John Ritenbaugh compares the multi-faceted, infinite, marvelously complex, and perfect works of God with the limited, flawed works of man. Like geodes, hiding magnificent structural and aesthetic designs, the biblical types, emblems, or allegories are dece. . .
The sacrifices were neither insignificant nor barbaric, but a teaching tool for us. In the burnt offering, we see Christ in His work for the already redeemed.
Richard Ritenbaugh, reflecting on our mind's tendency to wander when the details get too fast and furious, losing bits and pieces of the unfolding time-element, warns us that, if this happens when we study prophecy, we could be off by hundreds or thousands. . .
In reviewing Jerusalem's history, Martin Collins maintains that the archeological and topographical confusion associated with the city of Jerusalem typifies the chaos extant in the world's major religions, many of which locate their spiritual roots in it. . . .
The Bible is full of symbols, allegories, parables, types and keys. What do they mean? How can we understand them, and thus understand God's Word?
John Ritenbaugh asserts that understanding comes through sacrifice and that our lives alternate between light (understanding) and darkness (confusion). Abraham's experiences teach us not to try to force God's will by contrivances of the flesh. When any sin. . .
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