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The basic questions which every person, in every culture, in every age must ask provide a compelling window for declaring the hope that is found only in Christ.

I have been reading Matthew Barrett’s The Reformation as Renewal: Retrieving the One, Holy, Catholic, and Apostolic Church in preparation for a review. It is easy to dismiss Anabaptists as wild-eyed iconoclasts of both physical space and theological heritage. In the end, that is all these people became to the magisterial Reformers—simultaneously a nuisance and a foil to contrast their own supposed reasonability and catholicity. But historians do not simply repeat the narrative; we complicate the narrative, because human beings are complicated.

As editor in chief of Artforum from 1977 to 1980, Joseph Masheck published a series of five articles tracing ways that twentieth-century abstraction remained subtly rooted in Christian conceptualities and antetypes. With titles like “Cruciformality” and “Iconicity,” these articles were less concerned with religious iconographies (the ubiquity of cross-shaped structures in modernist painting, for example) than with understanding how nonobjective art was (re)processing religious logics, precisely while dispensing with iconographical and pictorial content.

In the field of art history, scholars who prioritize understanding artists’ perspectives over imposing their own interpretations are rare. Joseph Masheck is one of these exceptional scholars, distinguishing himself by his commitment to unraveling what artists thought about themselves, their work, and the world in which they lived.

Taming the Dutch East Indies was one of Snouck Hrugronje's challenges. His experience of living in Mecca and observing the Jawah (Dutch East Indies) pilgrims provides enrichment to examine the dynamics in the Dutch East Indies.