<TITLE>05. Par 28-35</TITLE>L-28   And a group of ministers, we went up there. And they... we didn't have time to go into the--the... into the--the place where they have the cremation, and put the--the bodies in a--a little box on the side of the wall.

L-29 And in there they have some outstanding things, such as the Last Supper. And it's lighted by the actual light of the sun. And they--they have a shutter that it gives them... When they go in, it's light; and then as--as they begin to speak, it darkens up. And after a while it all becomes dark, and then the people go out. And they have all the Supper.

L-30   And the woman that held the secret of how to beat this glass into this place, why, make these pictures, why, it--it come through a family, for many years back. And the art was just given to the children, and the last one was a woman. And they was fixing this picture. And when they went to mold and burn the--the glass, bake it, of Judas Iscariot, it busted. So then they tried it again, and it busted again. And she said, "Maybe our Lord doesn't want His enemy picture by His side." And said, "If it bursts again, we'll not complete the picture." But it held that time. Then, course, that was a striking thing, and how that such things would happen.

L-31   But, then, one of the main things that interest me in Forest Lawn, was Michelangelo's, the great sculpture, the--the monument of Moses. It's a--a reproduction there, of course. It isn't the original, but it was such a--a great masterpiece. And as I stood and looked at it, I--I liked that, something that looks like it's (represents) got something to it.

L-32 I like art, real well. I believe God is in art. I believe God is in music. I believe God is in nature. God is everywhere. And anything that's contrary to the original is a perversion. God is in dancing; not the kind of dancing you do here. But when the sons and daughters of God are in the Spirit of God, see, that's dancing. But like we had to contend with till two o'clock this morning, up there in the lane, that's the perversion of it.

L-33   But, this, and the masterpiece that Michelangelo had--had made, it--it cost him something to do that--that. He was a great man, and it cost a big part of his life, because he was many, many years in carving out. Just take a rock and of--of marble, and keep carving it. And, see, only the man, the sculptor himself, has in his mind what he's trying to do. He, he is the one. You might walk up and say to him, "What are you pecking on that rock for?" To the outsider, who doesn't know what's in his heart, it's nonsense. But to the man, the sculptor himself, he--he's got a--a vision in his mind, what he's trying to make, and he's trying to reproduce what he has on his mind in the form of a--of a monument. That's the reason he's digging it out of the rocks.

L-34   And this, to do, you have to start off right, at the beginning, and you have to follow the pattern. See? You can't get a little piece, to start off, "We'll make it this way; no, I believe..." No, he's got to have a exact pattern. And in his mind he's got that pattern. And he cannot vary from that pattern. Now, in order to do this, he had to draw in his mind, because we have no real pictures of Moses, but he had to get a mental picture in his mind, of exactly what Moses was.

L-35   Now, a genuine sculptor is inspired, like a genuine poet, or any genuine singer, musician, whatever it might be. All real has to come by inspiration. Michelangelo must have had the inspiration of what Moses really looked like. And he caught it in his mind, what Moses must have been. So he set forth on this great piece of marble, the cutting to the pattern, and bringing down, and honing down, until he got to the real picture of what it must have been in his mind.


<A HREF="P6">Next Page</A>