Drive Thru History: THE GOSPELS
https://youtu.be/EASqxQEnEnAOur latest series of Drive Thru History with Dave Stotts® tells the story of Jesus from the locations recorded in the Gospels of Matthew, Mark, Luke, and John. Dave travels to over 50 ancient sites in Israel to deliver the Gospels in a fresh way, show the evidence for the truth of scripture, and encourage families to get excited about reading the Bible again. Currently, the new 18-episode series is scheduled for television release on the Trinity Broadcasting Network (TBN), beginning December 7th, 2015 and running through April 2016. In addition to broadcasting the shows, we are excited to announce the release of the entire DVD set in Spring 2016. Stay tuned!
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Greatness of Christ
Author Unknown
(I've been told this is not a true story.)
The story of the painting of The Last Supper is extremely interesting and instructive, and two incidents connected with it afford a most convincing lesson on the effects of right or wrong in the life of a boy or girl, or of a man or woman.
Leonardo DaVinci, a noted Italian artist, painted the Last Supper, and the time engaged for its completion was seven years. The figures representing the twelve Apostles and Christ himself were painted from living persons. The life-model for the painting of the figure of Jesus was chosen first.
When it was decided that DaVinci would paint this great picture, hundreds and hundreds of young men were carefully viewed in an endeavor to find a face and personality exhibiting innocence and beauty, free from the scars and signs of dissipation caused by sin. Finally, after weeks of laborious search, a young man nineteen years of age was selected as a model for the portrayal of Christ. For six months DaVinci worked on the production of this leading character of his famous painting.
During the next six years, DaVinci continued his labors on this sublime work of art. One by one, fitting persons were chosen to represent each of the eleven Apostles, with space being left for the painting of the figure representing Judas Iscariot as the final task of this masterpiece. This was the Apostle, you remember, who betrayed his Lord for thirty pieces of silver. For weeks, DaVinci searched for a man with a hard, callous face, with a countenance marked by scars of avarice, deceit, hypocrisy, and crime, a face that would delineate a character who would betray his best friend. After many discouraging experiences in searching for the type of person required to represent Judas, word came to DaVinci that a man whose appearance fully met his requirements had been found in a dungeon in Rome, sentenced to die for a life of crime and murder.
DaVinci made the trip to Rome at once, and this man was brought out from his imprisonment in the dungeon and led out into the light of the sun. There DaVinci saw before him a dark, swarthy man, his long, shaggy and unkempt hair sprawled over his face, which betrayed a character of viciousness and complete ruin. At last the famous painter had found the person he wanted to represent the character of Judas in his painting.
By special permission from the king, this prisoner was carried to Milan where the picture was being painted. For months he sat before DaVinci at appointed hours each day, as the gifted artist diligently continued his task of transmitting, to his painting, this base character representing the traitor and betrayer of our Savior. As he finished his last stroke, he turned to the guards and said, "I have finished. You may take the prisoner away."
As the guards were leading their prisoner away, he suddenly broke loose from their control and rushed up to DaVinci, crying as he did so, "DaVinci, look at me. Do you not know who I am?" DaVinci, with the trained eyes of a great character student, carefully scrutinized the man upon whose face he had constantly gazed for six months and replied, "No, I have never seen you in my life until you were brought before me out of the dungeon in Rome."
Then, lifting his eyes toward heaven, the prisoner said, "Oh God, have I fallen so low?" Then turning his face to the painter he cried, "Leonardo DaVinci, look at me again, for I am the same man you painted just seven years ago as the figure of Christ."
If this is were a true story of the painting of The Last Supper. It teaches so strongly the lesson of the effects of right or wrong on the life of an individual. Here was a young man whose character was so pure, unspoiled by the sins of the world, that he represented a countenance of innocence and beauty fit to be used for the painting of a representation of Christ. But within seven years, following sin and a life of crime, he was changed into a perfect picture of the most traitorous character ever known in the history of the world.
"Those who look to Him are radiant; their faces are never covered with shame." Psalm 34:5 (NIV)
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The story of the painting of The Last Supper is extremely interesting and instructive, and two incidents connected with it afford a most convincing lesson on the effects of right or wrong in the life of a boy or girl, or of a man or woman.
Leonardo DaVinci, a noted Italian artist, painted the Last Supper, and the time engaged for its completion was seven years. The figures representing the twelve Apostles and Christ himself were painted from living persons. The life-model for the painting of the figure of Jesus was chosen first.
When it was decided that DaVinci would paint this great picture, hundreds and hundreds of young men were carefully viewed in an endeavor to find a face and personality exhibiting innocence and beauty, free from the scars and signs of dissipation caused by sin. Finally, after weeks of laborious search, a young man nineteen years of age was selected as a model for the portrayal of Christ. For six months DaVinci worked on the production of this leading character of his famous painting.
During the next six years, DaVinci continued his labors on this sublime work of art. One by one, fitting persons were chosen to represent each of the eleven Apostles, with space being left for the painting of the figure representing Judas Iscariot as the final task of this masterpiece. This was the Apostle, you remember, who betrayed his Lord for thirty pieces of silver. For weeks, DaVinci searched for a man with a hard, callous face, with a countenance marked by scars of avarice, deceit, hypocrisy, and crime, a face that would delineate a character who would betray his best friend. After many discouraging experiences in searching for the type of person required to represent Judas, word came to DaVinci that a man whose appearance fully met his requirements had been found in a dungeon in Rome, sentenced to die for a life of crime and murder.
DaVinci made the trip to Rome at once, and this man was brought out from his imprisonment in the dungeon and led out into the light of the sun. There DaVinci saw before him a dark, swarthy man, his long, shaggy and unkempt hair sprawled over his face, which betrayed a character of viciousness and complete ruin. At last the famous painter had found the person he wanted to represent the character of Judas in his painting.
By special permission from the king, this prisoner was carried to Milan where the picture was being painted. For months he sat before DaVinci at appointed hours each day, as the gifted artist diligently continued his task of transmitting, to his painting, this base character representing the traitor and betrayer of our Savior. As he finished his last stroke, he turned to the guards and said, "I have finished. You may take the prisoner away."
As the guards were leading their prisoner away, he suddenly broke loose from their control and rushed up to DaVinci, crying as he did so, "DaVinci, look at me. Do you not know who I am?" DaVinci, with the trained eyes of a great character student, carefully scrutinized the man upon whose face he had constantly gazed for six months and replied, "No, I have never seen you in my life until you were brought before me out of the dungeon in Rome."
Then, lifting his eyes toward heaven, the prisoner said, "Oh God, have I fallen so low?" Then turning his face to the painter he cried, "Leonardo DaVinci, look at me again, for I am the same man you painted just seven years ago as the figure of Christ."
If this is were a true story of the painting of The Last Supper. It teaches so strongly the lesson of the effects of right or wrong on the life of an individual. Here was a young man whose character was so pure, unspoiled by the sins of the world, that he represented a countenance of innocence and beauty fit to be used for the painting of a representation of Christ. But within seven years, following sin and a life of crime, he was changed into a perfect picture of the most traitorous character ever known in the history of the world.
"Those who look to Him are radiant; their faces are never covered with shame." Psalm 34:5 (NIV)
How Do We Know We Have the Right Gospels?
The Big Picture of the Bible with Will Norrid
Jan 15, 2025 = In this episode, we continue our series, "How to Be a Better Bible Student" by discussing the importance of reading the Bible as a cohesive narrative rather than isolating it into disconnected parts. Wes McAdams and today's guest, Will Norrid, discuss the risk of reducing Scripture to a "recipe book" or a book of formulas, rather than engaging with its deeper, relational truths.
The conversation delves into understanding Scripture as God’s overarching story, including creation, disruption (fall), salvation, and ultimate restoration. It highlights the need for reading contextually—not just the immediate verses but understanding the broader canonical and historical settings. Will advocates for seeing Scripture as a narrative that invites believers to participate in God’s eternal mission, moving beyond simplistic applications to embrace its transformative power.
Will Norrid Will Norrid serves as the minister for the Lebanon church of Christ in Dresden, TN where he has worked for the last 21 years. In addition to preaching and teaching, he also serves in various roles in his rural community including writing a weekly spiritual life column that appears in print and online, speaking at community events, and volunteering with senior citizens groups. Will speaks and writes frequently on the intersection of faith and everyday experience, the value of reading in the spiritual life, and the importance of practicing faith in community.
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For Consideration
For Consideration
A HARMONY OF THE GOSPELS FOR STUDENTS OF THE LIFE OF CHRIST
CHRISTIANITY, CHURCH OF CHRIST, GOSPEL
A Chronological Harmony of the Gospels
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