sanctuary itself the holy temple stood in the

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sanctuary itself, the holy temple, stood in the center and was reached by a

sanctuary itself, the holy temple, stood in the center and was reached by a flight of twelve steps. Its facade was of the same height and breadth, each being a 100 cubits; but the building in the rear was narrower by 40 cubits, for it was flanked by shoulders, as it were, extending 20 cubits on either side. The first gate was 70 cubits high and 25 broad; it had no doors, displaying unhampered the vast expanse of heaven; the entire face was covered with gold. . . As the sanctuary was two stories high, it appeared lower from within than from without and its golden doors were 55 cubits high and 16 broad. The gate opening into the building was, as I said, completely overlaid with gold, as was the whole wall surrounding it. Above it, moreover, were the golden grapevines from which hung grape clusters as tall as a man. In front of these hung a veil of equal length of Babylonian tapestry embroidered with blue, scarlet and purple and fine linen, wrought with marvelous craftsmanship. This mixture of materials was not chosen without mystic significance; it typified the universe; the scarlet denoted fire, the fine linen the earth, blue the air, and the purple the sea; the resemblance, in two cases, was one of color, and in that of the fine linen and purple, their origin, as the first comes from the earth and the second from the sea. Worked into this tapestry was the panorama of the heavens, except for the signs of the Zodiac.

 • “The purpose of…is not to argue again for what is the virtually

• “The purpose of…is not to argue again for what is the virtually unanimous verdict of modern textual scholarship, that the authentic text of Mark available to us ends at 16: 8, but rather to set out as simply and clearly as possible (which inevitably will mean some oversimplification) the data which have contributed to that consensus. ” • A. Textual Evidence • 1. The text ends at 16: 8 in the major fourth-century codices א and B and in a number of MSS of versions, notably the fourth-century Sinaitic Syriac. Clement of Alexandria and Origen do not appear to have known any text beyond v. 8, and Eusebius and Jerome both state that the traditional Longer Ending (vv. 9– 20) was not found in the majority of the Greek MSS available to them. The earliest form of the Eusebian canons (deriving from Ammonius, early third century) made no provision for readings in Mark beyond 16: 8. R. T. France, The Gospel of Mark : A Commentary on the Greek Text (Grand Rapids, Mich. : W. B. Eerdmans, 2002), 685.

The Trinity Masaccio (1401– 1428) 1425 -1428 fresco 667 × 317 cm (262. 6

The Trinity Masaccio (1401– 1428) 1425 -1428 fresco 667 × 317 cm (262. 6 × 124. 8 in) Santa Maria Novella, Florence, Italy

Christ of Saint John of the Cross Salvador Dalí 1951 Oil on canvas 205

Christ of Saint John of the Cross Salvador Dalí 1951 Oil on canvas 205 cm × 116 cm (80. 7 in × 45. 67 in) Kelvingrove Art Gallery and Museum, Glasgow

The Madonna of the Long Neck Parmigianino 1535 -40 Oil on wood 216 cm

The Madonna of the Long Neck Parmigianino 1535 -40 Oil on wood 216 cm × 132 cm (85 in × 52 in) Uffizi, Florence

Pietà Michelangelo Buonarroti 1499 Marble height 174 cm width at the base 195 cm

Pietà Michelangelo Buonarroti 1499 Marble height 174 cm width at the base 195 cm Basilica di San Pietro, Vatican