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Sagan in Rahway High School‘s 1951 yearbook
Sagan discusses FAITH when there is no evodence
Carl Sagan on Religion
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The Bible and Archaeology – Is the Bible from God? (Kyle Butt)
Biblical Archaeology is Silencing the critics! Significantly, even liberal theologians, secular academics, and critics generally cannot deny that archaeology has confirmed thebiblical record at many points. Rationalistic detractors of the Bible can attack it all day long, but they cannot dispute archaeological facts.
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Carl Sagan
Richard Dawkins on Carl Sagan, Einstein and Religion | A How To Academy …
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Francis Schaeffer the Founder of the L’Abri community
The Cosmos Is All That Is
Francis Schaeffer wrote in 1981 in CHRISTIAN MANIFESTO chapter 3 The Destruction of Faith and Freedom:
Then there was a shift into materialistic science based on a philosophic change to the materialistic concept of final reality. This shift was based on no addition to the facts known. It was a choice, in faith, to see things that way. No clearer expression of this could be given than Carl Sagan’s arrogant statement on public television–made without any scientific proof for the statement–to 140 million viewers: “The cosmos is all that is or ever was or ever was or ever will be.” He opened the series, COSMOS, with this essentially creedal declaration and went on to build every subsequent conclusion upon it.
How Should We Then Live | Season 1 | Episode 6 | The Scientific Age
Did Darwin Renounce Evolution on His Deathbed?
TUESDAY, AUGUST 01, 2006
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The story has circulated for decades. Charles Darwin, after a career of promoting evolution and naturalism, returned to the Christianity of his youth, renouncing on his deathbed the theory of evolution. The story appears to have been authored by a “Lady Hope,” and relates how she visited him near the end and received his testimony.
Evolutionists in general and his surviving family in particular have disputed the account. Those with him at the time insist there was no evident changing of mind. Indeed, in his autobiography written late in his life, Darwin fully supported evolution. He admitted the concept was distasteful to him and had brought him much dismay, but he still held it.
Lady Hope was real, the wife of Lord Hope. She was a fervent Christian and friend of Darwin’s wife, also a strong Christian who prayed for and witnessed to him all their married life, to no avail according to him. Nevertheless, many have researched the story, and all have concluded it is probably an “urban myth.”
In his later years Darwin did soften in his attitude toward Christianity. He even allowed a local church to hold their meetings on his property, and asked that his bedroom windows be opened so he could hear the hymns being sung. A Christian can only hope that the seeds planted earlier took root at the end, and that he did place his faith in Christ before he died.
A similar scenario took place more recently with the death of the great spokesman for evolution and atheism, Carl Sagan. He received strong witness of Christianity from many people; most notably ICR’s physics chairman Dr. Larry Vardiman. They corresponded for years, during which God’s plan of salvation and the evidence for creation were clearly discussed. Dr. Sagan fully understood the salvation message but specifically refused it. He said he wished he could believe, but was convinced evolution was true and there was no God. He contracted cancer and passed into eternity in 1996.
His wife, Ann Druyan, herself an avowed anti-Christian, takes a different tack, however. She takes great pains to insure that no one writes an “urban myth” about her husband. She reportedly organized a vigil at his bedside to make sure no Christian came near. No last-minute prayer, no final testimony was allowed.
Again, a Christian can only trust in the grace of our loving Lord and wonder if the seeds planted took root before it was too late. There is no joy for a Christian if anyone, even a lifelong opponent of the cross, slips into a Christless eternity.
FEATURED ARTIST IS Jan van Eyck
“[Van Eyck] showed people with all their strengths and weaknesses: dignified, but with their big noses and bad skin, their wrinkles and sleepy eyes”
Thomas Köster
Jan van Eyck – Portrait of a Man in a Turban – 1433
The foremost of all the Early Netherlandish painters, Jan van Eyck took pictorial realism to heights never seen before. Van Eyck transferred the precision and meticulousness of the illuminated manuscripts to oil painting, both large-scale painting (“Ghent Polyptych“) and small portraits (“Portrait of a Man in a Turban“). With his technical perfection and his remarkable use of perspective, Van Eyck was undoubtedly the greatest painter of his time.
Imagen: Jan van Eyck: Portrait of a Man (Self Portrait?). 1433. Oil on panel, 19 x 15.5 cm
Little is known of Jan van Eyck’s early life, although it seems clear that he was not the first painter in his family. In fact, we know that his brother Hubert van Eyck was an esteemed artist, and on the aforementioned Ghent Polyptych (known as “Adoration of the Mystic Lamb” or “Polyptych of the Mystic Lamb”) there is an inscription stating that “The painter Hubert van Eyck, greater than whom none was to be found, began this work and Jan, his brother -second in art…“. Whoever was the true author of this work, one of the summits not only of Flemish painting, but of universal art, the intervention of Jan van Eyck in it is beyond doubt.
Even before his intervention in the aforementioned polyptych, Jan van Eyck began painting in the field of miniatures, and it is believed that some of the most beautiful illustrations of the “Turin Book of Hours” (those usually identified as “Hand G” or “Master G”) were made by him. In any case, “whether it was [Van Eyck’s] or whether it was made years later by a miniaturist familiar with his painting,[we are] faced with one of those works in which the limits of Flemish art in the recreation of a luminous illusionist space based on a practice not supported by a rigid system of representation are revealed” (Joaquín Yarza, “Jan van Eyck”, 1993). The precision demanded by miniature painting is notable in later works by Van Eyck, such as the “Léal Souvenir” in the National Gallery in London or the “Madonna of Chancellor Rolin” in the Louvre. However, his most outstanding work is the portrait of Giovanni Arnolfini and his wife, known as “The Arnolfini Marriage” or “Arnolfini Portrait”, a supreme masterpiece that has provoked multiple debates among scholars and critics. This work was selected by theartwolf.com as one of the 50 masterpieces of universal painting.
Jan (and Hubert?) van Eyck: Ghent Polyptych (known as “Adoration of the Mystic Lamb” or “Polyptych of the Mystic Lamb”), 1432. Oil on panels, 350 cm × 223 cm. St Bavo’s Cathedral, Ghent. Jan van Eyck: “Portrait of Giovanni Arnolfini and his Wife”, known as “Arnolfini Portrait”, 1434. Oil on panel, 82 x 59.5 cm. London, National Gallery.
After this sensational work, Van Eyck painted two important religious scenes, the “Virgin of Chancellor Rolin” (1434), now in the Louvre Museum, in which he included “a realistic landscape that appears as the marvellous discovery of a visible world” (History of Art, Salvat Editores, Vol. V, 1981), and “Virgin and Child with Canon van der Paele“, the largest of all the works attributed exclusively to Jan van Eyck, and preserved today in the Groeningemuseum in Bruges. He died in June 1441, and was buried in the Church of St. Donacian in Bruges.
Few works undoubtedly attributed to Jan van Eyck have survived to the present day. There are, however, several copies of lost works by the artist, the most prominent being “Woman Bathing” (which, for all we know, may have been a work of comparable quality to the Arnolfini Portrait) and the “Madonna of Nicolas van Maelbeke”, which may have been his last work. Many scholars hope that some of these works may be rediscovered in the future, which would be one of the most important events for the study of old masters painting.
G. Fernández · theartwolf.com
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