pretty much dead middle

“Ignorant people see life as either existence or non-existence,
but wise men see it beyond both existence and non-existence
to something that transcends them both;
this is an observation of the Middle Way.”
Seneca

(Chaple ceiling Museo Delle Cappelle Mediciee ( the De Medici chapel) / Florence, Italy /
Julie Cook / 2018)

For whatever reason, I have always been one who looks up when I go into someplace new.
Especially when traveling and visiting different locations.

When I walk into a massive Cathedral or other historic building…
I have learned that what’s on the ceiling often makes the ceiling more impressive than
what remains at eye level…

And yet so many people miss out as they never bother looking up.

I’ve even been known to look up in elevators wondering why the ceiling is a mirror.

(the elevator to the Luxembourg Parc Hotel in Paris / Julie Cook / 2018)

Early domed temples such as the Roman temple, the Pantheon,
situated in the heart of Rome, whose open oculus continues to capture our imagination,
is an early case in point.

The Pantheon’s opening was not simply left open in order to be some sort of a famous
architectural oddity or simply to allow light to enter into a windowless temple, but was
rather due to the fact that early engineers and builders could not figure out how to actually
enclose such a massive free-standing dome without wooden beam supports..
of which would prevent it from caving in upon itself from the sheer unsupported weight.

Yet the opening was a cool way to follow the sun, follow the time of day,
while watching the rain pour indoors…

(Pantheon oculus / Julie Cook / 2018)

The open niches along the dome’s surface are not only a decorative purpose but rather
work to help solve some of the weight issues.
The decorative openings required less concrete, therefore reducing the weight of the structure.

Yet figuring out how to close the opening was still a conundrum…

That was until the early 1400’s when the artist, designer, and architect Filippo Brunelleschi
was credited with designing the first successful free-standing dome for the Cathedral of Florence,
the Cattedrale di Santa Maria del Fiore…
A cathedral that had gone without its roofed dome for over a hundred years as no one could
figure out how to successfully design and execute such a structure without wooden supports.

Services and rainy days did not mix well.

(a viewoncities.com)

Cathedrals and civic buildings all over medieval and gothic Europe have been constructed
with similar massive domes, impressive soaring towers and open barrel vaults complete
with their flying buttresses and ribbed vaults…
impressive engineering feats accomplished by relatively low tech societies.

(vaulted ribbed ceiling of Sainte Suplice, Paris, France / Julie Cook / 2018)

(ribbed vault of Norte Dame Cathedral / Julie Cook / 2018)

Eventually, ceilings would become extensions of their surroundings, lavishly
painted and decorated…
pulling our eyes upward and beyond.

(Chaple ceiling Museo Delle Cappelle Mediciee / Florence, Italy / Julie Cook / 2018)

(Both of these images, with one being a detail, are in the Pantheon in Paris/ Julie Cook / 2018)

(Both of these domed ceilings are found in Les Invalides / Paris, France
/Julie Cook / 2018)

(Santa Maria sopra Minerva/ Rome, Italy / Julie Cook / 2018)

(St Peter’s, The Vatican / Rome, Italy / Julie Cook / 2018)

I’ll be the first to admit that the better pictures of ceilings are usually the ones when
the photographer is able to stand directly underneath the very center…
much like I managed to do for the first image.

Nice, round, equal and symmetrical.

Most of the other shots are taken at angles due to the inability to get smack dab in the middle.
Therefore they just aren’t as visually appealing and just don’t offer that same sense of
dimensional perspective.

And so whereas the middle seems to be a pretty good spot when wanting to look directly upward
while wanting to take a pretty symmetrical photograph, I’m left wondering about the
middle we’ve seemed to have worked ourselves into in this nation of ours.

We’re nearly smack dab center in this ongoing battle of tug of war.
Or so say our last several years of elections.
With this past week’s elections being not much different.

Contrary to what either side wants, prefers or hopes for…
there were no waves…blue or red.

Deplorables came out in similar numbers as their progressively liberal counterparts.

There were no landslides.

No referendums.

Candidates won not by large margins but in some cases, just by a handful of
just enough extra votes.

Several key elections are still, 3 days after the fact, still up in the air…teetering
like a seesaw swaying toward one then swaying back to the other as the numbers are simply
too close to that 50 / 50 mark.

Recounts and runoffs are more common than not.

Candidates are lawyering up, refusing to concede while others are prematurely claiming
victory.

It’s become a messy situation from sea to shining sea.

We are a divided nation almost right down the middle.
Divided and exceedingly divisive.

Yet as to what this middle is and as to why it seems so hate-filled, I am uncertain…

But what I do know is that we are standing almost divided directly in half.

And whereas equally divided usually means equally weighted and balanced…
that is sadly not our case.

I don’t understand that despite our being divided nearly equally half in half…
there is such a growing divide of vehemence and discord.

Our symmetry is woefully skewed.

And so I think I’ll just continue looking upward.
Setting my sights up above.
Still lifting my view heavenward as the view upward seems much better than what’s
currently here at eye level…

“I can see how it might be possible for a man to look down upon the
earth and be an atheist,
but I cannot conceive how he could look up into the heavens and say there is no God.”
Abraham Lincoln

The infinite endlessness of love

Love is an act of endless forgiveness,
a tender look which becomes a habit.
Peter Ustinov

You want me to tell you why God is to be loved and how much.
I answer, the reason for loving God is God Himself;
and the measure of love due to Him is immeasurable love…
St Bernard of Clairvaux

(an empty snail’s shell / Julie Cook / 2016)

Infinity is a common feature of the patterns found in math, physics, and nature; and thus infinitely repeating patterns must also be a characteristic of the entire cosmos which could then be said to have infinite symmetry.
Journal of Cosmology / Astronomy-Astrobiolgy / Quantum Physics / Earth Sciences /Life

The infinite…
The endless…

Where infinite repetition is found within…
An endless expanding cosmos.

Where perfection is found in the symmetrical
As the immeasurable is born in the intangible

Where mystically perfect ratios create
Otherworldly equations of oddly coincidental facts

Where the rational collides into the irrational
as Love and Forgiveness flow mingled down a cross as one…

Can anything ever separate us from Christ’s love?
Does it mean he no longer loves us if we have trouble or calamity, or are persecuted, or hungry, or destitute, or in danger, or threatened with death?
(As the Scriptures say, “For your sake we are killed every day;
we are being slaughtered like sheep.”)
No, despite all these things, overwhelming victory is ours through Christ, who loved us.

And I am convinced that nothing can ever separate us from God’s love.
Neither death nor life, neither angels nor demons, neither our fears for today nor our worries about tomorrow—not even the powers of hell can separate us from God’s love.
No power in the sky above or in the earth below—indeed, nothing in all creation will ever be able to separate us from the love of God that is revealed in Christ Jesus our Lord.
Romans 8:35-39

Intricacy

Part of my journey is to say that the soul of the human being must be a massively intricate, wonderful creation that God has a respect for in ways that we do not and that leaves a huge amount of space to go explore.
William P. Young

My frame was not hidden from you,
when I was being made in secret,
intricately woven in the depths of the earth.
Psalm 139:15

(a collection of Gulf shells / Julie Cook / 2014-15)

Consider the humble shell.
The exoskeleton of a small soft bodied sea creature consisting of 98% calcium carbonate and 2% protein.
Amazingly symmetrical in both shape and design.
A wonderful natural formation of near perfect dimension.
Intricately formed and polished to perfection by mere sand and water.
The ultimate prize of those who wander the waves.

How many times has a young child reached down, into the damp heavy sand,
digging frantically to retrieve a prized shell?
Excitedly extracting the shell, with or without inhabitant, up from the surf and gently cradling the new found treasure, they scurry triumphantly toward mom and dad proudly proclaiming the finding of the hidden treasure.

How often does an adult do the same? Ambling idly along the surf, mesmerized by the rolling waves, lost in a world of thought, when suddenly looking down, there lies a beautifully glistening shell partially buried in the sand–intact, not broken or chipped–perfect. A sense of wonderment and awe fills the would be treasure hunter as they joyfully reach downward, ready to grasp the prize.

Consider the human body
96.2 % oxygen, hydrogen, carbon and nitrogen, with almost 70% of that being water.
Amazingly symmetrical in both shape and design.
The ultimate design of all living creatures.
A treasure whose inception is set mysteriously into motion, hidden in the sacred depths of an intimate holiness.

Woven intricately by the Master Creator, each individual is just that—an individual.
Each different from the next
Different from all of those who have been and of all those who are to be.
Unique
One of a kind
Special

Fluids flow
Bones grow and form
Nerves fire
Muscles twitch
Eyes see
Ears hear
Sounds are made
Thoughts are formed. . .
as life begins moving forward. . .

All as a watchful Father looks downward, mesmerized with joy, gently breathing life into the tiny form he cradles in loving hands, knowing that He has just found the prize. . .

Pantocrator

“According to greek mythology, humans were originally created with 4 arms, 4 legs and a head with two faces. Fearing their power, Zeus split them into two separate parts, condemning them to spend their lives in search of their other halves.”
Plato

I don’t know what first drew me to this particular image, or more aptly put, Icon. Oh I’ve written about Icon’s before, quite some time ago, which means I don’t want to rewrite a post (see “What is an Icon” dated 3/1/13) however there is a little background necessary in order for one to fully appreciate the image accompanying this particular post.

An Icon, which translates to “image” is just that, an image. A bit of an artistic photograph if you will. It should be noted that Icons are not considered paintings at all, but rather are referred to as written images– as in the artist is not painting but actually “writing,” what I like to describe as, a love letter.

Now back to this particular image.
No doubt you have seen it at some time or other as it is quite notable as far as Icons are concerned. It is an image of the Christ, or Pantocrator as He is known in Greek/ Παντοκράτωρ—–meaning Divine (translated from the Hebrew El Shaddai). This particular image dates to the 6th century–let’s say 500 years or so after the death of Christ. It is considered to be the oldest known image of Christ or as He is known to many, as the Chirstos.

I don’t want to give an in-depth mini history lesson today regarding icons, or of this particular image, as there is so very much out there in the form of books or on the web for the curious to discover. I simply want to share with you something that is very meaningful to me. I think it is important to share with others the things that significantly impact our own lives as those are the things that make us who we are.

As a person who grew up with Western Christianity, or that of the Roman or Latin branch of Christianity, I was always accustomed, as no doubt you were, to what typically is considered to be images of Jesus. Benevolent images of a young man of fair skin complexion, soft brown hair and beard who most often had blue eyes. But the problem with that stereotypical image is that Jesus was not European. He was a Middle Eastern Jew. Therefore that meant he most likely had a more dark or olive skin tone, with a thicker head of very dark hair. He was an orthodox, meaning devout, Jew, so it is theorized that he most probably wore the hair ringlets as do the modern day Hasidic Jews. His features were not as close to ours in the West but rather he was closer in appearance to those currently living in Egypt, Syria, Jordan, Palestine, etc.

Knowing all of the geographical information of Jesus, I’ve never gravitated to the images depicted in much of our Western Culture’s art and literature regarding Jesus, as I just didn’t think it a true likeness. I knew he didn’t look like me– as he grew up in an entirely different area of the planet that does not have many light haired, blue eyed folks running about. I wanted to see Jesus for who is was, not some stylized image.

And so it was when I first saw this image—I was truly taken by this image. The question of whether or not I was glancing at the closest image of the man who has had the greatest impact on humankind–let alone my life, resonated in my head.

This particular image is considered to be the benchmark for all other artistic images of Jesus—that is until the expansion of the Christian Church in the West, meaning Europe and eventually the new continent of the Americas.

This Icon is located in St Catherine’s Monastery in the southern end of the Sinai Peninsula. St Catherine’s is located at the foot of the mountain, Mt Horeb, in which it is believed that God spoke to Moses in the form of the burning bush. It is also within these mountains that Moses later received the Ten Commandments. St. Catherine’s has been in existence as a practicing Monastery since the year 564—making St Catherine’s Monastery one of the oldest practicing monasteries known in all of Christendom.

It is troubling, given the current political crisis in Egypt, that St Catherine’s has had to shut its doors to pilgrims most recently as the safety of Christians, particularly in Egypt, is a perilous situation. I’m attaching a short nice informative link to a Youtube clip concerning a brief overview of St. Catherine’s as narrated by the monks:

There is also a most fascinating book based on the travels of two of the first Western woman, sisters from Scotland, who journeyed to St Catherine’s in the mid 1800’s. The Sisters of the Sinai by Jancie Soskice– Theirs was a journey of the discovery of ancient manuscripts. A most interesting true tale.

To the casual observer the life and worship at this most ancient of monasteries is something of another world and time—And so it is—yet it must be understood that the monks at St Catherine’s have been practicing these rituals since the year 500 with little to no change. . . so if anything, it is our worship today that is otherworldly and foreign. It is on my bucket list to one day travel to St. Catherine’s. The original burning bush is purported to be within the walls of the monastery as the bush in question actually does date to the time of Moses. The library is full of ancient texts as well as the largest collection of original ancient Icons all of which are housed within St. Catherine’s fortified walls. It is said that the aired conditions have helped to preserve these ancient and holy relics with many dating to the birth of the Christian faith.

The story goes that a cloth was found just at the inception of the monastery, buried within its walls, which was purported to have been part of the burial cloth of Jesus—not the Shroud but rather the face cloth that was customary of the time to be placed over the face of the deceased before being wrapped in the burial shroud. This cloth, or what the Eastern Church refers to as a napkin, Holy Napkin, is said to have, just as the shroud, held the image of a man—-of what the faithful claim to be that of Jesus. It was shortly after the discovery of this cloth that this particular image of Jesus, the Pantocrator of Sinai was created—making it the first known artistic image in existence based from something that is said to be the original image of Jesus—making this image to be the closest thing Christian followers would have to an exact image of Christ. Some stories even attribute the Icon’s creation to St Luke as he was considered an artist as well as a medical doctor.

But it is the facial features of this particular image that draws me from mere observer to that of one of awe and worshiper. The duality of God rests in this image–the Deity as well as the Human–two separate entities, yet united in one face. If an image of the face from the Shroud of Turin is laid over this image, the two faces are proportionate, lining up equally. If you split in half the face of this Icon’s image you will note that both halves of the face are vastly different, making this image asymmetrical rather than symmetrical– as we consider the human face to be–more equal than different.

One side of the face is that of a tender and loving man–that of pure-hearted love, that of Savior. The other side is a man harsh and stern–that of Judge of Mankind. I am reminded of the verse in Matthew where Jesus tells the disciples that at the time of Judgement He will separate the sheep form the goats. The sheep on the right having done the acts of kindness during their lives of clothing the naked, feeding the poor, visiting the sick and imprisoned will all see Glory. On the other hand are the goats, those to His left, who did not do the act of kindness to the strangers throughout their lives—they will be cast away to eternal damnation –the Savior vs Judge–the two compelling actions all within one individual.

I first saw this image, oddly enough, in a store specializing in Icons on a street corner in Rome. In the shadow of the great Latin Roman branch of Christianity, that of St Peter’s, exists an Eastern Orthodox store of Iconography. The irony was not lost on this little pilgrim. The store clerks spoke only Greek and no doubt Italian. There were reproductions of many Icons, but it was the Pantocrator of Sinai which truly spoke to me. It is said that one does not choose an Icon, but that the Icon chooses you. I brought home a copy that I eventually framed–later purchasing a mounted image from St Isaac’s Skete–a wonderful small orthodox Skete located in rural Wisconsin which offers a beautiful selection of mounted Icons as well as commissioned Icons by the trained monks. (http://www.skete.com )

And so it is, as I stand in my kitchen, just on the counter above the sink, sits a small collection of Icons. As I spend countless hours in the kitchen, I am afforded time to ponder these images—pondering the significance they play and have played in my life as well as the cascading significance they have played throughout the existence of humankind. I marvel and stand in awe of the duality of God. I am drawn to the face of both Grace and Judgement. At times I am compelled to look away, as I feel so unworthy, so less than, so dirty by the weight of my sins—and just when I feel defeated and worthless, less than— the face of Love draws me back–

Place me like a seal over your heart,
like a seal on your arm;
for love is as strong as death,
its jealousy unyielding as the grave.
It burns like blazing fire,
like a mighty flame.
Many waters cannot quench love;
rivers cannot sweep it away.
If one were to give
all the wealth of one’s house for love,
it would be utterly scorned
Song of Solomon 8:6-7