O fearful crime, to condemn Innocence to death and to displease God in order to please men. Lord Jesus, crucified. Have mercy on us. Through her heart, His sorrow sharing, All His bitter anguish bearing, Now at length the sword had passed. When our divine Redeemer beheld the Cross, He most willingly reached out to it with His bleeding arms. He embraced it lovingly, kissed it tenderly, took it on His bruised shoulders, and, exhausted as He was, He carried it joyfully. O, how sad and sore distressed Was that Mother, highly blest, Of the sole begotten One!
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Carrying the Cross, our dear Savior was so weakened with its heavy weight that He fell exhausted to the ground. The Cross was light and sweet to Him, but our sins made it so heavy and hard to carry. How sad and how painful must it have been for Mary to behold her beloved Son laden with the Cross, covered with wounds and blood, and driven through the streets by savage executioners! What unspeakable pangs her most tender heart must have experienced! How earnestly did she desire to die instead of Jesus, or at least with Him!
Simon of Cyrene was forced to help our exhausted Savior carry His Cross. How pleased would Jesus have been, had Simon offered his services of his own accord. However, Simon was not invited by Christ as you are. He says: "Take up your cross and follow Me. Moved by compassion, Veronica presents her veil to Jesus, to wipe His disfigured face. He imprints on it His holy countenance, and returns it to her as a recompense. Shall Christ reward you in like manner?
Then you too must do Him a service. But you do a service to Christ every time you perform a work of mercy towards your neighbor: for He says: "What you have done to the least of My brethren, you have done to Me. Bruised, derided, cursed, defiled, She beheld her tender Child, All with bloody scourges rent. Overwhelmed by the weight of the Cross, Jesus falls again to the ground. But the cruel executioners do not permit Him to rest a moment. With thrusts and blows they urge Him onward. With what cruelty Jesus in treated and trampled under foot! Remember, compassionate soul, that your sins caused Jesus this painful fall.
Moved by compassion, these devoted women weep over our suffering Savior. But He turns to them and says: "Weep not for Me, but weep for yourselves and your children. Weep for your sins and those of your children; for they are the cause of My suffering.
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O thou Mother: font of love! Touch my spirit from above, Make my heart with thine accord. Exhausted at the foot of Calvary, Jesus falls for the third time to the ground. How painfully must have been reopened all the wounds of His tender body by these repeated falls. And how enormous must my sins be, to cause Jesus to fall so painfully.
Had not Jesus taken my sins upon Himself, they would have plunged me into the abyss of Hell. Make me feel as thou has felt; Make my soul to glow and melt, With the love of Christ my Lord. Arriving on Calvary, Jesus was cruelly deprived of His garments. How painful the stripping must have been, because the garments adhered to His mangled body, so that in removing them parts of the flesh were torn away.
Jesus is deprived of His garments that He may die possessed of nothing. Jesus in culture. Life in art Depiction Jesuism. Main article: Ministry of Jesus. See also: New Testament places associated with Jesus. Main articles: Parables of Jesus and Miracles of Jesus. See also: Lamb of God. Kyrios Logos Incarnation. The Christology of the New Testament. Westminster John Knox Press. Archived at the Wayback Machine ; c. Sproul, Knowing Scripture pp. What Do Christians Believe?
THE LIFE AND TEACHINGS OF JESUS CHRIST
Graduate Christian Fellowship. Walvoord, Roy B. Outlines of dogmatic theology , Volume 2. Jesus: the Complete Guide , New Testament Theology. Broadman Press, Retrieved 2 August Schaff and H. Wace, repr. Grand Rapids MI: Wm. Eerdmans, , XIV, pp. The International Standard Bible Encyclopedia , An introductory dictionary of theology and religious studies , Mercer dictionary of the Bible , Basic Theology: , An exposition of the epistle of Saint Paul to the Philippians , An introduction to the early history of Christian doctrine , A History of the Christian Church , Aloys, Encyclopedia of theology: a concise Sacramentum mundi , Handbook to exegesis of the New Testament.
The Eerdmans Bible Dictionary. Grand Rapids, Michigan: William B. It is generally agreed that Aramaic was the common language of Israel in the first century AD. Jesus and his disciples spoke the Galilean dialect, which was distinguished from that of Jerusalem Matt.
Scott Kellum. Chronos, kairos, Christos: nativity and chronological studies , The Historical Figure of Jesus. The Gospel according to Matthew. A theology of the New Testament. The Cambridge companion to the Gospels. Matthew , The Emergence of Christian Theology. Cambridge University Press, Jesus and the Gospels: An Introduction and Survey. The missions of Jesus and the disciples according to the Fourth Gospel.
Eerdmans Publishing Co. Baker Academic, The Sermons of Jesus the Messiah. WindRiver Publishing, Scott Kellum, Charles L. The Gospel of Matthew. Eerdmans Publishing Company, The Sermon on the Mount: a Theological Investigation.
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Baylor University Press; 2nd edition, Cross Editor , E. Livingstone Editor. The Oxford Dictionary of the Christian Church. New York: Oxford University Press, A Dictionary Of The Bible. Jesus the Peacemaker. The Synoptics: Matthew, Mark, Luke. Behold the King: A Study of Matthew. Preaching Matthew's Gospel. CSS Publishing Company, College Press Publishing Company, All the Parables of the Bible.
Zondervan, The parables of Jesus Explained and Illustrated Volume Nabu Press, In four stanzas, each four lines, he utters a cri de coeur. Translated, the last stanza reads:.
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Chagall engaged in a weekly study of Tanakh, the Jewish Bible, in Hebrew. Fer was? But the first line in the stanza, the allusion to Luke , reveals also a knowledge of the New Testament. Here, as in his paintings, the two testaments are drawn together in a personal expression of spiritual distress. Instead, it seems he hoped his art itself would be salvific. We do not look into the heart of an artist for analytical theological warrant. He is not a religious pedagogue or pulpit preacher. F or Chagall, images of hope tinged with despair, of joyous celebration in the face of death, remained in the foreground of his essentially Jewish religious imagination.
And he did so despite pogroms, the Russian Revolution, and two world wars, which so often impinged on his canvases. But he also reflected on the darker elements of Jewish experience, characteristically framing them in the light of the biblical story. Among the most memorable Jewish narratives is the Akedah, the account of the almost-sacrifice of Isaac in Genesis Chagall came back to this scene many times, gradually moving from darkness to light. His early treatments illuminate his later crucifixion paintings in a distinctive way. He also painted this rendering of the Akedah in oil and guache on paper, just as he did with many of the other etchings done for Vollard.
The shading of this work is almost as dark as the ink of the etching. Then he did another painting, still more disturbing, of Abraham and Isaac going in the predawn darkness up Mount Moriah, the boy carrying wood for the sacrifice in a sack over his shoulder. It was inherently a somber, troubling narrative, a painful mystery at the heart of Jewish experience. The colors and figures are not somber but red and blue with touches of gold. All the original elements are present, but now there is a background scene not previously to be found, showing in the far distance a crucifixion with figures of mourners.
The juxtaposition of the sacrifice of Isaac with the Passion of Christ is familiar to Christians. We have from early times seen the Akedah and the divinely provided substitute ram for the sacrifice as prefiguring the Crucifixion of Christ.
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He learned the Bible in Hebrew through a method by which the text takes on life through oral recitation, aural reception, and memory. It is also therefore entirely possible that his familiarity with the verbal texture of the Akedah in its original Hebrew provoked word associations when he was reading the New Testament, just as his knowledge of Psalm may have encouraged the combination of Jewish and Christian elements that make the White Crucifixion so powerful.