42 “Here is my servant, whom I uphold, my chosen one in whom I delight; I will put my Spirit on him, and he will bring justice to the nations. 2 He will not shout or cry out, or raise his voice in the streets. 3 A bruised reed he will not break, and a smouldering wick he will not snuff out. In faithfulness he will bring forth justice; 4 he will not falter or be discouraged till he establishes justice on earth. In his teaching the islands will put their hope.”
5 This is what God the Lord says— the Creator of the heavens, who stretches them out, who spreads out the earth with all that springs from it, who gives breath to its people, and life to those who walk on it: 6 “I, the Lord, have called you in righteousness; I will take hold of your hand. I will keep you and will make you to be a covenant for the people and a light for the Gentiles, 7 to open eyes that are blind, to free captives from prison and to release from the dungeon those who sit in darkness.
8 “I am the Lord; that is my name! I will not yield my glory to another or my praise to idols. 9 See, the former things have taken place, and new things I declare; before they spring into being I announce them to you.”
Hold Thou my hand; so weak I am, and helpless,
I dare not take one step without Thy aid;
Hold Thou my hand; for then, O loving Saviour,
No dread of ill shall make my soul afraid.
Hold Thou my hand, and closer, closer draw me
To Thy dear self-my hope, my joy, my all;
Hold Thou my hand, lest haply I should wander,
And, missing Thee, my trembling feet should fall.
Hold Thou my hand; the way is dark before me
Without the sunlight of Thy face divine;
But when by faith I catch its radiant glory,
What heights of joy, what rapturous songs are mine!
Hold Thou my hand, that when I reach the margin
Of that lone river Thou didst cross for me,
A heav’nly light may flash along its waters,
And every wave like crystal bright shall be.
1 That which was from the beginning, which we have heard, which we have seen with our eyes, which we have looked at and our hands have touched—this we proclaim concerning the Word of life.2 The life appeared; we have seen it and testify to it, and we proclaim to you the eternal life, which was with the Father and has appeared to us.3 We proclaim to you what we have seen and heard, so that you also may have fellowship with us. And our fellowship is with the Father and with his Son, Jesus Christ.4 We write this to make our[a] joy complete.
When reading this verse of scripture and title I am reminded of the hymn I learnt as a child.
Tell me the stories of Jesus I love to hear;
Things I would ask Him to tell me if He were here;
Scenes by the wayside, tales of the sea,
Stories of Jesus, tell them to me.
First let me hear how the children stood round His knee,
And I shall fancy His blessing resting on me;
Words full of kindness, deeds full of grace,
All in the love light of Jesus’ face.
Tell me, in accents of wonder, how rolled the sea,
Tossing the boat in a tempest on Galilee;
And how the Maker, ready and kind,
Chided the billows, and hushed the wind.
Into the city I’d follow the children’s band,
Waving a branch of the palm tree high in my hand;
One of His heralds, yes, I would sing
Loudest hosannas, “Jesus is King!”
Show me that scene in the garden, of bitter pain;
Show me the cross where my Savior for me was slain;
Sad ones or bright ones, so that they be
Stories of Jesus—tell them to me.
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 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.
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.
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.
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.
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.
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.
1 How long, Lord? Will you forget me forever? How long will you hide your face from me? 2 How long must I wrestle with my thoughts and day after day have sorrow in my heart? How long will my enemy triumph over me?
3 Look on me and answer, Lord my God. Give light to my eyes, or I will sleep in death, 4 and my enemy will say, “I have overcome him,” and my foes will rejoice when I fall.
5 But I trust in your unfailing love; my heart rejoices in your salvation. 6 I will sing the Lord’s praise, for he has been good to me.
60 On hearing it, many of his disciples said, “This is a hard teaching. Who can accept it?”
61 Aware that his disciples were grumbling about this, Jesus said to them, “Does this offend you?62 Then what if you see the Son of Man ascend to where he was before!63 The Spirit gives life; the flesh counts for nothing. The words I have spoken to you—they are full of the Spirit[e]and life.64 Yet there are some of you who do not believe.” For Jesus had known from the beginning which of them did not believe and who would betray him.65 He went on to say, “This is why I told you that no one can come to me unless the Father has enabled them.”
66 From this time many of his disciples turned back and no longer followed him.
67 “You do not want to leave too, do you?” Jesus asked the Twelve.
68 Simon Peter answered him, “Lord, to whom shall we go? You have the words of eternal life.69 We have come to believe and to know that you are the Holy One of God.”
70 Then Jesus replied, “Have I not chosen you, the Twelve? Yet one of you is a devil!”71 (He meant Judas, the son of Simon Iscariot, who, though one of the Twelve, was later to betray him.)
Sing them over again to me,
Wonderful words of life,
Let me more of their beauty see,
Wonderful words of life;
Words of life and beauty
Teach me faith and duty.
Beautiful words, wonderful words,
Wonderful words of life;
Beautiful words, wonderful words,
Wonderful words of life.
Christ, the blessed One, gives to all
Wonderful words of life;
Sinner, list to the loving call,
Wonderful words of life;
All so freely given,
Wooing us to heaven.
Sweetly echo the Saviour’s call,
Wonderful words of life;
Offer pardon and peace to all,
Wonderful words of life;
Jesus, only Saviour,
Saves and keeps forever.
13A cheerful heart brings a smile to your face; a sad heart makes it hard to get through the day.
14An intelligent person is always eager to take in more truth; fools feed on fast-food fads and fancies.
15A miserable heart means a miserable life; a cheerful heart fills the day with song.
16A simple life in the Fear-of-God is better than a rich life with a ton of headaches.
17Better a bread crust shared in love than a slab of prime rib served in hate.
18Hot tempers start fights; a calm, cool spirit keeps the peace.
19The path of lazy people is overgrown with briers; the diligent walk down a smooth road.
20Intelligent children make their parents proud; lazy students embarrass their parents.
21The empty-headed treat life as a plaything; the perceptive grasp its meaning and make a go of it.
22Refuse good advice and watch your plans fail; take good counsel and watch them succeed.
23Congenial conversation – what a pleasure! The right word at the right time – beautiful!
I don’t suppose I’ll have to tell anyone reading this that it take more facial muscles to frown than to smile. Don’t you think it’s a lot better to feel happy than down right miserable, I do! I believe God would have us being happy than sad. I also believe that because we know Christ as our Saviour we are joyful and it is our duty as Christians to go out into the world and reach out to those who don’t know Christ as their saviour.
2 Therefore if you have any encouragement from being united with Christ, if any comfort from his love, if any common sharing in the Spirit, if any tenderness and compassion, 2 then make my joy complete by being like-minded, having the same love, being one in spirit and of one mind. 3 Do nothing out of selfish ambition or vain conceit. Rather, in humility value others above yourselves, 4 not looking to your own interests but each of you to the interests of the others.
5 In your relationships with one another, have the same mindset as Christ Jesus:
6 Who, being in very nature[a] God, did not consider equality with God something to be used to his own advantage; 7 rather, he made himself nothing by taking the very nature[b] of a servant, being made in human likeness. 8 And being found in appearance as a man, he humbled himself by becoming obedient to death— even death on a cross!
9 Therefore God exalted him to the highest place and gave him the name that is above every name, 10 that at the name of Jesus every knee should bow, in heaven and on earth and under the earth, 11 and every tongue acknowledge that Jesus Christ is Lord, to the glory of God the Father.
On every hill our Saviour dies, And not on Calvary’s height alone, His sorrow darkens all our skies, His griefs for all our wrongs atone.
Present he is in all our woes, Upon a worldwide cross is hung, And with exceeding bitter throes, His world embracing heart is wrung.
In us invested is,
God cannot pass a suppliant by;
For heard of God's eternities
Our prayers repeat the Saviour's cry.
And for the sake of that dear name
With which all hope of good is given,
Our heavenly load of sin and shame
The Father clears and cries: Forgiven!
14 Keep reminding God’s people of these things. Warn them before God against quarreling about words; it is of no value, and only ruins those who listen. 15 Do your best to present yourself to God as one approved, a worker who does not need to be ashamed and who correctly handles the word of truth. 16 Avoid godless chatter, because those who indulge in it will become more and more ungodly. 17 Their teaching will spread like gangrene. Among them are Hymenaeus and Philetus, 18 who have departed from the truth. They say that the resurrection has already taken place, and they destroy the faith of some. 19 Nevertheless, God’s solid foundation stands firm, sealed with this inscription: “The Lord knows those who are his,” and, “Everyone who confesses the name of the Lord must turn away from wickedness.”
20 In a large house there are articles not only of gold and silver, but also of wood and clay; some are for special purposes and some for common use.21 Those who cleanse themselves from the latter will be instruments for special purposes, made holy, useful to the Master and prepared to do any good work.
22 Flee the evil desires of youth and pursue righteousness, faith, love and peace, along with those who call on the Lord out of a pure heart. 23 Don’t have anything to do with foolish and stupid arguments, because you know they produce quarrels. 24 And the Lord’s servant must not be quarrelsome but must be kind to everyone, able to teach, not resentful. 25 Opponents must be gently instructed, in the hope that God will grant them repentance leading them to a knowledge of the truth, 26 and that they will come to their senses and escape from the trap of the devil, who has taken them captive to do his will.
How I praise Thee, precious Savior, That Thy love laid hold of me; Thou hast saved and cleansed and filled me That I might Thy channel be.
Refrain: Channels only, blessed Master, But with all Thy wondrous pow’r Flowing through us, Thou canst use us Every day and every hour.
Just a channel full of blessing, To the thirsty hearts around, To tell out Thy full salvation, All Thy loving message sound.
Emptied that Thou shouldest fill me, A clean vessel in Thy hand; With no pow’r but as Thou givest Graciously with each command.
Witnessing Thy pow’r to save me, Setting free from self and sin; Thou who bought me to possess me, In Thy fullness, Lord, come in.
Jesus, fill now with Thy Spirit Hearts that full surrender know, That the streams of living water From our inner man may flow.
2 1-4 If you’ve gotten anything at all out of following Christ, if his love has made any difference in your life, if being in a community of the Spirit means anything to you, if you have a heart, if you care— then do me a favour: Agree with each other, love each other, be deep-spirited friends. Don’t push your way to the front; don’t sweet-talk your way to the top. Put yourself aside, and help others get ahead. Don’t be obsessed with getting your own advantage. Forget yourselves long enough to lend a helping hand.
5-8 Think of yourselves the way Christ Jesus thought of himself. He had equal status with God but didn’t think so much of himself that he had to cling to the advantages of that status no matter what. Not at all. When the time came, he set aside the privileges of deity and took on the status of a slave, became human!Having become human, he stayed human. It was an incredibly humbling process. He didn’t claim special privileges. Instead, he lived a selfless, obedient life and then died a selfless, obedient death—and the worst kind of death at that—a crucifixion.
9-11 Because of that obedience, God lifted him high and honoured him far beyond anyone or anything, ever, so that all created beings in heaven and on earth—even those long ago dead and buried—will bow in worship before this Jesus Christ, and call out in praise that he is the Master of all, to the glorious honour of God the Father.
I have many songs in The Salvation Army songbook that I like, some a little bit more than others. The one in the video has to be one of my favourites because it’s a song of testimony.
The verses in the video are out order from the songbook below plus I think there are additional verses. Hope you enjoy never the less.
Verse 1 There is a name I love to hear, I love to sing its worth; It sounds like music in mine ear, The sweetest name on earth. Chorus O how I love the Saviour’s name! The sweetest name on earth. Verse 2 It tells me of a Saviour’s love, Who gave his life for me, That I, and all who come to him, From sin may be set free. Verse 3 Jesus, the name I love so well, The name I love to hear; No saint on earth its worth can tell, No heart conceive how dear. Verse 4 In Heaven with all the blood-bought throng, From sin and sorrow free, I’ll sing the new eternal song Of Jesus’ love to me.
2 Is there any encouragement from belonging to Christ? Any comfort from his love? Any fellowship together in the Spirit? Are your hearts tender and compassionate? 2 Then make me truly happy by agreeing wholeheartedly with each other, loving one another, and working together with one mind and purpose.
3 Don’t be selfish; don’t try to impress others. Be humble, thinking of others as better than yourselves. 4 Don’t look out only for your own interests, but take an interest in others, too.
5 You must have the same attitude that Christ Jesus had.
6 Though he was God,[a] he did not think of equality with God as something to cling to. 7 Instead, he gave up his divine privileges[b]; he took the humble position of a slave[c] and was born as a human being. When he appeared in human form,[d] 8 he humbled himself in obedience to God and died a criminal’s death on a cross.
9 Therefore, God elevated him to the place of highest honor and gave him the name above all other names, 10 that at the name of Jesus every knee should bow, in heaven and on earth and under the earth, 11 and every tongue declare that Jesus Christ is Lord, to the glory of God the Father.
“Jesus, Jesus, Jesus”
Jesus Jesus Jesus, there’s just something about that name. Master, Saviour, Jesus, like the fragrance after the rain Jesus, Jesus, Jesus, let all heaven and earth proclaim Kings and kingdoms will pass away But there’s something about that Name!