If we were all thus affected, as the prophet was, surely each one would adopt the prophet’s language. Or if a comfortable hope in the Gospel prevented us from crying out, “Woe is me! for I am undone!” (Isa 6:5a), we should at least say, as the Hebrew word might be so rendered, “I am silenced, I am struck dumb!” I am overwhelmed with confusion and shame; for “I am a man of unclean lips, and I dwell in the midst of a people of unclean lips: for mine eyes have seen the King, the LORD of hosts” (Isa 6:5b). If we have a degree of this impression, we shall not be at leisure to perplex our selves concerning men or measures, the second causes, or immediate instruments of our calamities. The evil of sin, contrasted with the holiness and glory of God, will engross our thoughts. And we shall ascribe all the troubles we either feel or fear to our own sins, and the sins of those among whom we dwell.
Quick post about two artists I like:
Two years ago, at a Job Lots-type discount store, I found a trove of art postcards on sale. They were produced by Pomegranate in CA. I bought two unfolding pentych postcards by artists I did not recognize. That’s how I discovered Mati Klarwein and Cliff McReynolds.
One pentych postcard was the Saint John Pentych by Mati Klarwein. I read a lot into this painting; the desolate mediterranean view from within a cave and the fair damsel with Greek written all over her chest bring to mind Saint John on Patmos and the “woman clothed with the sun” of Revelation . Did the artist intend this?
The other postcard was Cliff McReynold’s La Jolla Pentych.
McReynolds output is far less, but I find it equally illuminating. I just learned that he did an album cover for Flora Purim. I can’t find all five frames of his pentych online, but here is a link to Now (available as a poster) and below you can see the central painting (Life):
Klarwein is better-known since he established himself as an album-cover illustrator in the 60’s and 70’s. You have probably seen his work on Santana and Miles Davis albums among others.
In this part of the Saint John Pentych below I found the perfect graphic
to match George Harrison’s epiphany at the end of It’s All Too Much .
I won’t go on about these two – just look at the links and the artist’s sites.