Podcast Episode: Sermon: Proper 17 RCL A1 – “Defying the Furnace”

Pip: There's a sermon on Candle in a Cave that opens with a medical transcription disaster and lands, somehow, on the fiery furnace of Daniel. Fr. John has range.

Mara: This episode follows that sermon through three interlocking figures โ€” Shadrach, Meshach, and Abednego, Moses at the burning bush, and Jesus heading toward Jerusalem โ€” all circling the same question about faith under pressure.

Pip: Let's get into the furnace.

Defying the Furnace: Faith That Doesn't Negotiate

Mara: The sermon sets up a central tension right away: what does faith actually look like when the outcome is genuinely uncertain โ€” when God might save you, or might not?

Pip: And the sermon's answer comes straight from Daniel, chapter three. The setup is worth naming: three Jewish men in Nebuchadnezzar's court, condemned for refusing to worship a golden statue, standing in front of a king who asks who could possibly save them now.

Mara: The text gives their reply directly: "Our God whom we serve is able to deliver us from the burning fiery furnace, and he will deliver us out of your hand, O king. But if not, be it known to you, O king, that we will not serve your gods or worship the golden image that you have set up."

Pip: "But if not." That's the hinge. They're not bargaining with God, and they're not promising themselves a rescue. They're saying the furnace does not get to decide who they are.

Mara: Right โ€” and the sermon makes the stakes plain: their faith was not contingent on the outcome. It was, as the text puts it, "simply in God and His divine providence, without qualification."

Pip: Which is where Moses comes in, and this is a sharp move. God tells Moses to walk back into Egypt โ€” back into the place he fled, as a wanted man, to confront Pharaoh. God doesn't promise it will be easy. The sermon frames it plainly: "I am sending you into the furnace, and I will be with you."

Mara: That phrase โ€” "I will be with you" โ€” is the thread connecting all three figures. The sermon notes that God never spoke those words directly to Shadrach, Meshach, and Abednego. But Nebuchadnezzar's own testimony proved them true: a fourth figure, unbound, walking in the fire beside them.

Pip: And then there's Peter, flinching when Jesus announces he's headed to Jerusalem to suffer and die. A very human reaction. The sermon doesn't mock him for it.

Mara: It doesn't. The sermon reads Jesus's rebuke as clarification, not condemnation โ€” Jesus already knows the Father is with him, and he's telling Peter: follow me through the furnace, because I will be with you in yours.

Pip: The sermon ends with a kind of stripped-down catechism. Standing in front of the furnace, all the complicated answers fall away. What's left? "I believe in one God, the Father Almighty." Not an explanation. Not a guarantee. Just that.

Mara: The closing line lands it: "I believe does mean we are not walking into the furnace alone."


Pip: Faith that holds without a promised outcome โ€” that's a harder ask than most furnace stories let on.

Mara: It is. And that question of what remains when the answers run out seems like territory worth returning to.

Podcast Episode: Sermon: Proper 16 RCL A1 – “Holy Purposes”

Pip: What if the whole arc of history turns on someone you never heard of โ€” a midwife, a sister watching from the reeds, a princess who ignored her father's orders?

Mara: That's the territory Fr. John is working in this week โ€” small actors, enormous consequences, and what Paul's letter to the Romans has to say about how gifts get distributed across a body. Let's start with the sermon itself.

Sermon: Holy Purposes and the People History Forgets

Pip: The sermon opens with a provocation: history's biggest disasters and turning points may hinge on actions so small the people taking them had no idea what they were doing. The question underneath the whole piece is who actually carries the work forward when the famous figure is still in a basket.

Mara: The sermon sets that up early with the Exodus story, and the framing lands here: "The story of Exodus is not just the story of Moses. Instead, it is the story of God and the individuals He endowed with specific gifts so that His will might be accomplished in their lives and in the world."

Pip: And Moses, in this telling, is almost beside the point for this particular passage. He rides in a basket, eats, sleeps โ€” the sermon is blunt about it. Four things. Everyone else is doing the actual work.

Mara: The sermon traces four figures who each carry a piece of that work. The midwives Shiphrah and Puah are summoned by Pharaoh to kill male Hebrew newborns โ€” professionals, the sermon notes, important members of the community โ€” and they simply refuse, fearing God more than Pharaoh.

Pip: There's a quiet observation buried in there worth pulling out: the sermon notes that the Hebrew word for the basket Jochebed builds is tevah โ€” the same word used for Noah's ark. She's not just hiding a baby. She's building an ark.

Mara: Right, and then Miriam watches where the ark goes, and Pharaoh's daughter โ€” the one person in the story with every advantage โ€” sees a Hebrew child and chooses pity over policy.

Pip: Which is where Paul comes in, and the sermon earns the connection. The Romans passage lists gifts: prophecy, ministry, teaching, exhortation, generosity, leadership, compassion. The sermon points out the list is short but the categories are broad โ€” broad enough to hold midwives, mothers, watchers, and wealthy women with the courage to contradict their fathers.

Mara: The sermon then pivots to Peter's confession, and the move is interesting. Jesus asks Peter who he says Jesus is โ€” and the sermon suggests turning that question around: ask Jesus who he says you are. The answer, it argues, is usually already visible in what you can already do.

Pip: God, the sermon says, is not going to make a brain surgeon into a carpenter. He takes what's already there.

Mara: The closing line pulls it together: "If we allow it, God will take our natural gifts and give us opportunities to use them for holy purposes."

Pip: Small actions. Tremendous results. The reeds are still there if you know where to look.


Mara: The thread running through all of it is that the people history skips over are often the ones holding the story together.

Pip: Ask who you are. Open your eyes. Apparently the answer is already in the water.

Podcast Episode: Sermon: Proper 15 RCL A1 – “Story of the Heart”

Pip: There's a sermon at Candle in a Cave that opens with a man proposing marriage โ€” and his girlfriend immediately asking about someone else. Which, honestly, is a better setup for a theology lesson than most theology lessons get.

Mara: Fr. John uses that story as a way into something the sermon calls "the story of the heart" โ€” what God actually finds when he looks past the surface performance of faith. Let's start there.

Sermon: Proper 15 RCL A โ€” "Story of the Heart"

Pip: The question this sermon is really asking is whether religious observance and genuine faith are the same thing โ€” and the answer, it turns out, is that God is not fooled by the difference.

Mara: The sermon anchors that claim in Psalm 139, with the opening line setting the frame: "O Lord, you have searched me and known me! You know when I sit down and when I rise up; you discern my thoughts from afar."

Pip: So the premise is that the search is already happening, whether you invited it or not. The real question the sermon puts to the listener is whether you actually want God to find what's there.

Mara: And the honest answer the sermon gives is: not always. The words are, "Do I really want God to do that? I mean, I know my heart, and sometimesโ€ฆ it's best left hidden."

Pip: That's a braver thing to say from a pulpit than most people manage.

Mara: The sermon then traces the problem backward through Isaiah, where God tells Israel he is weary of their feasts and offerings โ€” "your hands are full of blood" โ€” while they go through every outward motion correctly. The external performance is intact; the interior is the problem.

Mara: Jesus makes the same move in Matthew 15, quoting Isaiah directly: "This people honors me with their lips, but their heart is far from me; in vain do they worship me, teaching as doctrines the commandments of men."

Pip: And then the sermon does something structurally interesting โ€” it treats the very next scene, the Canaanite woman, not as a change of subject but as the proof of the lesson.

Mara: Right. The disciples tell Jesus to send the woman away. What comes out of their mouths, the sermon says, is "prejudice, contempt, judgment, anger, impatience." The woman, by contrast, keeps pressing โ€” "Lord, help me" โ€” and Jesus names what he finds: "Great is your faith."

Pip: The disciples followed every tradition. She broke every boundary just by being there. And she's the one who gets the blessing.

Mara: The sermon closes by returning to Psalm 139 as an invitation and a request together โ€” not just "search me," but "if you find anything amiss, lead me out of it and into your ways." It calls that a good prayer, and also, honestly, a frightening one.


Pip: The sermon's final question โ€” "what is the story of your heart?" โ€” is one of those that doesn't let you off the hook by answering it quickly.

Mara: And it lands harder because the sermon already admitted the honest answer isn't always flattering. More from Candle in a Cave next time.

AI-Generated Podcast Episode: Sermon: Proper 13 RCL A – “Providence and Prayer”

Pip: A three-year-old invoking the name of Jesus to score twenty-three boxes of chocolate chip cookies โ€” honestly, that is the most theologically efficient prayer in recorded history.

Mara: That story opens a sermon by Fr. John, and it turns out to be the perfect door into something much larger: what prayer actually does when God already has a plan.

Pip: Right โ€” and that tension between providence and petition is exactly where this episode lives. Let's get into it.

Providence, Prayer, and a Busted Hip

Mara: The central question here is one that anyone who has prayed and waited and heard nothing will recognize: if God has a wise, loving plan already in motion, what is the point of asking?

Pip: The sermon lands its answer through Jacob โ€” a man who wrestled God at the Jabbok River and refused to let go. Here is the line that frames everything: "Jacob prayed, 'Bless me,' and the Lord replied, 'What you are asking is good, but it is too small.'"

Mara: That reframe is the hinge of the whole argument. Jacob got his blessing โ€” but it arrived as a dislocated hip, a new name, and a lineage that eventually produced Jesus of Nazareth. The prayer was answered; it just expanded far beyond what Jacob could have conceived.

Pip: So the sermon is not really arguing that God ignores us. It is arguing that our requests are structurally too small for what God is doing.

Mara: Exactly, and three reasons for prayer follow from that. The first two are fairly direct: Jesus commands it, and prayer enlarges the soul to receive more of God โ€” the sermon uses the image of a teaspoon versus a five-gallon bucket both dipped in the ocean. Neither empties the ocean; one simply holds more.

Pip: The third reason is the one with some weight to it.

Mara: It is. The sermon draws on Paul's letter to the Corinthians: "We are God's fellow workers. You are God's field, God's building." The claim is that prayer is not just petition โ€” it is participation. God wants us asking so we can be woven into the work itself.

Pip: Which reframes the unanswered prayer entirely. You are not being ignored; you are being incorporated.

Mara: And when we do not know what to ask for, Paul's words from Romans carry the load: "The Spirit himself intercedes for us with groanings too deep for words." Our feeble attempts, the sermon says, are taken and perfected.

Pip: Twenty-three boxes of cookies, or a busted hip โ€” either way, you are not praying into a void.


Mara: The through-line is that providence and prayer are not in competition โ€” prayer is how we become part of the story rather than just recipients of it.

Pip: Jacob limped away from that riverbank with everything he asked for and more than he bargained for. That seems about right. More next time.

Podcast Episode: Sermon: Proper 12 RCL A – “Providence”

Pip: Eleven shells hit a fuel tank. None of them exploded. One contained a handwritten note in Czech. Fr. John is asking what you call that โ€” and the answer is not luck.

Mara: This episode follows a sermon on providence โ€” the claim that God's governance holds even when evil is the instrument. Let's start with that question: luck, fate, or something else entirely.

Sermon: Providence, Luck, and the Shells That Didn't Explode

Mara: The sermon opens with a World War Two bombing run โ€” eleven shells lodged in a fuel tank, none detonating, one carrying a handwritten note from Czech prisoners of war. The frame is a question: what do you call a result like that?

Pip: The note inside that shell is the hinge of the whole argument. The translation, when Intelligence finally found someone to read it, was this: "This is all we can do for you now."

Mara: And the point is that neither luck nor fate can hold that story. Luck is pure chance โ€” spin the wheel. Fate is predetermined and immovable. Either way, there is no room for free will and no need for God.

Pip: Providence is the alternative โ€” defined in the sermon as "God's wise, loving, and continual governance of all creation, by which He sustains the universe and directs history toward His good purposes while respecting our free will." That is a precise claim, not a vague comfort.

Mara: The precision matters because the sermon extends it to evil, not just good outcomes. The Czech prisoners were in a Nazi labor camp. That was not a good thing. But the sermon argues God used that evil to preserve the crew โ€” and that this pattern runs through all of history, including the crucifixion.

Pip: Peter's line from Acts 2:23 lands hard here: Christ was "delivered up according to the definite plan and foreknowledge of God" โ€” and still killed by lawless hands. Providence and human evil, occupying the same sentence.

Mara: The sermon draws the practical consequence plainly: if God redeemed the greatest evil ever committed, then no evil in your life is beyond his power to redeem. The question becomes how you respond when evil arrives โ€” and the sermon offers exactly two options.

Pip: Option one gets its own parable โ€” the Devil's Supply Store, where discouragement and doubt are kept off the shelves because they are too valuable to sell. Hopelessness, the sermon says, is the weapon that causes a soul to do nothing, which is far more deadly than anger or lust.

Mara: Option two is Paul's confidence in Romans 8: that nothing โ€” "neither death, nor life, nor angels, nor rulers, nor things present, nor things to come" โ€” can separate us from the love of God. Providence is the ground that makes that confidence possible, not naive optimism.

Pip: Saint Padre Pio gets the closing word before the prayer: "God is our Father, so what have you to fear while you are the child of such a Father, through whose providence not even a single hair will fall from your head?" Lean on that and see what it holds.


Mara: The thread running through all of this is that the frame you bring to events โ€” luck, fate, or providence โ€” changes what you do when things go wrong.

Pip: Right. And the note in the shell is still there whether you read it that way or not. More to come from Candle in a Cave.

Podcast Episode: Sermon: Proper 11 RCL A – “Identifying Weeds”

Pip: There is a cave, and there is a candle โ€” and this week, someone lit it by asking who gets to decide which plants are weeds.

Mara: That question runs straight through the posts Fr. John published recently โ€” a sermon that moves from a Charlie Brown comic strip to a Persian king to the parable of the wheat and the weeds. Let's start with the field.

Sermon: Proper 11 RCL A โ€” Identifying Weeds

Pip: The sermon opens with a very relatable Lucy moment โ€” she tells Charlie Brown his problem is simply that he is himself โ€” and uses it to name something the sermon treats as a persistent human instinct: the confidence that we can correctly identify who the troublemakers are.

Mara: The sermon sets up that instinct and then runs it straight into Isaiah, where the Lord designates a deliverer for Israel. Here is the passage: "I have stirred him up in righteousness, and I will make all his ways level; he shall build my city and set my exiles free, not for price or reward, says the Lord of hosts."

Pip: And the deliverer in question is not David, not Gideon, not Jesus โ€” it is Cyrus, a pagan king who worshipped idols and had never heard of the God of Israel. Which means the people hearing Isaiah's announcement would have looked at their liberator and seen exactly the wrong kind of person.

Mara: That is precisely the tension the sermon develops. Cyrus conquered Babylon, freed the Israelites, and funded the rebuilding of Jerusalem โ€” all without sharing their faith. The sermon then moves to the gospel parable, where a farmer's field fills with Darnel, a poisonous grass nearly indistinguishable from wheat until the grain head forms.

Pip: By the time you can tell the difference, the roots are so tangled that pulling the weed destroys the wheat. So the farmer says: wait. Which is, frankly, a harder instruction than it sounds when you have already mentally drafted your weed-pulling list.

Mara: Augustine is quoted directly on this: "How many sheep are outside, how many wolves within! And how many sheep are inside, how many wolves without! How many are blaspheming Christ who will yet believe in Him!"

Mara: The sermon holds up Paul as the case in point โ€” present at Stephen's stoning, feared by the early church, and yet the future Apostle to the Gentiles. The people who saw a wolf were not lying; they were simply wrong.

Pip: So the sermon's practical instruction lands in Romans 12 โ€” repay no evil for evil, feed your enemy if he is hungry โ€” because the alternative is letting someone else's sin generate yours.

Mara: And the sermon closes with a sharp reversal: those who crucified Jesus believed they were doing exactly the right kind of weed removal. The job of identifying and pulling, the sermon argues, belongs to the angels at the end of the age โ€” not to us.


Pip: What stays with me is Cyrus โ€” the idea that the person you would most confidently label a weed might be the one God has already called by name.

Mara: That tension between what we see and what God sees seems like territory worth returning to. More to come from Candle in a Cave.

Podcast Episode: Sermon: Proper 10 RCL A – “Soil”

Pip: Candle in a Cave โ€” where the sermon opens with a statistical case against chocolate mint ice cream, and somehow that is exactly the right move.

Mara: Fr. John's recent writing takes the Parable of the Sower as its anchor โ€” what it means to have good soil in your heart, and what quietly erodes it. Let's start with the sermon itself.

Sermon: Tending the Soil of the Heart

Mara: The Parable of the Sower is usually read as a sorting mechanism โ€” which type of person are you? But this sermon pushes past that framing and asks a harder question: even if the seed landed in good soil, what happens to that soil over time?

Pip: The setup is a statistics lesson. Before getting to Jesus, the sermon walks through a set of perfectly true, perfectly misleading correlations โ€” nearly everyone who dies from cancer has eaten chocolate mint ice cream โ€” to make a point about how easily we bend evidence to say what we want, including scripture. Then comes the turn: "However, today Jesus said, 'Not so fast,' and, in a rare instance, told us what he meant."

Mara: That's the hinge. Because Jesus actually interprets the parable himself, there's less room to spin it. The soil is the heart. The birds are the devil snatching the Word before it takes root. Rocky ground is shallow faith that withers. Thorns are the overwhelming noise of the world choking off what grew.

Pip: And then comes the move that makes this more than a conversion story. The sermon turns directly to people who already believe โ€” the ones who think the parable isn't about them.

Mara: Right, because the soil doesn't stay fixed. The sermon uses a Montana farming image to explain it: rocks don't sink in soil, they rise. You pick them out in spring, and if you don't, they're back. The sermon puts it plainly โ€” "if you do nothing to tend the soil, over time the rocks will work their way to the surface, and the once-fertile soil becomes rocky."

Pip: The washing machine flood, the "Insufficient Funds" stamp on the mortgage โ€” those aren't hypotheticals, they're the actual mechanism. The bird doesn't wait for crisis; it works with whatever's already loose.

Mara: St. Paul and St. Josemaria Escriva both get quoted here. Escriva's image is striking โ€” the world, the devil, and the flesh as adventurers trading you "the poor bauble of pleasure" for "the pure gold and the pearls, the diamonds and the rubies, drenched in the living and redeeming blood of your God."

Pip: That is not a subtle metaphor.

Mara: It isn't. And the sermon lands on a practical response: pray, cooperate with grace, and stop shooting yourself in the foot while asking God why your foot hurts. Paul's line from Philippians frames it โ€” "work out your own salvation with fear and trembling" โ€” meaning tend the gift, don't just receive it and walk away.

Pip: Soil maintenance as spiritual discipline. Which, given how the sermon started, is a long way from chocolate mint ice cream โ€” but the logic held the whole way through.


Mara: The through-line is vigilance โ€” not anxious striving, but the steady, daily work of keeping the ground clear.

Pip: Guard the soil. Tend it. And maybe don't let the mail lady open your letters first.

Oklahoma City Museum of Art: “Flaming June”


Exhibit: The Sense of Beauty: Six Centuries of Painting from Museo De Arte De Ponce. Flaming June is a painting I have loved since I first saw it… probably in my 20s. It made its way to the top of the things to do when I heard it would be showing in OKC. It was worth the wait!

Miguel Trelles
Puerto Rican, b. 1969
Philanthropist, 2000
Oil on canvas
Raised in an academic and literate environment, Miguel Trelles is an artist, curator, and cultural manager based in New York City’s Lower East Side, committed to increasing the visibility of the Latino community in the city’s visual and performing arts scenes. His artistic work is notable for blending elements of Chinese and Latin American cultures.
For this work, Trelles drew inspiration from figures such as American philanthropist Paul Mellon and Luis A. Ferrรฉ, founder of the Museo de Arte de Ponce, who was a key supporter of his artistic career from the beginning.
The subject of the painting appears seated on a sofa, while an early modern portrait hangs on the wall behind him. This painting within a painting serves as a nod to the philanthropist’s role as a collector, highlighting the connection between art and patronage.

William-Adolphe Bouguereau
French, 1825-1905
Far from Home, 1868
Oil on canvas
This canvas was among the first artworks acquired by Luis A. Ferrรฉ for the Museo de Arte de Ponce. It depicts two young sisters who survive by performing music and begging on the streets of Rome. William-Adolphe Bouguereau’s idealized figures, set against a classical-inspired architectural background, illustrate the theme of poverty without the harsh realism that can be unsettling. A polished finish, muted color palette, and classical poses define his work. Although Bouguereau stayed a dedicated supporter of the academic style throughout his career, this painting reveals an interest in the new themes that emerged during the second half of the nineteenth century, when increased social awareness led to the portrayal of scenes from daily life.

Lucas Cranach the Elder German, 1472-1553
Judith with the Head of Holofernes, ca. 1527-1537
Oil on panel
Lucas Cranach the Elder served as a court painter for the prince-electors of Saxony, who were based in Wittenberg. At the court, he befriended Martin Luther and supported his criticism of the Catholic Church.
In this powerful portrayal of Judith, the heroine of the Old Testament, Cranach depicts her as victorious after beheading Holofernes, the Assyrian general who was besieging her city. Juxtaposing serene beauty with gruesome triumph, she is elegantly dressed in a red velvet contemporary gown trimmed with brocaded fabric and a pearl-embroidered trunk. She holds the enemy’s head with her slashed gloves, which reveal her lavish rings. Her gentle face, with the delicate features typical of the artist, is framed by the golden halo of her hair and jewel-encrusted necklaces. Judith’s story has been interpreted as an allegory of the struggle between good and evil, and, therefore, Cranach may have envisioned this composition as a symbol of the battle between the Protestant Reformation and the Catholic Church.

Domรฉnikos Theotokรณpoulos, “El Greco” l
Greek, 1541-1614
Saint Francis of Assisi in Meditation with Brother Leo, ca. 1600-
1605
Oil on canvas
Representations of Saint Francis of Assisi, especially those depicting his ascetic and contemplative life, exemplified the Christian life that the faithful were expected to follow according to the principles of the Counter-Reformation, initiated by the Council of Trent (1545-1563) to strengthen
Catholic influence in response to the Protestant Reformation. Art played a crucial role in this effort, aiming to inspire faith and devotion through the visual expression of spiritual intensity.
Building on the popularity of devotional art, El Greco created numerous depictions of the saint, with more than 30 versions of the composition showing
Saint Francis alongside Brother Leon, his secretary and confessor. To meet the growing demand for devotional paintings, El Greco relied on the help of his assistants. Contemporary sources describe the small samples he would show clients, from which they could choose their preferred composition, with the value based on the artist’s involvement. The painting’s dramatic lighting and elongated forms are characteristic of El Greco’s style.

Pedro Machuca
Spanish, ca. 1490-1550
The Descent of the Holy Ghost, ca. 1520-1530
Oil on panel
On the Christian feast of Pentecost, the Virgin Mary and the twelve apostles gathered in Jerusalem. During this gathering, they witnessed a miracle: the Holy Ghost, depicted as a dove surrounded by a large halo, descended into the room and empowered everyone to speak different languages, enabling them to preach the Gospel in foreign lands.
The Spanish painter Pedro Machuca worked in Rome, most likely in Raphael’s renowned workshop, before returning to Spain in 1520. It is believed that he created this intensely emotional piece after returning to the Iberian Peninsula.
Machuca brought with him artistic innovations that were popular in Italy at the time. The painting demonstrates the use of perspective and naturalistic figures, similar to the works of the great masters of the Italian Renaissance.
Its horizontal format suggests that it was originally used as a predella for an altarpiece that would have been placed above it. This panel was one of sixteen Italian and Spanish paintings donated to the Museo de Arte de Ponce by the Samuel H. Kress Foundation in 1962.


Andrew Peters
Sandhill Cranes on the Great
Migration

Oil, gold, wood, metal | 60 ร— 60 ร— 12 in.

Scott Burdick
Transcending Time

Paul Moore
Moon Over the Pueblo
Oil on canvas | 20 x 20 in.

Frederic Leighton
English, 1830-1896
Flaming June, ca. 1895
Oil on canvas
Flaming June, an iconic work in art history, has been widely reproduced, cementing its place in our cultural consciousness. Its reproductive value was highlighted in one of its earliest reviews, a trait appreciated by its first owner, the publisher of an illustrated newspaper, who admired and promoted it by distributing free reproductions to his subscribers as a Christmas gift. The contemporary audience undoubtedly revered its creator, Frederic Leighton, who was then president of the Royal Academy of Arts in London. The work was one of six paintings Leighton displayed at the Academy’s summer exhibition in 1895, just months before he died in January 1896.
Flaming June results from an extensive creative process where the artist experimented with multiple sketches to capture the complex posture of a woman reclining before a Mediterranean seascape. The painting echoes some of the artist’s earlier works and draws inspiration from historical masterpieces, including classical Greek sculptures and Renaissance artworks, especially those by Michelangelo. The interplay of line, color, and light offers a unique interpretation of Mediterranean antiquity, captured in the slumber of a sensual female form.
Luis A. Ferrรฉ’s acquisition of the painting in 1963 for the Museo de Arte de Ponce, during a time when Victorian art was undervalued-this piece had been out of the public eye for more than three decades-reflects the philosophy of Ferrรฉ and his advisors, who aimed to acquire
“pictures of quality, irrespective of their ‘fashion’ in the market,” thus contributing to the formation of the museum’s exceptional collection.

Podcast Episode: Sermon: Proper 9 RCL A – “In God We Trust”

Pip: If you've ever wondered what pesto, the Cold War, and the Book of Isaiah have in common, Fr. John has done the research, and the answer is more coherent than it has any right to be.

Mara: This episode follows a single sermon that moves from the origins of a national motto to the harder question underneath it โ€” the difference between believing in God and actually trusting God. Let's start with that journey from Virgil's kitchen to the gates of Jerusalem.

Sermon: Trusting God or Just Saying So

Pip: The sermon opens with a question about national identity, but it's really asking something more uncomfortable โ€” whether "In God We Trust" is a conviction or just text printed on currency.

Mara: The setup begins in an unexpected place. Virgil, writing a pesto recipe around 50 BC, produced the phrase that became America's first de facto motto. As the sermon puts it: "out of many, a single color โ€” color est e pluribus unus โ€” and if we shorten that and add proper grammar, we have the phrase e pluribus unum, which the founding fathers added to the Great Seal of the United States in 1782."

Pip: So the founding motto was essentially a salad metaphor. And it held for over 170 years until the Cold War made atheism the enemy and "In God We Trust" became the official counter-move in 1956.

Mara: That shift sets up the sermon's real question. The motto changed, but the sermon asks whether the trust behind it changed with it. And the answer comes through Hezekiah, king of Judah around 700 BC.

Pip: Hezekiah is a useful case study because he's not a villain. He kept the religious observances, ran the temple, did the visible things โ€” and yet Isaiah records God saying, essentially, I've had enough of your burnt offerings.

Mara: The problem was that Hezekiah believed in God but didn't trust him. When Assyria threatened, he sought an alliance with Egypt instead. The sermon quotes Isaiah directly: "Woe to those who go down to Egypt for help and rely on horses, who trust in chariots because they are many โ€” but do not look to the Holy One of Israel or consult the Lord."

Pip: It took the Assyrian army standing outside Jerusalem's gates before Hezekiah actually prayed. Which is a very human timeline for getting serious about trust.

Mara: And the sermon draws that line straight to the gospel. Jesus's invitation to "take my yoke" gets read not as shared labor with a partner, but as a replacement โ€” setting down the yoke of sin, self, and fear, and picking up the yoke of discipleship instead.

Pip: The question the sermon lands on is precise: not "do you believe?" โ€” the congregation already answered that by showing up โ€” but "do you trust him enough to remove all those yokes and put on his?"

Mara: It closes with Thomas Merton's prayer, which holds the tension honestly: "I have no idea where I am going. I do not see the road ahead of me." Trust, the sermon argues, doesn't require certainty. It requires the desire to follow, and Merton's prayer suggests that desire itself is already a form of faithfulness.

Pip: In God We Trust โ€” lip service or a way of life. That's the question left sitting in the pew.


Mara: The thread running through all of this is the gap between profession and practice โ€” saying the words and living the weight of them.

Pip: Belief is the easy part, apparently. Trust is where it gets costly. We'll see what Candle in a Cave brings next time.