"A deeply learned and spiritually enriching book by a mature evangelical scholar that brings the doctrine of Christ and the human together at the point of the image of God. . . . Hughe's skills as both a biblical scholar and a historical and systematic theologian are very evident in this work, which is his best book yet." - Clark H. Pinnock, McMaster Divinity College "In this wide-ranging biblical, historical, and theological study a versatile veteran makes convincing use lf the concept of the divine image to integrate the doctrines of man and Christ. Philip Hughe's biblical bases are solid, his exposition weighty, and his historical interactions judicious and enlightening. This is a very valuable piece of work." - J. I. Packer, Regent College "We have come to expect both solid learning and exquisite literary style from Philip Edgcumbe Hughes. "The True Image" is no exception. Indeed it is a remarkable piece of work, quarried from a lifetime of study in biblical exegesis, systematic theology, and church history. It is encyclopedic in its discussion of anthropology and Christology and their mutual relationship. The novitate will find it instructive, while the theologically advanced will discover comprehensive exposition married to a scholarly judgment that sometimes resurrects classical views, sometimes provides the unexpected, and on occasion surprises with the controversial." - Sinclair B. Ferguson, Westminster Theological Seminary

Jesus Christ is arguably the most famous man who ever lived. His image adorns countless churches, icons, and paintings. He is the subject of millions of statues, sculptures, devotional objects and works of art. Everyone can conjure an image of Jesus: usually as a handsome, white man with flowing locks and pristine linen robes. But what did Jesus really look like? Is our popular image of Jesus overly westernized and untrue to historical reality? This question continues to fascinate. Leading Christian Origins scholar Joan E. Taylor surveys the historical evidence, and the prevalent image of Jesus in art and culture, to suggest an entirely different vision of this most famous of men. He may even have had short hair.

In My Catholic Faith, Louis LaRavoire Morrow presents a comprehensive guide to the beliefs, practices, and traditions of the Catholic Church. This book serves as a valuable resource for both newcomers to the faith and lifelong Catholics seeking to deepen their understanding of their religious heritage. Morrow explores the core tenets of Catholicism, offering insights into the sacraments, prayer, and the role of the Church in daily life.

The Image of Christ expresses the view that modern secular audiences can engage with the masterpieces of Christian art at an emotional as well as a purely aesthetic or historical level. This book aims to help the viewer understand these pictures by focusing attention on the purpose for which they were made, and explores what they might have meant to their original viewers. The authors trace how a recognizable image of Christ evolved, starting with the earliest symbols and metaphorical images such as the Sheperd, the Lamb and the Vine. They trace the emergence of a "true likeness," emphasizing the importance of the Veronica, the "miraculous portrait" said to have been imprinted on the cloth held out to Jesus on the way to Calvary. They describe how artists conveyed the paradox of Christ's dual nature—human and divine, weak and powerful, victim and victor—in portrayals of his infancy. They also show how images of Christ's suffering during the Passion were intended to convey a cosmic, not just a personal significance. Artists have attempted to put extremes of suffering and despair into an overal context of hope–a vein of hope that runs from the catacombs to Hiroshima and beyond. These are images that speak, even to those who do not hold Christian beliefs. Artists had to make it clear that in representing the life and death of Jesus they were offering a continuing truth; we the spectators have to become eyewitnesses to an event that matters to us now. As a result, the different moments and aspects of Christ's life become, in the hands of great artists, a reflection of all human experience. The Virgin nursing her son expresses the feelings of love every mother has for her child. Christ mocked in innocence beset by violence. Christ risen and appearing to Mary Magdalene is a universal reaffirmation that love cannot be destroyed by death. Beyond their obvious religious significance, these are paintings that have a universal meaning.

A Man is not bound to win, but A Man is bound to be true. A Man is not bound to succeed, but A Man is bound to live by the light that he have. A Man must stand with anybody that stands right, A Man must stand with Man while he is right, and Man must part with that Man when he goes wrong. Perhaps love for your fellow Man is the process of leading A Man gently back to the image in which A Man is bound to..."THE IMAGE OF GOD".

In this New Studies in Biblical Theology volume, Richard Lints argues that "idol" language in the Bible is a conceptual inversion of the "image" language of Genesis 1. He shows how the narrative of human identity runs from creation to fall to redemption in Christ, and examines the recent renaissance of interest in idolatry with its conceptual power to explain the "culture of desire."