Sunday Morning at St. Hugh's in Idyllwild, California
Category: General Interest
Items of General Interest about liturgy, the liturgical calendar, church customs and culture, our unique “Episcopal vocabulary,” the intersection of faith and culture, and all other items not fitting into the other categories (or fitting into multiple categories).
Almighty God, the fountain of all wisdom, you know our necessities before we ask and our ignorance in asking: Have compassion on our weakness, and mercifully give us those things which for our unworthiness we dare not, and for our blindness we cannot ask; through the worthiness of your Son Jesus Christ our Lord, who lives and reigns with you and the Holy Spirit, one God, now and for ever. Amen.
Collect for Proper 11, Book of Common Prayer, 1979, p. 231
This is a short meditation on the Collect for Proper 11 (July 19, 2020). It is my invitation to you to take the names and descriptions of God as your own prayer-starter or meditation. Listen also to our requests of God: “… have compassion on our weakness … mercifully give us (good, useful, helpful, wise gifts) those things which for our unworthiness (what does that admission do to you?) we dare not ask, and for our blindness (what are you not seeing?) cannot ask.”
Wind Chimes is being reborn as Wind in the Chimes.
In the time of the coronavirus it seems opportune to revisit and rename Wind Chimes—for a short time it was a regular feature of this Blog.
In the original post I wrote:
When a wind chime catches the wind (even the whisper of a wind) it makes music, it interprets the wind in ways that are always the same and always changing. In regular posts I will share links to news (religion news), reflections and meditations (related to our Sunday readings as often as possible), prayers or prayer starters, resources to help you keep learning and growing (spiritually), and whatever else I come across.
Wind Chimes posted September 25, 2012 on Hear what the Spirit is saying
Renamed “Wind in the Chimes” the intent remains the same: to help you and to help me better hear what the Spirit is saying.
The Lord God took the man and put him in the Garden of Eden to work it and take care of it. And then the Lord commanded the man, “You are free to eat from any tree in the garden; but you must not eat from the tree of knowledge of good and evil, for when you eat from it you will certainly die.” Genesis 2:15-17
Often in the past, the period after the fall of the Roman Empire was referred to as the “Dark Ages.” This assessment was based on a mistaken belief that without a central government, civilization was at a standstill. After the fall, there was a period of uncertainty initially, nevertheless, monasteries continued to function as centers of learning. When Charlemagne became king of the Franks, he initiated a cultural revival that was continued after he unified Europe and formed the Holy Roman Empire in AD 800. Two centuries later, the spirit of the Carolingian Renaissance remained a presence in Europe. When Otto III went to Rome in AD 996 to be crowned Emperor of the Holy Roman Empire, Bishop Bernward of Hildesheim was there and attended the coronation. While in Rome, Bernward was impressed with several large doors that he saw on churches, and upon his return to Hildesheim, he commissioned doors for St. Michael’s Cathedral.
The fourth panel from the top of the left door is a depiction of God arriving to accuse Adam and Eve of eating the forbidden fruit, prior to their expulsion from the Garden of Eden (Panel 5 on the left side of the door) after they ate the fruit from the tree of knowledge of good and evil. The forward-leaning figure of God seems angry as He points to Adam and accuses him of disobeying God. In a familiar human reaction, both Adam and Eve try to shift the blame. Adam is embarrassed, is feeling guilt, and senses that he is without clothes. He tries to cover himself and points to Eve in an effort to blame her. Eve, in turn, tries to cover herself and points to the serpent to blame it.
Instead of casting separate panels for each scene, Bishop Bernward’s artists chose to cast each door as one unified piece. First, relief figures of each panel – eight on each door – were created in wax. Sprues of wax were added; after burnout they would serve as funnels into which the molten bronze would be poured. Also wax rods were attached; they would become vents through which gases would escape when the piece was being cast. After the wax pattern – with sprues and vents attached – was completed, foundry workers encased it in a plaster-like substance called investment and placed it in a furnace where the wax was melted and burned out completely (hence the term, “lost wax process”). This burnout created a clean hollow space into which molten bronze was poured to replace everything that was at one time, wax. When the bronze was cool, the investment was chipped off to reveal the doors. Sprues and vents were removed and the doors of St. Michael’s were cleaned and installed.
The panels on the left door depict images from the Book of Genesis and the panels on the right show events from the life of Christ.
The figures in these doors are not anatomically correct and the perspective is not accurate yet, the images are direct and intense. It was not until the Italian Renaissance of the fifteenth century that perspective and foreshortening became known. The figures on the doors at Hildesheim are primitive by Renaissance standards, yet they are expressive and filled with emotional depth.
Every year, the Last Sunday After Epiphany is also the Sunday before Ash Wednesday. Glory and the Cross for our contemplation.
Transfiguration, fresco, 11th Century, unknown artist of Cappadocia
“And after six days Jesus took with him Peter and James and John his brother, and led them up a high mountain apart. And he was transfigured before them, and his face shone like the sun, and his garments became white as light. And behold there appeared to them Moses and Elijah, talking to him.” (Matt. 17:1-3)
When the western part of the Roman Empire collapsed the eastern portion thrived and in time became the Byzantine Empire which extended eastward from Constantinople into Asia Minor. In a region known as Cappadocia, Greek-speaking Orthodox Christians often required protection from invaders and found it in rock formations created by volcanic eruptions. By carving into the soft rock, Christians created spaces that gave them shelter from the elements and made invasions by outside forces difficult.
In this setting, a monastic compound known as the “Dark Church,” was carved and its interior walls and ceilings were covered with frescos. Among the paintings is The Transfiguration. In it, Moses and Elijah are with Jesus in an event interpreted as a revelation that Christ is the fulfillment of the law and prophets. Moses represents the law and in paintings he often is shown holding the Torah or a stone tablet. Elijah represents the prophets. In this fresco, neither Moses nor Elijah has been given an identifying symbol but we can assume the gray-haired bearded man on the right is Moses and the un-bearded figure on the left is Elijah.
Mt. Tabor is the traditional site of the transfiguration but other places have been proposed. One of the sites that have been suggested is Mt. Hermon which has three distinct peaks. Often in paintings of the transfiguration, as in this painting from the Dark Church, three peaks are shown. In this painting,, Christ is standing on the center peak. Moses is standing on the right peak and Elijah is on the left. Below them are the disciples kneeling and crouching. At the bottom left is Peter with white hair and a beard. He is pointing upward toward Christ. The disciple John is depicted in the center as a beardless youth (his face is partially obscured by damage) and James is to the right with brown hair and a beard. Linear rays indicate there is a direct connection between Jesus and each of the disciples.
Note: The “Dark Church” is so named because it has only a small opening (oculus) for light, thus the interior is dim.
Dark Church is at the left side of photo.
Among the various people of ancient Cappadocia were the Armenians who were known then as being horse breeders. “Cappadocia,” the historic name for this region is believed to have been derived from “Kapatuka,” an Old Persian term meaning, “Land of beautiful horses.” The Crusaders referred to the region as Terra Hermeniorum: “Land of the Armenians.”
According to tradition, Byzas, a Greek colonist founded the ancient city, Byzantium, in BC 667. Later, Byzantium, along with eastward lands became part of the Roman Empire. In AD 330, when Constantine moved the capital of Rome to Byzantium, the city’s name was changed to Constantinople. After the city was conquered by the Ottoman Turks in 1453, its name was changed to Istambol (Turkish: “City of Islam”), and in 1930 it was changed again and is now, Istanbul.
At the time artist, Max Beckmann volunteered to serve in the German army’s medical corps during World War I (1914-1818), the nations of Europe had not been in an all-encompassing conflict for almost a century. During those years the industrial revolution changed not only the way people lived but it changed the way wars would be fought. Humans were up against tanks, machine guns, mortar shells, and airplanes. As a member of the medical corps, Beckmann was unnerved completely by the carnage he saw. This led to a breakdown and subsequent discharge from the military.
After its defeat, Germany was in disarray and the aftermath of war left people without direction or purpose. An uncertain future and relaxed social values during the Weimar Republic aided the onset of moral decay, and many Germans were living for the moment. Entertainment and self-indulgence was available in popular cabarets that offered escape into a world of drinking, dancing and shows featuring lewd performances, nudity and bawdy songs. Prostitution was commonplace and to Beckman, this was all a continuation of an abhorrent world.
Despite social conditions, Beckmann’s reputation in the art world grew immensely during the 1920s and many awards were received. He also was awarded a teaching position at the Frankfort School of Art. With the rise of Nazism in the 1930s, however, Hitler determined that modern trends in art and music were unacceptable and Beckmann was dismissed from his teaching assignment. In his youth, Hitler himself sought a career in art and believed he was an excellent judge of value. Beckmann’s art was among works that he called, “degenerate.” When World War II appeared to be inevitable, Beckmann left Germany to live in Amsterdam. A degree of peace finally came to him when he arrived in America in 1947 and taught at George Washington University in St. Louis, Missouri.
The parable of The Prodigal Son was given by Jesus and recorded in the Gospel of Luke but when Beckmann depicted a portion of the story, his imagery was based on conditions he witnessed in Weimar during the 1920s. The parable’s older son’s complaint that his wastrel brother had been living among harlots was a description that brought up images of a seamy reality that Beckmann knew.
In Beckmann’s painting, the prodigal son is in a brothel surrounded by three coarse, tawdry and partially clad women with claw-like hands; all are under the watchful eye of a Madam. The unsmiling bare-breasted blonde has wrapped her arms around the prodigal son while the woman wearing a blue hat and blue-corset is holding a drink and looking on with a vacant smile. None of the figures seem to be enjoying themselves and the young man looks “wasted.” His hands prop up his head as he remains without expression. Perhaps he is realizing the attractive fantasies of his youth were not based on reality.
The Prodigal Son is not painted in a “realistic” style but it reflects a reality that Beckmann observed. The painting’s style, like its subject matter is raw, harsh, and visually abrupt. It is not “pretty.” The black smudges throughout its surface add to an effect of something unclean. Though some would prefer art to be an escape to a lovely place, this painting’s subject matter and style reflects Beckmann’s thoughts and experiences during difficult times.
And [Jesus] cured many who were sick with various diseases, and cast out many demons; and he would not permit the demons to speak, because they knew him. ~Mark 1:34
The Race Track (Death on a Pale Horse) oil on canvas, c.1886-1908
Albert Pinkham Ryder, 1847-1917
Commentary by Hovak Najarian
During the latter part of the nineteenth century, America was engaged in rapid growth in the areas of manufacturing, commerce, and the building of railroads. The arts were not a priority. Serious artists were likely to go to Paris to absorb the culture and milieu during an era that brought great changes in the arts of Europe. Artists who remained in America often studied in New York City and then lived there, or nearby, as they built careers and established reputations.
Like the bohemian life in Paris, artists in New York’s Greenwich Village lived in a place where they could work, socialize, and be unencumbered by the expectations and values of society at large. For most of his adult life, Albert Pinkham Ryder, lived in The Village and was dedicated to painting. He had no desire to pursue fame, or accumulate material wealth. While his contemporaries in France, the Impressionists, were going outside to paint the effects of sunlight, Ryder stayed indoors and most of his images developed from within himself. An exception was TheRace Track that he painted as the result of a direct experience.
Ryder often dined at a hotel in The Village where his brother was the proprietor. In a conversation one evening, he learned that his waiter gambled on horses and was excited about a much publicized race that would be held the following day. The waiter was going to place his entire savings on a horse that he believed would win. On the day after the race, Ryder returned to the hotel but the waiter was not there. When he inquired, he was told the favored horse came in third and the man lost his entire savings. He was unable to cope with his loss and took his own life.
Ryder’s painting, The Race Track, also known as, Death on a Pale Horse, depicts a lone skeleton-like figure on horseback carrying a scythe and circling the race track in a reverse direction. The track’s fence is broken in two places and the landscape is barren except for a lone dead tree. The race track, a metaphor for life, circles endlessly. In the foreground, a snake represents symbolically Satan, temptation, and betrayal. The man that took his life was possessed with gambling and to Ryder, the race track was, in effect, his death. As in the four horsemen of the Apocalypse, Ryder has placed the figure of death on a pale horse.
Posting to resume in the Season of Epiphany (2018).
With determination (and hope) posts will again appear on our Hear the Spirit site as the Season of Epiphany (2018) begins. We invite you to come, read, and comment as you “Keep Learning” and growing in Christian maturity.
Like many of you, I woke up this morning having Guardian Angels on my mind, whose memorial the church sets before us today. Like most of you, I woke up this morning to news of the carnage in Las Vegas. It seems almost impossible to hold the two together – until, that is, I remembered the startling painting by Hugo Simberg, “The Wounded Angel” (1903), which I saw in the Finnish National Gallery a couple of years ago. The painting shows an angel on a stretcher carried by two boys. The angel’s wing is torn, the eyes are covered by a bandage, and the figure leans heavily on the stretcher.
This morning, I see many Guardian Angels like that, being carried away, wounded and exhausted, in Las Vegas.
Some people seem to think this is divine retribution for the sins of humanity: Kirk Cameron, former child actor, said in a video on Facebook that Hurricane Harvey and Irma were “a spectacular display of God’s immense power” and were sent so human beings could repent. Earlier, after seeing the devastation of Hurricane Harvey, conservative Christian pastor John McTernan had noted that “God is systematically destroying America” out of anger over “the homosexual agenda.”
It is true that many religious traditions, including Judaism and Christianity, have seen natural disasters as divine punishment. But, as a scholar of religion, I would argue that things aren’t that simple.
The Genesis flood
Some of the earliest narratives of divine retribution go back to 2000 B.C. The Sumerian Epic of Gilgamesh tells the story of a catastrophic flood.
The gods decide to bring rain down to end the “uproar” of humankind. But the god of the waters, Enki, warns the righteous man, Utnapishtim, about the impending disaster.
Utnapishtim saves himself and his family by constructing a boat.
Elements of this story are later echoed in the Hebrew Bible’s Book of Genesis. God is angry because the Earth is filled with violence caused by human beings and vows to “destroy both them and the Earth.”
Noah is a “blameless” man, and God tells him to build an ark that would be large enough to hold his family and “two of all living creatures.” Although humanity perishes in a deluge, Noah preserves life on Earth.
It might seem straightforward to say that natural disasters in the Bible are associated with God’s anger, but that means missing the complexity of the text.
“Never again will I destroy all living creatures.”
This promise not to destroy humankind is also referred to in the Book of Isaiah, the Israelite prophet and seer. In a vision, God says that just as he vowed to Noah that water “would never again cover the Earth,” so too he promises not “to be angry.”
Biblical approaches to suffering
The question of God’s anger is intimately connected to the problem of human suffering. After all, how can a loving God cause indiscriminate human misery?
The Hebrew Bible recognizes that people suffer often through no fault of their own. Most famously, Psalm 42 is an extended lament about suffering that nonetheless concludes by praising God.
The Hebrew Bible’s views on suffering cannot be encapsulated by a single message. Sometimes suffering is caused by God, sometimes by Satan and sometimes by other human beings. But sometimes the purpose behind suffering remains hidden.
The Christian tradition also provides diverse answers to the issue of suffering.
The New Testament does refer to the Genesis flood when talking about God punishing human beings. For example, Paul the Apostle observes that God brought the flood on “the ungodly” people of the world. Earthquakes are also mentioned as signs of the end of time in the Bible’s Book of Revelation.
“God heals the sicknesses and the griefs by making the sicknesses and the griefs his suffering and his grief.”
So, instead of dwelling on God’s wrath, we need to understand God’s kindness and mercy. And that, in times of crises and distress, it is kindness and mercy that require us to reach out to those who need comfort and assistance.
This is an updated version of a piece originally published on Sept. 6, 2017.
The Angel of Death and the First Passover, was one of four hundred illustrations in Charles Foster’s book, Bible Pictures, and What They Teach Us (1914)
The Angel of Death and the First Passover,
engraving, c. 1897, C. Schonhew, 19th century
Commentary by Hovak Najarian
When the time came for the Israelites to leave Egypt and be free from slavery, Moses and Aaron were told about the Passover. God gave them specific instructions with regard to what the people of Israel were to do. A lamb was to be killed, prepared, and then eaten. Blood from the lamb was to be placed on the lintel and door posts of each home. If doors were not marked, the firstborn child and animal of the home would be struck down. C. Schonhew’s engraving depicts the angel of death casting an ominous shadow as it glances at a door to see if it has been marked. Within the home, a Hebrew family is preparing to partake of the Passover meal.
In this engraving, we are attracted first to the activity of an angel patterned after a classical goddess. If she were without wings, had a bow and quiver, and in a wooded area, she could pass easily for the Roman goddess, Diana. To the left, a sphinx seems to be observing the angel as it passes by with sword in hand. The dead figure near its base indicates the person’s doorway was not marked. In addition to the sphinx, references to Egypt are in the background. An obelisk and a wall with marks suggesting hieroglyphics inform us of the culture in which the Passover took place. The tip of a pyramid is beyond the wall.
To the right of the angel is a less active scene. Through an arched opening we see a family gathered solemnly around a table. A tray with a roasted lamb is in the center and the head of the family is leading them in their first Passover meal. They seem to be unaware that the angel of death is passing by their home at the very moment. In order to present separate activities simultaneously, Schonhew divided the engraving into two contrasting areas. On the left, the angel is in motion. There is a sense of urgency about her movements and she is surrounded by dramatic lighting. In contrast, figures on the right are standing still with heads bowed.
The architecture of the interior is in keeping with the exterior but in order to present a direct view of the family, Schonhew departed from two point perspective by aligning the arched wall with the picture plane. This frames the scene and separates it to focus attention on the family. At first glance it may seem we are viewing the interior through a “picture window” but plate glass was not available until the seventeenth century. During the time of Moses, windows would have been simple openings in the wall with no glass.
Note: The Angel of Death and the First Passover, was one of four hundred illustrations in Charles Foster’s book, Bible Pictures, and What TheyTeach Us (1914). Many of the artists responsible for the work published in Foster’s book were not identified. Schonhew’s name is known only because he signed the above work. Efforts to locate biographical information about Schonhew have not been successful.