Why are Gandalf and Leonidas British? The Curious Case of British Accents in Historical and Fantasy Films

August 7, 2016August 7, 2016 / Nils / Leave a comment

There's been a lot of ink, both real and digital, spilled pondering this phenomenon, so it's unlikely my observations will add any real insights into this, but I would like to explore it a bit here. I recently watched the entire first series of MTV's (I know, I was surprised, too) television adaptation of Terry … Continue reading Why are Gandalf and Leonidas British? The Curious Case of British Accents in Historical and Fantasy Films

A Black Country Nativity (Michael Prescott, 1968)

December 26, 2015December 26, 2015 / Nils / Leave a comment

The following was originally published in the British Regional newspaper, The Express & Star, in 1968, by Michael Prescott, a Sunday School teacher who had moved to England's Black Country region, and was taken by the region's dialect. He had his students tell Bible stories in their own words, and recorded them as follows: There was … Continue reading A Black Country Nativity (Michael Prescott, 1968)

“Jesus gives the keys to St. Peter” (1481-1482) by Pietro Perugino (1448-1523). Sistine Chapel, Vatican City. Public Domain.

“Saint Pierre tenant de marcher sur les eaux” (1766) by Francois Boucher (1703-1770). Cathedrale Saint-Louis de Versailles. Public domain.

Woodcut illustration by Wenceslas Hollar (1607-1677) for Article VII of the Augsburg Confession. Public Domain.

“Nero’s Torches” (1876) by Henryk Siemiradzki (1843-1902). National Museum Kraków. Public Domain – US Expired.

“The Last Supper” (1886-1894), by James Tissot (1836-1902). Brooklyn Museum. Public Domain.

“Altarpiece of the Holy Sacrament” (1458) by Dieric Bouts (1420-1475). M-Museum, Louvain. Public Domain.

“The Last Supper” (1638) from the Orebygård Manor chapel altarpiece, by Henrik Werner. Nationalmuseet, Copenhagen. Photograph by Victor Valore, Creative Commons Attribution-Share Alike 3.0 Unported License.

“And There Was a Great Cry in Egypt” (1898) by Andrew Hacker (1858-1919). Private Collection. Public Domain.

“The Signs on the Door” (ca. 1896-1902), by James Jacques Joseph Tissot (1836-1902). The Jewish Museum, New York. Public Domain.

“The Triumph of Death” (ca. 1562), by Pieter Bruegel the Elder (ca. 1526/1530–1569); Madrid, Museo Del Prado. Public Domain.

“The Baptism of Jesus” (1485/1486) by Jean Colombe (1430-1493), from Très Riches Heures du Jean Duc de Berry, folio 109v. Condé Museum. Public Domain.

“The Baptism of Christ” (1803) by William Blake (1757-1827), Ashmolean Museum, Oxford. Public Domain.

“The Baptism of Jesus” (1546) by Lucas Cranach the Younger (1515-1586). Cleveland Museum of Art. Public Domain.

“Jesus’ Baptism” (2008) by Richard Buswell, Lynchburg Stained Glass. Good Shepherd Lutheran Church, Herndon, Virginia. Personal photograph.

“Triptych of Jan Des Trompes” (1505) by Gerard David (ca. 1450-1523). Groeningmuseum. Public Domain.

“Massacre of the Innocents” (1611), by Guido Reni (1575-1642). Pinoteca Nazionale Bologna. Public Domain.

“Murder of the Bethlehem Children,” Codex Egberti, Folio 15v (10th Century), Stadtbibliothek, Tier. The Yorck Project (2002). Public Domain.

“Massacre of the Innocents” (1565-1567), by Pieter Brueghel the Elder (ca. 1526-1569). Windsor Castle. Public Domain.

Resurrection Window in the Chancel of Our Savior’s Way Lutheran Church, Ashburn, Virginia. (https://www.oswlc.org/about-us/photo-albums/stained-glass-windows)

“Das Kirchenfenster” (1915), by Hans Baluschek (1870-1935). Private Collection. Public Domain.

The Pelican Window at Emmaus Lutheran Church, Dorsey, Illinois. (We have since determined that this is the Passion Window, but I still think it is a good image of the Christian life and I’m sticking to it!)

While an apocryphal story, as it goes, St. Nicholas of Myra was apparently fed up with Arius’ nonsense at the Council of Nicea and gave him a slap to the face. Image: Public Domain via www.aleteia.pl.

“Retable of archangel St. Michael” by Jaume Mateu (1382–1452). Museu de Belles Arts de València. Image by Joanbanjo, Creative Commons Attribution-Share Alike 4.0 International license.

“Archangel Michael Fights the Dragon and Rebel Angels” (1733) by Paul Troger, Abbey church, Altenburg, Lower Austria. Photo by Wolfgang Sauber, Creative Commons Attribution-Share Alike 4.0 International License.

“Archangel Michael” (ca. 1914-1915) by Viktor Mikhailovich Vasnetsov (1848-1926). Public domain (PD US Expired).

“Bilder zur Apokalypse” (1933) by Gebhard Fugel (1863-1939), published in Die Apokalypse oder die Offenbarung des hl. Johannes, übersetzt und erklät von Dr. Jakob Schäfer, päpstlicher Hausprälat, … mit Bildern von Prof. Gebhard Fugel, München, 1933, Verlag: Volksliturgisches Apostolat Klosterneuenburg.

“Archangel Michael” from the Nuremberg Chronicle, 15th Century

“The Exhortation to the Apostles/Recommandation aux apôtres” (1886-1896), by James Tissot (1836-1902). Brooklyn Museum. Public Domain.

“The Protestations of St. Peter/Protestations de Saint Pierre” (1886-1894), by James Tissot (1836-1902). Brooklyn Museum. Public Domain.

“The Martyrdom of the Apostles” (1435), from the St. Lawrence Altarpiece, Cologne, by Stefan Lochner (1410-1451). Städel Museum. Public domain. Left wing: Sts Peter, Paul, Andrew, John the Evangelist, James the Greater and Bartholomew. Right wing: Sts Thomas, Phillip, James the Less, Matthew, Simon and Judas, and Matthias.

“Jesus Tempted in the Wilderness” (1886-1894), by James Tissot (1836-1902). Brooklyn Museum. Public Domain.

“St. Felix presbyter Romanus” (1170-1200), by “Frater Rufillus,” from the Weißenauer Passionale, Cod. Bodmer 127, fol. 146v. Fondation Bodmer, Coligny Switzerland. Public Domain. Cropped.

“Pentecost” (1925), by Ludwig Glötzle (1847-1929), Saint Jodok Parish Church, Bezau, Vorarlberg. Photo by Wolfgang Sauber (May 27, 2012). This image is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported, 2.5 Generic, 2.0 Generic and 1.0 Generic license.

“Pentecost : The sending of the Holy Spirit upon the Apostles” from the Hortus Deliciarum (1180) by Herrad of Landsberg (1125-1195). Public Domain.

“Pentecost” from the Nuremberg Chronicle (1493), F 102r 1. Public Domain.

“Baptism” from the Reformation Altarpiece (1547), Stadt- und Pfarrkirche St. Marien zu Wittenberg, by the Cranachs. Public Domain. Cropped.

“Jesus Traveling (Jésus en voyage)” (1886-1896), by James Tissot (1836-1902). The Brooklyn Museum. Public Domain.

“Moses goes through the Red Sea. The Army of Pharaoh is Drowned” (10th Century). Paris psalter, BnF MS Grec 139, folio 419v. Public Domain.

“The Man at the Plough” (1886-1894), by James Tissot (1836-1902). The Brooklyn Museum. Public Domain

“Wolf reißt ein Lamm” (1666), by Christopher Paudiß (circa 1618 –1666/1667). Bavarian State Painting Collections. Public Domain.

“He Sent them out Two by Two/Il les envoya deux à deux” (1886-1896), by James Tissot (1836-1902). Brooklyn Museum. Public Domain.

“The Importunate Neighbor” (1895), by William Holman Hunt (1827-1910). National Gallery of Victoria. Public Domain.

“Pater Noster” ca. 1890s, by Fridolin Leiber (1853-1912), from Wolfgang Brückner, Elfenreigen – Hochzeitstraum. Die Öldruckfabrikation 1880–1940. (Köln: M. DuMont Schauberg, 1974). Public Domain.

“Christ teaching the disciples the Lord’s Prayer” (1550), by Hans Brosamer (1495-1554) from the 1550 Frankfurt Edition of the Small Catechism of Martin Luther. The British Museum. Public Domain.

“The Lord’s Prayer/Le Pater Noster” (1886-1894), by James Tissot (1836-1902). The Brooklyn Museum. Public Domain.

“Soldiers Plundering a Farm” (1620), by Sebastiaen Vrancx (1573–1647). Deutsches Historisches Museum, Berlin.

Martin Rinkart, 1586

“The Name of the Worthy,” Douce Apocalypse (1265-1270), Bodleian Ms180, p.011.

“The Lamb Enthroned,” Douce Apocalypse (1265-1270), Bodleian Ms180, p.012.

“Adoration of the Lamb,” Cattedrale di Anagni

“The Sealed Book of the Lamb,” Apocalypse Flamande – BNF Néerl3 f.6r, 15th Century.

Cattedrale di Anagni

“Four Horsemen of the Apocalypse” (1497-1498) from “The Revelation of St. John” by Albrecht Dürer (1471-1528). Houghton Library, Harvard.

“Hymn of Adoration to the Lamb” (1497-1498) from “The Revelation of St. John” by Albrecht Dürer (1471-1528). Houghton Library, Harvard.

“St. John before God and the Elders” (1497-1498) from “The Revelation of St. John” by Albrecht Dürer (1471-1528). Houghton Library, Harvard.

“The Incredulity of Saint Thomas” (1600-1641) by Adam van Noort (1562-1641). Saltram House, Plymouth.

“Doubting Thomas” (ca. 1620) by Giovanni Serodine (1594-1630). National Museum in Warsaw.

Sebastian Altar, “Right Inner Wing, Crucifixion” (1509-1516) at St. Florian’s Priory, by Albrecht Altdorfer (1480-1538). Sankt Florian, Austria.

“Christ and the Thief” (1893), by Nikolai Nikolaevich Ge (1831-1894)

“Christ on the Cross” (ca. 1745-1750), by Giovanni Battista Tiepolo (1696-1770). St. Louis Art Museum.

“Crocifissione” (ca. 1610), by Giovanni Battista Caracciolo (Battistello Caracciolo) (1578-1635). Museo di Capidomonte, Naples.

Whenever I think of the suffering of Christ, I am always drawn to this illustration from the sainted Rien Poortvliet’s He Was One of Us (Baker Academic, 1974). Poortvliet really captures the unimaginable depth of sorrow experienced by Christ, the existential anguish that you and I can’t even fathom. And he bore it all for us.

“What Our Lord Saw from the Cross” (1886-1894), by James Tissot (1836-1902). Brooklyn Museum.

“Entry of Christ into Jerusalem” (ca. 1150), by the Master of the Capella Palatina in Palermo.

“A Roman Triumph” (ca. 1630), by Peter Paul Rubens (1577-1640). National Gallery, London. Creative Commons.

“Вход Господень в Иерусалим” (2016), by Andrej Nikolaevich Mironov. Creative Commons.

“Entry into Jerusalem; Christ (played by Anton Lang) and John, with donkey; at the Oberammergau passion play, Bavaria, Germany, 1900.” Library of Congress.

“No. 26 Scenes from the Life of Christ: 10. Entry into Jerusalem” (1304-1306) by Giotto di Bondone (d. 1337), Scrovegni Chapel.

“Die klugen und die törichten Jungfrauen” (1813), by Peter von Cornelius (1783-1867). Museum Kunstpalast.

“The Wise Virgins” (1886-1894), by James Tissot (1836-1902). The Brooklyn Museum.

“Parable of the Wise and Foolish Virgins” (1899), by William John Wainwright (1855-1931). Birmingham Museum and Art Gallery.

“The Wise and Foolish Virgins” (1859), by Edward Burne-Jones (1833-1898).

Detail, “Parable of the Fig Tree” (1430). Koninklijke Bibliotheek, The Hague.

“The Daughter of Jairus (La fille de Zäire)” (1886-1896), by James Tissot (1836-1902). Brooklyn Museum.

“The Resurrection of Jairus’ Daughter” (1871), by Vasily Polenov (1844-1927). Scientific-research Museum of the Russian Academy of Arts.

“The Denial of St. Peter” (1607-1643?) by Adam de Coster (1586-1643). Private collection.

Azulejos depicting the Parable of the Barren Fig Tree in Cloister of Mosteiro de Santa Cruz, Coimbra. Photo by Joseolgon.

“The Tower of Siloam (Le tour de Siloë)” (1886-1896), by James Tissot (1836-1902). The Brooklyn Museum.

“The Vine Dresser and the Fig Tree (Le vigneron et le figuier)” (1886-1894), by James Tissot (1836-1902). The Brooklyn Museum.

An etching by Jan Luyken illustrating Luke 13:6-9 in the Bowyer Bible, Bolton, England.

“Job and his Tormentors” (1540-1550), either Jan Mandijn (ca. 1500-1560) or Pieter Huys (1519-1581). Musée de la Chartreuse de Douai.

“Job” (1880) by Leon Bonnat (1833-1922)

“Hiob – aus der Tiefe rufe ich zu DIR” (2015?) by Andreas Neumann-Nochten. Wikimedia Commons.

“Job and his Friends” (1869) by Ilya Repin (1844-1930), Государственный Русский музей.

“Pinkfeet, the Wild Geese of England” (1949) by Sir Peter Scott (1909-1989), Baron Fine Art Gallery.

“The Raising of Lazarus” (1545) by Augustin Hirschvogel (1503-1553)

“Temptation of Christ,” by Augustin Hirschvogel (1503-1553)

“Aller Augen warten auf Dich” (1866) by Adrian Ludwig Richter (1803-1884), from “Eine Auslese aus den Werken des Meisters, Herausgegeben vom Leipziger Lehrer-Verein,” (Verlag von Alphons Dürr, Leipzig 1905).

“Get Thee Behind Me, Satan” (1886-1896), by James Tissot (1836-1902). Brooklyn Museum.

“Burial at Sea” (1890) by Carl Sundt Hansen (1841-1907), National Museum, Norway.

Преображение (Flicker)

“The Transfiguration” (1516-1520) by Raphael (1483-1520). Pinacoteca Vaticana, Vatican City.

Printer’s Device of Johann vom Berg (d. 1563) and Ulrich Neuber, from Veit Dietrich’s (1506-1549) “Summaria vber die gantze Bibel.” From the Pitts Theology Library Digital Image Archive.

Resurrection of Christ (1555), from a book of sermons by Georg III, Fürst von Anhalt (1507-1553). Pitts Theology Library Digital Image Archive, Emory University.

“Crucifix in a Classroom at Concordia Seminary” (2017) by Nils Niemeier.

The dead waiting for the Resurrection. Apocalypse, Westminster c. 1250-1275 (Bodleian Library, MS. Douce 180, fol. 40v). From Discarding Images.

“The Incredulity of Saint Thomas” (1600) by Caravaggio (1571-1610), Sanssouci Picture Gallery.

The only known portrait of Patrick Hamilton, painted by John Scougal (1645-1730).

“The Triumph of Christianity over Paganism” (1868?) by Gustave Doré (1832-1883), The Joey and Tobey Tanenbaum Collection, Art Gallery of Hamilton, Ontario.

“The Woman with an Issue of Blood” (1886-1894) by James Tissot (1836-1902), Brooklyn Museum.

Illuminated page from the Waldburg Prayerbook, WLB Stuttgart, Cod. brev. 12, fol. 33v, 1486.

St. John the Baptist, Cretan, 17th Century

“John the Baptist’ from the Isenheim Altarpiece, ca. 1515, by Matthias Grünewald (d. 1528), Unterlinden Museum.

“Cry of prophet Jeremiah on the Ruins of Jerusalem,” (1870) by Ilya Repin (1844-1930), Tretyakov Gallery.

“Jeremia op de puinhopen van Jeruzalem” (1844), by Horace Vermet (1789-1863), Amsterdam Museum.

“The Baroque painting depicting the present patron saint of the church, St. John the Baptist, is in the sanctuary of the Church of the Cherkess. His painter is unknown.” Wikimedia Foundation.

“Isaiah’s Vision” from Luther’s Bible, 1534 (Lucas Cranach)

“The Miraculous Draught of Fishes” (1515), by Raphael (1483-1520), Victoria and Albert Museum.

“Disputation of the Holy Sacrament” (1509-1510) by Raphael (1483-1520), Vatican Museums

“The Miracle at Cana” (1887), by Vladimir E. Makovsky (1846-1920), Vitebsk Regional Museum of Local Lore, Russia

“The Wedding at Cana” (1870), by Carl Bloch (1834-1890), Det Nationalhistoriske Museum på Frederiksborg Slott, Danmark

“The Wedding at Cana: Jesus Blesses the Water” (1641-1660), by Jan Cossiers (1600-1671), Saint Waldetrudis Church, Herentals, Belgium

“Toppling of the Pagan Idols (The Flight into Egypt): Isaiah 19:1, Pseudo-Matthew 22-23” (1423) by the Bedford Master

“Die heiligen drei Könige,” Piotr Stachiewicz (1858-1938), in Die Kunst für alle: Malerei, Plastik, Graphik, Architektur, 24 (1908-1909), Universitätsbibliothek Heidelberg.

“The Journey of the Magi” (1894), by James Tissot (1836-1902), Minneapolis Museum of Art

“Adoration of the Shepherds,” Matthias Stomer (1632)

“St. John the Baptist in Prison Receives Christ’s Answer,” Samuel van Hoogstraten (1627-1678)

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“Dawn: Luther at Erfurt” (1861), by Joseph Noel Paton (1821-1901). National Galleries of Scotland. Public Domain.

Martin Luther, by Lucas Cranach the Younger, 1551 (Bamberg) Printed at Wittenberg by Georg Formschneyder

Melanchthon, by Lucas Cranach the Younger

“St. John Chrysostom preaching before the Empress Eudoxia,” Jean-Paul Laurens (1838-1921)

Paul Gerhardt (1607-1676)

“St. Paul Writing His Epistles” (ca. 1618-1620), by Valentin de Boulogne (1591-1632). Museum of Fine Arts, Houston. Public Domain.

“Martin Luther in Red,” Diego Lasansky

“Rev. Justus Henry Christian Helmuth” (ca. 1795) by John Eckstein, (1736 – 1817). National Portrait Gallery, Smithsonian Institution. Public Domain.

“Crucifixion of St. Peter” (ca. 1600) by Caravaggio (1571-1610). Santa Maria del Popolo, Rome. Public Domain.

“Das Kirchenfenster” (1915) by Hans Baluschek (1870-1935). Public Domain.

“He who…and let him take up his cross and follow behind me.”

“The Golden Calf” (pre-1903) by James Tissot (1836-1902). Public Domain.

“Rétire-toi, Satan” (ca. 1886-1894) by James Tissot (1836-1902). The Brooklyn Museum. PD-US

“The Annunciation” (1434-1436) by Jan van Eyck (ca. 1390-1441). National Gallery of Art, Washington, DC. Public Domain.

“The Annunciation” (1898) by Henry Ossawa Tanner (1859-1937). The Philadelphia Museum of Art. Public Domain.

“The Annunciation” (1914) by John William Waterhouse (1849-1917). Private Collection. Public Domain (PD-US).

“The Annunciation” (1887) by George Hitchcock (1850-1913). The Art Institute of Chicago. Public Domain (PD-US).

“Simeon’s Song of Praise” (1631) by Rembrandt van Rijn (1606-1669). Mauritshuis. Public Domain.

“St. Simeon with the Christ Child” (2014) by Andrey N. Mironov. Creative Commons Attribution-Share Alike 4.0 International license.

“Heilige Nacht” (1911) by Fritz von Uhde (1848-1911). Public Domain.

“The Adoration of the Shepherds” (ca. 1605-1610) by El Greco (1541-1614). The Metropolitan Museum of Art. Public Domain.

The author’s own stab at copying the Nativity scene depicted in the Hortus Deliciarum (ca. 1180).

“Jesus and the Samaritan Leper.” Stained glass window in St Andrew’s parish church, Buckland, Hertfordshire. Photo by John Salmon, 2006. John Salmon / St Andrew, Buckland, Herts – Window / CC BY-SA 2.0.

“The Hidden Treasure” (1886-1896) by James Tissot (1836-1902). The Brooklyn Museum. Public Domain.

“Christus und die Aussätzigen” (ca. 1920) by Gebhard Fugel (1863-1939). Diözesanmuseum Freising, Public Domain.

“Freedom from Want” (1943) by Norman Rockwell (1894-1978). Norman Rockwell Museum. Public Domain.

“The Parable of the Talents” after Eugene Burnand in ‘La Revue De L’Art – Ancien et Moderne’, Vol. XXIV (July-December 1908).

“The Parable of the Talents” (2013) by Andrej Nikolaevich Mironov. Ryazan, Russia. Creative Commons Attribution-Share Alike 4.0 International license.

“The Parable of the Talents” (1878) by John S. C. Abbott and Jacob Abbott. Public Domain.

“Jesus Teaching the Beatitudes” (ca. 1886-1896) by James Tissot (1836-1902). The Brooklyn Museum. Public Domain.

“The Beatitudes” (pre-18th Century). Russian. Public Domain.

“Death of King Gustav II Adolf of Sweden at the Battle of Lützen,” (1855) by Carl Wahlbom (1810-1858). Nationalmuseum, Stockholm, Sweden. Image by Dr. Osama Shukir Muhammed Amin, Creative Commons Attribution-Share Alike 4.0 International license.

“Celebrating Communion in a Swedish Parish Church” (1856), by Bengt Nordenberg (1822-1902). National Gallery, Oslo. Public Domain; Photo license: Free non-commercial use (CC-BY-NC).

“Gustav II. Adolf in der Schlacht bei Lützen am 16. November 1632” (17th C.) by Pieter Meulener (1602-1654). Public Domain.

“The Parable of the Great Banquet” (ca. 1525) by the Brunswick Monogrammist (ca. 1525-1545). National Museum in Warsaw, Poland. Public Domain (PD-US).

“Parable of the Invitation to the Wedding” (ca. 1636), by Bernardo Strozzi (1581-1644). Academia Ligustica di Belle Arti, Genoa. Public Domain.

“The Adoration of the Mystical Lamb” from the Ghent Altarpiece (ca. 1426-1432), by Hubert van Eyck (1366-1426) and Jan van Eyck (ca. 1390-1441). St. Bavo Cathedral, Ghent, Belgium. Public Domain.

“Saint Paul” (1886-1894) by James Tissot (1836-1902). The Brooklyn Museum. Public Domain.

“Paul in Prison” (1627) by Rembrandt van Rijn (1606-1669). Staatsgalerie, Stuttgart. PD-US. Public Domain.

“The Parable of the Vineyard” (11th Century) from the Codex Aureus Epternacensis (f76f). Public Domain.

“Martin Luther in his Deathbed” (before 1600), School of Lucas Cranach the Younger (1515-1586). Deutsches Historisches Museum, Berlin. Photographed by Wolfgang Sauber. Creative Commons Attribution-Share Alike 3.0 License.

“A Beggar” (1670-1729), after Georges de La Tour (1593-1652). Philipps House, National Trust, UK. Public Domain.

“The Harrowing of Hell” (16th C.) by Markos Bathas (1498-1578). PD-US. Public Domain.

“Joseph Distributing the Harvest” (ca. 1670-1611) by Nicolas van Houy (d. 1611). Netherlands Institute for Art History. Public Domain (PD-US).

“Joseph Makes Himself Known to His Brothers” (1896-1902), by James Tissot (1836-1902). The Jewish Museum, New York. Public Domain.

“Joseph offenbart sich seinen Brüdern in Ägypten” (17th Century), Anonymous Flemish. Public Domain.

“Joseph Overseer of Pharaoh’s Granaries” (1874), by Lawrence Alma-Tadema (1836-1912). Dahesh Museum of Art, New York. Public Domain.

Anonymous, “The Good Shepherd.” National Archives and Records Administration, College Park, Maryland. Public Domain.

“The Stormy Blast” (1898) by Joseph Farquharson (1846-1935). Wikiart. Public Domain.

Woodcut of Christ carrying a lamb (1527), by Sebald Beham, from Martin Luther’s Prayer Book. British Museum. Public Domain.

“The Good Shepherd” (1886-1894) by James Tissot (1836-1902). The Brooklyn Museum. Public Domain.

“Altarpiece of the Holy Sacrament” (1458) by Dieric Bouts (1420-1475). M-Museum, Louvain. Public Domain.

“The Sermon on the Mount” (ca. 1879-1880), altarpiece in the Sankt Matthaeus Kirke, Vesterbro, Copenhagen, by Henrik Olrik (1830-1890). Public Domain.

“The Temptation of Christ” (date unknown) by Ilya Repin (1844-1930). Artist’s Estate. Bukowski’s. Public Domain.

Stained Glass Window of St. Patrick of Ireland, Immaculate Conception Catholic Church (Port Clinton, Ohio). Photo by Nheyob (2016). Creative Commons Share-Alike 4.0 International License.

“Isaiah 6:1-7” (2015) by Full of Eyes

“Isaiah 6:6” (2003) by Full of Eyes

“Babushka” (2020) by Myra Niemeier.

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Meditationes Sacrae

A blog concerning sermons, theology, faith, the humanities, and Interesting Things

dialects

Why are Gandalf and Leonidas British? The Curious Case of British Accents in Historical and Fantasy Films

A Black Country Nativity (Michael Prescott, 1968)