* This is the only parable where a character is given a name -- and it is the poor man who is named.
http://www.crossmarks.com/brian/luke16x19.htm
19"There was a rich man who was dressed in purple and fine linen and who feasted sumptuously every day. 20And at his gate lay a poor man named Lazarus, covered with sores, 21who longed to satisfy his hunger with what fell from the rich man’s table; even the dogs would come and lick his sores.
Luke 16:19-31
Oil on oak, 176 x 184 cm (centre), 174 x 80 cm (each wing)
Musées Royaux des Beaux-Arts, Brussels
Whenever we generalize people, we dehumanize them.
~ Brian P. Stoffregen
We often talk about ministering to the poor and needy,
but what about the rich and needy?
~ Brian P. Stoffregen
Molly and Sadie (with stitches in her tongue) on June 30,
2007
Sadie and Molly in September, 2007
The Art of Pysanky
Andrew Powell, artist
Last Fridays, The Art Center of Evergreen
Rotary Dine Around
September 29, 2007
Marcia Walsh and Bob Hagerman
Yum!
You're either part of the problem or part of the solution.
~ Eldridge Cleaver
September 30, 2007 Twenty-sixth Sunday in Ordinary Time
* The triptych, which was very likely commissioned by Margaret of Austria, the governor of the Low Countries, depicts two biblical episodes illustrating the virtues of patience: the Book of Job and the parable of Lazarus the beggar and the rich man. Since the Middle Ages it had been common practice to draw a parallel between the resignation of Job and of Lazarus in the face of misfortune and the constancy of their faith in God.
On the inside of the triptych, the story of Job begins on the left wing. Whilst in heaven Satan proposes to God to test the faith of this wealthy man, the faithful servant of Good, the first calamities rain down. Job's entire flocks are led off by the Sabeans. On the central panel, the unleashed forces of evil bring down the palace, killing Job's sons and daughters. The painter accentuates the dramatic character of the scene by numerous foreshortenings and obliques, which have the effect of pushing the picture towards the spectator. In the background countryside scene, we see Job himself sacrificing to God; to the right, naked and covered with sores, he is being cursed by his wife. On the right inner wing, Job has recovered his earlier wealth and descends the steps of his palace towards his former friends who implore his intercession.
Van Orley creates his masterpiece by marrying the Flemish tradition with the new directions of Italian art and his own inventiveness. The result is a veritable profession of faith in the Renaissance, underlined by the artist's motto, "Elx syne tyt" (each in his time) inscribed on the pillar to the left of the central panel.
Agnus Day, by James Wetzstein
Agnus Day appears with the permission of www.agnusday.org
Jeremiah 32:1-3a, 6-15
Psalm 91:1-6, 14-16
1 Timothy
6:6-19
Luke 16:19-31