Cs2 Masterpiece
Laura N Gerard
The form masterstik is recorded in English or Scots in a set of Aberdeen guild regulations dated to 1579, whereas masterpiece is first found in 1605, already outside a guild context, in a Ben Jonson play.[4] Masterprize was another early variant in English.[5]
In English, the term rapidly became used in a variety of contexts for an exceptionally good piece of creative work, and was "in early use, often applied to man as the 'masterpiece' of God or Nature".[9]
Originally, the term masterpiece referred to a piece of work produced by an apprentice or journeyman aspiring to become a master craftsman in the old European guild system. His fitness to qualify for guild membership was judged partly by the masterpiece, and if he was successful, the piece was retained by the guild. Great care was therefore taken to produce a fine piece in whatever the craft was, whether confectionery, painting, goldsmithing, knifemaking, leatherworking, or many other trades.
In London, in the 17th century, the Worshipful Company of Goldsmiths, for instance, required an apprentice to produce a masterpiece under their supervision at a "workhouse" in Goldsmiths' Hall. The workhouse had been set up as part of a tightening of standards after the company became concerned that the level of skill of goldsmithing was being diluted. The wardens of the company had complained in 1607 that the "true practise of the Art & Mystery of Goldsmithry is not only grown into great decays but also dispersed into many parts, so as now very few workmen are able to finish & perfect a piece of plate singularly with all the garnishings & parts thereof without the help of many & several hands...". The same goldsmithing organization still requires the production of a masterpiece but it is no longer produced under supervision.[10][11]
In Nuremberg, Germany, between 1531 and 1572, apprentices who wished to become master goldsmith were required to produce columbine cups, dies for a steel seal, and gold rings set with precious stones before they could be admitted to the goldsmiths' guild. If they failed to be admitted, then they could continue to work for other goldsmiths but not as a master themselves. In some guilds, apprentices were not allowed to marry until they had obtained full membership.[12]
In its original meaning, the term was generally restricted to tangible objects, but in some cases, where guilds covered the creators of intangible products, the same system was used. The best-known example today is Richard Wagner's opera Die Meistersinger von Nrnberg (1868), where much of the plot is concerned with the hero's composition and performance of a "masterpiece" song, to allow him to become a meistersinger in the (non-commercial) Nuremberg guild. This follows the surviving rulebook of the guild.
The practice of producing a masterpiece has continued in some modern academies of art, where the general term for such works is now reception piece. The Royal Academy in London uses the term "diploma work" and it has acquired a fine collection of diploma works received as a condition of membership.
In modern use, a masterpiece is a creation in any area of the arts that has been given much critical praise, especially one that is considered the greatest work of a person's career or to a work of outstanding creativity, skill, profundity, or workmanship. For example, the novel David Copperfield by Charles Dickens is generally considered a literary masterpiece.[13][14][15] The term is often used loosely, and some critics, such as Edward Douglas of The Tracking Board, feel it is overused in describing recent films.[16]
I've been lying down for hours now. It's 5:35AM and there's not much I can do. You know what the worst part about my situation is? I'm in the same room as my parents. They keep looking at me, and I can't help but look back and try not to cry or scream. Their eyes are focused on me and their mouths are wide open. There's a strong scent of blood and I feel paralyzed with fear.
Here's the thing. The second I make any hint that I'm not asleep anymore, I'm completely fucked. I will die and there's nobody around to save me. I've been trying to think of a way out but the only idea I have is to rush for the front door and scream for help, hoping any neighbors hear me. It's risky, but if I stay here, I'll surely die. He's waiting for me to wake up and see his masterpiece.
About three hours ago, I heard screaming from the other side of the house. I got up and went to check on the noise before realizing I had to use the restroom. Instead of doing the smart thing and investigating, I used the bathroom first. I could've gotten myself killed right then for my stupid actions. I did my business and took a peek outside the bathroom. There was blood on the carpet. I got very worried and ran back to my room, hiding under the sheets like the pussy I was. I tried to convince myself to go back to sleep, that it was just some really vivid dream or something.
But I heard my bedroom door open. Like the terrified child I was, I peeked out from under my blankets to see what was going on. I could see something dragging my dead parents into the room. It was not human, I can tell you that. It was hairless, with no eyes or clothing. It walked like a caveman, with its back slouched as it dragged my parents. But this thing was much smarter than any caveman. It was aware of what it was doing.
It propped my dad up on the edge of my bed, and made him face me. It then sat my mother down in the chair and positioned her towards me as well. It then started rubbing its hands on the walls, staining them with blood and then drew a circle with the Devil's pentagram in it. This thing had made what it would probably call a masterpiece. To finish it off, it scribbled a message into the wall that I could not read in the darkness.
The scariest thing now is my eyes have adjusted to the darkness since then, and I can read the message on the wall. I don't want to look at it, because it's terrifying to think about it. But I feel I need to see, before I'm killed.
Like so many others, as we picked up the fragments ofour broken dreams and began to piece them back togetherin new ways, we tried to make sense of the puzzle we wereworking on. Did God create Williams syndrome? Is therepurpose in disability?
We were firm in our pro-life belief that the Lord knitsevery baby together fearfully and wonderfully from themoment of fertilization (Psalm 139:14). But where do thosewith disabilities fit into that belief? Was our son really amasterpiece of the Creator?
As we dove into the world of therapies and ongoing doctorvisits, engaging with those who were walking on the samepath we were, the prophet Isaiah reminded us that eachindividual is handcrafted by the Creator to display his glory(Isaiah 43:7; see Romans 11:36).
We serve a God who gives grace for every day and everysituation. Disability and suffering show us very quicklythat we cannot rely on ourselves and that we desperatelyneed the Holy Spirit to work in our lives to bring comfort,strength, wisdom, and all his fruit. These difficulties canlead us to a deeper relationship with our Savior and his Wordas we depend on him. Even in disability, God is working toconform us to the image of his Son.
Sadly, in many cases, disabilities cause people to turn awayfrom following Christ, but our attitude should be the opposite.Christians, of all people, should recognize that each personbears the image of God. When the Lord brings someonewith a disability across our path, we need to seek to get toknow him or her first as an individual, finding out who he orshe is as a person. And, in some cases, we might discover howwe can be the tangible hands and feet of Christ, not out of pitybut out of a love for Jesus and those he has created.
Throughout our journey, the Word of God has been powerfulin changing and forming our own perspective on thosewith disabilities. Most importantly, we are thankful thatGod, in his goodness, has given our indispensable son forhis good purposes.
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