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"The earth is but one country, and mankind its citizens."
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"The earth is but one country, and mankind its citizens."
By Juliet Thompson · 1947 · Kalimát Press
Formative Age (1921–1957) · in copyright
Intimate diary of an early American Bahá'í.
About Juliet Thompson
American portrait painter and early Bahá'í. Met 'Abdu'l-Bahá in Paris in 1901 and again in New York in 1912; her diary is one of the most intimate Western accounts of His Western journeys.
1873–1956
Featured figures
“By the morning the household had set down its grief and taken”
From At the Bedside of Marjorie Morten: Juliet Records a Healing
“We walked in silence, and the silence was full.”
“Come tomorrow and paint, Juliet.”
From Paint My Servitude to God: Juliet Thompson and the Portrait
“I want you to paint My Servitude to God.”
From Paint My Servitude to God: Juliet Thompson and the Portrait
“He looked at me as if He had always known me, and as if He had”
The Dawn-Breakers: Nabíl's Narrative of the Early Days of the Bahá'í Revelation
Cited in Authoritative HistoryNabíl-i-A'ẓam · 1932
God Passes By
Cited in Authoritative HistoryShoghi Effendi · 1944
The Chosen Highway
Secondary RetellingLady Blomfield · 1940
Portals to Freedom
Secondary RetellingHoward Colby Ives · 1937
World Order
Secondary RetellingWorld Order Editors · 1935
The Promised Day Is Come
Cited in Authoritative HistoryShoghi Effendi · 1941
In *The Diary of Juliet Thompson* the painter records the evening in 1912 when 'Abdu'l-Bahá visited her dying friend Marjorie Morten in her sickroom — and the strange peace that, by the next morning, had taken the place of the household's prepared grief.
In *The Diary of Juliet Thompson* the painter records an evening in New York in the summer of 1912 when, after one of the great public meetings, she found herself walking beside 'Abdu'l-Bahá through the dark streets — and the silence in which the most carrying conversations sometimes pass.
In June 1912 in New York, the painter Juliet Thompson was given an unprecedented privilege: 'Abdu'l-Bahá agreed to sit for her. The Diary preserves the moment He stopped her on the street, took her hand, and said *come tomorrow and paint;* and the cramped basement studio where He asked her to paint not the man but the *Servitude.*
In *The Diary of Juliet Thompson* the young American painter records her first encounter with 'Abdu'l-Bahá in Paris in 1901 — a small upstairs room, a single Persian voice, and a recognition that would, in time, organise the rest of her life.
In *The Diary of Juliet Thompson* the painter records a small scene in New York in 1912 when, having confessed to the Master one of her own besetting sins, she expected reproof — and received instead the quiet laughter that, in His mouth, was the most disarming form of mercy.
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