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Berryman and his colleague Sonja Stewart, a professor of Christian education at Western Theological Seminary, co-developed a series of lessons plans, the first of which were published in the book Young Children and Worship. [5] Berryman then further developed these ideas into the Godly Play method. The lesson plans were published as a series of ...
Young Children & Worship, a collection of lessons with accompanying hands-on materials, was developed by Jerome Berryman, an Episcopal priest, and Sonja Stewart, a professor of Christian education at Western Theological Seminary. [10] Berryman had studied the Montessori method in Italy, and had been trained in the Catechesis of the Good Shepherd.
The Good Shepherd, c. 300–350, at the Catacombs of Domitilla, Rome. The Good Shepherd (Greek: ποιμὴν ὁ καλός, poimḗn ho kalós) is an image used in the pericope of John 10:1–21, in which Jesus Christ is depicted as the Good Shepherd who lays down his life for his sheep. Similar imagery is used in Psalm 23 and Ezekiel 34:11–16.
Jesus is the Good Shepherd. We can recognize his voice above all others and follow Him. Skip to main content. 24/7 Help. For premium support please call: 800-290-4726 more ...
"Good Shepherd" originated in a very early 19th century hymn written by the Methodist minister Reverend John Adam Granade (1770–1807), "Let Thy Kingdom, Blessed Savior". [1] [2] [3] Granade was a significant figure of the Great Revival in the American West during the 19th century's first decade, as the most important author of camp meeting hymns during that time. [4]
The Good Shepherd The Guardian Angel. Plockhorst was born in Braunschweig, Germany, where he had a 5-year education in lithography at the Collegium Carolinum, after which he trained to be a painter with Julius Schnorr von Carolsfeld in Dresden in 1848, with Carl von Piloty in Leipzig and Munich, and finally with Thomas Couture in Paris in 1853.
The Good Shepherd, now clearly identified as Christ, with halo and often rich robes, is still depicted, as on the apse mosaic in the church of Santi Cosma e Damiano in Rome, where the twelve apostles are depicted as twelve sheep below the imperial Jesus, or in the Mausoleum of Galla Placidia at Ravenna.
The image from this parable of the shepherd placing the lost sheep on his shoulders has been widely incorporated into depictions of the Good Shepherd. [5] Consequently, this parable appears in art mostly as an influence on depictions of the Good Shepherd rather than as a distinct subject on its own.
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