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Tags: Florentine humanists, Renaissance, Florence, Italy, Machiavelli, The Prince, Benito Mussolini, Facist Party, Gothic Realists, Jan Van Eyck, The Adoration of the Lamb, Giotto, Thomas Aquinas, Campanile, Brunelleschi, Medieval Gothic, scientific naturalism, Roman classicism, Brunelleschi's dome, cathedral in Florence, Donatello, David, statue of David, Masaccio, Middle Ages, Florentines, High Renaissance, The Red Virgin, Fouquet, Botticelli, Allegory of Spring, Birth of Venus, Michelangelo,Vittoria Colonna, Final Judgment, Pietas, Leonardo da Vinci, Mona Lisa, Renaissance man, Raphael, Baldassare Castiglione, Giorgione, Correggio, Renaissance peasant revolts

Man at the Center

The Florentine humanists had desired freedom from the unreasonable restrictions of the Church and rejected the faith that was embodied in it. Nature to them, once despised as corrupt, had now become an object of worship. These pantheists equated religion with the natural world that had become was so worthy of their enjoyment. The ideals they developed from this study of classical history and moral philosophy conceived of a well-rounded man of universal accomplishments, with strength of character in adversity, possession of luck's favor, and the ability to wield power.

The Renaissance humanistic man had high hopes for himself. He had replaced the person of God with the worship of self with the definite expectation that he could accomplish what he saw as impossible under God's yoke. Yet the final result was bondage to their own inadequacy.

Machiavelli (1469-1527) addressed secular humanism as applied to politics. It was his intention to create a science of statecraft based on classical learning. He advocated a completely secularized government, ruling itself with no regard to social or individual morality; and likewise neither divine or natural law.

It was Machiavelli's contention that in this wicked and immoral world, moral rulers have only failed in their righteous objectives. In contrast he contended that the building of the state requires the use of force, fraud, and deceit to advance what he designated as the "common weal." This philosophy put the welfare of the state as the primary objective of all endeavors. Political action should be determined only in relation to its concern exclusively for the state's security. Ultimately, human values are defined as those which guarantee the preservation and growth of the state.

"You cannot legislate morality" is the cry of a multitude of people in America today. They do not think it is the government's business to regulate what people do in regards to ethical principles. These same people will be quick to add that the church should be placed in a subjugated role in regards to the workings of the state. Machiavelli promoted the states supremacy over the church as these people do. And like the agents of class warfare today who promote the Communist dream of a state that enforces complete equity for all Americans because "that is best for everyone", Machiavelli exalted the notion of the "common weal" which likewise puts the needs of the state above the individual. Therefore, since the humanists of today agree with Machiavelli, they ought to examine the rest of his philosophy in order to understand the breed of humanity that they belong to.

In his book "The Prince," Machiavelli described the ideal nature of his tyrannical autocrat. He should be both feared and loved, but most of all feared. He can maintain an aura of goodness by concentrating his cruelties in short periods. Among the atrocities that he should pursue is the slaughter of his opponents. According to Machiavelli's reasoning, to merely confiscate the property of the tyrant's antagonists would not be good enough, for their heirs would still be in a position to receive it.

Machiavelli's authoritarian was seen to be the absolute monarch who has learned to perform in the arena of power politics with relentless zeal. So, the follower of Machiavelli is a welcomer of the spirit of the antichrist. Those who desire to separate the church and the morality associated with it from the workings of the state are in reality those who seek after tyranny. The ones who seek after equal rights in the name of equal pay, equal benefits and equal wealth are seeking a cruel dictator.

Eventually, Italy had the pleasure of being ruled by Machiavelli's "Prince." Benito Mussolini (1883-1945) founded the first political group to be called fascists in 1919. He gained his popularity by imploring the Italian people to rebuild the glories of ancient Rome. . . And a true Roman Caesar he was.

By 1922 the "Prince's" Facist Party had become so powerful that it forced King Victor Emmanuel III to make Mussolini head of the government. The reign of another "Roman" had begun in this highly unsuccessful attempt to build Italy into a great empire. Ruling for almost twenty one years, the "Prince" maitained his control using Machiavelli's proposed methods of murder, exile, and the prison camp. After the collapse of Nazi Germany though, he fled with his mistress, Clara Petacci, and some followers only to be discovered by the Italian underground. They soon shot Mussolini along with Clara Petacci, the dictator's Renaissance-styled "feminine inspiration". Then they hung the two of them by their heels in Milan. This was the fate of Machiavelli's "Prince". . . And we see the nature of the tyrannical despot who is the only logical conclusion in a society that has chosen to accept the humanistic precepts of the Renaissance to govern itself apart from moral absolutes.

 

Renaissance of Art

One should not attempt to look at the Renaissance without examining the arts. Indeed the revolution in Florence produced some of the most magnificent works of beauty the world has ever witnessed. Yet these creations reveal more than mere elegance. They lead our eyes into the very heart of these humanistic thinkers. Giorgio Vasari wrote in the Lives of the Painters, Sculptures and Architects that the "rebirth" of naturalism and classicism allowed the artists to ascend over the post-Roman "barbarian" and Christian philosophies. The artists had been "liberated" from what formerly kept them in bondage to explore an undiscovered world that had been denied them for centuries.

The first break from the formalism of the church can be found in the works of the Gothic Realists. These men developed out of the new forms of literature, methods of philosophy, and views of theology and art forms that embraced pure "naturalism." Realistic detail was their primary objective as the artists of the period attempted to paint the world as it really was. In addition, they desired to depict man in all his humanity.

Jan Van Eyck (1370?-1440) painted in the brand new medium of oils which allowed him to create literal photographic pieces. This Flemish painter mastered the use of light and air, placing a strong emphasis on nature, to become the first landscape artist of the Renaissance. This artist had not departed from God. Yet the attempt in his art was to return to the meaning of man in the real world.

In his painting The Adoration of the Lamb, the rich, the poor people from all classes and backgrounds arrive before the Lamb who is not dead, but standing upright and alive on the altar as a substitute, sacrificed for the sins of man, and risen from the dead. Van Eych realized that the problem of the church in the Middle Ages had nothing to do with the true and Living God of the Bible. Rather it was the denial of direct access to this Creator that diminished the value of man and forbid his approach to the creation. With a direct relation to God restored, man now had the freedom to discover who he is in Christ, while unveiling the glory established by God in the universe.

Before Giotto (1267?-1337), the painting in Florence was flat and without depth. Mary and Christ were not depicted as real people but rather symbols carried over from the Byzantine age. Giotto though, was the first in Italy to put nature in its proper place and paint people as they really were. He abandoned the old abstract symbolism to portray the genuine emotions of joy, sorrow, hope, and despair. His characters even assumed expressive postures to display various emotions, though they never seemed to have their feet quite fastened to the earth. At this point, giving nature its rightful place was appropriate because God made the world which makes creation very important. The positive side of Thomas Aquinas's thinking was beginning to be felt.

At the end of his lifetime Giotto designed the Campanile, the bell tower next to the cathedral in Florence, demonstrating the versatility that personified the well rounded Renaissance ideal man. Little is known about the architects who designed the spacious Romanesque and Gothic cathedrals of the High Middle Ages. Now in the Renaissance man has been elevated as an artist and is recognized for his achievements.

Brunelleschi (1377-1446) dramatically altered architecture going away from the Medieval Gothic style back to the classical. This form of scientific naturalism and Roman classicism that prevailed in Italy at the time resulted from the artist's scrutiny of the old Roman ruins. Indeed the architects of the age were the first to return to the classic forms. Then, since the artists at the time, in order to fit into the Renaissance model, were not specialized into one particular craft, it was easy for this classical form to creep into first sculpture and then painting.

Brunelleschi merged science with classicism. He studied in Rome, whose ruins represented a museum of the ancient architecture. It was this that he modeled his style after. His work on the Founding Hospital, begun in 1421, is the first Renaissance building. From there he proceeded to remodel Florence with his round columns and arches, pilasters, and domes.

Brunelleschi's dome of the cathedral in Florence goes beyond any dome previously designed, including the Pantheon in ancient Rome. This wonder became a model for Michelangelo's dome of St. Peter's. It was such a great feat of engineering that architects and engineers today are still at a loss to understand just what makes it hold together.

He was also recognized as the master of space, and influenced the painters and sculptors of his day by making space important in their artistic endeavors. The important thing to realize though is that man was in the center of all this space.

Donatello (d 1446) transmitted this Roman classicism to sculpture. His bronze statue of David was designed to stand alone in a garden. This picture of perfection was a combination of grace, reserve, mathematically proportioned, and naturalistic. The flawlessness of this piece portrayed David as the chosen one to kill Goliath on account of natural perfection rather than Godliness. The dignity and greatness of man was rearing its defiant head.

The nature of the humanistic world considers the man of inordinate physical stature as the one who is praiseworthy. But the Lord said to Samuel, "Do not consider his appearance or his height, for I have rejected him. The Lord does not look at the things man looks at. Man looks at the outward appearance, but the Lord looks at the heart. . . So he asked Jesse, "Are these all the sons you have?" "There still is the youngest," Jesse answered, "but he is tending the sheep." Samuel said, "Send for him; we will not sit down until he arrives." So he sent and had him brought in. He was ruddy, with a fine appearance and handsome features. Then the Lord said, "Rise and anoint him: he is the one." So Samuel took the horn of oil and anointed him in the presence of his brothers, and from that day the Spirit of the Lord came upon David in power. (I Sam 16:7,11-13a niv) This is the true David of history. This is the David of the Bible rather than the exaltations of humanists.

Masaccio (1401-1428) has been recognized as the father of Renaissance painting. In order to give his work a true-to-life quality, he made extensive studies of life to produce virtual photographic images. He was the first to use central perspective and bring light into his paintings from the appropriate direction. This emphasis on realism represented man's new appreciation of the real world in which he anticipated that he would fulfill a consequential role.

In these artists we see what was personified in Italian realism, with its selective striving for the ideal form. Fusing realism with classical balance, harmony, proportion and decorum, the perfection and beauty of these artistic works depicted the high hope that permeated the Renaissance. For them it was a promising future for men who had discovered themselves and their potential.

At this point, art had the potential to go in two directions. It was good that man had, after the darkness of the Middle Ages, rediscovered God's creation and his own potentiality as he interfaced with it. There could have been a continued emphasis of real people living in a real world understanding their worth on the basis of God who created it all. However after Masaccio, the future of Western man was cast in cement as man turned his back on God, with the express purpose of exploring himself and his own potentiality apart from his Creator and Savior.

At the peak of classical realism, art had come to the conclusion that the enjoyment life was a more divine principle than the contemplation of death and salvation. The struggle of man finding himself himself replaced the conflict of heaven and hell as the chief concern of the humanist artist. Man became the measure of all things; his dignity, perfection, and fame replaced metaphysical principles as the measuring rod of all values.

This important shift brought the Florentines into the High Renaissance that most of us are familiar with. Man made himself into a god as he was idealized to be greater than even himself. By the second half of the 16th century the artists began to draw more on classical literature than contemporary life. Greco-Roman gods, heros, battles, and myths were perpetuated by the painters Mantegna and Piero de Cosimo. The stature of the Greek and Roman pagan gods had become the model for a humanity, that was seeking more than greatness. . . but immortality itself.

When I was a young boy, my dad repeated a joke over and over again for any ear that would have the patience to listen. There is nothing that he enjoys more than entertainment; and a good gag is the way he has attained that possession. With every eye attentive to his deportment he would vivaciously blurt out with a countenance filled with animation, "When I was young I looked like a Greek God. Now I just look like a Greek!"

Without knowing it he had detailed the dilemma of the Renaissance humanists. They had looked intensely at the gods the ancients had devised through their own humanistic will, hoping they would become gods as well through the resolve of their commitment to themselves. In fact, they became no more than the Greeks who were fattened on the sustenance of their own deceit.

"The Red Virgin" by Fouquet is a prime example of this shift towards humanism in art. The image of a lady amid the overall color of red that dominated the picture was intended to represent the Virgin Mary. In fact, the subject was the king's mistress who was painted with one breast fully exposed and revealed for the eyes of the entire world. Up to this point, the Madonna was considered extraordinary high and holy. But now with the king's mistress painted as Mary, all that was sacred in regards to her had been removed.

This sacrilegious effort was an obvious affront to religion, intended to tear down the conventional treasures of the Christian heritage of the West. Those in contemporary America who profess themselves to be so vogue and innovative in their pursuit to tear down all that is Christian in our society can look back to Florence to find the authors of their beliefs.

The artist Botticelli was strongly influenced by Neoplatonism. His painting Allegory of Spring and Birth of Venus manifested his departure from realism to mysticism. This return to the symbolic was not a reversion to the religious themes of the Middle Ages, but to the classical pagan traditions. This art form depicted hierarchies of spirits, types of souls and forms of love that could hardly be considered Christian.

Michael Levey in A History of Western Art, wrote concerning Botticelli's humanistic depiction of Venus: "Perfect harmony reigned throughout the composition, symbolized in the weightless pose an poise of the goddess, effortlessly sure of sustaining her balance in the rhythm of propulsion. This is a morally serious picture, in which pagan mythology is treated with the earnestness previously reserved for Christian subjects."

So, the humanist of the Renaissance attempted to bring to paganism the reality and believability that had been once reserved only for the Christian faith that he was now rejecting. The painters of the time sought to bring realness to myth in order that myth would become believable.

Today in the arts, the humanist is still using his craft to make fantasy into reality before people's eyes. Hollywood is re-writing history in her movies -- and it is so real that it becomes fact in people's minds. She portrays her humanistic concepts of evolution and morality with every special effect, graphic and computer manipulation, camera angle and charisma she can muster up so that her belief system hits the senses in a manner that leaves the recipient helpless to resist. Again art has drifted from the portrayal of God to the agenda of humanism.

The artists of the High Renaissance who followed Botticelli no longer considered themselves recorders of external nature. They saw themselves as creative geniuses inspired by some divine spirit. Michelangelo for example, believed that throughout the ages, a sculptural image has always been hidden in the block of marble that rested at the end of his chisel. This figure though, could only be unveiled by divine inspiration from God. This ideal classical form that was "revealed" by Michelangelo emphasized grandeur, perfection of form, and self-assurance working together in greater-than-life proportions.

The monarchs of Rome, Northern Italy, and France were intrigued by this concept. As a result, they came to the Renaissance artists to be immortalized in their art for the purpose of their own glorification. Through this recognition, the artists were deified as well.

Michelangelo is the great artistic master of the High Renaissance in Florence, Italy. His works, such as the magnificent display in the Sistine Chapel, have been an inspiration to many Christians in their pursuit after God. The Final Judgment at the altar of this glorious chapel takes one's breath away.

However, one must realize that this distinguished artist, who created so much religious art, was in fact a humanist. The hands of God and Adam reaching towards each other on the roof of the chapel in the Vatican are not an indication of who this man was in his early life. For Michelangelo, his pursuit wasn't after God but rather himself. In the Academy in Florence, Michelangelo's great room depicts men on either side "tearing themselves out of the rock." In so doing they make the humanistic statement that man will tear himself out of the rock of nature to free himself from it to victoriously make himself transcendent.

At the end of the room stands the infamous statue of David who was far from the Biblical David that this artist was well aware of. The statue of David is Michelangelo's most classical work. It is a pristine example of the ideal classical form that the artists of this era sought to emulate.

But goodness, David isn't even circumcised! He was depicting a man who was no longer subject to the LAW of God. This idealistic and romantic statue states the hope of humanism in the oversized and powerful hands that could have overpowered the giant with sheer strength. Standing relaxed and serene, this enormous figure could certainly slay a giant without the help of divine intervention, typifying the high hopes of the Renaissance man.

In Florence after the overthrow of the Medicis, a more genuine republic was formed in 1494. Michelangelo's statue of David was positioned at the time outside city hall, standing high as a exterminator of any tyrant who might come against the freedom of the people. The humanists in Florence were looking towards their proud selves with confidence towards the future as represented by David.

Of this imposing statue Michael Levy in A History of Western Art wrote: "Not blood but some divine ichor flows in the veins of this vast figure, totally nude and aggressive in nudity, a positive Goliath beside Donatello's David -- an impossibly heroic, magnificent statue which forbids any identification with mankind, despite all the suggestions of muscle and sinew carved in marble. Nor does this David require any miraculous help from God: it is he who is a god."

Michelangelo's hope and tranquility was severely shaken by a religious and political crisis in 1527. At that time Rome was sacked, and Italy was conquered by the Emperor. Indeed, Michelangelo's statue of David could not defend his or Florence's freedom. So, as his optimistic world crumbled around him the art that he produced changed dramatically. Searching for some sense of reality, he drifted from classical realism to subjective and imitative mannerism to Baroque.

It appears though that when Michelangelo lost himself he found God. In his later years he came in touch with Vittoria Colonna (1490-1547) who had been influenced by reformation thought. Many feel that at that point of his life Michelangelo found himself leaning on the Rock rather than attempting to pry his way out of it.

His later work certainly displayed a remarkable change in emphasis. In contrast to the earlier humanism, as displayed in the sculpture of David, his last work Pietas was a statue of Mary holding the dead Christ in her arms. In the Pieta in the cathedral in Florence this eminent artist put his own face on Nicodemus (or Joseph of Arimathea). In these last two works, Michelangelo's humanistic pride was virtually absent. Could it be that he was seeing himself in his own work asking Jesus how he might be born again?

Equal to Michelangelo towered the chemist, musician, architect, anatomist, botanist mechanical engineer, and artist Leonardo da Vinci (1452-1519). He could do anything and do it well, which expressed what the true Renaissance man in his effort to exalt the potential of man was all about. Da Vinci is recognized as being the first modern mathematician, seeking to conform his thinking to rational mathematical laws. Yet it was his contention that man, on the basis of himself, could never come to a realization of the meaning of life through this medium.

Painting was a mere second in relation to his other endeavors. Above this expression was da Vinci's work in military and civil engineering, anatomy, physiology, botany, geology, and mechanics. In spite of this accentuation in his life, da Vinci determined that possibly the sensitive artist might paint his way to a discovery that would uncover "the soul" of what reality was all about. It was his intent to create a canvas that was like a transparent window pane with nature on the other side.

His realism was reflected in his statement: "That picture is most praiseworthy which most resembles the thing to be imitated." So, da Vinci's realism in painting focused itself on finding his pure ideal in the world around him. It was in this that he hoped to find what the nature of reality was all about.

However, da Vinci's adherence to pure imitation was very selective, as he carefully choose subjects of ideal beauty from the environment around him in the attempt find his glorified ideal. Now we are only left to peer into the mysterious eyes of his Mona Lisa only to wonder what she was really thinking. In the end though he failed to paint meaning for man on this thin humanistic basis.

The power of this Renaissance painter over the mind of his contemporaries can not be overestimated. Michael Levey wrote: ". . .the memorable image of the Mona Lisa, where the mystery is not only in the woman but in that melting background, an unvisited country of sunken, ribbon-like rivers winding among inaccessible crystalline peaks -- an eternity no less disturbing than its sitter's expression. Leonardo's imaginings would cast their spell over many great sixteenth-century artists including Raphael, being felt by Giorgione and Correggio -- both magician-like painters whose art would aim in turn at casting a spell over the spectator."

Raphael's portrait of Baldassare Castiglione demonstrated the Renaissance man's deification of nature. Levey wrote of this painting of this famous author: "Probably no comparable subtle and complex portrait of a man had ever before been painted. It owes a good deal to its spiritual mother, Leonardo's Mona Lisa, but what is there veiled mystery has become confident clarity in Raphael's handling. The result is certainly natural-seeming, but it goes beyond nature. That particular step shows the direction of the new sixteenth-century art, more varied, graceful and finished than nature itself."

The humanist of the Renaissance was certain that starting with himself he could solve every problem concerning meaning for man's existence. First he looked to Aristotle who had insisted that man could discover significance through the power of his own rational behavior as it interfaced with the empirical world about him. He failed in his pursuit as did his humanistic followers in the Renaissance. Eventually these later thinkers gave up on Aquinas' attempt to synthesize Christianity with Aristotle; turning their attention to Plato who emphasized the universal in his recognition of a higher LAW. They likewise failed in their effort to merge Plato's teachings with Christianity.

In spite of their emphasis on the importance of man, the Renaissance idealists failed improve the state of the individual living in society. Throughout the period, commerce stagnated at a lower level than the dreaded Middle Ages. The rise of commercial towns caused a revolution against the Middle Age rural, chivalric, manorial, and ecclesiastically oriented society that they sought to rebel against. However, the aristocracy was able to maintain its social dominance, as open rebellion in every town seldom resulted in urban independence or prosperity. The effect of the Renaissance peasant revolts did institute some legal improvements in venues where town life remained active. But the benefits of these revolts were virtually negated by new taxes, court fees, requisitions for civil and military purposes that were only added to the traditional burdens to church and manoral lords.

This period of hope for mankind didn't have any reality surrounding it in the real world. This enthusiastic mental awakening did little for the state of the common man, which historically has been the fate of any movement that has attempted to institute improvements on a Godless humanistic base. History has proved time and time again that when man attempts to lift himself up he is ultimately abased. For everyone who exalts himself will be humbled, and he who humbles himself will be exalted. (Luke 1411 niv)

Leonardo discovered where this complete faith in man would eventually lead. Not able to bring forth understanding of the universe in either mathematics or art, Leonardo da Vinci was brought to the French court before King Francis I (1494-1547) an old and despondent man. So early in its modern inception humanism had already displayed itself in the agony of frustration, disillusion, failure, and defeat. There is nowhere for humanism to go but down.

 

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Don Wigton is a graduate of the prestigious music department at CSULB where he studied under Frank Pooler, lyricist of Merry Christmas Darling, and sang in Pooler’s world renown University Choir alongside Karen and Richard Carpenter. During this time Don was also the lead composer of the band, Clovis Putney, that won the celebrated Hollywood Battle of the Bands. After giving his life to God, Don began attending Calvary Chapel, Costa Mesa to study under some of the most prominent early Maranatha! musicians. Subsequently he toured the Western United States with Jedidiah in association with Myrrh Records.

Eventually Don served as a pastor at Calvary Chapel Bakersfield to witness thousands of salvations through that ministry. As the music/concert director, Don worked for seven years with most major Christian artist of that time while producing evangelical concerts attended by thousands of young people seeking after God. Don’s Calvary Chapel Praise Choir released the album Let All Who Hath Breath Praise the Lord on the Maranatha! label.

The next years of Don’s life were spent as the praise leader of First Baptist Church in Bakersfield during a time of unprecedented church renewal. Don teamed with the leadership to successfully meld the old with the new through a period of tremendous church growth. During this exciting time, Don’s praise team, Selah, produced the CD Stop and Think About It.

Today Don is the leading force behind Wigtune Company. This webbased project located at www.praisesong.net has provided several million downloads of Don’s music and hymn arrangements to tens of thousands of Christian organizations throughout the world. More music can be found at Don's Southern Cross Band website at www.socrossband.com.

The book Holy Wars represents Don’s most recent effort to bless the church with biblical instruction and direction in praise and worship. This heartfelt volume is an offering not only to God’s people, but also to God Himself.

 

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Are you one of those people who look with unbelief at that craziness of the world? With all the nonsense that is going out there are you ever concerned about being dragged away from you faith unawares? People out there are telling us a lot of things that sound very spiritual and good. But is it all a lie? Understanding how society thinks is the way to discover the difference between truth and deceit. This book delves into the thought processes of the world compared to biblical Christianity in order to come to an understanding of what to believe.

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Holy_Wars_cover_small.jpg (51492 bytes)Holy Wars. . .a powerful and dynamic "must have" for every Christian who is seeking to worship God in the midst of the tempest of our modern world.

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Wigtune Company offers free mp3 Jesus based praise music and song along with traditional Christian hymns performed in a contemporary fashion in order to encourage the body of Christ to blend the old with the new in a scriptural fashion.  An on-line Bible study is offered that goes into the biblical and historical foundation of worship for music ministries, the music minister, praise leader, pastor and serious Bible student.  The study is presented in outline form with relevant scripture references and questions.  Download this helpful work for free! was formed as a service to the body of Christ to encourage scriptural worship. To accomplish this goal Wigtune Company offers free contemporary Christian praise and worship music, contemporary Christian rock and hymn mp3 and chart material along with a free on-line worship study book for personal devotions, Bible study groups, Sunday schools, pastors, music ministers and ministry training.  In order to bridge the gap between the old and the new the worship study book gives solid theological and historical support to the use of traditional Christian hymn-singing in conjunction with praise chorus singing.

Click on one of the links below for praise and worship, praise tabs, worship chords, praise chorus mp3, hymn stories, pro tools studio, worship leader materials to enter into the area of the Wigtune site that interests you !

Wigtune Company believes that the current contention among Christian generations over church music is unnesessary.  One does not have to chose between the classic traditional hymn and the contemporary praise chorus and song.  Solomon declared that there is a place for everything under the sun. The worship musical material and the worship Bible study book offered at the Wigtune website support this theme. Vision Statement    Don and Vanessa Wigton share the vision of Wigtune Company.  Going to this page will inform the WEB surfer the circumstances that lead to the Wigtune offering of praise song and hymn along with the worship Bible study book that lends theology and history based support to the use of traditional Christian hymn singing in conjunction with praise chorus singing.   Wigtune Story    The Wigtune Company free on-line worship Bible study book is a manual for the use of the pastor, teacher, music minister, Bible study group, sunday school and any situation where a theological and historical lesson regarding worship is desired.  The Bible study is presented in outline form with questions that require thoughtful answers to the biblical and history based information that is presented.   Free On-Line Worship Studybook   

Wigtune Company offers free mp3 praise music in the form of tradtional Christian hymn performed in a contemporary manner and modern praise song and choruses mp3s.  Chord charts to many of these song mp3's are available for non-commercial ministry use.  Free Praise and Worship Music Mp3s and Charts   Wigtune Company offers free mp3 praise music in the form of tradtional Christian hymn performed in a contemporary manner and modern praise song and choruses mp3s.  Chord charts to many of these song mp3's are available for non-commercial ministry use.

Wigtune Company offers free mp3 praise music in the form of tradtional Christian hymn performed in a contemporary manner and modern praise song and choruses mp3s.  Chord charts to many of these song mp3's are available for non-commercial ministry use. Wiggy's Top Ten Praise MP3s Wigtune Company offers free mp3 praise music in the form of tradtional Christian hymn performed in a contemporary manner and modern praise song and choruses mp3s.  Chord charts to many of these song mp3's are available for non-commercial ministry use.

Wigtune Company offers free mp3 praise music in the form of tradtional Christian hymn performed in a contemporary manner and modern praise song and choruses mp3s.  Chord charts to many of these song mp3's are available for non-commercial ministry use. Radio: Listen to Wigtune Worship Music on Live Internet Radio

Wigtune Company offers free mp3 praise music in the form of tradtional Christian hymn performed in a contemporary manner and modern praise song and choruses mp3s.  Chord charts to many of these song mp3's are available for non-commercial ministry use.    Wigtune Praise Worship and Hymn CD's

 What are they saying about Wigtune praise and worship contemporary and hymn music   Testimonials: What they are saying about Wigtune Music

Please help Wigtune Company by observing the copyright restrictions listed on this page.  The praise and worship materials (praise songs and hymns) have been offered up for free with love!  Copyright Restrictions    

What do you think of Wigtune's offering of praise music and worship study materials?  Let us know by e-mailing us?   Contact Us    If you have been blessed by the free praise music (praise choruses and traditional hymns) and the worship study book, don't keep it to yourself.  Click here to see how you can spread the word!   Spread the Word!

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Click here to find out what organization are utilizing Wigtune contemporary Christian and traditional praise and worship music, chord charts, and online worship Bible study.  Where's Wiggy? - List and Links to Christian Organizations

  Click here to view the Wigtune statement of faith based upon orthodox Christian beliefs.  It is upon this profession that proclaims the doctrines of historical Christianity that the Wigtune praise and worship music and Bible study have been formulated.  Statement of Faith

Click here to view the Wigtune statement of faith based upon orthodox Christian beliefs.  It is upon this profession that proclaims the doctrines of historical Christianity that the Wigtune praise and worship music and Bible study have been formulated.   Special Report: Christianity in Russia - Has Anything Changed?

 The Wigtune Home Page: Free mp3 praise music and hymns sung in a contemporary fashion.  On-line worship study book for Bible students, music ministers, song leaders and pastors is also available!

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Wigtune Company Praise and Worship Music Resource Center

Last updated on 07/20/12 This worship site for Christians was created in Front Page

 

Copyright © 1999 Don Wigton. All rights reserved.