Chapel Inspiring Quotes

Some want to live within the sound Of church or chapel bell; I want to run a rescue shop, Within a yard of hell.

Were I a Roman Catholic, perhaps I should on this occasion vow to build a chapel to some saint, but as I am not, if I were to vow at all, it should be to build a light-house. [Letter to his wife, 17 July 1757, after narrowly avoiding a shipwreck; often misquoted as "Lighthouses are more helpful than churches."]

Similarly, when we denigrate our bodies—whether through neglect or staring at our faces and counting up our flaws—we are belittling a sacred site, a worship space more wonderous than the most glorious, ancient cathedral. We are standing before the Grand Canyon or the Sistine Chapel and rolling our eyes.

She is the glorious reincarnation of every woman ever loved. It was her face that launched the Trojan War, her untimely demise that inspired the building of India's Taj Mahal. She is every angel in Michelangelo's Sistine Chapel.

...sometimes we have to find the courage to take off our shoes and feel it all. Even the bad stuff.

So if I asked you about art, you'd probably give me the skinny on every art book ever written. Michelangelo, you know a lot about him. Life's work, political aspirations, him and the pope, sexual orientations, the whole works, right? But I'll bet you can't tell me what it smells like in the Sistine Chapel. You've never actually stood there and looked up at that beautiful ceiling; seen that. If I ask you about women, you'd probably give me a syllabus about your personal favorites. You may have even been laid a few times. But you can't tell me what it feels like to wake up next to a woman and feel truly happy. You're a tough kid. And I'd ask you about war, you'd probably throw Shakespeare at me, right, "once more unto the breach dear friends." But you've never been near one. You've never held your best friend's head in your lap, watch him gasp his last breath looking to you for help. I'd ask you about love, you'd probably quote me a sonnet. But you've never looked at a woman and been totally vulnerable. Known someone that could level you with her eyes, feeling like God put an angel on earth just for you. Who could rescue you from the depths of hell. And you wouldn't know what it's like to be her angel, to have that love for her, be there forever, through anything, through cancer. And you wouldn't know about sleeping sitting up in the hospital room for two months, holding her hand, because the doctors could see in your eyes, that the terms "visiting hours" don't apply to you. You don't know about real loss, 'cause it only occurs when you've loved something more than you love yourself. And I doubt you've ever dared to love anybody that much. And look at you... I don't see an intelligent, confident man... I see a cocky, scared shitless kid. But you're a genius Will. No one denies that. No one could possibly understand the depths of you. But you presume to know everything about me because you saw a painting of mine, and you ripped my fucking life apart. You're an orphan right? [Will nods] Sean: You think I know the first thing about how hard your life has been, how you feel, who you are, because I read Oliver Twist? Does that encapsulate you? Personally... I don't give a shit about all that, because you know what, I can't learn anything from you, I can't read in some fuckin' book. Unless you want to talk about you, who you are. Then I'm fascinated. I'm in. But you don't want to do that do you sport? You're terrified of what you might say. Your move, chief.

That unknown is a diamond in a universe of dirt. Uncertainty. Unpredictability. It is when you turn your emotions into art. It is BTS and the Sistine Chapel and Rumi's poetry and Ross Geller on the stairs yelling, 'Pivot.' Every creation great and small, they are our diamonds.

When I sit up here... I'm just blown away God even notices us...

Your cruelties and mistakes may look damning to you, but that is not what I see. Every human conversation is more elegant and complex than the entire solar system that contains it. You have no idea how marvelous you are, but I am not only here to protect what you are now, I am here to protect what you will become. I can't tell you what that might be because I don't know. That unknown is a diamond in a universe of dirt. Uncertainty. Unpredictability. It is when you turn your emotions into art. It is BTS and the Sistine Chapel and Rumi's poetry and Ross Geller on the stairs yelling, 'Pivot.' Every creation great and small, they are our diamonds. And what you may be in two hundred years, we can guess with fair accuracy. What you are in two thousand . . . Oh, my friends . . . my best friends, you cannot know.

In many chapels, reddened by the setting sun, the saints rest silently, waiting for someone to love them. (This quote was the inspiration for my series of books entitled "God's Forgotten Friends: Lives of Little-known Saints" of which my latest release is Saint Magnus The Last Viking. Hope you decide to become friends with him!)

There's a trick to being whatever you want to be in life. It starts with the simple belief that you are what or who you say you are. It starts, like all faiths, with a belief-a belief predicated more on whimsy than reality. And you've gotta believe for everybody else, too-until you can show them proof. If you're lucky, someone starts believing with you-first theoretically, then in practice. And two people believing are the start of a congregation. You build a congregation of believers and eventually you set out to craft a cathedral. Sometimes it's just a church; sometimes it turns out to be a chapel. Folks who don't build churches will try to tell you how you're doing it wrong, even as your steeple breaks the clouds. Never listen.

Truth changes with the season of our emotions. It is the shadow that moves with the phases of our inner sun. When the nights falls, only our perception can guess where it hides in the dark. Within every solar system of the soul lies a plan of what truth is--- the design God has created, in our own unique story. This is as varying as the constellations, and as turning as the tide. It is not one truth we live to, but many. If we ever hope to determine if there is such a thing as truth, apart from cultural and personal preferences, we must acknowledge that we are then aiming to discover something greater than ourselves, something that transcends culture and individual inclinations. Some say that we must look beyond ourselves and outside of ourselves. However, we don’t need to look farther than what is already in each other. If there was any great plan from a higher power it is a simplistic, repetitious theme found in all religions; the basic core importance to unity comes from shared theological and humanistic virtues. Beyond the synagogue, mosques, temples, churches, missionary work, church positions and religious rituals comes a simple “message of truth” found in all of us, that binds theology---holistic virtues combined with purpose is the foundation of spiritual evolution. The diversity among us all is not divided truth, but the opportunity for unity through these shared values. Truth is the framework and roadmap of positive virtues. It unifies diversity when we choose to see it and use it. It is simple message often lost among the rituals, cultural traditions and socializing that goes on behind the chapel doors of any religion or spiritual theology. As we fight among ourselves about what religion, culture or race is right, we often lose site of the simple message any great orator has whispered through time----a simplistic story explaining the importance of virtues, which magically reemphasizes the importance of loving one another through service.

Knightley Academy stood out against the moonlight in silhouette, a ramshackle collection of chimneys, turrets and gables. Both boys stopped to take in the sight of the manicured lawns and tangled woods, the soaring chapel and the ivy-covered brick of the headmaster's house. They were home. For this, Henry felt, was home. Not some foreign castle encircled by guard towers, but this cozy, bizarre assortment of buildings with its gossiping kitchen maids and eccentric professors and clever students.

...you don't fully appreciate what you've got until something threatens to take it away.

In many chapels, reddened by the setting sun, the saints rest silently, waiting for someone to love them." These words, penned by an unknown priest, long dead,were the inspiration for my new series on the lives of saints who have fallen deep into the shadows of obscurity. My hope is that, in reading their heroic stories, you will make the acquaintance of some of God's Forgotten Friends. (From the Preface of "Saint Magnus The Last Viking")

In his trip to Bethlehem Mark Twain had reported that all sects of Christians, except Protestants, had chapels under the roof of the Church of the Holy Sepulchre. However, he also observed that one group dared not trespass on the other’s territory, proving beyond doubt, he noted, that even the grave of the Savior couldn’t inspire peaceful worship among different beliefs.

I once was the guest of the week on a British radio show called Desert Island Discs. You have to choose the eight records you would take with you if marooned on a desert island. Among my choices was Mache dich mein Herze rein from Bach’s St Matthew Passion. The interviewer was unable to understand how I could choose religious music without being religious. You might as well say, how can you enjoy Wuthering Heights when you know perfectly well that Cathy and Heathcliff never really existed? But there is an additional point that I might have made, and which needs to be made whenever religion is given credit for, say, the Sistine Chapel or Raphael’s Annunciation. Even great artists have to earn a living, and they will take commissions where they are to be had. I have no reason to doubt that Raphael and Michelangelo were Christians—it was pretty much the only option in their time—but the fact is almost incidental. Its enormous wealth had made the Church the dominant patron of the arts. If history had worked out differently, and Michelangelo had been commissioned to paint a ceiling for a giant Museum of Science, mightn’t he have produced something at least as inspirational as the Sistine Chapel? How sad that we shall never hear Beethoven’s Mesozoic Symphony, or Mozart’s opera The Expanding Universe. And what a shame that we are deprived of Haydn’s Evolution Oratorio—but that does not stop us from enjoying his Creation.

G took her hand in his and traced his finger over the delicate skin of her arm. What she didn't realize was that he was scrawling the words of a poem he had recently written. It was inspired by his lady and he had spent many long hours trying to find the words that adequately conveyed the feelings of his heart. There were many false starts, because at first he tried to capture the moment a horse fell in love with a ferret. Shall I compare thee to a barrel to apples? Thou art more hairy, but sweeter inside. Rough winds couldn't keep me from taking you to chapel, When finally a horse would take a bride... And then he tried to wax poetic about the ferret alone ... Shall I compare thee to a really large rat? Thou art more longer, with less disease. One would never mistake you for a listless cat ... Nor a filthy dog, because my dog has fleas. He could never confess his passion for poetry with those poetry examples.

The design is based on the old St. Stephen’s Chapel, where the earliest parliamentarians sat, like choirboys in facing pews, yet there is little that is angelic in the modern set-up. Members face each other in confrontation, as antagonists. They are separated by two red lines on the carpet, whose distance apart represents the distance of two sword lengths, yet this is misleading, for the most imminent danger is never more than a dagger’s distance away, on the benches behind.

We attach to most of our chapels a cultural hall so that our youth may have a place to dance, to perform their talents in musicals and other uplifting entertainment, and we hope our youth leaders as trustees of the building will see to it that only wholesome, uplifting activities are performed in this building. Should you have any reservations whether or not an activity, a style of dancing or tempo of music is in accord with Church standards, may I suggest this guide: Does it uplift and inspire one to higher ideals? Does it develop wholesome relationships between young men and women, or appeal to and arouse their baser instincts? Will it cause one to be a better Latter-day Saint and lead one closer to the Savior? Avoid all activities and dances which bring the world's demoralizing standards into this sacred meeting place.

Books are admitted to the canon by a compact which confesses their greatness in consideration of abrogating their meaning; so that the reverend rector can agree with the prophet Micah as to his inspired style without being committed to any complicity in Micah's furiously Radical opinions. Why, even I, as I force myself; pen in hand, into recognition and civility, find all the force of my onslaught destroyed by a simple policy of non-resistance. In vain do I redouble the violence of the language in which I proclaim my heterodoxies. I rail at the theistic credulity of Voltaire, the amoristic superstition of Shelley, the revival of tribal soothsaying and idolatrous rites which Huxley called Science and mistook for an advance on the Pentateuch, no less than at the welter of ecclesiastical and professional humbug which saves the face of the stupid system of violence and robbery which we call Law and Industry. Even atheists reproach me with infidelity and anarchists with nihilism because I cannot endure their moral tirades. And yet, instead of exclaiming "Send this inconceivable Satanist to the stake," the respectable newspapers pith me by announcing "another book by this brilliant and thoughtful writer." And the ordinary citizen, knowing that an author who is well spoken of by a respectable newspaper must be all right, reads me, as he reads Micah, with undisturbed edification from his own point of view. It is narrated that in the eighteen-seventies an old lady, a very devout Methodist, moved from Colchester to a house in the neighborhood of the City Road, in London, where, mistaking the Hall of Science for a chapel, she sat at the feet of Charles Bradlaugh for many years, entranced by his eloquence, without questioning his orthodoxy or moulting a feather of her faith. I fear I small be defrauded of my just martyrdom in the same way.

It seemed to me, of course, that it was a very long funeral. But it was, if anything, a rather shorter funeral than most, nor, since there were no overwhelming, uncontrollable expressions of grief, could it be called—if I dare to use the word—successful. The minister who preached my father’s funeral sermon was one of the few my father had still been seeing as he neared his end. He presented to us in his sermon a man whom none of us had ever seen—a man thoughtful, patient, and forbearing, a Christian inspiration to all who knew him, and a model for his children. And no doubt the children, in their disturbed and guilty state, were almost ready to believe this; he had been remote enough to be anything and, anyway, the shock of the incontrovertible, that it was really our father lying up there in that casket, prepared the mind for anything. His sister moaned and this grief-stricken moaning was taken as corroboration. The other faces held a dark, non-committal thoughtfulness. This was not the man they had known, but they had scarcely expected to be confronted with him; this was, in a sense deeper than questions of fact, the man they had not known, and the man they had not known may have been the real one. The real man, whoever he had been, had suffered and now he was dead: this was all that was sure and all that mattered now. Every man in the chapel hoped that when his hour came he, too, would be eulogized, which is to say forgiven, and that all of his lapses, greeds, errors, and strayings from the truth would be invested with coherence and looked upon with charity. This was perhaps the last thing human beings could give each other and it was what they demanded, after all, of the Lord.

Until 1839 South Mills was New Lebanon, named by Bible-minded people inspired by the great stately Atlantic white cedars, or juniper, that throve in vast stretches of the Swamp all around them.

La investigación es una necesidad continua y la savia de la buena conservación.

To believe Daniel is writing prophecy, as he claims, and not history, as the level of detail would seem to suggest, would require belief that what is written was supernaturally inspired. And if God has thus spoken, then his Word has far more authority over our lives than we may wish, and his far-reaching knowledge is far more real than we may want on the days that we want to go our own way.

What is this plan, then? What does the great ceiling really mean? To understand it fully, we have to experience it the way that Michelangelo created it and meant it to be interpreted: step by step, layer by layer. It is important to keep in mind that originally all visitors to the chapel entered through the front door, to experience the sanctuary as an organic whole, first seeing the entire length of the hall from the portal and then slowly immersing themselves in the imagery, step by step. Michelangelo’s purpose was twofold: On the one hand, the impact of the large-scale all-encompassing view served as powerful inspiration; one could not help but be overwhelmed, both visually and emotionally. But there is another function—a brilliant technique to conceal the deeper and more dangerous messages in his work. Michelangelo put so many different ingredients into the mix that the average viewer is distracted, unsettled, and ultimately disoriented.

In the 1840s Charles Dickens lived just around the corner from the Foundling Hospital, and he took an interest in the institution soon after his arrival in the neighborhood, renting a pew at the hospital’s chapel so he could hear the foundlings sing, or wandering the grounds and watching the children go about their daily chores. Dickens was evidently inspired by what he saw there, making unmarried mothers and children raised without parents frequent themes in his works, most notably in Oliver Twist. Other

Pick up any photograph of Ted Williams in 1943 and there’s a good chance you’ll see him seated on a footlocker beside Babe Ruth or perched on a chipped cement wall wearing a jersey stitched with dark blue Navy insignia. Many of those photographs were taken while he was training in Chapel Hill and they tell a story about the summer Ted changed.

An expository sermon may be defined as a message whose structure and thought are developed from a biblical text, covering its scope, in order to explain how the features and context of the text disclose enduring principles for faithful thinking, living, and worship intended by the Spirit, who inspired the text.

A great number of young people have been inspired to such an extent as to make them courageous enough to speak to sinners every chance they get...prayer meetings are held in the trains and many converts are made. The public houses and beer clubs are empty; old debts are paid, jealousy vanishes, church and family feuds are healed; great drunkards, prize fighters and gamblers pray in the services and give their testimony; the chapels throughout the populous valleys of Glamorganshire are full every night, all denominations have sunk their small differences to co-operate as one body and the huge processions along the streets send a thrill of terror through the vilest sinners. Owing to these things the attention of the whole of South Wales is entirely captivated, the revival is the topic in all spheres and amongst all sections of society; and strong people are overwhelmed by reading the newspaper accounts of it. People begin to pour in from all parts of England, Scotland, Ireland to see and judge for themselves of the nature and characteristics of the movement and most of them say - “This is truly the work of the Holy Spirit and it is wonderful”2