Chapel Bridge Quotes

It was like love, he thought, this crumbling chapel: it has been complicated, and therefore perfected, by what time had done to it

The healthiest congregations with the most thoughtful worship engage in an eclectic mix of worship expression that keeps faith fresh, serves multiple generations, stays rooted in the past, blossoms toward the future, stimulates childlike love, strives for excellence in presentation, bridges cultural barriers, and encourages ever-greater understanding.

Michelangelo, who had already spent much time studying Roman architecture in the ruins, proposed a revolutionary “flying bow bridge” scaffold. It was based on the principles of the Roman arch, whose weight presses out against the sides it is spanning. This ingenious structure could be inserted in just a few small holes made in the side walls, since all its pressure would flow there, and none down to the floor. It would also allow Michelangelo to fresco the ceiling a whole strip at a time, moving to the next strip as soon as one was finished, and thus progressing across the length of the chapel. He got approval to construct it, and it was an instant success, allowing the papal court to have its regular processions under it without any obstruction.

He closed his hand on the twenty copecks, walked on for ten paces, and turned facing the Neva, looking towards the palace. The sky was without a cloud and the water was almost bright blue, which is so rare in the Neva. The cupola of the cathedral, which is seen at its best from the bridge about twenty paces from the chapel, glittered in the sunlight, and in the pure air every ornament on it could be clearly distinguished. The pain from the lash went off, and Raskolnikov forgot about it; one uneasy and not quite definite idea occupied him now completely. He stood still, and gazed long and intently into the distance; this spot was especially familiar to him. When he was attending the university, he had hundreds of times—generally on his way home—stood still on this spot, gazed at this truly magnificent spectacle and almost always marvelled at a vague and mysterious emotion it roused in him. It left him strangely cold; this gorgeous picture was for him blank and lifeless. He wondered every time at his sombre and enigmatic impression and, mistrusting himself, put off finding the explanation of it. He vividly recalled those old doubts and perplexities, and it seemed to him that it was no mere chance that he recalled them now. It struck him as strange and grotesque, that he should have stopped at the same spot as before, as though he actually imagined he could think the same thoughts, be interested in the same theories and pictures that had interested him… so short a time ago. He felt it almost amusing, and yet it wrung his heart. Deep down, hidden far away out of sight all that seemed to him now—all his old past, his old thoughts, his old problems and theories, his old impressions and that picture and himself and all, all…. He felt as though he were flying upwards, and everything were vanishing from his sight. Making an unconscious movement with his hand, he suddenly became aware of the piece of money in his fist. He opened his hand, stared at the coin, and with a sweep of his arm flung it into the water; then he turned and went home. It seemed to him, he had cut himself off from everyone and from everything at that moment.

He closed his hand on the twenty kopecks, walked on for ten paces, and turned facing the Neva, looking towards the palace. The sky was cloudless and the water was almost bright blue, which is so rare in the Neva. The dome of the cathedral, which is seen at its best from the bridge about twenty paces from the chapel, glittered in the sunlight, and in the pure air every ornament on it could be clearly distinguished. The pain from the lash eased off, and Raskolnikov forgot about it; one uneasy and not quite definite idea now occupied him completely. He stood still, and gazed long and intently into the distance; this spot was especially familiar to him. When he was attending the university, he had hundreds of times—generally on his way home—stood still on this spot, gazed at this truly magnificent spectacle and almost always marveled at a vague and mysterious emotion it aroused in him. It left him strangely cold; for him, this gorgeous picture was blank and lifeless. He wondered every time at his somber and enigmatic impression and, mistrusting himself, put off finding an explanation for it. He vividly recalled those old doubts and perplexities, and it seemed to him that it was no mere chance that he recalled them now. It struck him as strange and grotesque that he should have stopped at the same spot as before, as though he actually imagined he could think the same thoughts, be interested in the same theories and pictures that had interested him . . . so short a time ago. He felt it almost amusing, and yet it wrung his heart. Deep down, hidden far away out of sight all that seemed to him now—all his old past, his old thoughts, his old problems and theories, his old impressions and that picture and himself and all, all . . . He felt as though he were flying upwards, and everything were vanishing from his sight. Making an unconscious movement with his hand, he suddenly became aware of the piece of money in his fist. He opened his hand, stared at the coin, and with a sweep his arm flung it into the water; then he turned and went home. It seemed to him, he had cut himself off from every one and from everything at that moment.

Cassandra,” Falco murmured. He reached up and twisted all her hair into one of his hands, pulling it slightly as he held it behind her head. His lips made their way across her cheek and her jaw and her brow bone. His other hand caressed her left leg through her cotton stocking. His fingers followed the repeating diamond pattern embossed into her leather garter and then stroked the soft skin just above it. Cass felt transported by his touch, his soft voice, and the mist rising off the canals. Everything felt otherworldly. It was a dream or a hallucination. Any moment now she’d wake up tucked beneath her covers with Slipper snuggled against her chest. Just let go. The batèla floated beneath a bridge. A man shrouded in darkness hung over its edge, leering at her. Cass sat up suddenly, wrapping the rough blanket up around her shoulders. She looked back toward the bridge. No one was there. “What’s wrong?” Falco asked. “I thought I saw someone. Hanging over the bridge. Watching.” “Probably just some deviant. Not lucky enough to have the company of a beautiful woman.” Falco moved to kiss Cass again. But fear was drumming through her. It sharpened her focus, and made reality come slamming back. Cass put her hand out. “Wait. We have to stop, to slow down.” Falco sighed. “You’re right,” he said, running both hands through his hair. “Sometimes I think--well, I fear that you shouldn’t trust me.” “Why?” Cass asked. Holding her lantern high in the air, she looked back toward the bridge again, but it was still deserted. “Because I don’t trust myself around you.” Falco’s voice turned soft again. He ran the knuckles of his right hand down the side of her face. “Who knows what I might do?” Cass blushed. “Who knows what I might let you do?” The words just slipped out, but she didn’t want to take them back. She didn’t want to hide any longer. Falco pulled her close to him, positioning her back against his chest. He wrapped his arms around her slender waist and leaned his chin on her left shoulder, his jawbone against her cheek. “Your beauty lights up the darkest night,” he said. “I could paint an entire chapel just for you. Maybe I will someday.

Wait. We have to stop, to slow down.” Falco sighed. “You’re right,” he said, running both hands through his hair. “Sometimes I think--well, I fear that you shouldn’t trust me.” “Why?” Cass asked. Holding her lantern high in the air, she looked back toward the bridge again, but it was still deserted. “Because I don’t trust myself around you.” Falco’s voice turned soft again. He ran the knuckles of his right hand down the side of her face. “Who knows what I might do?” Cass blushed. “Who knows what I might let you do?” The words just slipped out, but she didn’t want to take them back. She didn’t want to hide any longer. Falco pulled her close to him, positioning her back against his chest. He wrapped his arms around her slender waist and leaned his chin on her left shoulder, his jawbone against her cheek. “Your beauty lights up the darkest night,” he said. “I could paint an entire chapel just for you. Maybe I will someday.

The [bird's] nest with its streamers was a final unbidden touch: It was what human hands had not brought to the building, and could not remove. It was like love, he thought, this crumbling chapel: It had been complicated, and thereby perfected, by what time had done to it.

Mother is sitting at the living-room window, her favourite post of vigilance these days. She watches Japonica Street like a captain on the bridge of a ship, watching the ocean and hoping for some diversion. She almost yearns for funerals. They create a miniature parade on the street, and she can overhear the voices from the Funeral Chapel below.

And the things you said, the walk from chapel to the schoolhouse, your backpack, tests, these were a bridge running above the rushing water of what you actually felt. The goal was: learn to ignore what's down below. Fine if you met someone else who was the same as you, but you had to realize that nothing another person could do would make you feel better about any of it.

The first mile was torture. I passed beneath the massive stone arch at the entrance to the school, pulled off the road and threw up. I felt better and ran down the long palm-lined drive to the Old Quad. Lost somewhere in the thicket to my left was the mausoleum containing the remains of the family by whom the university had been founded. Directly ahead of me loomed a cluster of stone buildings, the Old Quad. I stumbled up the steps and beneath an archway into a dusty courtyard which, with its clumps of spindly bushes and cacti, resembled the garden of a desert monastery. All around me the turrets and dingy stone walls radiated an ominous silence, as if behind each window there stood a soldier with a musket waiting to repel any invader. I looked up at the glittering facade of the chapel across which there was a mosaic depicting a blond Jesus and four angels representing Hope, Faith, Charity, and, for architectural rather than scriptural symmetry, Love. In its gloomy magnificence, the Old Quad never failed to remind me of the presidential palace of a banana republic. Passing out of the quad I cut in front of the engineering school and headed for a back road that led up to the foothills. There was a radar installation at the summit of one of the hills called by the students the Dish. It sat among herds of cattle and the ruins of stables. It, too, was a ruin, shut down for many years, but when the wind whistled through it, the radar produced a strange trilling that could well be music from another planet. The radar was silent as I slowed to a stop at the top of the Dish and caught my breath from the upward climb. I was soaked with sweat, and my headache was gone, replaced by giddy disorientation. It was a clear, hot morning. Looking north and west I saw the white buildings, bridges and spires of the city of San Francisco beneath a crayoned blue sky. The city from this aspect appeared guileless and serene. Yet, when I walked in its streets what I noticed most was how the light seldom fell directly, but from angles, darkening the corners of things. You would look up at the eaves of a house expecting to see a gargoyle rather than the intricate but innocent woodwork. The city had this shadowy presence as if it was a living thing with secrets and memories. Its temperament was too much like my own for me to feel safe or comfortable there. I looked briefly to the south where San Jose sprawled beneath a polluted sky, ugly and raw but without secrets or deceit. Then I stretched and began the slow descent back into town.

When Michelangelo came along a generation after the original fresco masters, he took on the almost-impossible task of linking the whole Sistine Chapel together. To accomplish this, he had to engineer an amazing “flying arch” bridge scaffolding from which to create his works. No one else was able to figure out how this could be done. No one after him could replicate his amazing feat. Michelangelo’s bridge is regarded as an engineering miracle to this day. How appropriate for the very same Michelangelo to have accomplished a similar miracle in creating the bridge between faiths that is perhaps the major message of his masterpiece.

Thus, Michelangelo filled the chapel with hidden messages of his passionate loves and his righteous rages, along with mystic symbols of divine justice and divine mercy. For him, the Sistine was indeed the Sanctuary, the neck of the world, but more than that, it was “The Bridge”—the bridge meant to unite people with God, with their fellow humans, and, perhaps most difficult of all, with their own spiritual selves.

Almost exactly five hundred years ago, a tormented soul named Michelangelo built a very narrow bridge in the middle of the air in the middle of a chapel in the middle of Rome. This resulted in a masterwork that would change the world of art forever.

The mightiest oak tree in Wild Acres was even larger than its two cousins that flanked the crossroads. The base spanned the ground like a giant claw, its network of visible roots gripping the earth with a ferocious intensity. Its branches spread high and wide, a desperate reach for the heavens. A low-lying cloud hovered above the treetops, within sight but not within reach. The scene reminded me of Michelangelo’s famous frescoes on the Sistine Chapel ceiling—the finger of God stretched toward Adam’s. In this moment, I understood why certain cultures believed that trees served as the bridge to both the underworlds and the heavens. I

We had been able to smell Bridges's vinegary sauce, its sharp notes tickling our noses, as we sat in the chapel. We knew what was awaiting us, and we knew that it would be good. The food that the caterer had prepared for the estimated thirty-five guests was served as the appetizers: dainty pimento-cheese sandwiches- made not with white sandwich bread but with a brioche loaf, which started a wave of "Oh, my!" and "Oh, dear!" among those of my great-uncle's generation who weren't quite sure that they approved of the substitution but eagerly ate the sandwiches anyway, bite-size buttermilk biscuits with thin slivers of baked ham, little tureens of summer squash casserole. I had ordered that dish for Kelly, the lone vegetarian in a sea of pork eaters. It was also a veiled reference to our childhood nemesis Sally Campbell, who, beautiful as she might have been and still may be, would always be to us a member of the humble squash family.

Lewis knew the game and had schooled his unarmed, neatly dressed flock in the tactics of nonviolence before leading them out of Brown Chapel AME Church for the fifty-mile march. They didn’t make it one mile before state police met them on the Edmund Pettus Bridge out of Selma, choking them with tear gas, breaking their bones with batons, and cracking Lewis’s skull so badly he feared he might die.

It was what human hands had not brought to the building, and could not remove. It was like love, he thought, this crumbling chapel: It had been complicated, and thereby perfected, by what time had done to it.

They spent the night tucked beneath a spare scrap of canvas in the boat bottom, listening to the sluicing of waves against the pine-tarred hull and watching the night wheel over them like a dancer's star-studded skirt. Ade nestled into the softness of his arm and thought about happily-ever-afters and sweet-tasting endings. Yule thought about once-upon-a-times and bold beginnings. At dawn they departed. When asked what she wanted to see, Ade replied, "Everything," so Yule obediently charted a course toward everything. They docked first at the City of Sissly, where Ade could admire the pink domes of the local chapels and taste the pepper-bite of fresh gwanna fruit. Then they stayed three nights on the abandoned Island of Tho, where the ruins of a failed City loomed like broken gray teeth against the sun, before skipping along a string of low, sand-scoured islands too small to be named. They walked the streets of the City of Yef and slept in the cool grottoes of the City of Jungil, and walked across the famed bridge connecting the twin Cities of Iyo and Ivo. They sailed north and west, following the summer currents out of the sweating heat of the equator, and saw Cities so distant even Yule had only read their names on his charts.

Chapel Parking Lot Access: From Denver, drive I-70 west 80 miles to exit 195. Turn right into Copper Mountain Resort. Continue approximately 1 mile, then turn left into the chapel parking lot. Walk south and west to the Village Center Plaza in the area of the American Eagle chairlift. To intersect the CT, go about 150 yards diagonally southeast between the condos on the left and the American Eagle lift on the right, Segment 8, mile 1.6. Union Creek Ski Area Access: Instead of parking at the chapel lot, continue through Copper Mountain Village to the Union Creek drop-off parking area. (Parking is permitted here during off-ski-season months.) Cross over the covered bridge, go past the ticket office and under the elevated walkway, turn right on a gravel road, pass under a ski lift, and go about 200 yards on the road. Turn left up the road, around a green security gate, and follow the road east uphill about 400 yards to a wide area in the road. Pick up the single-track of the CT to the right, by a painted white rock, mile 2.1 of CT Segment 8. Tennessee Pass Trailhead Access: See Segment 9 on page 128.

a black site, a night chapel, spoiled land, a kind of charging station for evil. “They’re all over the place. The Paris catacombs, Guantánamo Bay, Lake Powell, the Bellagio, the House on the Rock, the Golden Gate Bridge.” There are at least two others in Oregon alone. The Rajneesh compound and the Lava River Cave.