| The first excerpt represents the past or something you must release, and is drawn from The Tanach: Exodus 28: 17 And thou shalt set in it settings of stones, four rows of stones: a row of carnelian, topaz, and smaragd shall be the first row;
Exodus 28: 18 and the second row a carbuncle, a sapphire, and an emerald;
Exodus 28: 19 and the third row a jacinth, an agate, and an amethyst;
Exodus 28: 20 and the fourth row a beryl, and an onyx, and a jasper; they shall be inclosed in gold in their settings.
Exodus 28: 21 And the stones shall be according to the names of the children of Israel, twelve, according to their names; like the engravings of a signet, every one according to his name, they shall be for the twelve tribes.
Exodus 28: 22 And thou shalt make upon the breastplate plaited chains of wreathen work of pure gold.
Exodus 28: 23 And thou shalt make upon the breastplate two rings of gold, and shalt put the two rings on the two ends of the breastplate.
Exodus 28: 24 And thou shalt put the two wreathen chains of gold on the two rings at the ends of the breastplate.
Exodus 28: 25 And the other two ends of the two wreathen chains thou shalt put on the two settings, and put them on the shoulder-pieces of the ephod, in the forepart thereof.
Exodus 28: 26 And thou shalt make two rings of gold, and thou shalt put them upon the two ends of the breastplate, upon the edge thereof, which is toward the side of the ephod inward.
The Tanach |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Illustrious Gaudissart by Honore de Balzac: see, and pulls mamma's gown and cries for its newspaper, because
'Papa has DOT his.' Mamma can't let her brat tear the gown; the
gown costs thirty francs, the subscription six--economy; result,
subscription. It is an excellent thing, meets an actual want; it
holds a place between dolls and sugar-plums, the two eternal
necessities of childhood.
"I have had a quarrel here at the table d'hote about the
newspapers and my opinions. I was unsuspiciously eating my dinner
next to a man with a gray hat who was reading the 'Debats.' I said
to myself, 'Now for my rostrum eloquence. He is tied to the
dynasty; I'll cook him; this triumph will be capital practice for
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The third excerpt represents the future or something you must embrace, and is drawn from The Alkahest by Honore de Balzac: others placed about the salons, were the product of the patient
researches of three centuries. Among them were choice specimens of
Rubens, Ruysdael, Vandyke, Terburg, Gerard Dow, Teniers, Mieris, Paul
Potter, Wouvermans, Rembrandt, Hobbema, Cranach, and Holbein. French
and Italian pictures were in a minority, but all were authentic and
masterly.
Another generation had fancied Chinese and Japanese porcelains: this
Claes was eager after rare furniture, that one for silver-ware; in
fact, each and all had their mania, their passion,--a trait which
belongs in a striking degree to the Flemish character. The father of
Balthazar, a last relic of the once famous Dutch society, left behind
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