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November 11, 2006

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Clare Krishan

Providentially the horrors of Verdun are not their only claim to fame, but an wonderful artist called Nicholas of Verdun (who perhaps created the lost "Golden Cross of Eloi" from the Abbey of St Denis) was commissioned between the second and third crusade to make a spectacular skirt for the Ambo of the Augustinian Abbey of Klosterneuburg

http://pages.slc.edu/~eraymond/altar/altar.html

described at "Signs of Plenty - The Altar of Verdun," an Experiment in Pedagogy on the web, lecture with slides at Columbia University seminar on religion, Fall 1998

http://pages.slc.edu/~eraymond/altar/theological.html

by Elfie S. Raymond, Campbell Professor in the Humanities homepage at Sarah Lawrence College

The ecclesiastics moved the panels to the altar after a fire.

Whether as visual accompaniement to the Liturgy of the Word or as visual inspiration for the Liturgy of the Eucharist, the scheme's three vertical bands, along upper edge
| ANTE LEGEM Age before the Law | the state of nature of humanity
and lower edge | SUB LEGEM Age under the Law | history since Moses before
centrally | SUB GRATIA Age under Grace | history after the Annunciation
the pictures work as a powerful inspiration to not abandon the Truth (see final virtue).

Even as we contemplate the human failings of war, three methods of interpreting Revelation help us gain renewed access to hope and joy:

| First lesson | The Order of Time
| Second lesson | The Order of Possibility *
| Third Lesson | The Order of Virtue

(*)beware: the linked essay embraces Hegelianism, ie progressive secularism's faith in temporal 'onwards and upwards' which
cannot be defended by people of faith

rwb

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www.guziki.radwan.pl

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rwb

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