Lamb of Calvary

Hebrews 9 New International Version 

The Blood of Christ

11 But when Christ came as high priest of the good things that are now already here,[a] he went through the greater and more perfect tabernacle that is not made with human hands, that is to say, is not a part of this creation. 12 He did not enter by means of the blood of goats and calves; but he entered the Most Holy Place once for all by his own blood, thus obtaining[b] eternal redemption. 13 The blood of goats and bulls and the ashes of a heifer sprinkled on those who are ceremonially unclean sanctify them so that they are outwardly clean. 14 How much more, then, will the blood of Christ, who through the eternal Spirit offered himself unblemished to God, cleanse our consciences from acts that lead to death,[c] so that we may serve the living God!

15 For this reason Christ is the mediator of a new covenant, that those who are called may receive the promised eternal inheritance—now that he has died as a ransom to set them free from the sins committed under the first covenant.

16 In the case of a will,[d] it is necessary to prove the death of the one who made it, 17 because a will is in force only when somebody has died; it never takes effect while the one who made it is living. 18 This is why even the first covenant was not put into effect without blood. 19 When Moses had proclaimed every command of the law to all the people, he took the blood of calves, together with water, scarlet wool and branches of hyssop, and sprinkled the scroll and all the people. 20 He said, “This is the blood of the covenant, which God has commanded you to keep.”[e] 21 In the same way, he sprinkled with the blood both the tabernacle and everything used in its ceremonies. 22 In fact, the law requires that nearly everything be cleansed with blood, and without the shedding of blood there is no forgiveness.

23 It was necessary, then, for the copies of the heavenly things to be purified with these sacrifices, but the heavenly things themselves with better sacrifices than these. 24 For Christ did not enter a sanctuary made with human hands that was only a copy of the true one; he entered heaven itself, now to appear for us in God’s presence. 25 Nor did he enter heaven to offer himself again and again, the way the high priest enters the Most Holy Place every year with blood that is not his own. 26 Otherwise Christ would have had to suffer many times since the creation of the world. But he has appeared once for all at the culmination of the ages to do away with sin by the sacrifice of himself. 27 Just as people are destined to die once, and after that to face judgment, 28 so Christ was sacrificed once to take away the sins of many; and he will appear a second time, not to bear sin, but to bring salvation to those who are waiting for him.


Luke 11:1-13 New International Version 

Jesus’ Teaching on Prayer

11 One day Jesus was praying in a certain place. When he finished, one of his disciples said to him, “Lord, teach us to pray, just as John taught his disciples.”

He said to them, “When you pray, say:

hallowed be your name,
your kingdom come.[b]
Give us each day our daily bread.
Forgive us our sins,
    for we also forgive everyone who sins against us.[c]
And lead us not into temptation.[d]’”

Then Jesus said to them, “Suppose you have a friend, and you go to him atImage result for prayer midnight and say, ‘Friend, lend me three loaves of bread; a friend of mine on a journey has come to me, and I have no food to offer him.’ And suppose the one inside answers, ‘Don’t bother me. The door is already locked, and my children and I are in bed. I can’t get up and give you anything.’ I tell you, even though he will not get up and give you the bread because of friendship, yet because of your shameless audacity[e] he will surely get up and give you as much as you need.

“So I say to you: Ask and it will be given to you; seek and you will find; knock and the door will be opened to you. 10 For everyone who asks receives; the one who seeks finds; and to the one who knocks, the door will be opened.

11 “Which of you fathers, if your son asks for[f] a fish, will give him a snake instead? 12 Or if he asks for an egg, will give him a scorpion? 13 If you then, though you are evil, know how to give good gifts to your children, how much more will your Father in heaven give the Holy Spirit to those who ask him!”

Whilst yesterday’s blog was based on Holiness and discipleship I have based today’s blog on prayer using the simple prayer chorus ‘Teach me ho to love thee’

Teach me how to love thee,
Teach me how to pray,
Teach me how to serve thee
Better every day;
Teach me how to serve thee
Better every day.


John 19:15 – 27

 New International Version 

15 But they shouted, “Take him away! Take him away! Crucify him!”

“Shall I crucify your king?” Pilate asked.

“We have no king but Caesar,” the chief priests answered.

16 Finally Pilate handed him over to them to be crucified.

The Crucifixion of Jesus

So the soldiers took charge of Jesus. 17 Carrying his own cross, he went out to the place of the Skull (which in Aramaic is called Golgotha).18 There they crucified him, and with him two others—one on each side and Jesus in the middle.

19 Pilate had a notice prepared and fastened to the cross. It read: Jesus of Nazareththe king of the Jews. 20 Many of the Jews read this sign, for the place where Jesus was crucified was near the city, and the sign was written in Aramaic, Latin and Greek. 21 The chief priests of the Jews protested to Pilate, “Do not write ‘The King of the Jews,’ but that this man claimed to be king of the Jews.”Image result for Calvary

22 Pilate answered, “What I have written, I have written.”

23 When the soldiers crucified Jesus, they took his clothes, dividing them into four shares, one for each of them, with the undergarment remaining. This garment was seamless, woven in one piece from top to bottom.

24 “Let’s not tear it,” they said to one another. “Let’s decide by lot who will get it.”

This happened that the scripture might be fulfilled that said,

“They divided my clothes among them
    and cast lots for my garment.”[a]

So this is what the soldiers did.

25 Near the cross of Jesus stood his mother, his mother’s sister, Mary the wife of Clopas, and Mary Magdalene. 26 When Jesus saw his mother there, and the disciple whom he loved standing nearby, he said to her, “Woman,[b] here is your son,” 27 and to the disciple, “Here is your mother.” From that time on, this disciple took her into his home.

On a hill far away stood an old rugged cross
The emblem of suffering and shame;
And I love that old cross where the dearest and best
For a world of lost sinners was slain

So I’ll cherish the old rugged cross
Till my trophies at last I lay down;
I will cling to the old rugged cross
And exchange it some day for a crown

O that old rugged cross, so despised by the world
Has a wondrous attraction for me;
For the dear Lamb of God left His glory above
To bear it to dark Calvary

In that old rugged cross, stained with blood so divine
A wondrous beauty I see
For ’twas on that old cross Jesus suffered and died
To pardon and sanctify me

To the old rugged cross I will ever be true;
Its shame and reproach gladly bear;
Then He’ll call me some day to my home far away
Where His glory forever I’ll share

No Turning Back

Image result for following jesus

Matthew 16:24-25 New International Version (NIV)

24 Then Jesus said to his disciples, “Whoever wants to be my disciple must deny themselves and take up their cross and follow me. 25 For whoever wants to save their life[a] will lose it, but whoever loses their life for me will find it.

A simple message this morning in this beautiful song written by General John Gowans I’ll not turn back

God’s Love

See the source image

John 3: 16

16 For God so loved the world that he gave his one and only Son, that whoever believes in him shall not perish but have eternal life.

One of my favourite praise song’s is ‘God’s Love to me is Wonderful’, mainly because it’s a good rousing tune and of course the words are so true as well.

God’s love to me is wonderful,
That he should deign to hear
The faintest whisper of my heart,
Wipe from mine eyes the tear;
And though I cannot comprehend
Such love, so great, so deep,
In his strong hands my soul I trust,
He will not fail to keep.
God’s love is wonderful,
God’s love is wonderful,
Wonderful that he should give his Son to die for me;
God’s love is wonderful!

God’s love to me is wonderful!
My very steps are planned;
When mists of doubt encompass me,
I hold my Father’s hand.
His love has banished every fear,
In freedom I rejoice,
And with my quickened ears I hear
The music of his voice.

God’s love to me is wonderful!
He lights the darkest way;
I now enjoy his fellowship,
‘Twill last through endless day.
My Father doth not ask that I
Great gifts on him bestow,
But only that I love him too,
And serve him here below.

Let us take the in the Lord by the hand because he has our every step planned and as long as we keep loving him our fellowship with him will be endless


Image result for God's grace

2 Corinthians 12:8-9 Three times I pleaded with the Lord about this, that it should leave me. But he said to me, “My grace is sufficient for you, for my power is made perfect in weakness.” Therefore I will boast all the more gladly of my weaknesses, so that the power of Christ may rest upon me.Often in our life’s journey we will feel weak and discouraged for some reason. Maybe someone has made us feel that way. It is then we bring to The Lord in prayer and as long as you are willing to follow him he will give you sufficient grace.


I ask you: “How many times will you pick me up,
When I keep on letting you down?
And each time I will fall short of Your glory,
How far will forgiveness abound?”
And You answer: ” My child, I love you.
And as long as you’re seeking My face,
You’ll walk in the power of My daily sufficient grace.”

Over a year ago we had a guest preacher who came and did our service and during the service she sang this song

Trinity Sunday

Matthew 28:16-20

16Then the eleven disciples went to Galilee, to the mountain where Jesus had told them to go. 17When they saw him, they worshiped him; but some doubted. 18Then Jesus came to them and said, “All authority in heaven and on earth has been given to me. 19Therefore go and make disciples of all nations, baptizing them in the name of the Father and of the Son and of the Holy Spirit, 20and teaching them to obey everything I have commanded you. And surely I am with you always, to the very end of the age.”See the source image

Prayer to the Holy Trinity
Glory be to the Father,
Who by His almighty power and love created me,
making me in the image and likeness of God.

Glory be to the Son,
Who by His Precious Blood delivered me from hell,
and opened for me the gates of heaven.

Glory be to the Holy Spirit,
Who has sanctified me in the sacrament of Baptism,
and continues to sanctify me
by the graces I receive daily from His bounty.

Glory be to the Three adorable Persons of the Holy Trinity,
now and forever.

Safe in His Arms

Isaiah 40:9-11 New International Version (NIV)

You who bring good news to Zion,
go up on a high mountain.
You who bring good news to Jerusalem,[a]
lift up your voice with a shout,
lift it up, do not be afraid;
say to the towns of Judah,
“Here is your God!”
10 See, the Sovereign Lord comes with power,
and he rules with a mighty arm.
See, his reward is with him,
and his recompense accompanies him.
11 He tends his flock like a shepherd:
He gathers the lambs in his arms
and carries them close to his heart;
he gently leads those that have young.

With the title of today’s blog there’s only one song I could think of and that was the old Fanny Crosby favourite.

  1. Safe in the arms of Jesus,
    Safe on His gentle breast;
    There by His love o’ershaded,
    Sweetly my soul shall rest.
    Hark! ’tis the voice of angels
    Borne in a song to me,
    Over the fields of glory,
    Over the jasper sea.

    • Refrain:
      Safe in the arms of Jesus,
      Safe on His gentle breast;
      There by His love o’ershaded,
      Sweetly my soul shall rest.
  2. Safe in the arms of Jesus,
    Safe from corroding care,
    Safe from the world’s temptations;
    Sin cannot harm me there.
    Free from the blight of sorrow,
    Free from my doubts and fears;
    Only a few more trials,
    Only a few more tears!
  3. Jesus, my heart’s dear Refuge,
    Jesus has died for me;
    Firm on the Rock of Ages
    Ever my trust shall be.
    Here let me wait with patience,
    Wait till the night is o’er;
    Wait till I see the morning
    Break on the golden shore.


Psalm 34:18-20 Good News Translation

18 The Lord is near to those who are discouraged;
    he saves those who have lost all hope.

19 Good people suffer many troubles,
    but the Lord saves them from them all;
20 the Lord preserves them completely;
    not one of their bones is broken.

Who am I, that the lord of all the earth
Would care to know my name
Would care to feel my hurt?
Who am I, that the bright and morning star
Would choose to light the way
For my ever wandering heart?
Not because of who I am
But because of what you’ve doneImage result for Discouraged
Not because of what I’ve done
But because of who you are
I am a flower quickly fading
Here today and gone tomorrow
A wave tossed in the ocean
A vapour in the wind
Still you hear me when I’m calling
Lord, you catch me when I’m falling
And you’ve told me who I am
I am yours
Who am I, that the eyes that see my sin
Would look on me with love
And watch me rise again?
Who am I, that the voice that calmed the sea
Would call out through the rain
And calm the storm in me?
Not because of who I am
But because of what you’ve done
Not because of what I’ve done
But because of who you are
I am a flower quickly fading
Here today and gone tomorrow
A wave tossed in the ocean
A vapour in the wind
Still you hear me when I’m calling
Lord, you catch me when I’m falling
And you’ve told me who I am
I am yours
Not because of who I am
But because of what you’ve done
Not because of what I’ve done
But because of who you are
I am a flower quickly fading
Here today and gone tomorrow
A wave tossed in the ocean
A vapour in the wind
Still you hear me when I’m calling
Lord, you catch me when I’m falling
And you’ve told me who I am
I am yours
I am yours
I am yours
Whom shall I fear, whom shall I fear?
‘Cause I am yours
I am yours

Biography of William Holman Hunt

Childhood, Early Education and Training

The child of humble working-class parents (his father earned his living as a Cheapside warehouse manager) William Holman Hunt (he changed his name from Hobman Hunt on the discovery of the fact that a clerk had misspelled his name on his baptism certificate) was raised as a devout Christian, dedicating his early childhood to reading the Bible in its finest detail. This being Victorian England, Hunt began his working life aged just 12 as an office clerk. It would take a further five years before his parents agreed, albeit reluctantly, to his enrolment at the Royal Academy art school (in 1844). Once there, Hunt made the acquaintance of John Everett Millais and, a little later on, the painter and poet Dante Gabriel Rossetti.

Hunt's portrait of a youthful Dante Gabriel Rossetti, executed in 1853.

Hunt had already made his mark having exhibited at Royal Manchester Institution in 1845, and at the Royal Academy and the British Institution a year later, before the three men formed the Pre-Raphaelite Brotherhood – at Millais’s modest townhouse on Gower Street in Bloomsbury, London – in 1848. The men had grown disenchanted by their experience at the Royal Academy, having taken collective issue with the seemingly entrenched codes of artistic convention; not least the current orthodoxy of working from dark to light. The Brotherhood aspired to a brighter, more dynamic style of painting, driven primarily by close attention to picture detail. Together, they rejected the scholarly conventions of painting in favor of an acutely observation-driven style of representation. Rossetti summarized the aims of the Brotherhood as follows: “1. To have genuine ideas to express; 2. to study Nature attentively, so as to know how to express them; 3. to sympathise with what is direct and serious and heartfelt in previous art, to the exclusion of what is conventional and self-parading and learned by rote; 4. and most indispensable of all, to produce thoroughly good pictures and statues”.

A key stimulus on the Brotherhood project was the critical writing of John Ruskin. Ruskin, author of the book(s) Modern Painters (1843), was a renowned polemicist, moralist, and artist who had, most famously perhaps, championed the seven (tone, color, space, skies, earth, water and vegetation) “truths of natural form” in the expressive landscape paintings of J.M.W. Turner. (Much later, in 1880, Hunt, who was by now well known, wrote to John Ruskin praising him for the influence he had exercised over Hunt’s own art. He explained to Ruskin how he had come to be possessed, not by Turner, but by the poetry of John Keats, and how he (Hunt), under Ruskin’s influence, had come to regard Keats at a benchmark for the material reality he sought in his painting.) Hunt duly invested in the painterly ideal of a spiritual truth that would resound in material objects. It was from Ruskin indeed that Hunt derived the principle that it was not only good to depict things truthfully, it was also morally right. Thus, whereas previously Hunt had pursued a detailed, materially descriptive style, now he comprehended the way that material reality was the stuff of divine creation, and therefore indivisible from a sacred reality.

The Brotherhood lasted only about five years. Of the three founders it was Hunt who remained most committed to the ideals of the Brotherhood (Millais took over the presidency of the Royal Academy while the “amoral” Rossetti used his art to explore the beauty of the female form). In 1950 Hunt sold A Converted British Family Sheltering a Christian Missionary from the Persecution of the Druids to one Thomas Combe. Combe became Hunt’s close friend and business adviser and two years later he sold Hunt’s The Hireling Shepherd to the City of Manchester Art Galleries. Shepherds was significant because it was Hunt’s first work to display his style of divine realism. Meanwhile, Hunt and Millais vacationed at a farm in Surrey in 1853 and it was here that the former produced his first masterpiece: The Light of the World.

Mature Period

Portrait of Hunt by Sir William Blake Richmond (1900)

A year later the artist left England for Egypt and the Holy Land. To mark his departure, Millais gifted his friend a signet ring. The ring, which Hunt wore for the rest of his life, would become an emblem of the men’s life-long friendship. Hunt’s expedition lasted two years during which time he visited the Great Sphinx of Giza and the Pyramids though he remarked later that “[t]heir only association that I value is that Joseph, Moses and Jesus must have looked upon them.” For his painting The Scapegoat (1854–56), one of his signature pieces, Hunt travelled sixty miles outside Jerusalem where he found a suitably arid, desolate place for the setting of his painting. As he described it in his memoirs (published in 1905 and 1906) his own journey seemed to parallel that of the scapegoat in the picture, with Hunt the artist emerging as the hero of his own narrative. Indeed, Hunt returned to England in February 1856 sporting a voluminous beard. He saw the beard (as illustrated in William Blake Richmond’s 1877 and 1900 portraits of the artist) as somehow prophetic and he was to present himself henceforward as an untamed artistic genius.

Hunt's portrait of his first wife Fanny Hunt née Waugh (1866-68)

In 1865 Hunt married Fanny Waugh. The couple soon embarked on a tour of the Middle East in 1866 and it was while in quarantine in Florence that Fanny gave birth to a son. Their joy was short-lived however as Fanny lost her life to miliary fever. In 1868, Hunt returned to Florence to work on a memorial to Fanny (which beautifies the city’s Protestant Cemetery to this day). Hunt journeyed to the Holy Land again in August 1869. This time his stay lasted five years, during which time he worked tirelessly on the detail for his painting The Shadow of Death. Hunt worked on the background to the picture while in Nazareth (“whence he could command a charming panorama of cultivated landscape and distant hills”, according to his biographer A.C. Gissing). Indeed, the Holy Land exercised a huge pull on Hunt’s romantic vision of the past, though by physically inhabiting the places he sought to represent through his art, Hunt was able to achieve the material accuracy he sought in his updated renderings of Biblical narratives.

Late Period

Hunt’s self-styled piety was to be demeaned when he married Fanny’s sister, Edith, in 1875. According to English law, it was illegal to marry the sister of one’s deceased wife (the ceremony was conducted overseas) the legal consensus being that the new marriage constituted a form of incest. The couple duly took leave in Jerusalem where Hunt began work on The Triumph of the Innocents (1870–1903). At home meanwhile the scandal had caused considerable disquiet, especially within the Waugh clan, who considered it a stain on the family’s proud history. Some fifty years on – perhaps as an act of familial ‘revenge’ – Evelyn Waugh, the novelist and great nephew of the Waugh sisters, published a monograph, not about Hunt, but rather on the artist’s erstwhile colleague Rossetti.

Julia Margaret Cameron's photograph of Hunt in eastern costume, taken in 1864.

Though Hunt had exhibited regularly at the Royal Academy between the 1840s and 1860s, he made a definitive break with the organization in the 1870s. His final involvement with the Academy was in 1874, when he exhibited a portrait of his patron Thomas Fairbairn. Intriguingly, in the exhibition catalogue for that year he gave a split address, suggesting dual residence between 10 The Terrace, Hammersmith, and Jerusalem. He was living in Jerusalem in fact when the 1874 exhibition took place. Thereafter, Hunt preferred to exhibit at the Grosvenor Gallery and the New Gallery, both of which were aligned with an eclectic milieu of painters that ranged from other Pre-Raphaelites to (what Hunt saw as vain and ‘foppish’) aesthetes like J.A.M. Whistler.

Despite his advancing years, Hunt remained actively involved with art world politics during the 1880s. For instance, in 1886, with George Clausen and Walter Crane, he signed a letter lambasting the Royal Academy for its restrictive exhibition practices, while in the same year, with Ford Madox Brown, he established the Arts and Crafts Exhibiting Society. Though not directly affiliated with the Arts and Crafts Movement, the Society’s intention was to facilitate the exhibition of “fine art” alongside a so-called “decorative art”, including furniture and designs for stained glass windows. Hunt himself had paid special attention to the framing of his works throughout his career, treating his frames as iconographical extensions of the pictures that they contained.

Hunt’s first career retrospective was held in London in 1886 and was complemented with a collection of articles on the Pre-Raphaelite Brotherhood in the Contemporary Review. Though future artistic undertakings were curtailed due to deteriorating eyesight and a serious asthma condition, Hunt visited the Middle East one last time in 1892. In 1905 he was awarded the Order of Merit and an honorary Doctorate of Civil Law by Oxford University. Following the publication of his memoirs in 1905-06, In 1907 his painting The Ship was purchased by a group of benefactors who presented the work to the Tate Gallery as a mark of respect, and to commemorate the artist’s eightieth birthday. Hunt died in London in 1910.

The Legacy of William Holman Hunt

In a fate that befell other Pre-Raphaelite painters, Hunt’s work fell from grace in the later decades of the nineteenth century. Though Hunt continued to work through this period, he had been long-since overtaken in the popular imagination by more youthful, frivolous, and less earnest forms of art. However, the dandyish aestheticism of J.A.M. Whistler – an artist who did so much to dent Hunt’s reputation – was largely a response to the Pre-Raphaelites. Hunt, and the Ruskinian milieu in which he worked, were in fact central to later developments in art, not least because artists like Whistler, if they were to make a name for themselves at all, had to reject what had gone before. As is so often the case with art, however, the division between Hunt and Whistler’s paintings was not so clear cut and in fact they merely define one another. Indeed, the two artists exhibited alongside each other on a number of occasions.

It was not until the early decades of the twentieth century however that Hunt started to excite the imagination of the new generation of painters. A retrospective held in 1906 and 1907, touring from London to Manchester, Liverpool and Glasgow, marked a revival of interest in his work. Certain works by painters like Harold Speed, such as in his 1905 portrait of the Arts and Crafts pioneer C.F.A. Voysey, suggest a debt of influence to Hunt. Other artists at this time, like Charles Ricketts and Charles Haslewood Shannon, (though their own preference was for Venetian painting and Tintoretto) seem to have absorbed Hunt’s approach to history too, specifically through their debt to a hallowed pre-Raphaelite style. Though Hunt had various defenders in the twentieth century (including, conversely, Evelyn Waugh who owned works by him) Hunt’s reputation would often languish due not least to the sweeping onset of modernism (in 1978, the Oxford Companion to Art stated in fact that “[m]ost of his works are now regarded as failures”). More recently, however, the ebb and flow of artistic taste has allowed for a critical revision of nineteenth-century British painting and in that context, Hunt emerges as one of its most revered sons.

Holmun Hunt also painted a picture of Jesus sanding outside a door knocking and I believe this can be seen in St Paul’s Cathedral, London.

Image result for jesus knocking at the door painting

O Jesus, thou art standing,
outside the fast closed door,
in lowly patience waiting
to pass the threshold o’er:
shame on us, Christian brothers,
his Name and sign who bear,
O shame, thrice shame upon us,
to keep him standing there!

O Jesus, thou art knocking;
and lo, that hand is scarred,
and thorns thy brow encircle,
and tears thy face have marred:
O love that passeth knowledge,
so patiently to wait!
O sin that hath no equal,
so fast to bar the gate!

O Jesus, thou art pleading
in accents meek and low,
“I died for you, my children,
and will you treat me so?”
O Lord, with shame and sorrow
we open now the door;
dear Savior, enter, enter,
and leave us never more.