43 Sentences With "celestial city" | Random Sentence Generator

But, unlike the stricken Christian, Van Dyk does not reach his Celestial City.

Bunyan's allegorical City of Destruction — and also, perhaps, the Celestial City that is its antithesis — is incarnated by modern Los Angeles.

Rumsfeld has written a kind of modern-day "Pilgrim's Progress" about a good and godly man who enters the Slough of Despond (Washington, D.C.), is tried and tempted, but ascends to Celestial City with his virtue intact.

In 1875 the McLoughlin Brothers of New York City published a similar game called The Games of the Pilgrim's Progress, where players began at the City of Destruction and passed abstract scenes such as The Cross and The Valley of Death before attaining final victory in The Celestial City.

A new township is under construction at Ravet.:: Celestial City ::. Celestialcity.in. Retrieved on 2011-05-17.

The Lord of the Celestial City orders the shining ones (angels) to take Ignorance to one of the byways of Hell and throw him in. Christian and Hopeful make it through the dangerous Enchanted Ground (a place where the air makes them sleepy and if they fall asleep, they never wake up) into the Land of Beulah, where they ready themselves to cross the dreaded River of Death on foot to Mount Zion and the Celestial City. Christian has a rough time of it because of his past sins wearing him down, but Hopeful helps him over, and they are welcomed into the Celestial City.

On the way, Christian and Hopeful meet a lad named Ignorance, who believes that he will be allowed into the Celestial City through his own good deeds rather than as a gift of God's grace. Christian and Hopeful meet up with him twice and try to persuade him to journey to the Celestial City in the right way. Ignorance persists in his own way that he thinks will lead him into Heaven. After getting over the River of Death on the ferry boat of Vain Hope without overcoming the hazards of wading across it, Ignorance appears before the gates of Celestial City without a passport, which he would have acquired had he gone into the King's Highway through the Wicket Gate.

Responding to the verification principle, John Hick used his parable of the Celestial City to describe his theory of eschatological verificationism. His parable is of two travellers, a theist and an atheist, together on a road. The theist believes that there is a Celestial City at the end of the road; the atheist believes that there is no such city. Hick's parable is an allegory of the Christian belief in an afterlife, which he argued can be verified upon death.

An imported object, not a native product, (Ezech., xxvii, 16); it is perhaps the third stone of the foundation of the celestial city (Apoc., xxi, 19). The ancient authors are not in accordance on the precise nature of the carbuncle stone.

"Zion Park et la cité céleste" ("Zion Park and the celestial city") The piano is treated as a solo instrument throughout the work, with the fourth and ninth movements being extended piano cadenzas, while the sixth movement "Appel interstellaire" is for horn alone.

In early 2014 K-tino stated that she has stopped doing obscene music and has now given her life to god. She is starting a church called Celestial City in the Gabonese capital. K-Tino's daughter, K-Wash, is also a bikutsi performer.

The Messenger ceremonially pierces Pilgrim's heart with an arrow "with the point sharpened with love". The Shepherds anoint Pilgrim. The Messenger directs Pilgrim on the path to the Celestial City, to which he must first cross the River of Death. The Shepherds pray for Pilgrim.

A Plan of the Road From the City of Destruction to the Celestial City, Adapted to The Pilgrim's Progress, by John Bunyan, 1821. The Second Part of The Pilgrim's Progress presents the pilgrimage of Christian's wife, Christiana; their sons; and the maiden, Mercy. They visit the same stopping places that Christian visited, with the addition of Gaius' Inn between the Valley of the Shadow of Death and Vanity Fair, but they take a longer time in order to accommodate marriage and childbirth for the four sons and their wives. The hero of the story is Greatheart, a servant of the Interpreter, who is the pilgrims' guide to the Celestial City.

The Celestial City is a 1929 British silent crime film directed by J. O. C. Orton and starring Norah Baring, Cecil Fearnley and Lewis Dayton. The film was made at Welwyn Studios by British Instructional Films, and based on the 1926 novel of the same title by Emma Orczy.

Basil Mitchell used a parable to show that faith can be logical, even if it seems unverifiable. John Hick used his parable of the Celestial City to propose his theory of eschatological verification, the view that if there is an afterlife, then religious statements will be verifiable after death.

The band were signed by the Pink Label, releasing two further singles "Red Sleeping Beauty" and "Frans Hals". The band had a track included on the NME C86 album ("Celestial City"). Their debut album I Am a Wallet was released in 1987. DJ John Peel featured the album in a BBC Radio 1 session.

The apparent implication is that; within the context of the League stories; the Celestial City Christian seeks and the Blazing World may in fact be one and the same. In Louisa May Alcott's Little Women, the protagonist Jo and her sisters read it at the outset of the novel, and try to follow the good example of Bunyan's Christian.

New developments include Sonigara Pearl, Celestial City, Shagun, Indra Prabha. Dehu road is becoming a popular location due to its proximity to Hinjewadi, Talegaon, Pimpri Chinchwad and Chakan Industrial areas, as well Mumbai Pune expressway. Once the Nigdi Dehu road expansion is completed Dehu Road to Pune city driving time was expected to require only 25 minutes.

Pilgrim approaches them and asks if he is on the path to the Celestial City. They reply yes, and after asking why he wishes to journey there, invite Pilgrim to rest with them momentarily. The voice of a bird sings praises to God. A Celestial Messenger appears and tells Pilgrim that "the Master" summons him that day.

Scene 3: The Pilgrim reaches the End of his Journey In darkness, a trumpet sounds in the distance. The scene brightens, and voices from Heaven welcome Pilgrim to the Celestial City, at the completion of his journey. Epilogue Back in Bedford Gaol, again to the strains of the 'York' psalm tune, Bunyan addresses the audience, holding out his book as an offering.

A Harvard Musical Association Commission, her String Quartet #1, was premiered by the Arditti Quartet, a Koussevitzky Foundation commission. Celestial City, which featured the dynamic young recording artist Janine Jansen with Spectrum Concerts Berlin at the Berlin Philharmoniker Kammermusiksaal, Fable and more recently High Wire Act, performed by Collage New Music at Harvard University,"Collage New Music website". Retrieved February 7, 2009.

Cotton grown in the LGA supplies the Yaru, tread and textile industries in Benin Republic. Other crops are pepper, maize, groundnuts, yams, vegetables, cocoa, cashew and teak. The LGA has 43 public primary schools and 6 secondary schools, and a number of private schools. Tourist attractions include Celestial City, center of the Celestial Church of Christ, Imeko, Odosuuru waterfalls, Mount Boomu, Afon and Jabata Forest.

A celestial chariot then takes Faithful to the Celestial City, martyrdom being a shortcut there. Hopeful, a resident of Vanity Fair, takes Faithful's place to be Christian's companion for the rest of the way. Christian and Hopeful then come to a mining hill called Lucre. Its owner named Demas offers them all the silver of the mine but Christian sees through Demas's trickery and they avoid the mine.

The house is associated with gardens that were designed by James Mellor, junior, and are known as Mellor's Gardens. They have a religious theme based on John Bunyan's The Pilgrim's Progress. A pathway takes the visitor through and past features included in the book, ending in a two-storey building on a ridge representing the Celestial City on Mount Zion. The gardens are designated at Grade II in the Register of Historic Parks and Gardens.

He did this by depicting schoolboys as Christian's companions on his pilgrimage and contextualises Bunyan's allegory perfectly. In the left-hand window Christian starts off on his journey carrying his "burden" on his back as he walks forward, leaving the "City of Destruction" for the "Celestial City", and face the temptations ahead. Schoolboys are depicted as his fellow pilgrims. In the right-hand window, Mr Valiant hands on the sword to one of the schoolboy pilgrims.

Scene 1: The Pilgrim meets Mister By-Ends The Woodcutter's Boy is chopping firewood at the edge of a forest when Pilgrim enters, asking how far there is to go to the Celestial City. The Boy replies "not far", and points out that one can see the Delectable Mountains on a clear day. The Boy then notices Mister and Madam By-Ends as they approach. Mister By-Ends announces that he has become a "gentleman of quality".

Malvina Longfellow, from a 1921 publication. She was in motion pictures beginning in 1917 with a role in The Will of the People. Her many film appearances include parts in Adam Bede (1918), The Romance of Lady Hamilton (1919), Calvary (1920), Moth and Rust (1921), Phroso (1922), The Wandering Jew (1923), The Indian Love Lyrics (1923), and The Celestial City (1929). German producer, Ernst Lubitsch, wanted her to make a movie about Lord Nelson in 1921.

Using the key and the Giant's weakness to sunlight, they escape. The Delectable Mountains form the next stage of Christian and Hopeful's journey, where the shepherds show them some of the wonders of the place also known as "Immanuel's Land". The pilgrims are shown sights that strengthen their faith and warn them against sinning, like the Hill Error or the Mountain Caution. On Mount Clear, they are able to see the Celestial City through the shepherd's "perspective glass", which serves as a telescope.

Oshoffa died on 10 September 1985 after being involved in a car accident where everyone in the car died. He was buried at Celestial City, Imeko. Oshoffa was the sole source of authority for the church and because of this, his death caused some problems of succession.Eglise du christianisme céleste/ Ediemou Blin Jacob: “Pourquoi j’ai tendu la main à Zagadou” , in French, Abidjan.net, accessed February 2010 After some confusion, Alexander Abiodun Adebayo Bada was appointed his successor by the church trustees.

In the background Hallward depicts the Holy City ("Celestial City") with myriad angels grouped about it, one blowing a trumpet. The "Holy City" window includes a fragment of glass from the ruined Cathedral at Ypres. The fragment was a donation from Sir Francis Lloyd of Rolls Park, who was a school governor and had fought in the Great War. The then headmaster, E.H.S. Walde told the artist to "strengthen the boys’ knees" (Isaiah 35:3 – "Strengthen the weak hands and make firm the feeble knees").

Eschatological verification describes a process whereby a proposition can be verified after death. A proposition such as "there is an afterlife" is verifiable if true but not falsifiable if false (if it's false, the individual will not know it's false, because they have no state of being). The term is most commonly used in relation to God and the afterlife, although there may be other propositions - such as moral propositions - which may also be verified after death. John Hick has expressed the premise as an allegory of a quest to a Celestial City.

The path crosses the Dark River, goes through a sunken path representing again the Slough of Despond, and past a sundial. The path ends at the Celestial City on Mount Zion, a two-storey building standing on a ridge. The ground floor of this was a barn, and an external spiral staircase leads to the upper floor, which was used as Mellor's chapel. In addition to the Pool of Siloam, other parts of the gardens were given biblical names, including a set of steps called Jacob's Ladder, and Mounts Gerizim, Pisgah and Nebo.

On 9 September 1842, Hick died suddenly at Bolton from a "disease of the heart", age 52. Following, B. Hick and Son continued under the management of his eldest son, John Hick. Art works from Benjamin Hick's collection were advertised in January and February 1843 editions of The Art- Union, Athenaeum and Literary Gazette, then auctioned by Thomas Winstanley & Sons of Liverpool at the Exchange Gallery in Manchester between 21 and 24 February 1843. The sale included John Martin's pair Pandæmonium and The Celestial City and the River of Bliss.

The entire book is presented as a dream sequence narrated by an omniscient narrator. The allegory's protagonist, Christian, is an everyman character, and the plot centres on his journey from his hometown, the "City of Destruction" ("this world"), to the "Celestial City" ("that which is to come": Heaven) atop Mount Zion. Christian is weighed down by a great burden—the knowledge of his sin—which he believed came from his reading "the book in his hand" (the Bible). This burden, which would cause him to sink into Hell, is so unbearable that Christian must seek deliverance.

Sharrock, p. 375. From the House of the Interpreter, Christian finally reaches the "place of deliverance" (allegorically, the cross of Calvary and the open sepulchre of Christ), where the "straps" that bound Christian's burden to him break, and it rolls away into the open sepulcher. This event happens relatively early in the narrative: the immediate need of Christian at the beginning of the story is quickly remedied. After Christian is relieved of his burden, he is greeted by three angels, who give him the greeting of peace, new garments, and a scroll as a passport into the Celestial City.

Relics were assuming increasing importance, sometimes political, in this period, and so increasingly rich reliquaries were made to hold them.Lasko, 94–95; Henderson, 15, 202–214; see Head for an analysis of the political significance of reliquaries commissioned by Egbert of Trier. In such works the gems do not merely create an impression of richness, but served both to offer a foretaste of the bejewelled nature of the Celestial city, and particular types of gem were believed to have actual powerful properties in various "scientific", medical and magical respects, as set out in the popular lapidary books.Metz, 26–30.

It is this portal through which Trance Gemini takes the Andromeda Ascendant and her crew. When the Andromeda passed through the Route of Ages, she arrived on the planet Seefra (later revealed to be Tarn-Vedra), where captain Dylan Hunt finds out that he is the last of the Paradines, a highly evolved and human-like type of Vedran. The Route of Ages derives its name from Vedran mythology. In the episode "The Weight, Part 1" the character Flavin says that the term Route of Ages was the name of the mystical road which linked the houses of the Vedran gods in the celestial city Atashe.

Tender- Conscience, a native of the town of Vain Delights goes on the pilgrimage of Christian and Christiana to the Celestial City. He stops at some of the same places as they, but he encounters new places not visited by either Christian or Christiana and her party. All of the lands that are outside of the Wicket Gate and the area encompassed by the "walls and borders of that region, wherein lay the way to the heavenly country" are known as the "Valley of Destruction." The time that Tender-Conscience begins his pilgrimage is a time of drought and heat, which is emblematic of a time of the persecution.

Everything seems to be going fine, when one evening, Devan loses his voice. A voice (Padmarajan) speaks to Devan from the fallen branch of the Paala tree, whose sap starts to bring forth blood, warning him that he has broken the laws of Devaloka and that he is to be punished for his crimes by Chitraradhan, who is the king of the celestial city of the gandharvas. Devan and Bhama frantically try to run away from the situation but in vain. As he is about to be taken away from Bhama, Devan motions to Bhama to not summon him with the holy Rudhiraksham again.

They offer a foretaste of the bejeweled nature of the Celestial city, and particular types of gem were believed to have actual powerful properties in various "scientific", medical, and magical respects, as set out in the popular lapidary books.Metz, 26-30 Many of the original gems and pearls are now lost, but there are replacements in paste or mother of pearl. The reliefs show the Four Evangelists with their symbols and background foliage in the compartments at top and bottom, and two figures each in four compartments on the sides. The lowest figures on each side are (left) the young Emperor Otto III with (right) his regent and mother Theophanu (d. 991).

The ivory panels often placed in the centre of covers were adapted from the style of consular diptychs, and indeed a large proportion of surviving examples of those were reused on book covers in the Middle Ages. Some bindings were created to contain relics of saints, and these large books were sometimes seen suspended from golden rods and carried in the public processions of Byzantine emperors. Especially in the Celtic Christianity of Ireland and Britain, relatively ordinary books that had belonged to monastic saints became treated as relics, and might be rebound with a treasure binding, or placed in a cumdach. The gems and gold do not merely create an impression of richness, though that was certainly part of their purpose, but served both to offer a foretaste of the bejewelled nature of the Celestial city in religious contexts, and particular types of gem were believed to have actual powerful properties in various "scientific", medical and magical respects, as set out in the popular lapidary books.

A reprint of John Bunyan's Plan of the Road from the City of Destruction to the Celestial City, including Vanity Fair as the major city along the path The book's title comes from John Bunyan's Pilgrim's Progress, a Dissenter allegory first published in 1678. In that work, "Vanity Fair" refers to a stop along the pilgrim's route: a never-ending fair held in a town called Vanity, which is meant to represent man's sinful attachment to worldly things. Thackeray does not mention Bunyan in the novel or in his surviving letters about it, where he describes himself dealing with "living without God in the world", but he did expect the reference to be understood by his audience, as shown in an 1851 Times article likely written by Thackeray himself. In a letter to the critic Robert Bell—whose friendship later became so great that he was buried near Thackeray at Kensal Green Cemetery.

At least twenty-one natural or man-made geographical or topographical features from The Pilgrim's Progress have been identified—places and structures John Bunyan regularly would have seen as a child and, later, in his travels on foot or horseback. The entire journey from The City of Destruction to the Celestial City may have been based on Bunyan's own usual journey from Bedford, on the main road that runs less than a mile behind his cottage in Elstow, through Ampthill, Dunstable and St Albans, to London. In the same sequence as these subjects appear in The Pilgrim's Progress, the geographical realities are as follows: # The plain (across which Christian fled) is Bedford Plain, which is fifteen miles wide with the town of Bedford in the middle and the river Ouse meandering through the northern half; # The "Slough of Despond" (a major obstacle for Christian and Pliable: "a very miry slough") is the large deposits of gray clay, which supplied London Brick's works in Stewartby, which was closed in 2008. On either side of the Bedford to Ampthill road these deposits match Bunyan's description exactly.