Confrontation
Confrontation
Confrontation
#14
Confronta/on
(19:
28
21:
38)
Confronta*on
Lesson
#13
oered
a
planned
departure
from
a
close
examina7on
of
Lukes
text,
an
excursus
on
Luke
himself
and
on
the
Roman
Empire
at
the
7me
of
the
gospels
composi7on.
All
three
synop7c
gospels
were
wriCen
30-40
years
aGer
Jesus
walked
this
earth,
and
each
one
of
the
gospels
portrays
Jesus
in
light
of
the
events
that
followed
his
death,
burial
and
resurrec7on.
Consequently,
each
gospel
writer
looks
back
at
Jesus
life,
and
his
view
of
Jesus
is
colored
by
his
personal
experience,
by
his
understanding
of
the
historical
events
that
took
place
during
his
own
life7me
and
by
the
culture
in
which
he
lived.
The
Gospel
according
to
Luke
was
probably
wriCen
some7me
during
the
early
to
mid
70s,
a
7me
of
enormous
turmoil
in
the
Roman
Empire.
As
we
learned
in
our
studies
of
MaChew
and
Mark,
the
back-story
begins
with
the
emperor
Nero,
who
rose
to
power
in
A.D.
54.
A
brutal
sociopath,
Nero
murdered
his
mother
Agrippina
in
A.D.
59,
set
re
to
Rome
in
A.D.
64
(blaming
the
re
on
the
Chris7ans)
and
began
the
rst
state-sponsored
persecu7on
of
the
Church
in
Rome,
A.D.
64-68.
Confronta*on
During
Neros
reign
the
great
Jewish
revolt
of
A.D.
66-73
began,
a
revolt
that
resulted
in
the
death
of
1.2
million
Jews,
the
destruc7on
of
Jerusalem
and
the
Temple,
and
the
Jewish
exile
from
Pales7ne
that
lasted
nearly
2,000
years,
un7l
the
founding
of
the
modern
state
of
Israel
on
May
14,
1948.
This
experience
was
a
current
event
at
the
7me
the
Gospel
according
to
Luke
was
being
composed,
and
it
could
not
help
but
color
our
authors
understanding
of
Jesus
thoughts
and
ac7ons.
In
addi7on,
Luke
was
a
gen7lethe
only
gen7le
writer
of
Scriptureand
he
learned
of
Jesus
through
his
associa7on
with
St.
Paul.
Consequently,
we
hypothesized
that
Lukes
understanding
of
Jesus
was
deeply
colored
by
Pauls
high
Christological
views.
In
Lesson
#13
we
examined
these
various
factors
and
how
they
may
have
inuenced
Lukes
portrayal
of
Jesus
in
his
gospel.
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! Jericho
! Bethphage/Bethany
Jerusalem "
Dead
Sea
Confronta*on
Bethany,
home
of
Mary,
Martha
and
Lazarus,
is
1.5
miles
east
of
Jerusalem
on
the
south-eastern
slope
of
the
Mount
of
Olives.
Photography
by
Ana
Maria
Vargas
Confronta*on
(19: 35-38)
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10
11
Confronta*on
12
Temple
X
Mount
of
Olives
Confronta*on
13
The
Palm
Sunday
road
on
the
Mount
of
Olives,
the
path
that
Jesus
rode
down
as
he
entered
Jerusalem
to
the
cheers
of
the
crowd.
Photography
by
Ana
Maria
Vargas
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14
! Temple
! Golden Gate
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15
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16
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17
Joppa
"
!Linking
Road,
Joppa
to
Jerusalem
(and
onward,
down
to
Jericho
and
east
to
Rabbah
(Amman,
Jordan))
!Jerusalem
Confronta*on
18
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19
Mt. of Olives
Confronta*on
20
Not
me.
Maybe
he
didnt
mean
it
that
way.
Confronta*on
21
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22
I
guess
I
was
wrong
about
that.
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23
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24
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25
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26
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27
m
e
l
a
s
u
r
e
J
!
s
l
l
a
F
Confronta*on
28
David
Roberts.
The
Siege
and
Destruc/on
of
Jerusalem
by
the
Romans
under
the
Command
of
Titus,
A.D.
70
(oil
on
canvas),
1850.
Private
Collec7on.
Confronta*on
29
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30
Antonia Fortress
Southern Steps
Southern
steps
of
the
Temple
where
the
money
changers
and
merchants
were
located.
Photography
by
Ana
Maria
Vargas
Confronta*on
31
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32
El
Greco.
Christ
Driving
the
Traders
from
the
Temple
(oil
on
canvas),
c.
1600.
Na7onal
Gallery,
London.
Confronta*on
33
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34
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35
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36
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37
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38
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39
Created
in
Paris
for
John,
Duke
of
Berry,
to
house
a
relic
of
the
crown
of
thorns.
Bequeathed
to
the
Bri/sh
Museum
in
1898
by
Ferdinand
de
Rothschild.
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40
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41
Not me.
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42
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43
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44
45
The
widows
mite
(Greek
=
leptovn, singular; leptav, plural:
meaning
small) is
a
7ny
copper
coin,
the
smallest
denomina7on,
equivalent
to
about
a
penny.
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46
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47
I
had
never
thought
of
it
that
Not
me.
way.
Now,
that
is
clever!
Confronta*on
48
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49
Gustave
Dor.
The
Triumph
of
Chris/anity
over
Paganism
(oil
on
canvas),
1868.
Art
Gallery
of
Hamilton,
Ontario,
Canada.
Confronta*on
50
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51
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52