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This work by Mead is on the providence of God. Mead demonstrates through Ezekiel’s vision of the wheels that God is the great Creator of all things and upholds, directs, disposes and governs all creatures and actions, from the greatest even to the least. God does this by his most wise, holy and infallible knowledge and the free and immutable counsel of his own will. Mead uses as his main text of Scripture, “As for the wheels, it was cried to them in my hearing, “O Wheel!” (Ezekiel 10:13). He not only expounds on how God’s providence works generally, but how Christians should respond to God’s providence knowing that God is ultimately in control of everything, crowned by the redemption of the church through Jesus Christ. Those who have had a difficult time understanding Ezekiel’s vision of the wheels will find this exposition refreshing, insightful and practical for their spiritual growth. This is not a scan or facsimile, has been updated in modern English for easy reading and has an active table of contents for electronic versions.
This book offers a novel perspective on one of the most important monuments of French Gothic architecture, the Sainte-Chapelle, constructed in Paris by King Louis IX of France between 1239 and 1248 especially to hold and to celebrate Christ's Crown of Thorns. Meredith Cohen argues that the chapel's architecture, decoration, and use conveyed the notion of sacral kingship to its audience in Paris and in greater Europe, thereby implicitly elevating the French king to the level of suzerain, and establishing an early visual precedent for the political theories of royal sovereignty and French absolutism. By setting the chapel within its broader urban and royal contexts, this book offers new insight into royal representation and the rise of Paris as a political and cultural capital in the thirteenth century.
This most excellent work is divided into two parts. First, Carter exegetes and expounds “the wheels” of Ezekiel’s vision in Ezekiel 1 and 10. Then in the second part he exegetes and expounds the “nail” in Isaiah’s preaching (22:23). Both works are ultimately pointed at the manner in which God sets up and pulls down those wheels and nails that are to work, in his providence, for his glory, among his people. Carter’s poignant application of his exegesis on Ezekiel’s wheels is masterful, thought provoking and reaches the inner recesses of the Christian heart. It elevates the power of the Son of God, who sits on the chariot throne of the wheels of his providence, and commands the wheels to move here and there in providential oversight of the whole world. His work on the hammering of the “nail” is equally impressive in its substance showing God’s power and providence over those in authority, and those under authority. Though Carter is purposeful to deal with circumstances in his time with these passages, it does not take much for today’s Christian to be spiritually charged by the initial exegesis, doctrine and preaching of these works. From the Introduction: “Christians often wonder, “What is God’s will for my life?” Carter’s exposition on God’s providence and control of the earth will aid the Christian in making a conscious discernment in answering that question. Once the Christian heart and mind is given over to a true realization of God’s providence in its power and authority, their worldview is held captive in contentment of God’s work in their own life. God moves things in the world for our good…but ultimately, his glory. Here, publishing Carter’s sermons has been well worth the time, for all Christians need to be aggressively reminded of God’s power to be God in the control of all things, from the least to the greatest, for his own glory. The church would do well to study this work to glorify Christ in his all-encompassing providence over everyone and everything.” This is not a scan or facsimile, has been updated in modern English for easy reading and has an active table of contents for electronic versions.
This study of the sanctuary aims to give the reader an overall view of the entire sanctuary, including the earthly and the heavenly sanctuaries, and reaching its climax in the temple eternal, the earthly model as constructed by Moses, being a type or illustration of both the others. It also aims to make plain that the sanctuary symbolizes not only the redemptive work of Christ, but also the Christian experience of each of His followers, and of the church as a whole.
When you think about God's throne, do you imagine a massive, glowing throne in a kingly chamber of heaven? Do you see angels and saints robed in white, worshipping about, while altars of incense haze your view? Author Darrell McManus challenges you to get a more biblical view of God's throne-yes, we said "biblical"! The Bible says God's throne has wheels. It isn't restricted to the heavenlies but moves from place to place-and if you know how to attract Him, God will enthrone Himself right where you are! Start your journey of revelation today and discover what happens when you cultivate the atmosphere God promises to enthrone. With a ministry track record spanning over forty years, Darrell McManus has learned a thing or two about Kingdom living. He has served as Youth Pastor, Assistant Pastor and Senior Pastor, and he now regularly travels as a full-time evangelist. God moves in Darrell's services, displaying mighty miracles of healing and inspiring the unsaved to receive faith in Him.
Did Jesus claim to be the "bridegroom"? If so, what did he mean by this claim? When Jesus says that the wedding guests should not fast "while the bridegroom is with them" (Mark 2:19), he is claiming to be a bridegroom by intentionally alluding to a rich tradition from the Hebrew Bible. By eating and drinking with "tax collectors and other sinners," Jesus was inviting people to join him in celebrating the eschatological banquet. While there is no single text in the Hebrew Bible or the literature of the Second Temple Period which states the "messiah is like a bridegroom," the elements for such a claim are present in several texts in Isaiah, Jeremiah, and Hosea. By claiming that his ministry was an ongoing wedding celebration he signaled the end of the Exile and the restoration of Israel to her position as the Lord's beloved wife. This book argues that Jesus combined the tradition of an eschatological banquet with a marriage metaphor in order to describe the end of the Exile as a wedding banquet.
On the frontispiece of this tract is a woodcut, representing the name of God irradiated; below it a hand is placing a nail on a wall (of Norwich Cathedral?), and a second hand turning a double-wheel, with eyes in the rim. The frontispiece woodcut to "The Nail hit on the head" represents three columns, to the central one of which are attached, on the left, as on nails, a crown, an hour-glass (preaching-glass), a pulley; and, on the right, crossed keys, a hat, holy-water sprinkler (?), and a pitcher; to the sides of the column, on the left of the centre, a robe, a girdle (of the High Priest), and two other objects; on the pillar to the right hang a flagon, a vessel of another form, and a pair of bellows. Below is inscribed "Fideliter Ser-" This woodcut is repeated on page 49 of the sermon. On the title page of "The Nail hit on the head : and driven into the city and cathedral wall of Norwich" is a woodcut of a broad-headed nail. The text is a sermon on the verse, "And I wil fasten him a nail in a sure place; and he shal be for a glorious throne to his fathers house. Esa, 22, 23".