, such as Christ in Majesty, and also many types of portrait or devotional subjects without a narrative element.
... that wood type for printing was invented in China, first mass-produced in the United States, and later exported back to China for use by missionaries?
... that Jacobus Capitein, who was sold into slavery at either age 7 or 8, promoted proslavery arguments based on Christianity?
Jesus therefore lifting up his eyes, and seeing that a great multitude was coming to him, said to Philip, “Where are we to buy bread, that these may eat?” This he said to test him, for he himself knew what he would do. Philip answered him, “Two hundred denarii worth of bread is not sufficient for them, that everyone of them may receive a little.” One of his disciples, Andrew, Simon Peter’s brother, said to him, “There is a boy here who has five barley loaves and two fish, but what are these among so many?” Jesus said, “Have the people sit down.” Now there was much grass in that place. So the men sat down, in number about five thousand. Jesus took the loaves; and having given thanks, he distributed to the disciples, and the disciples to those who were sitting down; likewise also of the fish as much as they desired. When they were filled, he said to his disciples, “Gather up the broken pieces which are left over, that nothing be lost.” So they gathered them up, and filled twelve baskets with broken pieces from the five barley loaves, which were left over by those who had eaten. When therefore the people saw the sign which Jesus did, they said, “This is truly the prophet who comes into the world.” Jesus therefore, perceiving that they were about to come and take him by force, to make him king, withdrew again to the mountain by himself.
The figurative explanation given here is that of Jesus Christ, the true bread that nourishes the soul and builds up our spiritual life, just as bread plays a vital role in nourishing the body. Our bodies could live better without food than our souls without Christ. Those who have received of this true Bread of life are thus enjoined to be distributors of it to other hungry souls.
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