By Heidi J. Hornik, Mikeal C. Parsons
Charting the theological and cultural efficiency of Acts around the timespan of Christian historical past, this paintings of profound scholarship unearths the whole volume of the recent testomony book’s spiritual, creative, literary, and political influence.
- Reveals the impact of Acts at key turning issues within the historical past of the Christian church
- Traces the wealthy and sundry creative and cultural historical past rooted in Acts, from track to literature
- Analyzes the political value of the e-book as a touchstone within the church’s exterior relations
- Provides certain statement at the exegesis of Acts down the centuries
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Additional info for Acts of the Apostles Through the Centuries
These portrayals of Judas’ death fit with distinct themes found within each respective account (Robertson 2012). In Acts, Judas “falling headlong, burst open in the middle and all his bowels gushed out” (1:18). For Luke, Judas’ death was the result of a divine punitive miracle, whose punishment fit the crime (for other eviscerations, see the accounts of Jehoram in 2 Chr 21:12–19 and Josephus, Ant. W. 453; cf. Robertson 2012, 101–108). In Matthew, Judas hangs himself after his attempt to return the thirty pieces of silver is rejected by the religious authorities (Matt 27:3–8).
The fifteenth‐century monk of San Marco was in the employ of 28 Acts 1 both father and son, Cosimo and Piero de’ Medici, at the time that this panel was painted (Hood 1993, 239). This was a commission by Piero, but Fra Angelico was also completing the last stages of work in the monastery fresco decorations of the monks’ cells. Piero de’ Medici commissioned the artist to decorate the doors of a silver treasury for the new oratory to be constructed near the chapel of the Santissima Annunziata in the church of the same name (Spike 1997).
We cannot see the path … but we know that the path has been taken, and that we are to take it too (O’Donovan 1986, 36–37). That we, too, are to follow in Jesus’ path is a point English cleric and poet John Donne (1572–1631) made in his poetry: Salute the last and everlasting day, Joy at the uprising of this Sun and Son … Behold the highest, parting hence away, Lightens the dark clouds, Which he treads upon, Nor doth he by ascending, show alone, But first he, and he first enters the way, O strong Ram, which hast batter’d heaven for me (Donne 3321; RCS, 10).
Acts of the Apostles Through the Centuries by Heidi J. Hornik, Mikeal C. Parsons