If then you have been raised with Christ, seek the things that are above, where Christ is, seated at the right hand of God. Set your minds on things that are above, not on things that are on earth. For you have died, and your life is hidden with Christ in God. When Christ who is your life appears, then you also will appear with him in glory. Put to death therefore what is earthly in you: sexual immorality, impurity, passion, evil desire, and covetousness, which is idolatry. ... Share Your Faith Products
Immortal religious paintings from the Renaissance include: The Flagellation of Christ (1460) by Piero della Francesca; The Last Supper (1495-98) and The Virgin of the Rocks (1484) by Leonardo da Vinci; Lamentation over the Dead Christ (c.1490) by Andrea Mantegna; The Sistine Madonna (1513) and The Transfiguration (1518-20) by Raphael; The Assumption of the Virgin (1516-8) by Titian; the Assumption of the Virgin (Parma Cathedral) (1524-30) on the ceiling of the dome in Parma Cathedral by Correggio; The Wedding Feast at Cana (1563) and Feast in the House of Levi (1573) by Paolo Veronese; and The Crucifixion (1565) by Tintoretto. The greatest Christian Renaissance sculpture included: The Gates of Paradise (1425-52, Florence Baptistery) by Lorenzo Ghiberti; The Incredulity of St Thomas (1467) by Andrea Verrocchio; numerous items of devotional terracotta sculpture by the Florentine Della Robbia family; Pieta (1500), David (1504) and the Tomb of Pope Julius II (1505-45) by Michelangelo. But surely the most iconic Christian art of the 16th century must be the Sistine Chapel frescoes, painted by Michelangelo. These include The Genesis Fresco (1508-12) - see in particular The Creation of Adam (God Passing the Spark of Life). Christian Gifts
The most famous Romanesque churches and religious buildings include: Cluny Church II (981, Burgundy); Monastery Church of S. Pedro de Roda (1022, Catalonia); Abbey Church of St Michael, Hildesheim (1033, Germany); Ely Cathedral (1080, England); Pisa Cathedral (after 1083, Italy); La Grand Chartreuse Abbey (1084, Grenoble); Durham Cathedral (after 1093, England); Speyer Cathedral (1106, Germany); Abbey Church of Sainte-Foy (1120, France); Baptistery of St Giovanni, Florence (1128, Italy); Cluny Church III (1130, France); Mainz Cathedral (1137, Germany); Krak des Chevaliers (after 1142, Homs, Syria); Abbey Church of Fontenay (1147, France); Worms Cathedral (1200, Germany); and the Church of the Madeleine (1215, Vezelay).
Jesus next expels the money changers from the Second Temple, accusing them of turning it into a den of thieves through their commercial activities. Jesus then prophesies about the coming destruction, including false prophets, wars, earthquakes, celestial disorders, persecution of the faithful, the appearance of an "abomination of desolation," and unendurable tribulations (Mark 13:1–23). The mysterious "Son of Man," he says, will dispatch angels to gather the faithful from all parts of the earth (Mark 13:24–27). Jesus warns that these wonders will occur in the lifetimes of the hearers (Mark 13:28–32). In John, the Cleansing of the Temple occurs at the beginning of Jesus' ministry instead of at the end (John 2:13–16).
According to the Marcan priority, the first to be written was the Gospel of Mark (written AD 60–75), followed by the Gospel of Matthew (AD 65–85), the Gospel of Luke (AD 65–95), and the Gospel of John (AD 75–100). Furthermore, most scholars agree that the authors of Matthew and Luke used Mark as a source when writing their gospels. Matthew and Luke also share some content not found in Mark. To explain this, many scholars believe that in addition to Mark, another source (commonly called the "Q source") was used by the two authors.
The word that came to Jeremiah from the Lord: “Arise, and go down to the potter's house, and there I will let you hear my words.” So I went down to the potter's house, and there he was working at his wheel. And the vessel he was making of clay was spoiled in the potter's hand, and he reworked it into another vessel, as it seemed good to the potter to do. Then the word of the Lord came to me: ... Christian Gifts
Medieval Christian art on the Continent followed similar paths, albeit a little later. Carolingian art (c.750-900), for instance, (the culture of the Frankish kingdom of Charlemagne I) was inspired by Byzantine rather than Irish models. Monastic scriptoria at Aachen, Paris, Reims, Metz and Tours produced beautiful examples of medieval painting like the Godescalc Evangelistary (c.783), the Utrecht Psalter (c.830) and the Grandval Bible (c.840). Carolingian cuture was followed by Ottonian art, under the Holy Roman Emperors Otto I, II and III (900-1050). Inspired by Carolingian techniques as well as Byzantine elements - like the use of gold leaf - Ottonian art was famous for its lavishly decorated manuscripts, including the Perikpenbuch of Henry II (c.1010), the Bamberg Apocalypse (c.1020), the Hitda-Codex (c.1025) and the Codex Aureus Epternacensis (c.1053). See also: German Medieval Art (c.800-1250).
Jesus chose twelve disciples  (the "Twelve"), evidently as an apocalyptic message. All three Synoptics mention the Twelve, although the names on Luke's list vary from those in Mark and Matthew, suggesting that Christians were not certain who all the disciples were. The 12 disciples might have represented the twelve original tribes of Israel, which would be restored once God's rule was instituted. The disciples were reportedly meant to be the rulers of the tribes in the coming Kingdom (Matthew 19:28, Luke 22:30). According to Bart Ehrman, Jesus' promise that the Twelve would rule is historical, because the Twelve included Judas Iscariot. In Ehrman's view, no Christians would have invented a line from Jesus, promising rulership to the disciple who betrayed him. In Mark, the disciples play hardly any role other than a negative one. While others sometimes respond to Jesus with complete faith, his disciples are puzzled and doubtful. They serve as a foil to Jesus and to other characters. The failings of the disciples are probably exaggerated in Mark, and the disciples make a better showing in Matthew and Luke.
The Gospel of John leaves out Jesus' baptism and temptation. Here, John the Baptist testifies that he saw the Spirit descend on Jesus (John 1:32). John publicly proclaims Jesus as the sacrificial Lamb of God, and some of John's followers become disciples of Jesus. In this Gospel, John denies that he is Elijah (John 1:21). Before John is imprisoned, Jesus leads his followers to baptize disciples as well (John 3:22–24), and they baptize more people than John (John 4:1).
The New Testament describes Jesus wearing tzitzit—the tassels on a tallit—in Matthew 14:36 and Luke 8:43–44. Besides this, the New Testament gives no description of the physical appearance of Jesus before his death—it is generally indifferent to racial appearances and does not refer to the features of the people it mentions. Jesus probably looked like a typical Jew of his time and according to some scholars was likely to have had a sinewy appearance due to his ascetic and itinerant lifestyle.
Archeology helps scholars better understand Jesus' social world. Recent archeological work, for example, indicates that Capernaum, a city important in Jesus' ministry, was poor and small, without even a forum or an agora. This archaeological discovery resonates well with the scholarly view that Jesus advocated reciprocal sharing among the destitute in that area of Galilee.
Observing a Passover custom of the time, Pilate allows one prisoner chosen by the crowd to be released. He gives the people a choice between Jesus and a murderer called Barabbas (בר-אבא or Bar-abbâ, "son of the father", from the common given name Abba: 'father'). Persuaded by the elders (Matthew 27:20), the mob chooses to release Barabbas and crucify Jesus. Pilate writes a sign in Hebrew, Latin, and Greek that reads "Jesus of Nazareth, the King of the Jews" (abbreviated as INRI in depictions) to be affixed to Jesus' cross (John 19:19–20), then scourges Jesus and sends him to be crucified. The soldiers place a Crown of Thorns on Jesus' head and ridicule him as the King of the Jews. They beat and taunt him before taking him to Calvary, also called Golgotha, for crucifixion.
Thus says the Lord, “Go, buy a potter's earthenware flask, and take some of the elders of the people and some of the elders of the priests, and go out to the Valley of the Son of Hinnom at the entry of the Potsherd Gate, and proclaim there the words that I tell you. You shall say, ‘Hear the word of the Lord, O kings of Judah and inhabitants of Jerusalem. Thus says the Lord of hosts, the God of Israel: Behold, I am bringing such disaster upon this place that the ears of everyone who hears of it will tingle. Because the people have forsaken me and have profaned this place by making offerings in it to other gods whom neither they nor their fathers nor the kings of Judah have known; and because they have filled this place with the blood of innocents, and have built the high places of Baal to burn their sons in the fire as burnt offerings to Baal, which I did not command or decree, nor did it come into my mind— ...
The Synoptics depict two distinct geographical settings in Jesus' ministry. The first takes place north of Judea, in Galilee, where Jesus conducts a successful ministry; and the second shows Jesus rejected and killed when he travels to Jerusalem. Often referred to as "rabbi", Jesus preaches his message orally. Notably, Jesus forbids those who recognize him as the Messiah to speak of it, including people he heals and demons he exorcises (see Messianic Secret).
Other exceptional Christian paintings by modern artists include: The Angelus (1859) by the Barbizon realist Jean-Francois Millet; Christ Before Pilate (1881) by the Hungarian realist Mihaly Munkacsy; Christ's Triumphant Entry into Brussels in 1889 (1888), by James Ensor, leader of the Symbolism movement; The Christian Relic (1893) by the Spanish social realist painter Joaquin Sorolla; the unfinished Adam and Eve (1918) by the Viennese master Gustav Klimt; Ecce Homo (1925) by the German Expressionist Lovis Corinth; The Screaming Pope (1953) by Francis Bacon, inspired by Velazquez's Innocent X (1650); Mark Rothko's wall-paintings for the chapel at the St Thomas Catholic University in Houston; Crucifixion 3.85 (1985) by Antonio Saura, inspired by Velazquez's Crucifixion (1631). Scripture Art