Quote of the day, 28 March: St. John of the Cross

[A]lthough God may have revealed or affirmed something to a person (whether it be good or bad, concern this person or another), it can change, becoming greater or less, vary, or be taken away entirely according to a change or variation in this person’s tendencies or in the cause on which it is based. Thus the event may not turn out as expected, and frequently no one but God knows why. God usually affirms, teaches, and promises many things, not so there will be an immediate understanding of them, but so that afterward at the proper time, or when the effect is produced, one may receive light about them. […]

St. John, speaking of Christ’s entrance into Jerusalem, states: Haec non cognoverunt discipuli ejus primum: sed quando glorificatus est Jesus, tunc recordati sunt quia haec erant scripta de eo [His disciples did not understand these things at first; but when Jesus was glorified, then they remembered that these things had been written of him, Jn 12:16]. As a result many particular works of God can come to pass in a soul that neither the soul nor its director can understand until the opportune time.

Saint John of the Cross

The Ascent of Mount Carmel, II, ch. 20, no. 3

John of the Cross, St. 1991, The Collected Works of St. John of the Cross, Revised Edition, translated from the Spanish by Kavanaugh, K and Rodriguez, O with revisions and introductions by Kavanaugh, K, ICS Publications, Washington DC.

Featured Image: The Entry of Christ into Jerusalem is an oil on canvas artwork by 17th century master Anthony van Dyck from the collections of the Indianapolis Museum of Art at Newfields. Executed ca. 1617, the gallery label provides the following information: In 1618, Peter Paul Rubens referred to the young Anthony van Dyck as “the best of my pupils.” This painting, which may have been created as early as 1617, when the artist was only 18 years old, provides a clear demonstration of Van Dyck’s remarkably precocious talent. He was already a master of Rubens’s epic baroque style, seen in the muscular figure who stoops to cast a branch in Christ’s path. The coarse realism of this figure and his companions, together with the crowded restlessness of the composition, are hallmarks of Van Dyck’s youthful style.

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