Chapel Of Rest Quotes

For the rest of my life, I would seek out the library the way some search for the soft light of a chapel in the dark.

When they're talking about me they're letting someone else rest.

Perhaps this war will make it simpler for us to go back to some of the old ways we knew before we came over to this land and made the Big Money. Perhaps, even, we will remember how to make good bread again. It does not cost much. It is pleasant: one of those almost hypnotic businesses, like a dance from some ancient ceremony. It leaves you filled with peace, and the house filled with one of the world's sweetest smells. But it takes a lot of time. If you can find that, the rest is easy. And if you cannot rightly find it, make it, for probably there is no chiropractic treatment, no Yoga exercise, no hour of meditation in a music-throbbing chapel, that will leave you emptier of bad thoughts than this homely ceremony of making bread.

Do you wonder then that this man’s behaviour used to puzzle me tremendously? He was an ordinary clergyman at that time as well as being Headmaster, and I would sit in the dim light of the school chapel and listen to him preaching about the Lamb of God and about Mercy and Forgiveness and all the rest of it and my young mind would become totally confused. I knew very well that only the night before this preacher had shown neither Forgiveness nor Mercy in flogging some small boy who had broken the rules. So what was it all about? I used to ask myself. Did they preach one thing and practise another, these men of God? And if someone had told me at the time that this flogging clergyman was one day to become the Archbishop of Canterbury, I would never have believed it. It was all this, I think, that made me begin to have doubts about religion and even about God. If this person, I kept telling myself, was one of God’s chosen salesmen on earth, then there must be something very wrong about the whole business.

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!)

Between the kitchen and the destroyed chapel a door led into an oval-shaped library. The space inside seemed safe except for a large hole at portrait level in the far wall, caused by mortar-shell attack on the villa two months earlier. The rest of the room had adapted itself to this wound, accepting the habits of weather, evening stars, the sound of birds.

The host in question, the chapel's owner, Grayston Boscastle, the fifth Marquess of Sedgecroft, sat thinking that the bride had the most appealing derriere he had seen in a long time. Not that he made a point of lusting after young women in wedding dresses, but he had been staring at the back of her for over two hours now. A normal man's curiosity could not help but be aroused. What else was he to look at? He wondered whether the rest of her was appealing.

Ah! you are come, are you, Edgar Linton?' she said, with angry animation. 'You are one of those things that are ever found when least wanted, and when you are wanted, never! I suppose we shall have plenty of lamentations now - I see we shall - but they can't keep me from my narrow home out yonder: my resting-place, where I'm bound before spring is over! There it is: not among the Lintons, mind, under the chapel-roof, but in the open air, with a head-stone; and you may please yourself whether you go to them or come to me!

This life is over. Maybe I'll be smarter in the next one." I snorted. "We'll see. We're going to have to choose new names, you know." "Misha is already making a list of suggestions." "Oh, Saints." "You have nothing to complain about. Apparently I am to be Dmitri Dumkin." "Suits you." "I should warn you that I'm keeping a tab of all your insults so that I can reward you when I'm healed." "Easy with the threats, Dumkin. Maybe I'll tell the Apparat all about your miraculous recovery, and he'll turn you into a Saint too." "He can try," said Mal. "I don't intend to waste my days in holy pursuits." "No?" "No," he said as he drew me closer. "I have to spend the rest of my life finding ways to deserve a certain white-haired girl. She's very prickly, occasionally puts goose dropping in my shoes or tries to kill me." "Sounds fatiguing," I managed as his lips met mine. "She's worth it. And one day maybe she'll let me chase her into a chapel." I shuddered. "I don't like chapels." "I did tell Ana Kuya I would marry you." I laughed. "You remember that?" "Alina," he said and kissed the scar on my palm, "I remember everything.

I have to spend the rest of my life finding ways to deserve a certain white-haired girl. She’s very prickly, occasionally puts goose droppings in my shoes or tries to kill me.” “Sounds fatiguing,” I managed as his lips met mine. “She’s worth it. And one day maybe she’ll let me chase her into a chapel.

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")

But the chapel, that will never be prosaic. Those who have seen it outlined against the sunset or the full moon, those who have seen its sloping leaded roof-top glisten after a shower of rain, those who have looked down upon the world from its summit, all those who have seen these things will remember the poetry that it has taught them. And while each man changes from year to year, going through the continual changes that make a lifetime, the chapel remains always the same. When the rest of Cambridge is crumbling and in ruins, the chapel will still be standing, the last to fall to time as it is the last to fall to climbers.

There was no sign of disorder in the chancel any more than in the rest of the chapel, which was beautifully clean, but the eight folio Prayer-Books on the cushions of the stall-desks were indubitably open.

Ah have been lonely fur years now. Lonely long afore ma wife died. Don't get us wrong. She was a guid wummin, a guid wummin just like our Colleen, but we were jist stuck in our wee routine. When ye think about it, ah've been under the ground most of ma life. There wasn't much in me for sharing at the end of a day. After twenty years, what do you talk about? But she was a guid wummin. She used to make me these big hot dinners, with meat and gravy, the plate scalding hot cos she'd warm it up all day in the oven. We ate big hot dinners because we had nothing left to say. Nothing worthwhile anyway. Ah'm forty-three. That's four years older than when ma father died, so I should've been done. I should've been retiring from the pits, living the rest of ma days out with her and with nothing to say. When I saw ye I wasn't looking. I didn't know of you then, hadn't heard our Colleen lift your name. That's wummin's stuff, isn't it? They don't talk to the men about that. Gossip. Telling tales. Chapel. That's their club. All I know is when I saw you sat behind that glass, I saw someone lonely too, and I hoped we might have something to say to each other. I realised then. Ah don't want to be done.

Do you wonder then that this man’s behaviour used to puzzle me tremendously? He was an ordinary clergyman at that time as well as being Headmaster, and I would sit in the dim light of the school chapel and listen to him preaching about the Lamb of God and about Mercy and Forgiveness and all the rest of it and my young mind would become totally confused. I knew very well that only the night before this preacher had shown neither Forgiveness nor Mercy in flogging some small boy who had broken the rules.

This is like waiting for a train to hell,” she whipered at some point, not to me directly, but up at the chapel ceiling. “I’m exhausted.” Highway to hell. Slow road to hell. Express bus. Taxicab. Rowboat. First-class ticket. Hell was the only destination she ever used in her metaphors.

Den we git hurtee again. Somebody call hisself a deputy sheriff kill de baby boy now. (Over)1 “He say he de law, but he doan come ’rest him. If my boy done something wrong, it his place come ’rest him lak a man. If he mad wid my Cudjo ’bout something den he oughter come fight him face to face lak a man. He doan come ’rest him lak no sheriff and he doan come fight him lak no man. He have words wid my boy, but he skeered face him. Derefo’, you unnerstand me, he hidee hisself in de butcher wagon and when it gittee to my boy’s store, Cudjo walk straight to talk business. Dis man, he hidin’ hisself in de back of de wagon, an’ shootee my boy. Oh, Lor’! He shootee my boy in de throat. He got no right shootee my boy. He make out he skeered my boy goin’ shoot him and shootee my boy down in de store. Oh, Lor’! De people run come tellee me my boy hurtee. We tookee him home and lay him in de bed. De big hole in de neck. He try so hard to ketchee breath. Oh, Lor’! It hurtee me see my baby boy lak dat. It hurtee his mama so her breast swell up so. It make me cry ’cause it hurt Seely so much. She keep standin’ at de foot of de bed, you unnerstand me, an’ lookee all de time in his face. She keep telling him all de time, ‘Cudjo, Cudjo, Cudjo, baby, put whip to yo’ horse!’ “He hurtee so hard, but he answer her de best he kin, you unnerstand me. He tellee her, ‘Mama, thass whut I been doin’!’ “Two days and two nights my boy lay in de bed wid de noise in de throat. His mama never leave him. She lookee at his face and tellee him, ‘Put whip to yo’ horse, baby.’ “He pray all he could. His mama pray. I pray so hard, but he die. I so sad I wish I could die in place of my Cudjo. Maybe, I doan pray right, you unnerstand me, ’cause he die while I was prayin’ dat de Lor’ spare my boy life. “De man dat killee my boy, he de paster of Hay Chapel in Plateau today. I try forgive him.

all this made of the church for me something entirely different from the rest of the town: an edifice occupying, so to speak, a four-dimensional space—the name of the fourth being Time—extending through the centuries its ancient nave, which, bay after bay, chapel after chapel, seemed to stretch across and conquer not merely a few yards of soil, but each successive epoch from which it emerged triumphant,

The city was mired in a historic cold snap. I had it all to myself. Even the Sistine Chapel. Alone under Michelangelo’s ceiling, I was able to wallow in my disbelief. I read in my guidebook that Michelangelo was miserable while painting his masterpiece. His back and neck ached. Paint fell constantly into his hair and eyes. He couldn’t wait to be finished, he told friends. If even Michelangelo didn’t like his work, I thought, what hope is there for the rest of us?

As we stated, after their initial conquest, the Milesians began assimilating the gnosis of their predecessors. Of course they were no lovers of the Druids. After all, the British Druids were collaborators with their dire enemies, the Amenists. Nevertheless, returning to the ancient homeland was a most important step for the displaced and despised Atonists. Owning and controlling the wellspring of knowledge proved to be exceptionally politically fortunate for them. It was a key move on the grand geopolitical chessboard, so to speak. From their new seats in the garden paradise of Britain they could set about conquering the rest of the world. Their designs for a “New World Order,” to replace one lost, commenced from the Western Isles that had unfortunately fallen into their undeserving hands. But why all this exertion, one might rightly ask? Well, a close study of the Culdees and the Cistercians provides the answer. Indeed, a close study of history reveals that, despite appearances to the contrary, religion is less of a concern to despotic men or regimes than politics and economics. Religion is often instrumental to those secretly attempting to attain material power. This is especially true in the case of the Milesian-Atonists. The chieftains of the Sun Cult did not conceive of Christianity for its own sake or because they were intent on saving the world. They wanted to conquer the world not save it. In short, Atonist Christianity was devised so the Milesian nobility could have unrestricted access to the many rich mines of minerals and ore existing throughout the British Isles. It is no accident the great seats of early British Christianity - the many famous churches, chapels, cathedrals and monasteries, as well as forts, castles and private estates - happen to be situated in close proximity to rich underground mines. Of course the Milesian nobility were not going to have access to these precious territories as a matter of course. After all, these sites were often located beside groves and earthworks considered sacred by natives not as irreverent or apathetic as their unfortunate descendants. The Atonists realized that their materialist objectives could be achieved if they manufactured a religion that appeared to be a satisfactory carry on of Druidism. If they could devise a theology which assimilated enough Druidic elements, then perhaps the people would permit the erection of new religious sites over those which stood in ruins. And so the Order of the Culdees was born. So, Christianity was born. In the early days the religion was actually known as Culdeanism or Jessaeanism. Early Christians were known as Culdeans, Therapeuts or suggestively as Galileans. Although they would later spread throughout Europe and the Middle East, their birthplace was Britain.

Speak to me about power. What is it?” I do believe I’m being out-Cambridged. “You want me to discuss power? Right here and now?” Her shapely head tilts. “No time except the present.” “Okay.” Only for a ten. “Power is the ability to make someone do what they otherwise wouldn’t, or deter them from doing what they otherwise would.” Immaculée Constantin is unreadable. “How?” “By coercion and reward. Carrots and sticks, though in bad light one looks much like the other. Coercion is predicated upon the fear of violence or suffering. ‘Obey, or you’ll regret it.’ Tenth-century Danes exacted tribute by it; the cohesion of the Warsaw Pact rested upon it; and playground bullies rule by it. Law and order relies upon it. That’s why we bang up criminals and why even democracies seek to monopolize force.” Immaculée Constantin watches my face as I talk; it’s thrilling and distracting. “Reward works by promising ‘Obey and benefit.’ This dynamic is at work in, let’s say, the positioning of NATO bases in nonmember states, dog training, and putting up with a shitty job for your working life. How am I doing?” Security Goblin’s sneeze booms through the chapel. “You scratch the surface,” says Immaculée Constantin. I feel lust and annoyance. “Scratch deeper, then.” She brushes a tuft of fluff off her glove and appears to address her hand: “Power is lost or won, never created or destroyed. Power is a visitor to, not a possession of, those it empowers. The mad tend to crave it, many of the sane crave it, but the wise worry about its long-term side effects. Power is crack cocaine for your ego and battery acid for your soul. Power’s comings and goings, from host to host, via war, marriage, ballot box, diktat, and accident of birth, are the plot of history. The empowered may serve justice, remodel the Earth, transform lush nations into smoking battlefields, and bring down skyscrapers, but power itself is amoral.” Immaculée Constantin now looks up at me. “Power will notice you. Power is watching you now. Carry on as you are, and power will favor you. But power will also laugh at you, mercilessly, as you lie dying in a private clinic, a few fleeting decades from now. Power mocks all its illustrious favorites as they lie dying. ‘Imperious Caesar, dead and turn’d to clay, might stop a hole to keep the wind away.’ That thought sickens me, Hugo Lamb, like nothing else. Doesn’t it sicken you?

I’m amazed when someone sees the sculpture inside a rock while the rest of us just see a rock. I say “hell yes” to the architects who imagine the spaces we will one day live in. And a round of applause for the stylist who sees what hair to cut to make me look respectable for a couple of weeks. I bow low and fast in the direction of those who paint amazing things on the ceilings of chapels, make life-changing movies, or deliver a stand-up routine that recognizes the humor in the mundane. What all those artists have in common is that they point out things that were always there, always dotting the sky. Now we can take it in and live what we missed.

The safe answer is also close to my own operational answer throughout the rest of the book, as I use eminence to characterize people and importance to characterize events; words with meanings that overlap with fame. But if fame were at the core of what I really meant, the exercise would not be worth my time to conduct nor yours to read. Who cares who the most famous artists are, if their fame signifies nothing more substantive than celebrity? Let it be understood from the outset that I do not consider eminence and importance to be slightly glorified measures of fame, but more than that. They are reflections of excellence in human accomplishment. The Sistine Chapel keeps popping up because it is home to one of the greatest works of art ever to come from a human hand and mind.

Human beings are responsible for art, science, medicine, education, the Sistine Chapel, Handel’s Messiah, New York City, space travel, the novel, photography, and Mexican food — I mean, who doesn’t love Mexican food? But we’re also responsible for a world with 27 million slaves, blatant racism, the Holocaust, Hiroshima, the genocide in Rwanda, ISIS, the financial meltdown of 2008, pornography, global warming, the endangered-species list, and don’t even get me started on pop music. So we humans are a mixed bag. We have a great capacity — more than we know — to rule in a way that is life-giving for the people around us and the place we call home, or to rule in such a way that we exploit the earth itself and rob people of an environment where they can thrive. This was God’s risk. His venture. His experiment.

I had better come clean now and say that I do not believe that art (all art) and beauty are ever separate, nor do I believe that either art or beauty are optional in a sane society." "That puts me on the side of what Harold Bloom calls 'the ecstasy of the privileged moment. Art, all art, as insight, as transformation, as joy. Unlike Harold Bloom, I really believe that human beings can be taught to love what they do not love already and that the privileged moment exists for all of us, if we let it. Letting art is the paradox of active surrender. I have to work for art if I want art to work on me." (...) We know that the universe is infinite, expanding and strangely complete, that it lacks nothing we need, but in spite of that knowledge, the tragic paradigm of human life is lack, loss, finality, a primitive doomsaying that has not been repealed by technology or medical science. The arts stand in the way of this doomsaying. Art objects. The nouns become an active force not a collector's item. Art objects. "The cave wall paintings at Lascaux, the Sistine Chapel ceiling, the huge truth of a Picasso, the quieter truth of Vanessa Bell, are part of the art that objects to the lie against life, against the spirit, that is pointless and mean. The message colored through time is not lack, but abundance. Not silence but many voices. Art, all art, is the communication cord that cannot be snapped by indifference or disaster. Against the daily death it does not die." "Naked I came into the world, but brush strokes cover me, language raises me, music rhythms me. Art is my rod and my staff, my resting place and shield, and not mine only, for art leaves nobody out. Even those from whom art has been stolen away by tyranny, by poverty, begin to make it again. If the arts did not exist, at every moment, someone would begin to create them, in song, out of dust and mud, and although the artifacts might be destroyed, the energy that creates them is not destroyed. If, in the comfortable West, we have chosen to treat such energies with scepticism and contempt, then so much the worse for us. "Art is not a little bit of evolution that late-twentieth-century city dwellers can safely do without. Strictly, art does not belong to our evolutionary pattern at all. It has no biological necessity. Time taken up with it was time lost to hunting, gathering, mating, exploring, building, surviving, thriving. Odd then, that when routine physical threats to ourselves and our kind are no longer a reality, we say we have no time for art. "If we say that art, all art is no longer relevant to our lives, then we might at least risk the question 'What has happened to our lives?

Elspeth had the joyous task of breaking the news to the rest of the Council. There was no such accord among the political leaders of Valdemar as there was among her military leaders. Lord Gartheser was speechless with outrage and shock; Bard Hyron was dazed. Lady Kester and Lady Cathan, still seething over Orthallen's accusations of complicity with the slavers, were surprised, but not altogether unhappy. Father Aldon had closeted himself in the tiny chapel of the Keep; Lord Gildas was with him. Healer Myrim made no attempt to conceal the fact that Orthallen's treachery had not surprised her. Nor did she conceal that his demise gave her a certain grim satisfaction. But then, she might well be forgiven such uncharitable thoughts; she was one of the four Healers who were tending Talia's wounds. Once the bare bones had been told to the Councillors as a group, Elspeth went to each of these Councillors in turn, privately. She gave a simple explanation of what had occurred, but would answer no questions. Questions, she told them, must wait until Talia had recovered enough to tell them all more.

So often have I studied the views of Florence, that I was familiar with the city before I ever set foot within its walls; I found that I could thread my way through the streets without a guide. Turning to the left I passed before a bookseller's shop, where I bought a couple of descriptive surveys of the city (guide). Twice only was I forced to inquire my way of passers by, who answered me with politeness which was wholly French and with a most singular accent; and at last I found myself before the facade of Santa Croce. Within, upon the right of the doorway, rises the tomb of Michelangelo; lo! There stands Canova's effigy of Alfieri; I needed no cicerone to recognise the features of the great Italian writer. Further still, I discovered the tomb of Machiavelli; while facing Michelangelo lies Galileo. What a race of men! And to these already named, Tuscany might further add Dante, Boccaccio and Petrarch. What a fantastic gathering! The tide of emotion which overwhelmed me flowed so deep that it scarce was to be distinguished from religious awe. The mystic dimness which filled the church, its plain, timbered roof, its unfinished facade – all these things spoke volumes to my soul. Ah! Could I but forget...! A Friar moved silently towards me; and I, in the place of that sense of revulsion all but bordering on physical horror which usually possesses me in such circumstances, discovered in my heart a feeling which was almost friendship. Was not he likewise a Friar, Fra Bartolomeo di San Marco, that great painter who invented the art of chiaroscuro, and showed it to Raphael, and was the forefather of Correggio? I spoke to my tonsured acquaintance, and found in him an exquisite degree of politeness. Indeed, he was delighted to meet a Frenchman. I begged him to unlock for me the chapel in the north-east corner of the church, where are preserved the frescoes of Volterrano. He introduced me to the place, then left me to my own devices. There, seated upon the step of a folds tool, with my head thrown back to rest upon the desk, so that I might let my gaze dwell on the ceiling, I underwent, through the medium of Volterrano's Sybills, the profoundest experience of ecstasy that, as far as I am aware, I ever encountered through the painter's art. My soul, affected by the very notion of being in Florence, and by proximity of those great men whose tombs I had just beheld, was already in a state of trance. Absorbed in the contemplation of sublime beauty, I could perceive its very essence close at hand; I could, as it were, feel the stuff of it beneath my fingertips. I had attained to that supreme degree of sensibility where the divine intimations of art merge with the impassioned sensuality of emotion. As I emerged from the porch of Santa Croce, I was seized with a fierce palpitations of the heart (that same symptom which, in Berlin, is referred to as an attack of nerves); the well-spring of life was dried up within me, and I walked in constant fear of falling to the ground. I sat down on one of the benches which line the piazza di Santa Croce; in my wallet, I discovered the following lines by Ugo Foscolo, which I re-read now with a great surge of pleasure; I could find no fault with such poetry; I desperately needed to hear the voice of a friend who shared my own emotion (…)

He sat beside his brother and glanced at the notes. “The broken pew in the chapel has been repaired—you can cross that off the list. The keg of caviar arrived yesterday. It’s in the icehouse. I don’t know whether the extra camp chairs are here yet. I’ll ask Sims.” He paused to drink half his coffee in one swallow. “Where’s Kathleen? Still abed?” “Are you joking? She’s been awake for hours. At the moment she’s with the housekeeper, showing deliverymen where to set the flower arrangements.” A fond smile crossed Devon’s lips as he rolled the pencil against the tabletop with the flat of his hand. “You know my wife—every detail has to be perfect.” “It’s like staging a production at St. James’s Music Hall. Without, sadly, the chorus girls in pink tights.” West drained the rest of his coffee. “My God, will this day never end?” “It’s only six o’clock in the morning,” Devon pointed out. They both sighed. “I’ve never thanked you properly for marrying Kathleen at the registrar’s office,” West commented. “I want you to know how much I enjoyed it.” “You weren’t there.” “That’s why I enjoyed it.” Devon’s lips twitched. “I was glad not to have to wait,” he said. “But had there been more time, I wouldn’t have minded going through a more elaborate ceremony for Kathleen’s sake.” “Please. Shovel that manure in someone else’s direction.

Mal, you’ll have to be careful. The story of the amplifiers could leak out. People might still think you have power.” He shook his head. “Malyen Oretsev died with you,” he said, his words echoing my thoughts closely enough to raise the hair on my arms. “That life is over. Maybe I’ll be smarter in the next one.” I snorted. “We’ll see. We’re going to have to choose new names, you know.” “Misha is already making a list of suggestions.” “Oh, Saints.” “You have nothing to complain about. Apparently I am to be Dmitri Dumkin.” “Suits you.” “I should warn you that I’m keeping a tab of all of your insults so that I can reward you when I’m healed.” “Easy with the threats, Dumkin. Maybe I’ll tell the Apparat all about your miraculous recovery, and he’ll turn you into a Saint too.” “He can try,” said Mal. “I don’t intend to waste my days in holy pursuits.” “No?” “No,” he said as he drew me closer. “I have to spend the rest of my life finding ways to deserve a certain white-haired girl. She’s very prickly, occasionally puts goose droppings in my shoes or tries to kill me.” “Sounds fatiguing,” I managed as his lips met mine. “She’s worth it. And one day maybe she’ll let me chase her into a chapel.” I shuddered. “I don’t like chapels.” “I did tell Ana Kuya I would marry you.” I laughed. “You remember that?” “Alina,” he said and kissed the scar on my palm, “I remember everything.

God Listens I cry out to the LORD; I pray to the LORD for mercy. Psalm 142:1 You can talk to God because God listens. Your voice matters in heaven. He takes you very seriously. When you enter his presence, he turns to you to hear your voice. No need to fear that you will be ignored. Even if you stammer or stumble, even if what you have to say impresses no one, it impresses God, and he listens. He listens to the painful plea of the elderly in the rest home. He listens to the gruff confession of the death-row inmate. When the alcoholic begs for mercy, when the spouse seeks guidance, when the businessman steps off the street into the chapel, God listens. Intently. Carefully.

Imagine considering every moment as a potential time of communion with God. By the time your life is over, you will have spent six months at stoplights, eight months opening junk mail, a year and a half looking for lost stuff (double that number in my case), and a whopping five years standing in various lines.7Why don’t you give these moments to God? By giving God your whispering thoughts, the common becomes uncommon. Simple phrases such as “Thank you, Father,” “Be sovereign in this hour, O Lord,” “You are my resting place, Jesus” can turn a commute into a pilgrimage. You needn’t leave your office or kneel in your kitchen. Just pray where you are. Let the kitchen become a cathedral or the classroom a chapel. Give God your whispering thoughts.

Faith is spiritual, and God who is a spirit delights in it for that reason. Years of prayer-saying, and church-going, or chapel-going, and ceremonies, and performances, may only be an abomination in the sight of Jehovah; but a glance from the eye of true faith is spiritual and it is therefore dear to Him. "The Father seeketh such to worship him." Look you first to the inner man, and to the spiritual, and the rest will then follow in due course.

If Jimmie was briefly ‘held’ by a task or puzzle or game or calculation, held in the purely mental challenge of these, he would fall apart as soon as they were done, into the abyss of his nothingness, his amnesia. But if he was held in emotional and spiritual attention—in the contemplation of nature or art, in listening to music, in taking part in the Mass in chapel—the attention, its ‘mood’, its quietude, would persist for a while, and there would be in him a pensiveness and peace we rarely, if ever, saw during the rest of his life at the Home. I have known Jimmie now for nine years—and neuropsychologically, he has not changed in the least. He still has the severest, most devastating Korsakov’s, cannot remember isolated items for more than a few seconds, and has a dense amnesia going back to 1945. But humanly, spiritually, he is at times a different man altogether—no longer fluttering, restless, bored, and lost, but deeply attentive to the beauty and soul of the world. He liked gardening, and had taken over some of the work in our garden. At first he greeted the garden each day as new, but for some reason this had become more familiar to him than the inside of the Home. He almost never got lost or disoriented in the garden now; he patterned it, I think, on loved and remembered gardens from his youth in Connecticut.

The evidence of complete repentance is not the stereotypical gritted teeth and grinding resolve, or even groaning and groveling. The reverberations of repentance sound more like singing. Yes, God can lead us through a dark night of the soul to enable us to see and to grieve for sin. And as we wrestle against our pride and rebellion to find rest in the mercy of God, we may know great pain. But when we have understood, trusted, and received the freeing grace of repentance, rejoicing fills our hearts. Without this joy that is our strength, the new obedience that should be the fruit of true repentance is impossible. Like the rich young man we, too, go away sad and unwilling to follow Jesus. By contrast, biblical repentance renews in us thanksgiving and gratitude for God’s mercy. Knowing his pardon, we delight to serve him with a childlike love and a willing mind. Repentance renews our joy.

Faith in the love that paid the penalty for our sin also provides powerful motivation to flee temptation. Were God merely a frowning tyrant—if all I feel when I face him is guilt and defeat—then I will never have the joy of my salvation that is spiritual strength. Yet because he has provided a way of escape from my guilt, I have reason to go to him in prayer to ask his forgiveness and to seek his aid. Gazing upon the cross, not fearing or fleeing from “the ogre in the sky,” destroys the power of temptation. Its allures lose their power over me when I am resting in the arms of a Savior who makes me eternally secure in his love.

going to make curfew, but hopefully Dimitri could make sure I got back without getting in trouble. The chapel’s doors were unlocked when I reached them. I walked in and saw all the candles lit, making all the gold ornaments in the room sparkle. The priest must still be working. But, when I stepped inside the sanctuary, he wasn’t there. Dimitri was, however. He sat in the last pew. He wasn’t praying or kneeling or anything. He just sat there, looking quite relaxed. Although he wasn’t a practicing member of the church, he’d told me he often found peace there. It gave him a chance to think about his life and the deeds he’d done. I always thought he looked good, but just then, something about him nearly made me come to a standstill. Maybe it was because of the background, all the polished wood and colorful icons of saints. Maybe it was just the way the candlelight shone on his dark hair. Maybe it was just because he looked unguarded, almost vulnerable. He was normally so wound up, so on edge . . . but even he needed the occasional moment of rest. He seemed to glow in my eyes, kind of in the way Lissa always did. His normal tension returned when he heard me come in. “Rose, is everything okay?” He started to stand, and I motioned him down as I slid into the spot beside him.

If Pearl catches the first dead man’s hand, she’ll spend the rest of her days in the chapel.”  

I thought when I was a young man that I would conquer the world with truth. I thought I would lead an army greater than Alexander ever dreamed of, not to conquer nations, but to liberate mankind. With truth. With the golden sound of the Word. But only a few heard the trumpet. Only a few understood. The rest of them put on black and sat in Chapel.

There are also examples of petrified wood occurring as a mere product of nature — even without the heat! As an example, Dr. Andrew Snelling recounts: From the other side of the world comes a report of the chapel of Santa Maria of Health (Santa Maria de Salute), built in 1630 in Venice, Italy, to celebrate the end of The Plague. Because Venice is built on water saturated clay and sand, the chapel was constructed on 180,000 wooden pilings to reinforce the foundations. Even though the chapel is a massive stone block structure, it has remained firm since its construction. How have the wooden pilings lasted over 360 years? They have petrified! The chapel now rests on “stone” pilings!

Hadn’t he told her she needed to trust God? They were supposed to do the right thing and trust God to handle the rest.

Great gifts do not necessarily make for great preaching. The technical excellence of a message may rest on your skills, but the spiritual efficacy of your message resides with God. The

Remorse precedes true repentance. Changed behavior follows true repentance. But this necessary prelude and postlude of true repentance are not themselves the essence of repentance. True repentance is a denial that anything in us ever would or ever could satisfy God’s holiness or compel his pardon. We humbly concede that we can offer him nothing for what he alone can give. Then we rest in his promise to forgive those who humbly seek him.

In 1217 a Christian pilgrim, Master Thetmar, discovered a small chapel with two Greek monks in the deserted ruins of Petra.[114] Petra continued to served as an important stopping-off point on the trade and Hajj routes between the Arabian Peninsula and the rest of the Mamluk and Ottoman lands. The Mamluk Sultan of Egypt, Baibars, visited Aaron’s tomb on Mount Hor and one of the crusader castles in 1276 CE.

Even the Sistine Chapel. Alone under Michelangelo’s ceiling, I was able to wallow in my disbelief. I read in my guidebook that Michelangelo was miserable while painting his masterpiece. His back and neck ached. Paint fell constantly into his hair and eyes. He couldn’t wait to be finished, he told friends. If even Michelangelo didn’t like his work, I thought, what hope is there for the rest of us?

The first time I saw the picture if did not seem to me to have anything at all of the very great urgency and emotional charge of “Guernica”; Picasso’s deliberate survey of the two extreme states of the human condition appeared to me to have some of the weaknesses usually to be seen in Last Judgments; but whereas in most Last Judgments the blessed seem condemned to an eternity of boredom while the damned and their attendant fiends are filled with passionate life, here it was Peace that was convincing, while War, apart from those hands and the trampled book, struck me as literary and remote. Even the round-faced figure of War himself looked quite good company. I was tempted to say that Picasso, in spite of his longing for vast surfaces, could not deal with them when they were provided—that with the exception of “Guernica” his genius flowered best when it was confined. But that was a first sight, after a long day’s drive in beating rain; and it is notorious that a traveler, harassed by his voyage, by hunger, by other sightseers, tends to be captious and unreceptive—in an Italian journey Picasso himself saw Giotto unmoved—and presently, rested and fed, with the chapel to myself, I found the whole painting grow enormously in power, above all the arched picture at the end.

They came upon a nook bearing a wall plaque to mark the resting place of the martyred priest Gil Parès; then completing the circle, they were back to the chapel housing Gaudí’s tomb.

The woman was considered medically dead three times. Twice on the way to the hospital—once while waiting for the helicopter, once in transit—and her longest flatline took place on the operating table. The medical staff wanted to call her death, but the doctor who’d been working on her refused to stop trying to bring her back—he was thinking of her two daughters being stitched up just a few rooms away. She was considered medically dead for longer than acceptable to have a decent prognosis if revived—to ever fully function again—but the doctor tried one last time and brought her back.” The chapel fills with a misty pink hue as I relay the rest. “She had significant brain damage, had to learn to walk and talk again, read and write, but she made a full recovery.” I turn to Delphine and see she’s hanging on every word. “And do you know what her only complaint was?” She gives a subtle shake of her head. “That they brought her back.” I grin. “She’d seen what was waiting on the other side and didn’t want a damn thing to do with the world anymore.” Simmering tears fill her eyes. “She claimed that in the time she was down, she experienced enough of the afterlife that she never wanted to exist anywhere else. That for the entirety of the time she spent there, she was enveloped in a perpetual state of love—nothing like the human love we experience, but magnified by a billion and then some. That every being there reverberates that love, and the second you brush against them or pass through them, you know every single thing about them, every detail of their lives. That the first time it happens, you become part of a collective consciousness. There’s no judgment, no shame, no suffering, regret, or pain. Nothing but an inconceivable type of feeling no human mind could ever begin to comprehend. She swore that no living soul should ever worry about the question of an afterlife.