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+Project Gutenberg's The Great Painters' Gospel, by Henry Turner Bailey
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Great Painters' Gospel
+       Pictures Representing Scenes and Incidents in the Life of
+       Our Lord Jesus Christ
+
+Author: Henry Turner Bailey
+
+Release Date: January 5, 2012 [EBook #38500]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE GREAT PAINTERS' GOSPEL ***
+
+
+
+
+Produced by Michael Gray, Diocese of San Jose
+
+
+
+
+[Illustration: "I am the Light of the World"]
+Holman Hunt. 1827-
+_"I am the Light of the World."_
+
+
+
+  THE
+  GREAT PAINTERS' GOSPEL
+
+  PICTURES
+  representing scenes and
+  incidents in the life of
+  Our Lord Jesus Christ
+
+  _With scriptural quotations, references and suggestions for
+comparative study_
+
+  By HENRY TURNER BAILEY
+
+  W A WILDE COMPANY
+  BOSTON MASS
+  USA
+
+
+
+  COPYRIGHT 1900 BY
+  W. A. WILDE COMPANY
+  All rights reserved
+
+
+
+
+TABLE OF CONTENTS.
+
+Introductory.
+
+The Annunciation.
+
+  "Hail Mary"                             Luke 1:28   TITIAN
+  "Blessed art thou among women"          Luke 1:28   HOFMANN
+  "Thou hast found favor with God"        Luke 1:28   RENI
+  "How shall this be?"                    Luke 1:34   BAROCCIO
+  "The Holy Ghost shall come upon thee"   Luke 1:35   DOSSO
+  "Let it be unto me according to thy     Luke 1:38   MÜLLER
+    word"
+
+The Salutation.
+
+  Mary saluting Elizabeth                 Luke 1:40   ALBERTINELLI
+
+The Birth of John.
+
+  "His name is John"                      Luke 1:63   FRA ANGELICO
+
+
+Childhood.
+
+Nativity.
+
+  "No room for them in the inn"           Luke 2:7    MERSON
+  "The angel of the Lord came upon them"  Luke 2:9    PLÖCKHORST
+  "Glory to God in the highest"           Luke 2:14   HOFMANN
+  "Found Mary and Joseph and the babe"    Luke 2:16   LEROLLE
+  "Wondered at those things"              Luke 2:18   CORREGGIO
+                                                      BOUGUEREAU
+                                                      MÜLLER
+
+Presentation.
+
+  "Now lettest thou thy servant depart    Luke 2:29   FATTORINO
+    in peace"
+  "This child is set for the falling      Luke 2:34   CHAMPAIGNE
+    and rising up of many in Israel"
+  "A sword shall pierce thine own soul"   Luke 2:35   BORGOGNONE
+  Anna coming up at that instant          Luke 2:38   BOURDON
+                                                      BARTOLOMMEO
+
+Adoration of Magi.
+
+  The star stood over the child           Matt. 2:9   HOFMANN
+  They came to the house                  Matt. 2:11  MALDINI
+  And they worshipped the child           Matt. 2:11  LUINI
+  And gave unto him gifts                 Matt. 2:11  BONIFAZIO
+
+Flight into Egypt.
+
+  An angel appeared to Joseph in a dream  Matt. 2:13  CRESPI
+  He arose and departed                   Matt. 2:14  FÜRST
+  With the child and his mother           Matt. 2:14  PLOCKHÖRST
+  Guided by the angel                                 HOFMANN
+  Into Egypt                              Matt. 2:14  BENZ
+  In Egypt                                            MERSON
+  Was there till the death of Herod       Matt. 2:15  MORRIS
+
+Return to Nazareth.
+
+  Mother and child                                    MURILLO
+  "Grace of God was upon him"             Luke 2:40   MURILLO
+  Daily life at Nazareth                              HOFMANN
+
+
+Youth.
+
+Visit to Jerusalem.
+
+  "They went up to Jerusalem"             Luke 2:42   MENGELBERG
+  In the midst of the doctors             Luke 2:46   HOFMANN
+                                                      LAFON
+  "When they saw him they were amazed"    Luke 2:48   DOBSON
+  "Son, why hast thou thus dealt with     Luke 2:48   HUNT
+    us?"
+
+Silent Years at Home.
+
+  The carpenter's son                                 HUNT
+  "Breaking home ties"                                PLOCKHÖRST
+  [The youthful John]                     Luke 1:80   DEL SARTO
+  [The forerunner]                        Matt. 3:1-4 TITIAN
+
+
+Manhood.
+
+Temptation.
+
+  "Worship the Lord thy God"              Matt. 4:10  SCHEFFER
+  "Left him and behold angels came"       Matt. 4:11  HOFMANN
+
+Beginning of Public Service.
+
+  "Behold the Lamb of God"                John 1:29   BIDA
+  "Jesus as he walked"                    John 1:36   GRÜNEWALD
+  A marriage in Cana                      John 2:1    VERONESE
+
+Early Judean Ministry.
+
+  Cleansing the temple                                KIRCHBUCK
+  "He drove them all out"                 John 2:15   HOFMANN
+  Visit of Nicodemus                      John 3:1-21 UNKNOWN
+
+Return through Samaria.
+
+  "Thou wouldst have asked of him"        John 4:10   BILIVERTI
+  "Worship the Father in spirit and       John 4:23   DORÉ
+    truth"
+  "God is a Spirit"                       John 4:24   HOFMANN
+
+Call of the Four.
+
+  "I will make you fishers of men"        Matt. 4:19  ZIMMERMAN
+  "Depart from me for I am a sinful man"  Luke 5:8    RAPHAEL
+
+Early Galilean Ministry.
+
+  "He healed all that were sick"          Matt. 8:16  SCHÖNHERR
+                                                      HOFMANN
+                                                      MAX
+  Calling of Matthew                      Matt. 9:9   CHIMENTI
+  "Sitting at the receipt of custom"      Matt. 9:9   PORDENONE
+  "Follow me"                             Matt. 9:9   BIDA
+
+At Jerusalem Again.
+
+  "Jesus saith unto him, 'Rise'"         John 5:8     BIDA
+  "He took up his bed and walked"        John 5:9     VAN LINT
+  "Afterward, Jesus findeth him"         John 5:14    VAN DYCK
+  Discussion in cornfield                Matt. 12:1-8 DORÉ
+
+Sermon on the Mount.
+
+  Christ preaching                                    DORÉ
+  Giving beatitudes                      Matt. 5:1-12 HOFMANN
+  "Consider the lilies of the field"     Matt. 6:28   LE JEUNE
+  Prayer in secret                       Matt. 6:6    BIDA
+
+Second Tour of Galilee.
+
+  The Centurion's servant                 Matt. 8:5-13 VERONESE
+  Raising the widow's son                 Luke 7:11-17 HOFMANN
+  Jesus in the house of Simon                          VERONESE
+  "Kissed his feet"                       Luke 7:38    RUBENS
+  "Thy sins are forgiven"                 Luke 7:48    HOFMANN
+  "He entered into a boat"                Mark 4:1     HOFMANN
+  Parable of the sower                    Mark 4:3-9   ROBERT
+  Stilling of the tempest                 Mark 4:35-41 DORÉ
+  Raising of Jairus' daughter                          RICHTER
+  "Taking the child by the hand"          Mark 5:41    HOFMANN
+  "Straightway she rose up"               Mark 5:42    KELLER
+
+Death of John the Baptist.
+
+  "The damsel gave it to her mother"      Mark 6:28   RENI
+
+Feeding of the Five Thousand
+
+  Blessing the food                       John 6:11   MURILLO
+
+Jesus Walking on the Water
+
+  "Lord, save me"                         Matt. 14:30 SCHWARTZ
+  "Wherefore didst thou doubt?"           Matt. 14:31 PLOCKHÖRST
+
+Trip into Phoenicia.
+
+  Canaanitish woman                    Matt. 15:21-28 VECCIO
+
+Peter's Confession.
+
+  "I will give the keys of the kingdom    Matt. 16:19 RENI
+    of heaven"
+                                                      RAPHAEL
+
+Transfiguration.
+
+  Transfiguration                     Matt. 17:1-8    RAPHAEL
+  Demoniac Boy                        Matt. 17:14-20  RAPHAEL
+  "He called to him a little child"   Matt. 18:2      BALLHEIM
+
+At the Feast of Tabernacles.
+
+  "Let him that is without sin cast       John 8:7    HOFMANN
+    the first stone"
+  Jesus left alone with the woman         John 8:19   SIGNOL
+  "I am the light of the world"           John 8:12   HUNT
+  "I stand at the door and knock"         Rev. 3:20   OVERBECK
+  "I will give you rest"                  Matt. 11:28 PLOCKHÖRST
+
+Perean Ministry.
+
+  The good Samaritan                   Luke 10:30-34  SIEMENROTH
+                                                      DORÉ
+  Jesus in the home of Lazarus         Luke 10:40     HOFMANN
+                                                      ALLORI
+  Healing of the man born blind        John 9:1-40    THEOTOCOPULI
+  The good Shepherd                    John 10:1-21   PLOCKHÖRST
+  Finding the lost sheep               Luke 15:2      SCHÖNHERR
+                                                      MOLITOR
+  Lost piece of money                  Luke 15:8      MILLAIS
+  The prodigal son                     Luke 15:11-32  DUBUFE
+  "Fell on his neck and kissed him"    Luke 15:20     MOLITOR
+                                                      DORÉ
+  Rich man and Lazarus                 Luke 16:19-31  DORÉ
+  Raising of Lazarus                   John 11:1-46   BONIFAZIO
+                                                      PIOMBO
+                                                      RUBENS
+  Pharisee and Publican                Luke 18:9-14   DORÉ
+  Christ blessing little children      Mark 10:13-16  HOFMANN
+                                                      PLOCKHÖRST
+                                                      VOGEL
+  Christ and the Young Ruler           Matt. 9:16-22  HOFMANN
+  Ambition of James and John           Matt. 20:20-28 BONIFAZIO
+
+Passion Week.
+
+  Triumphal entry                      Luke 19:29-44  DEGER
+  Christ weeps over Jerusalem          Luke 19:41     EASTLAKE
+  Tribute money                                       DORÉ
+  "Whose image and superscription      Mark 20:24     TITIAN
+    hath it?"
+
+
+  "Render to Caesar the things that    Matt. 22:21    VAN DYCK
+    are Caesar's"
+  The widow's two mites                Mark 12:41-44  DORÉ
+  Parable of the virgins               Matt. 25:1-13  POLOTY
+  Conspiracy between Judas and         Luke 22:3-6    BIDA
+    Chief Priests
+  The Last Supper                                     VINCI
+  "When he had washed their feet"      John 13:12     BROWN
+  "This is my body"                    Luke 22:19     BIDA
+  "And he took a cup and gave thanks"  Matt. 26:27    HOFMANN
+  "Thy will be done"                   Matt. 26:42    HOFMANN
+  "An angel from heaven                Luke 22:43     DOLCI
+    strengthening him"
+  Kiss of Judas                        Matt. 26:49    SCHEFFER
+  "Bound him and led him to Annas"     John 18:12     HOFMANN
+  Peter's denial before the            John 18:17     WEST
+    maid-servant
+  Denial before soldiers               Mark 14:54     HARRACH
+  Trial before Pilate                  Luke 23:1-7    MUNKACSY
+  "Hail, King of the Jews!"            Matt. 27:29    RENI
+  "Behold the man"                     John 19:5      HOFMANN
+                                                      CISERI
+  Pilate's wife's dream                Matt. 27:19    DORÉ
+
+The Crucifixion.
+
+  "They led him away"                     Luke 23:26  HOFMANN
+  "Weep not for me"                       Luke 23:28  THIERSCH
+  "The people stood beholding"            Luke 23:35  MUNKACSY
+  The group near the cross                John 19:25  MUNKASCY
+  "Behold thy mother"                     John 19:27  HOFMANN
+  Descent from the cross                  Mark 15:46  RUBENS
+  Golgotha                                            GEROME
+  The deserted cross                                  MORRIS
+
+The Burial.
+
+  "They took the body of Jesus"           John 19:40  CISERI
+  "Laid him in a tomb"                    Mark 15:46  HOFMANN
+  John with Mary                                      DYCE
+                                                      DOBSON
+
+The Resurrection.
+
+  "Mary was without weeping"              John 20:11  HOFMANN
+  "Tell me where thou hast laid him"      John 20:15  DI CREDI
+  "Touch me not"                          John 20:17  PLOCKHÖRST
+  "Returning from the tomb"               Luke 24:9   SCHEFFER
+
+After the Resurrection.
+
+  "Jesus drew near and went with them"    Luke 24:15  PLOCKHÖRST
+  "Abide with us"                         Luke 24:29  HOFMANN
+  "And he went to abide with them"        Luke 24:29  FÜRST
+  "He took the bread and blessed it"      Luke 24:30  MULLER
+  "And break and gave to them"            Luke 24:30  DIETHE
+  "And their eyes were opened"            Luke 24:31  REMBRANDT
+  "Reach hither thy hand"                 John 20:27  GUERCINO
+  The Ascension                           Luke 24:51  HOFMANN
+                                                      REMBRANDT
+
+
+
+SUGGESTIONS.
+
+[Illustration: Capernaum]
+_Site of Capernaum, Sea of Galilee._
+
+THE USE OF PICTURES IN TEACHING.
+
+PICTURES may hold a primary or secondary place in teaching, according
+to their nature and the aim of the teacher.
+
+_The text itself_ may be the supreme thing, and pictures become mere
+pictorial comments upon the text. Pictures when so used have the
+nature of _views_ or _illustrations_. The picture at the head of this
+page is a view. It is reproduced from a photograph taken directly
+from nature. Such pictures are of great value in building up in the
+mind clear images of objects or of scenes beyond the pupil's reach. A
+map means almost nothing to a person unfamiliar with the country,
+unless by means of numberless views the appearance of the country has
+been made known to the mind. Every teacher in Sunday-school should
+have a collection of photographic views of the historical sites of
+the Bible, of implements, household utensils, articles of dress,
+etc., which may be used to make clear the Biblical references to such
+things. Without such illustrations words may convey little or no
+meaning.
+
+The first picture upon the next page may be called an illustration.
+To a person unfamiliar with the text it might convey any meaning but
+the true one; but to one familiar with the story of Christ and the
+rich young ruler it is wonderfully graphic and satisfactory. The
+words of the text take on a deeper meaning as they are studied in the
+light of this picture. Because Hofmann is an artist, a man gifted
+with imagination, he sees more clearly, more vividly than the average
+person. Seen through his eyes what was before vague and unconvincing
+becomes definite and powerful. Before seeing the picture the pupil
+had heard the words:"Jesus, looking upon him, loved him." Now with
+the picture he _sees_ that Jesus loves him and is anxious to have him
+decide for life everlasting. Before "the poor" were abstract; now
+they become a concrete reality. Before the pupil had been told that
+the young man had "great possessions;" now he sees that he had also
+health and beauty and intelligence, greater possessions than land and
+gold. The Sunday-school teacher is fortunate who has at his command
+pictures which illustrate, which make luminous the text. Plates 11,
+20, 34, 39, 47, 62, 70, 101, 106, 133, and 143 may be mentioned as
+notable examples of good illustrations to supplement the text.
+
+[Illustration: Christ and the Young Ruler.]
+Plate 112. _Christ and the Young Ruler._ H. Hofmann. 1824-
+
+The picture itself may be the object of study, and the text become a
+commentary upon the picture. For example, consider this picture by
+Holman Hunt. Every detail has something important to say to the
+pupil. The postures of these people and the costumes say "oriental."
+The profuse ornamentation both of the architecture and the various
+furnishings speak of extraordinary conditions. This is the temple
+which was the wonder of the age (see Mark 13:1), and these are the
+people who loved to go about in long clothing, and who "devoured
+widows' houses" to be rich. (Matt. 23:14.) This boy with his pure
+face and far-away-gazing eyes is he who had thoughts about "his
+Father's house." The look in the woman's face is appreciated in the
+light of what she is recorded as having said, "I have sought thee
+sorrowing." (Luke 2:48.) That she rather than her husband should
+speak to him is no surprise to one familiar with Matt. 1:18-25. The
+faces of these serious-looking men must be read in the light of the
+words, "And all that heard him were amazed at his understanding and
+answers." One man has an ornamental box in his hand. What is that
+for? Another has a similar box upon his forehead. Why? Deut. 6:6-8
+and Matt. 23:5 will help answer those questions. A man is begging at
+the entrance. It is not extraordinary in the light of Acts 3:1, 2,
+and Mark 14:7. He begs in vain outside, while within a servant brings
+wine to refresh those who will not so much as lift a finger to help
+the burdened. (Matt. 23:4.) Beyond the beggar craftsmen are still at
+work upon the temple. Yes, because when this child Jesus first
+visited the temple it was not completed. "Forty and six years was
+this temple in building." (John 2:20.) Birds are flying in and out!
+"Yea, the sparrow hath found a house, and the swallow a nest for
+herself, . . . even thine altars, O Lord of Hosts." (Ps. 84:3.) The
+little boy with the fly-driver tells the season of the year, the
+light and the few worshippers and the idle musicians tell the time of
+day. Everything has a message, even the ornament upon wall and floor!
+That tells whence the Jews derived their art. This picture is more
+than a commonplace illustration of a single text: it is a graphic
+presentation of an era. The particular event is shown in its
+historical setting. The picture is a supreme work of art.
+
+[Illustration: Finding of Christ in the Temple.]
+Plate 35. _Finding of Christ in the Temple._ Holman Hunt. 1827-
+
+If pictures of this sort are to be studied, every pupil in the class
+should have a copy. The teacher's business is to direct the pupil to
+individual observation and inquiry. The perpetual questions should
+be, What do you see? What does it mean? Why is that here? What does
+it contribute to the total content of the picture? What does the
+picture as a whole have to say? Plates 8, 9, 18, 25, 29, 33, 40, 81,
+89, 93, 110, 139, 153, 159, and 167, might be mentioned among those
+especially worthy of this analytical and exhaustive study.
+
+Occasionally pupils will find both interest and profit in the
+comparative study of a series of pictures. For example take the five
+plates of The Annunciation, pages 9 and 10. After the facts have been
+determined by a study of the text, the investigation may proceed as
+follows: What are the essential elements found in all the pictures
+alike? Which artist has told the story most simply and directly? The
+different artists have emphasized or given special attention to some
+one phase or phrase. Which has embodied more perfectly the first, or
+the second, or the third? Which has introduced elements of his own?
+Why? Do they help? Which has, on the whole, told the story most
+vividly? Which most beautifully? A study of this group of pictures in
+the light of such notes as will be found printed therewith, will
+enable any teacher to formulate for himself a plan for studying any
+other group of pictures.
+
+In such study it is essential that each pupil be supplied with a
+complete set of the pictures to be compared.
+
+[Illustration: Madonna of the Shop.]
+_Madonna._ Dagnan-Bouveret.
+
+But the picture itself is sometimes not a thing to be consciously
+analyzed and inventoried; it is simply a thing of beauty, "its own
+excuse for being;" it is something to be received as a whole with
+thankfulness, like the odor of wild grape vines, or the form of a
+calla lily, or the color of a sunrise, or the music of wind in pine
+trees. Such a picture is this Madonna of the Shop, by Dagnan-Bouveret.
+One may think for a moment now and then of how well the picture is
+composed, of how perfect a master of his art the man must be who
+can make spots of paint suggest wood and metal, linen and wool, soft
+flesh and softer light, but the mind returns again and again to the
+contemplation of the wondrous sweet face of the Virgin, whose deep
+eyes see unspeakable things. One comes to love such a picture as a
+dear familiar friend, and to yield to its gentle influence as to
+moonlight upon the sea. The contemplation of such pictures is one of
+the purest pleasures of life, a foretaste of the sight of "the King
+in his Beauty."
+
+
+
+
+THE GREAT PAINTERS' GOSPEL.
+
+
+
+THE GREAT PAINTERS' GOSPEL.
+
+[Illustration: The Annunciation.]
+_The Annunciation._ Titian.
+
+THE ANNUNCIATION.
+
+The angel Gabriel was sent from God to a virgin whose name was Mary.
+The angel said "Hail, Mary, highly favored, blessed art thou among
+women." (Luke 1:26-28.) Mary is supposed to have been in a house of
+worship at the time (like Hannah, 1 Sam. 1:9-18, and Zacharias, Luke
+1:8-13), hence the beautiful surroundings; and to have been at
+prayer, as suggested by the kneeling posture and the book. The dove
+is a symbol of the Holy Ghost (Luke 3:22). The beam of light
+symbolizes the going forth of divine power (Hos. 6:5). The angel is
+borne upon a cloud (Ps. 104:3), and carries a rod or scepter, symbols
+of authority (Ex. 4:1-5, Esther 4:11). The lily is introduced as a
+symbol of perfection and purity (Song 2:2; compare also Num. 17:8).
+Titian has depicted the instant when the angel says "Hail, Mary." He
+has introduced emblems of the ideal woman (Prov. 31:13, 14, 26,
+etc.).
+
+[Transcriber's Note: As you may note, each plate is introduced with
+the artist's name and the plate number. In the original source, this
+text was bolded, not italicized.]
+
+_Hofmann, Plate 1,_ shows the moment when Gabriel says: "Blessed art
+thou among women." (Luke 1:28.) In this picture only, the angel
+approaches from behind. The picture recalls the experience of another
+Mary (John 20:14).
+
+_Guido Reni, Plate 2,_, has chosen the instant when Gabriel says,
+"Thou hast found favor with God." The infant angels represent,
+perhaps, "the spirits of love, intelligence and innocence," [1] and
+accompany the Divine Presence because of the words of Christ, when
+speaking of children, "Their angels do always behold the face of my
+Father which is in heaven." (Matt. 18:10.)
+
+_Müller, Plate 3,_ seems to have shown the moment when Mary said,
+"Let it be unto me according to thy word." (Luke 1:38.) His figures
+and faces express less animation than any of the others.
+
+_Dosso, Plate 4,_ represents Gabriel as saying, "The Holy Ghost shall
+come upon thee and the power of the Highest shall overshadow thee"
+(Luke 1:35), for both the dove, symbol of the Holy Ghost, and the
+Highest himself, upon a cloud and accompanied with cherubs, are
+present. (Compare 2 Sam. 22:10-12.)
+
+_Baroccio, Plate 5,_ seems to have seized upon the moment when Mary
+has just asked "How shall this be?" (Luke 1:34). The angel is
+encouraging her faith by reference to Elisabeth. (Luke 1:36.)
+
+[1] Mrs. Jameson, "Sacred and Legendary Art," vi., p. 57.
+
+[Illustration: Annunciation to Mary.]
+Plate 1. _Annunciation to Mary._ H. Hofmann. 1824-
+
+[Illustration: Annunciation to Mary.]
+Plate 2. _Annunciation to Mary._ Guido Reni 1575-1642.
+
+[Illustration: Annunciation to Mary.]
+Plate 3. _Annunciation to Mary._ Franz Müller.
+
+[Illustration: Annunciation to Mary.]
+Plate 4. _Annunciation to Mary._ Dossi Dosso. 1479-1542.
+
+[Illustration: Annunciation to Mary.]
+Plate 5. _Annunciation to Mary._ F. Baroccio. 1528-1612.
+
+THE SALUTATION.
+
+"And in those days Mary arose and went into the hill country to a
+city of Judah, and entered into the house of Zacharias and saluted
+Elisabeth . . . and Elisabeth, filled with the Holy Ghost, said,
+Blessed art thou among women." (Luke 1:39-45.)
+
+_Albertinelli, Plate 6,_ has depicted the two women at the moment of
+meeting.
+
+[Illustration: Mary's Visit to Elisabeth.]
+Plate 6. _Mary's Visit to Elisabeth._ Albertinelli. 1474-1515.
+
+BIRTH OF JOHN THE BAPTIST.
+
+Zacharias had been dumb since the moment when he doubted the prophecy
+of the angel. (Luke 1:20.) When the promised son was born the
+neighbors and friends of the mother, Elisabeth, objected to the name
+John. (Luke 1:57-61.)
+
+_Fra Angelico, Plate 7,_ has represented the moment when they appeal
+to the dumb father, and he writes upon a tablet the words "His name
+is John." (Luke 1:63.) The child, eight days old, is present to be
+named preparatory to circumcision. (Gen. 17:12.)
+
+[Illustration: Birth of John.]
+Plate 7. _Birth of John._ Fra Angelico. 1370-1450.
+
+THE NATIVITY.
+
+_Merson, Plate 8,_ has illustrated Luke 2:4-7. "And Joseph went up
+from Galilee into Judea unto the city of David, Bethlehem, to be
+enrolled, with Mary his espoused wife. And there was no room for them
+in the inn." Darkness covered the earth and gross darkness the people
+who refused lodging to such as Mary, but that night the glory of the
+Lord was revealed. (Is. 60:2.)
+
+[Illustration: Joseph and Mary, Arrival at Bethlehem.]
+Plate 8. _Joseph and Mary, Arrival at Bethlehem._ Olivier L. Merson.
+
+_Plockhörst, Plate 14,_ illustrates Luke 2:8-11. And in the same
+country were shepherds keeping watch over their flock by night. And
+the angel of the Lord came and said unto them, "Fear not, I bring you
+good tidings of great joy. Unto you is born this day in the city of
+David a Savior which is Christ the Lord." The angel bears a palm
+branch, symbol of triumph. (John 12:13.)
+
+[Illustration: The Angel and the Shepherds.]
+Plate 14. _The Angel and the Shepherds._ B. Plockhörst, 1825-
+
+_Hofmann, Plate 13,_ shows a company of the heavenly host praising
+God and saying, "Glory to God in the highest, and on earth peace,
+good will toward men." (Luke 2:14.) They are the first to visit the
+manger!
+
+[Illustration: Bethlehem.]
+Plate 13. _Bethlehem._ H. Hofmann. 1824-
+
+_Lerolle, Plate 11,_ shows the shepherds who "came with haste and
+found Mary and Joseph and the babe lying in a manger." (Luke
+2:15-16.) The shepherds saw, evidently from some little distance;
+for we have no record of their speaking to Mary or Joseph, only to
+others outside, after the visit. (Luke 2:17-18.)
+
+[Illustration: The Arrival of the Shepherds.]
+Plate 11. _The Arrival of the Shepherds._ H. Lerolle.
+
+_Correggio, Plate 9,_ has expressed that surprise and wonder of the
+shepherds which they imparted to others when they told their story,
+"for all that heard it wondered at those things which were told them
+by the shepherds." (Luke 2:18.)
+
+[Illustration: Holy Night.]
+Plate 9. _Holy Night._ Correggio. 1494-1534.
+
+_Bouguereau, Plate 10,_ adds to the story a dramatic touch. There are
+ominous shadows in the background. Mary seems troubled by the
+presence of the lamb, symbol of sacrifice. The angel had said "He
+shall save his people from their sins." (Matt. 1:21.) Does Mary seem
+already to behold the Lamb of God which taketh away the sin of the
+world? (John 1:29.) One lamb is already slain, and lies in the
+foreground. The shepherd with the lamb in his arms may unconsciously
+illustrate the Christ (Is. 40:11), and the odd disk above the head of
+the older shepherd, catching the light from the child, may be
+prophetic of saintly glory.
+
+[Illustration: The Nativity.]
+Plate 10. _The Nativity._ (William) Adolphe Bouguereau. 1825-
+
+_Müller, Plate 12,_ gives us perhaps the prettiest, most sweetly
+human group of all. Some of the shepherds have arrived, others are
+coming; one with a lamb in his arms, another with his dogs, who seem
+to sympathize with their master's joyous haste. The rose of the
+hills, and the violet of the meadows are there as symbols of the rose
+of Sharon and the lily of the valley (Cant. 2:1); "The ox knoweth his
+owner and the ass his master's crib," and in this case the humble
+representatives of Israel know also, and the people consider. (Is.
+1:3.)
+
+[Illustration: The Nativity.]
+Plate 12._ The Nativity._ Carl Müller. 1839-
+
+THE PRESENTATION.
+
+His name was called Jesus, as the angel had commanded, and after
+forty days they brought him to Jerusalem to present him to the Lord,
+and to offer a sacrifice, according to the ancient law. And Simeon,
+waiting for the consolation of Israel, came by the spirit into the
+temple when the parents brought in the child Jesus; and he took him
+up into his arms and blessed God and said, "Lord, now lettest thou
+thy servant depart in peace, for mine eyes have seen thy salvation."
+(Luke 2:25-35.) And Anna, a prophetess of great age, coming up at
+that very hour, gave thanks to God and spake of him to all them that
+were looking for the redemption of Jerusalem. (Luke 2:36-38.)
+
+_Bartolommeo, Plate 18,_ depicts the moment when Simeon says "Now
+lettest thou thy servant depart in peace"--the _Nunc Dimittis_ of the
+Latin Church (Luke 2:29). Joseph has the two doves for the offering
+(Lev. 12:6 and 8). In the distance the priest may be seen at the
+altar, his robe ornamented with the sacred fringe (Ex. 39:26) that
+there may be no mistaking him. Anna is present, and is, evidently,
+about to speak. The steps are of marble and the columns richly
+carved, because of the words of the artist-disciple recorded in Mark
+13:1.
+
+[Illustration: Presentation at the Temple.]
+Plate 18. _Presentation at the Temple._ Bartolommeo Del Fattorino.
+1475-1517.
+
+_Champaigne, Plate 15,_ has chosen the moment when Simeon says to
+Mary, "This child is set for the falling and rising up of many in
+Israel." (Luke 2:34.)
+
+[Illustration: Presentation at the Temple.]
+Plate 15. _Presentation at the Temple._ Champaigne. 1602-1674.
+
+_Borgognone, Plate 16,_ selects for his picture the last moment, when
+Simeon returns the child to the mother with the words "Yea, and a
+sword shall pierce through thine own soul, also." (Luke 2:35.)
+
+[Illustration: Presentation at the Temple.]
+Plate 16. _Presentation at the Temple._ Borgognone. 1445-1523.
+
+_Bourdon, Plate 17,_ represents the instant when Anna arrives (at the
+extreme left), "coming up at that very hour." (Luke 2:38.)
+
+[Illustration: Presentation at the Temple.]
+Plate 17. _Presentation at the Temple._ Sebastien Bourdon. 1616-1671.
+
+_Bartolommeo,_ again, _Plate 19,_ adds what he pleases to the
+original story.
+
+[Illustration: Presentation at the Temple.]
+Plate 19. _Presentation at the Temple._ Fra Bartolommeo. 1469-1517.
+
+THE ADORATION OF THE MAGI.
+
+Now when Jesus was born there came wise men from the east, guided by
+a star, which went before them till it stood over the place where the
+young child was. . . . And when they were come into the house they
+saw Jesus and Mary his mother, and fell down and worshipped him; and
+when they had opened their treasures they presented unto him gifts;
+gold, frankincense and myrrh. (Matt. 2:9-11.)
+
+_Hofmann, Plate 20,_ represents the arrival. The star stands above
+the head of the child. The tradition is that one wise man came from
+Europe, one from Asia and one from Africa (See _Ben-Hur_, Book I.);
+hence Hofmann has represented one with the oriental turban, one with
+a helmet having hanging side pieces like an Egyptian head dress, and
+one with the simple band, the white hair and flowing beard of the
+Druid.
+
+[Illustration: Worship of the Magi.]
+Plate 20. _Worship of the Magi._ H. Hofmann. 1824-
+
+_Luini, Plate 21,_ following the same tradition, gives the African a
+dark complexion.
+
+[Illustration: Adoration of the Magi.]
+Plate 21. _Adoration of the Magi._ Luini. 1460-1530.
+
+_Maldini, Plate 23,_ also makes one of the Magi very dark, and adds
+an earring as a barbaric touch. Moreover he gives each a crown (as
+does Luini) because the Magi were supposed to have been Kings, in
+fulfilment of Is. 60:3.
+
+[Illustration: Adoration of the Kings.]
+Plate 23. _Adoration of the Kings_. Battista Maldini. 1537-1590.
+
+_Bonifazio, Plate 22,_ like Luini and Maldini, represents a large
+company of servants to show the importance of the Magi, and perhaps
+because of Is. 60:4-6.
+
+[Illustration: Adoration of the Magi.]
+Plate 22. _Adoration of the Magi._ Bonifazio Veronese. 1494-1563.
+
+THE FLIGHT INTO EGYPT.
+
+_Crespi, Plate 24,_ has pictured Joseph's dream. An angel of the Lord
+appeared to Joseph in a dream, saying, Arise and take the young child
+and his mother, and flee into Egypt, for Herod will seek the young
+child to destroy him. (Matt. 2:13.)
+
+[Illustration: Joseph's Dream.]
+Plate 24. _Joseph's Dream._ Daniele Crespi.
+
+_Fürst, Plate 26,_ illustrates the words "And he arose and took the
+young child and his mother, and departed." (Matt. 2:14.)
+
+[Illustration: Flight into Egypt.]
+Plate 26. _Flight into Egypt._ M. Fürst.
+
+_Plockhörst, Plate 27,_ shows the holy family passing through
+southern Judea, accompanied by cherubs, but unconscious of their
+presence.
+
+[Illustration: Flight into Egypt.]
+Plate 27. _Flight into Egypt._ B. Plockhörst. 1825-
+
+_Hofmann, Plate 25,_ shows them passing through the Wilderness of
+Shur, Joseph with his broad axe for protection, unconscious of the
+guardian angel who accompanied them, to keep them in all their ways.
+(Ps. 91:11.) "That old serpent" is already in the wilderness,
+waiting! His time has not yet come.
+
+[Illustration: Flight into Egypt.]
+Plate 25. _Flight into Egypt._ H. Hofmann. 1824-
+
+_Benz, Plate 28,_ has taken as his subject the first moment of rest
+in a place "even as the garden of the Lord, like the land of Egypt as
+thou comest into Zoar." (Gen. 13:10.) Joseph has a typical Egyptian
+water-jar upon his arm. The little child is pleased with the flowers,
+after his long journey through the desert, and holds a bunch of them
+in his hand. The place of rest seems to be just at the edge of the
+desert,--a secluded, well-watered spot, out of Herod's reach.
+
+[Illustration: Repose in Egypt.]
+Plate 28. _Repose in Egypt._ S. Benz.
+
+_Merson, Plate 29,_ is a poetic seer as well as an artist. The sphinx
+riddle was "What is man?" Merson has placed the answer before the
+sphinx at last. He who was himself the answer to the world-old
+question, propounded a new question which all must answer, "What
+think ye of Christ" (Matt. 22:42).
+
+[Illustration: Repose in Egypt.]
+Plate 29. _Repose in Egypt._ Olivier L. Merson.
+
+_Morris, Plate 30,_ gives us a glimpse of the life of the Holy Family
+during the sojourn in Egypt. Joseph is resting in the tent after his
+day's work, and Mary is teaching the child to walk. All are
+unconscious of the ominous shadow so evident now to us. The hatred
+which threatened the child, would not spare the man. The exile in
+Egypt is but the prophetic shadow of the coming event--crucifixion.
+The child's hands extend towards the cactus and the palm, symbols of
+suffering and of victory.
+
+[Illustration: Shadow of the Cross.]
+Plate 30. _Shadow of the Cross._ P. R. Morris.
+
+THE RETURN TO NAZARETH.
+
+When Herod was dead, Joseph, instructed by an angel, brought Mary and
+Jesus into the land of Israel, and made them a home in Nazareth. The
+mother with her divine child in this Nazareth home has ever been the
+favorite subject with painters. "Madonna" pictures have been
+multiplied into the thousands. The most famous are those which were
+painted by Raphael,--the Sistine Madonna, Madonna of the Chair,
+Madonna da Tempi, Madonna of the Goldfinch, etc.,--reproductions of
+which are familiar to everybody. Among other famous painters of the
+Madonna is _Murillo,_ who, in _Plate 32,_ represents the mother and
+child as the neighbors might have seen them in their humble home. The
+child is of course beautiful. (Luke 2:40.) In _Plate 33,_ the artist
+has emphasized the last phrase of Luke 2:40, "The grace of God was
+upon him." The Father in heaven is visibly present, and the grace
+descends upon the child in the form of a dove, as suggested by Luke
+3:22. The action of all the accessory figures, the arrangement of the
+light, everything in the picture, is calculated to focus the
+attention upon the face of the child Christ.
+
+[Illustration: Madonna and Child.]
+Plate 32. _Madonna and Child._ Murillo. 1618-1682.
+
+[Illustration: Holy Family.]
+Plate 33. Louvre. _Holy Family._ Murillo. 1618-1682.
+
+_Hofmann, Plate 31,_ tells of the quiet days at Nazareth, when Joseph
+worked at his trade, and Mary sat near spinning and watching the
+wondrous lad who in his child-way could help Joseph by fetching a
+needed tool. It was a peaceful, happy life, like that of the chickens
+and the doves. The memories of those days furnished Jesus with the
+wonderful figure of speech recorded in Matt. 23:37, 38. Hofmann, like
+other artists, is fond of symbolism, hence the square and the
+measuring stick are upon the shoulder of the child (Is. 9:6) who was
+to lay judgment to the line and righteousness to the plummet (Is.
+28:17); and the tools take the form of the cross. Jesus was subject
+unto his parents (Luke 2:51), and, in a sense, took up his cross
+daily, as all his disciples must ever do (Matt. 16:24). Such service
+is healthful and profitable (Luke 2:52).
+
+[Illustration: Infancy of Christ.]
+Plate 31. _Infancy of Christ._ H. Hofmann. 1824-
+
+THE VISIT TO JERUSALEM.
+
+Joseph and Mary probably went every year to Jerusalem at the feast of
+the passover. (Deut. 16:16.) And when Jesus was twelve years old they
+went up as usual taking him with them. (Luke 2:41-42.)
+
+_Mengelberg, Plate 34,_ represents the holy family approaching the
+city. The temple with its smoking altars is seen in the distance. The
+artist has suggested the great company who went up every year to
+worship, and with which, returning, Joseph and Mary supposed Jesus to
+be.
+
+[Illustration: Jesus, Twelve Years Old, on his way to Jerusalem.]
+Plate 34. _Jesus, Twelve Years Old, on his Way to Jerusalem._ O.
+Mengelberg.
+
+_Hofmann, Plates 38 and 39,_ illustrates (Luke 2:46). Plate 38 is
+from the drawing in the artist's Life of Christ. Plate 39, from the
+famous painting in Dresden, is the more carefully finished. Hofmann
+has shown the seal of Solomon upon the "chair of philosophy," he has
+introduced the scroll of the prophets and suggested the rich stones
+of the temple, but the interest of all is upon the Boy, who came to
+fulfill the law and the prophets, and who was greater than the temple
+and greater than Solomon. (Matt. 5:17, John 2:19-20, Matt. 12:42).
+This picture has become a classic already, though Hofmann is still
+living.
+
+[Illustration: Christ Disputing with the Doctors.]
+Plate 38. _Christ Disputing with the Doctors._ H. Hofmann. 1824-
+
+[Illustration: In The Temple.]
+Plate 39. _In The Temple._ H. Hofmann. 1824-
+
+_Lafon, Plate 36,_ has idealized his subject. He has placed Jesus "in
+Moses' seat" (Matt. 23:2), conferring upon him a distinction amply
+justified by subsequent events especially by the Sermon on the Mount.
+"It hath been said . . . but I say unto you . . ." these are the
+words which give Jesus a unique position as a teacher.
+
+[Illustration: Christ Among the Doctors.]
+Plate 36. _Christ Among the Doctors._ Émile J. Lafon.
+
+_Hunt, Plate 35,_ adds that truthfulness of detail, that literalness
+of statement made possible by the antiquarian and the archæologist.
+It is the moment described in Luke 2:48, when his mother speaks to
+Jesus, "Son, why hast thou dealt thus with us?"
+
+[Illustration: Finding of Christ in the Temple.]
+Plate 35. _Finding of Christ in the Temple._ Holman Hunt. 1827-
+
+_Dobson, Plate 37,_ shows the moment of discovery, the moment just
+before Mary speaks. Some of the kinsfolk and acquaintances have
+evidently returned with Joseph and Mary. A rabbi is telling them
+about this wondrous child. (Luke 2:47.)
+
+[Illustration: Christ Disputing in the Temple.]
+Plate 37. _Christ Disputing in the Temple._ W. C. T. Dobson.
+
+THE SILENT YEARS AT HOME.
+
+Tradition says that Joseph soon died, and that Jesus supported the
+family by working at his trade.
+
+_Hunt, Plate 40_, has invented an occasion to emphasize the prophetic
+words often applied to Mary, "Is any sorrow like unto my sorrow?"
+(Lam. 1:12.) Simeon had said "Yea and a sword shall pierce through
+thine own soul," and Mary, "pondering all these things in her heart,"
+is startled, at the close of the day, by seeing the shadow of her son
+cast upon the wall, like the form of one upon a cross.
+
+[Illustration: Shadow of Death.]
+Plate 40. _Shadow of Death._ Holman Hunt. 1827-
+
+_Plockhörst, Plate 41,_ depicts the parting of Mother and Son,--
+another pang for the saintly Mary.
+
+[Illustration: Christ taking leave of his Mother.]
+Plate 41. _Christ taking leave of his Mother._ B. Plockhörst. 1825-
+
+_Plate 42_ is Andrea del Sarto's famous the youthful John the
+Baptist, in the days before he came preaching in the of Judea. (Luke
+1:80.)
+
+[Illustration: John the Baptist.]
+Plate 42. _John the Baptist._ Andrea del Sarto. 1488-1530.
+
+_Titian, Plate 43,_ shows John as he appeared a few years later upon
+the banks of Jordan, "his raiment of camel's hair, and a leathern
+girdle about his loins." (Matt. 3:1-4.) He seems to be saying,
+"Behold the Lamb of God, which taketh away the sin of the world."
+(John 1:29.) The river is introduced as a symbol (Luke 3:16), and the
+lamb also (John 1:35). Del Sarto seems to have studied this figure
+before painting his boy John. Compare the two faces, and the two arms
+and hands. Notice the two crosses also.
+
+[Illustration: John the Baptist Preaching.]
+Plate 43. _John the Baptist Preaching._ Titian. 1477-1576.
+
+THE TEMPTATION.
+
+_Scheffer, Plate 44,_ shows Jesus "upon an exceeding high mountain"
+and Satan offering him the world for one act of worship. Jesus is
+about to say, "Worship God." (Matt. 4:8-10.) _Hofmann, Plate 45,_ has
+selected the next moment when Satan retreats and an angel comes to
+minister to the famished man. (Matt. 4:11.) The serpent is present
+because of Rev. 12:9.
+
+[Illustration: Temptation of Christ.]
+Plate 44. _Temptation of Christ._ Ary Scheffer. 1795-1858.
+
+[Illustration: Temptation.]
+Plate 45. _Temptation._ H. Hofmann. 1824-
+
+THE BEGINNING OF PUBLIC SERVICE.
+
+_Bida, Plate 46,_ illustrates John 1:35. "Behold the Lamb of God,"
+said John to two of his disciples, who straightway left John and
+followed Jesus. _Grünewald, Plate 48,_ represents Jesus meditating as
+he walks by the sea alone, possibly before he had chosen his
+disciples, but more likely after the people threatened to make him a
+King (John 6:15), for it is evening near the sea of Galilee.
+
+[Illustration: Behold the Lamb of God.]
+Plate 46. _Behold the Lamb of God._ Alexandre Bida. 1813-1895.
+
+[Illustration: Jesus Walking by the Sea.]
+Plate 48. _Jesus Walking by the Sea._ M. Grünewald (was painting
+1518).
+
+
+
+_Veronese, Plate 50,_ transforms the modest wedding at Cana into a
+gorgeous Venetian Feast, to which "Jesus also was bidden, and his
+disciples," "and the Mother of Jesus was there." (John 2:1-2.) They
+may all be discovered in the central part of the picture, but to the
+mind of Veronese the miracle of the wine seems to be of but secondary
+importance.
+
+[Illustration: The Marriage Feast.]
+Plate 50. _The Marriage Feast._ Paolo Veronese. 1528-1588.
+
+EARLY JUDEAN MINISTRY.
+
+_Kirchbuck, Plate 51,_ presents a general view of the event recorded
+in John 2:13-22. Jesus expels the desecrators by his presence merely,
+as he overthrew his enemies in Gethsemane. (John 18:6.)
+
+[Illustration: Christ casting out the Money-changers.]
+Plate 51. _Christ casting out the Money-changers._ F. Kirchbuck.
+
+_Hofmann, Plate 52,_ with his usual literalness, gives Jesus the whip
+of small cords, and represents him as actively aggressive. "The zeal
+of thine house shall eat me up," said the prophet, and as they
+watched Jesus the disciples remembered those words. (John 2:17.)
+
+[Illustration: Purification of the Temple.]
+Plate 52. _Purification of the Temple._ H. Hofmann. 1824-
+
+_Plate 53,_ by an unknown artist, is an attempt to portray the
+discourse with Nicodemus. The incident is related in John 2:23-3:21.
+The moment is that when Jesus says, "If I have told you earthly
+things and ye believe not, how shall ye believe if I tell you
+heavenly things?"
+
+[Illustration: Nicodemus' Visit to Jesus.]
+Plate 53. _Nicodemus' Visit to Jesus._ Artist unknown.
+
+THE RETURN THROUGH SAMARIA.
+
+"He came to a town called Shechem, near the plot of land that Jacob
+gave his son Joseph. Jacob's Spring was there, and Jesus, being tired
+after his journey, sat down, just as he was, close to it. It was then
+about mid-day. A woman of Samaria came to draw water; so Jesus asked
+her to give him some to drink, his disciples having gone into the
+town to buy provisions." [*]
+
+[*] Twentieth Century New Testament
+
+_Biliverti, Plate 56,_ gives the woman a companion not mentioned in
+the text. The moment is that of John 4:10, "If you knew the gift of
+God, and who it is that is asking you to give him some water, you
+would have asked him, and he would have given you living water."
+
+[Illustration: Jesus and the Woman of Samaria.]
+Plate 56. _Jesus and the Woman of Samaria._ Biliverti.
+
+_Doré, Plate 54,_ has selected a later moment, "Trust me," Jesus
+replied, "a time is coming when it will not be on this mountain or in
+Jerusalem that you will worship God the Father."
+
+[Illustration: Jesus and the Woman of Samaria.]
+Plate 54. _Jesus and the Woman of Samaria._ Gustave Doré. 1833-1883.
+
+_Hofmann, Plate 55,_ may have chosen to illustrate the twenty-fourth
+verse, "God is Spirit; and those who worship him must worship
+spiritually, with true insight." (John 4:24.)
+
+[Illustration: Jesus and the Woman of Samaria.]
+Plate 55. _Jesus and the Woman of Samaria._ H. Hofmann. 1824-
+
+THE CALL OF THE FOUR.
+
+Walking by the sea of Galilee one morning, Jesus saw two brethren,
+Simon who is called Peter, and Andrew his brother, . . . and two
+other brethren, James, the son of Zebedee, and John his brother, with
+their nets, for they were fishermen. And he called them: "Come ye
+after me and I will make you fishers of men." These four became his
+first disciples. (Matt. 4:18-22.)
+
+_Zimmermann, Plate 47,_ has seized upon the moment when Jesus makes
+that extraordinary statement. Peter and John are nearest Jesus, the
+other two in the background. "Fishers of men;" the phrase is
+mysterious; they cannot understand it. Nevertheless, they leave all
+and follow Him.
+
+[Illustration: Christ and the Fishermen.]
+Plate 47. _Christ and the Fishermen._ Zimmermann. 1832-
+
+Luke gives the account of a miracle between the morning sermon of
+Jesus to the crowd upon the beach, and this call of the four
+fishermen: "When he had finished speaking he said to Simon, Push off
+into deep water, and then all throw out your nets for a haul." "We
+have been hard at work all night, sir," Simon answered, "and have not
+caught anything, but as you say so, I will throw the nets out." They
+did so, and they enclosed such a great shoal of fish that their nets
+began to break. So they signalled to their mates in the other boat to
+come and help them; which they did, filling both the boats so full of
+fish that they were almost sinking.
+
+_Raphael, Plate 49,_ illustrates the moment, a little later, when
+Peter threw himself down at Jesus' knees, exclaiming: "Depart from
+me, for I am a sinful man, O Lord." (Luke 5:8.) Raphael made this as
+a design for a tapestry for the Sistine Chapel, Rome.
+
+[Illustration: The Miraculous Draught of Fishes.]
+Plate 49. _The Miraculous Draught of Fishes._ Raphael. 1483-1520.
+
+EARLY GALILEAN MINISTRY.
+
+_Schönherr, Plate 69, Hofmann, Plate 70, Max, Plate 71,_ give
+different interpretations of Matt. 8:16-17. An evening at Capernaum,
+when the words of Isaiah (53:4) began to be fulfilled, "Himself took
+our infirmities and bare our diseases."
+
+[Illustration: Healing the Sick.]
+Plate 69. _Healing the Sick._ Karl Gottlieb Schönherr. 1824-
+
+[Illustration: Healing the Sick.]
+Plate 70. _Healing the Sick._ H. Hofmann. 1824-
+
+[Illustration: Healing the Sick Child.]
+Plate 71. _Healing the Sick Child._ Gabriel Max. 1840-
+
+The Call of Matthew has been represented variously. (Matt. 9:9-10.)
+
+_Pordenone, Plate 59,_ has Matthew "sitting at the place of toll."
+
+[Illustration: Calling of Matthew.]
+Plate 59. _Calling of Matthew._ Giovanni Pordenone. 1483-1539.
+
+_Bida, Plate 57,_ shows Jesus "as he passed by," and Matthew leaving
+his place of business to follow him.
+
+[Illustration: Calling of Matthew.]
+Plate 57. _Calling of Matthew._ Alexandre Bida. 1813-1895.
+
+_Chimenti, Plate 58,_ would have us believe that Jesus entered the
+great khan of the city where the customs were collected, and called
+Matthew from thence.
+
+[Illustration: Calling of Matthew.]
+Place 58. _Calling of Matthew._ Jacopo Chimenti.
+
+AT JERUSALEM AGAIN.
+
+After these things Jesus went up to Jerusalem to a Feast of the Jews,
+and visited the Pool of Bethesda. There he saw a man who had been
+infirm for thirty-eight years. After talking with him Jesus cured
+him, although it was Sabbath. (John 5:1-8.)
+
+_Van Lint, Plate 61,_ shows the man arising with his bed, verse 9.
+
+[Illustration: Healing of the Impotent Man.]
+Plate 61. _Healing of the Impotent Man._ Peter Van Lint.
+
+_Bida, Plate 60,_ represents the instant when Jesus is giving the
+command, but before the man has grasped its meaning. Both artists
+suggest the pool, with its colonnade, or porches. Perhaps a
+subsequent event is illustrated by _Van Dyck, Plate 62,_ for
+"Afterward Jesus findeth him in the temple, and said unto him, Behold
+thou art made whole; sin no more lest a worse thing befall thee."
+(John 5:14.)
+
+[Illustration: Healing of the Impotent Man.]
+Plate 60. _Healing of the Impotent Man._ Alexandra Bida. 1813-1895.
+
+[Illustration: Talking with the Lame Man, Bethesda.]
+Plate 62. _Talking with the Lame Man, Bethesda._ Van Dyck. 1599-1641.
+
+_Doré, Plate 63,_ gives an interpretation of Matt. 12:1-8. The
+Pharisees are accusing the disciples of breaking the Sabbath by
+plucking the heads of wheat, and Jesus is excusing them. The Master
+seems to be saying, "Have ye not read what David did when he was an
+hungered, and they that were with him? . . . If ye had known ye would
+not have condemned the guiltless. The Son of man is lord of the
+Sabbath. The Sabbath was made for man, not man for the Sabbath."
+(Mark 2:27.)
+
+[Illustration: Jesus and His Disciples Going Through the Cornfield.]
+Plate 63. _Jesus and His Disciples Going Through the Cornfield._
+Gustave Doré. 1833-1883.
+
+THE SERMON ON THE MOUNT
+
+"And seeing the multitudes, he went up into the mountain, and when he
+had sat down, his disciples came unto him, and he opened his mouth
+and taught them." (Matt. 5:1, 2.)
+
+_Doré, Plate 65,_ has represented the scene as a whole. The instant
+might be almost any in the discourse.
+
+[Illustration: The Sermon on the Mount.]
+Plate 65. _The Sermon on the Mount._ Gustave Doré. 1833-1883.
+
+_Hofmann, Plate 64,_ seems to have depicted the giving of the
+beatitudes. The poor in spirit, the mourner, the meek, those who
+hunger for righteousness, the pure, and the persecuted, all seem to
+be represented in the audience.
+
+[Illustration: The Sermon on the Mount.]
+Plate 64. _The Sermon on the Mount._ H. Hofmann. 1824-
+
+_Jeune, Plate 67,_ has selected the moment when Jesus says, "Consider
+the lilies how they grow. . . . If God so clothe the grass of the
+field, shall he not much more clothe you? . . . Seek first his
+kingdom and his righteousness." (Matt. 6:28-33.)
+
+[Illustration: Consider the Lilies.]
+Plate 67. _Consider the Lilies._ Henry Le Jeune. 1820.
+
+_Bida, Plate 66,_ illustrates one section of the Sermon on the Mount,
+viz.: Matt. 6:5-15. Here is the man in his inner chamber, having shut
+his door, praying to his Father who is in secret, and who will reward
+him.
+
+[Illustration: Prayer in Secret.]
+Plate 66. _Prayer in Secret._ Alexandra Bida. 1813-1895.
+
+EVENTS DURING THE SECOND TOUR OF GALILEE.
+
+_Veronese, Plate 68,_ represents the Centurion who came to Jesus at
+Capernaum, beseeching him to cure his servant. "I am not worthy," the
+Centurion is saying, "that thou shouldest come under my roof--only
+say the word and my servant shall be healed." (Matt. 8:8.)
+
+[Illustration: The Centurion's Servant.]
+Plate 68. _The Centurion's Servant._ Veronese. 1528-1588.
+
+_Hofmann, Plate 72,_ has illustrated the raising of the widow of
+Nain's son, as graphically as Luke has told it, in chapter 7, verses
+11 to 16. "Every one was awe-struck and began praising God."
+
+[Illustration: Raising the Widow's Son.]
+Plate 72. _Raising the Widow's Son._ H. Hofmann. 1824-
+
+_Veronese, Plate 73,_ gives another grand feast to his friends
+(compare plate 50). This time it is supposed to be in the house of
+Simon the Pharisee, as recorded in Luke 7:36-50. The woman, who
+bathed the Master's feet with tears, is in this case a beautiful and
+decorous person, a center of attraction.
+
+[Illustration: Jesus in the House of Simon.]
+Plate 73. _Jesus in the House of Simon._ Paolo Veronese. 1528-1588.
+
+_Rubens, Plate 74,_ has been more faithful to the story as recorded.
+The woman kisses the Master's feet and wipes them with her hair, v.
+38. There is great consternation among the guests.
+
+[Illustration: Magdalen.]
+Plate 74. _Magdalen._ Rubens. 1577-1640.
+
+_Hofmann, Plate 75,_ shows the self-righteous Pharisee, with his
+hypocritical friends, more graphically than either of the other
+artists. His keen insight into character is reflected from every
+face. Hofmann, above many others, is true to the account, and true to
+human nature. "Thy sins are forgiven," Jesus is saying. (Verse 48.)
+
+[Illustration: Anointing Feet of Jesus.]
+Plate 75. _Anointing Feet of Jesus._ H. Hofmann. 1824-
+
+_Hofmann, Plate 76,_ tells of Jesus preaching from the boat (Mark
+4:1). Every face in the picture is worth studying. The world is
+present by representation--infancy, childhood, youth, maturity, old
+age; the healthy and the diseased, the workman and the scholar. "And
+he taught them many things in parables," among other things the truth
+about the Kingdom of God. (Luke 8:9-10.)
+
+[Illustration: Jesus Preaches from a Boat.]
+Plate 76. _Jesus Preaches from a Boat._ H. Hofmann. 1824-
+
+_Robert, Plate 77,_ in four decorative panels, illustrates the
+parable of the Sower, which Jesus gave at this time. In the first the
+birds came and devoured the seed, in the second the stony ground
+offered no good opportunity for a harvest, in the third thorns and
+thistles and other worldly things, "the deceitfulness of riches and
+the lusts of other things," symbolized by the short-lived mushrooms
+and daisies, and by the moths, choke the good seed. In the last is
+the abundant harvest. (Mark 4:1-34.)
+
+[Illustration: Parable of the Sower.]
+Plate 77. _Parable of the Sower._ H. L. Robert
+
+And when Jesus had finished these parables he departed to the other
+side of the lake. "And behold there arose a great tempest in the
+sea." _Doré, Plate 78,_ shows the disciples in fear, crying out,
+"Save, Lord; we perish." Jesus, awakened from a sound sleep, says
+calmly, "Why are ye fearful, O ye of little faith?" (Matt. 8:25-26.)
+"Then he arose and rebuked the winds and the sea, and there was a
+great calm." (Verse 26.)
+
+[Illustration: "Peace, Be Still."]
+Plate 78. _"Peace, Be Still."_ Gustave Doré. 1833-1883.
+
+By the time Jesus had re-crossed in the boat, a great number of
+people had gathered to meet him. Here Jairus came and entreated Jesus
+to cure his little daughter who was at the point of death. As they
+were going to the house, servants came saying that the child was
+dead: but they went on to the house of Jairus. Clearing the house of
+the mourners, Jesus takes the child's father and mother, Peter, James
+and John, and with them enters the room of death. (Mark 5:21, 24,
+35-40.)
+
+_Richter, Plate 80,_ is true to the account in the number of
+witnesses, but not in the action of the Master.
+
+[Illustration: Christ Raising the Daughter of Jairus.]
+Plate 80. _Christ Raising the Daughter of Jairus._ Gustav Richter.
+1823-1884.
+
+_Hofmann, Plate 79,_ is, as usual, more literal. "Taking the child by
+the hand" Jesus said, "Little girl, I am speaking to you, get up."
+(Mark 5:41.)
+
+[Illustration: Daughter of Jairus.]
+Plate 79. _Daughter of Jairus._ H. Hofmann. 1824-
+
+_Keller, Plate 81,_ shows the next moment when the damsel arose and
+the people were "utterly astounded." (Verse 43 in Twentieth Century
+New Testament.) Keller is no doubt more accurate than either of the
+others in the matters of costume and other accessories. The face of
+the child is worth studying.
+
+[Illustration: Raising the Daughter of Jairus.]
+Plate 81. _Raising the Daughter of Jairus._ A. Keller.
+
+DEATH OF JOHN THE BAPTIST.
+
+The account is given in Mark 6:14-29.
+
+_Reni, Plate 82,_ represents the daughter of Herodius bearing John's
+head to her mother. At Herod's command a soldier had brought it in a
+charger, and given it to the damsel. (Verse 28.)
+
+[Illustration: Head of John the Baptist in a Charger.]
+Plate 82. _Head of John the Baptist in a Charger._ Guido Reni. 1575-
+1642.
+
+
+THE FEEDING OF THE FIVE THOUSAND.
+
+When Jesus heard of the death of John he withdrew into a desert place
+to rest. But the crowds followed him on foot from all the cities of
+Galilee. After a day spent in healing the sick and in teaching, the
+Master fed the multitude generously, with five loaves and two fishes.
+The account is given by Mark (6:30-46) and by all the other
+evangelists.
+
+_Murillo, Plate 83,_ has selected the moment when the multitude is
+being seated "by companies upon the green grass," and the disciples
+are procuring the loaves and fishes from the lad. (John 6:9.) Jesus
+is taking the loaves preparatory to giving thanks and distributing
+them.
+
+[Illustration: Miracle of the Loaves and Fishes.]
+Plate 83. _Miracle of the Loaves and Fishes._ Bartolome Esteran
+Murillo. 1618-1682.
+
+The following night Jesus came to the disciples, walking upon the
+water. The most complete account is given by Matthew (14:24-36). Upon
+Peter's request Jesus gave him permission to come out upon the water.
+
+_Schwartz, Plate 85,_ shows the moment when Peter, sinking, cries
+out, "Lord, save me." (Matt. 14:30.)
+
+[Illustration: Christ and St. Peter.]
+Plate 85. _Christ and St. Peter._ A. Schwartz.
+
+_Plockhörst, Plate 84,_ gives the next instant when Jesus stretched
+forth his hand and took hold of him, saying, "O thou of little faith,
+wherefore didst thou doubt?" (Matt. 14:31.)
+
+[Illustration: Christ and St. Peter.]
+Plate 84. _Christ and St. Peter._ S. Plockhörst. 1825-
+
+THE TRIP INTO PHOENICIA.
+
+And Jesus went away into the borders of Tyre and Sidon. There a
+Canaanitish woman begged him to cure her daughter. The interesting
+dialogue which ensued is recorded by both Matthew and Mark.
+
+_Vecchio, Plate 86,_ gives the beginning of the dialogue. "I was not
+sent but unto the lost sheep of the house of Israel." (Matt. 15:24.)
+
+[Illustration: The Canaanitish Woman.]
+Plate 86. _The Canaanitish Woman._ Palma Vecchio. 1475-1528.
+
+PETER'S CONFESSION.
+
+The event recorded in Matt. 16:13-20, and that recorded in John
+21:15-23, have often been closely related in the minds of artists
+employed by the church during the middle ages.
+
+_Reni, Plate 87,_ gives a literal interpretation to Matt. 16:19. "I
+give unto thee the keys of the kingdom of heaven."
+
+[Illustration: Christ Giving Keys to St. Peter.]
+Plate 87. _Christ Giving Keys to St. Peter._ Guido Reni. 1575-1642.
+
+_Raphael, Plate 88,_ represents the later event, when Christ says,
+"Feed my sheep," but Peter has evidently just received the keys. The
+sheep are actually present, as symbols, to make clear the moment
+selected by the artist. (John 21:17.)
+
+[Illustration: Christ's Charge to St. Peter.]
+Plate 88. _Christ's Charge to St. Peter._ Raphael. 1483-1520.
+
+THE TRANSFIGURATION.
+
+_Raphael, Plate 89,_ has given upon one canvas, and that one of the
+most famous in the world, the Transfiguration, and that which took
+place at the same time at the foot of the mountain. (Luke 9:28-36,
+and Mark 9:14-29.) _Plate 90_ is a part of the same picture. Compare
+the details of both of these plates with the scriptural account! No
+artist ever packed more literal and spiritual truth into a single
+canvas.
+
+[Illustration: The Transfiguration.]
+Plate 89. _The Transfiguration._ Raphael. 1483-1520.
+
+[Illustration: The Demoniac Boy.]
+Plate 90. _The Demoniac Boy._ Raphael. 1483-1520.
+
+Shortly after the Transfiguration Jesus talked with his disciples
+about true greatness. By way of illustration "He took a little child
+in his arms and said unto them, Whosoever shall humble himself as
+this little child, the same is the greatest in the kingdom of
+heaven." (Mark 9:36, Matt. 18:4.)
+
+_Ballheim, Plate 97,_ suggests this event.
+
+[Illustration: Jesus and the Child.]
+Plate 97. _Jesus and the Child._ H. Ballheim.
+
+AT THE FEAST OF TABERNACLES.
+
+The Scribes and the Pharisees brought to Jesus a woman taken in
+adultery.
+
+_Hofmann, Plate 91,_ depicts the scene most graphically, at the
+moment when Jesus says, "Let him that is without sin cast the first
+stone."
+
+[Illustration: Christ and the Sinner.]
+Plate 91. _Christ and the Sinner._ H. Hofmann. 1824-
+
+_Signol, Plate 92,_ does not show the woman "in the midst" as did
+Hofmann, but after they had gone out one by one, when Jesus was left
+alone with the woman. The words, "Let him that is without sin," etc.,
+are written upon the pavement because of verses 6 and 8, where it is
+said that Jesus wrote upon the ground.
+
+[Illustration: The Adulterous Woman.]
+Plate 92. _The Adulterous Woman._ Emile Signol.
+
+At this feast Jesus spoke of himself as the Light of the world. (John
+8:12-30.)
+
+_Hunt, Plate 93,_ has idealized the words of Jesus, and added the
+thought expressed in Rev. 3:20, "Behold, I stand at the door and
+knock." The picture shows also, without doubt, the influence of the
+well-known hymn, by Mrs. Stowe, "Knocking, knocking, who is there?"
+Every detail of this picture is symbolical, and most exquisitely
+painted.
+
+[Illustration: "I am the Light of the World."]
+Plate 93. _"I am the Light of the World."_ Holman Hunt. 1827-
+
+_Overbeck, Plate 94,_ emphasizes the thought in Rev. 3:20.
+
+[Illustration: "Behold, I stand at the Door and Knock."]
+Plate 94. _"Behold, I stand at the Door and Knock."_ Overbeck. 1789-
+1869.
+
+_Plockhörst, Plate 99,_ has attempted to put into a single picture
+the wealth of meaning suggested by the wondrous words, "Come unto me,
+all ye that labor and are heavy laden, and I will give you rest."
+(Matt, 11:28.) Humanity is symbolized by the pilgrim who needs
+comforting.
+
+[Illustration: Christ the Consoler.]
+Plate 99. _Christ the Consoler._ B. Plockhörst. 1825-
+
+THE PEREAN MINISTRY.
+
+During this part of his life Jesus gave some of his most famous
+parables.
+
+_Siemenroth, Plate 101,_ illustrates the parable of the Good
+Samaritan. The Priest and the Levite have passed by; the Samaritan is
+pouring oil and wine upon the wounds preparatory to binding them up.
+(Luke 10:30-34.)
+
+[Illustration: The Good Samaritan.]
+Plate 101. _The Good Samaritan._ K. Siemenroth.
+
+_Doré, Plate 100,_ shows the Samaritan bringing the wounded man to
+the inn, as described in verse 34. In both pictures the plains of
+Jericho are shown in the distance. It is interesting to note that one
+artist translates "beast" as an ass, and the other as a horse.
+
+[Illustration: The Good Samaritan.]
+Plate 100. _The Good Samaritan._ Gustave Doré. 1833-1883.
+
+The Perean ministry was interrupted by a visit to Bethany and
+Jerusalem.
+
+_Hofmann, Plate 114,_ has most beautifully drawn the group in the
+home of Lazarus,--Martha, "cumbered with much serving," (Luke 10:40),
+Mary, "who has chosen the good part," (verse 40), and for a reminder
+of Lazarus, who has not yet returned from work, his house-dog, asleep
+by the chair of Jesus.
+
+[Illustration: Bethany.]
+Plate 114. _Bethany._ H. Hofmann. 1824-
+
+_Allori, Plate 113,_ gives Martha a maidservant drawing water, and a
+man-servant bringing in a sheep for dinner. Mary has her alabaster
+box close at hand! (Compare John 12:1-3.) About the time of the visit
+Jesus opened the eyes of the man born blind. (John 9.)
+
+[Illustration: Christ in the House of Mary and Martha.]
+Plate 113. _Christ in the House of Mary and Martha._ A. Allori. 1544-
+1628.
+
+_Theotocopuli, Plate 115,_ represents Jesus performing the miracle,
+and the hypocritical Pharisees, shocked and offended that he should
+do such a thing on the Sabbath. Following this event was the
+discourse about "The Good Shepherd." (John 10:1-21.)
+
+[Illustration: Jesus Anoints the Blind Man's Eyes with Clay.]
+Plate 115. _Jesus Anoints the Blind Man's Eyes with Clay._
+Theotocopuli. 1548-1625.
+
+_Plockhörst, Plate 116,_ has chosen to illustrate the phrase, "He
+goeth before them and the sheep follow him."
+
+Upon returning into Perea Jesus gave the "Three Parables of Grace."
+(Luke 15.)
+
+[Illustration: The Good Shepherd.]
+Plate 116. _The Good Shepherd._ B. Plockhörst. 1825-
+
+_Schönherr, Plate 117,_ and _Molitor, Plate 102,_ represent the good
+shepherd who leaves the ninety and nine on the moor and goes after
+the lost sheep until he finds it. (Luke 15:4.)
+
+[Illustration: The Good Shepherd.]
+Plate 117. The Good Shepherd. Carl Schönherr.
+
+[Illustration: The Lost Sheep.]
+Plate 102. _The Lost Sheep._ Franz Molitor.
+
+_Millais, Plate 103,_ illustrates the next parable, that of the lost
+coin. "If a woman lose a coin, does she not light a candle and search
+carefully until she finds it?" (Luke 15:8-10.)
+
+[Illustration: The Lost Piece of Money.]
+Plate 103. _The Lost Piece of Money._ Sir John Millais. 1829-1896.
+
+If the first parable of the group teaches the compassion of the Son,
+and the second the solicitude of the Spirit, the third teaches the
+enduring love of God the Father.
+
+_Molitor, Plate 105,_ has designed an almost abstract father and
+son--_a_ prodigal, perhaps, but not _the_ prodigal--to match his panel
+of the lost sheep. The parable is but faintly echoed in this picture.
+
+[Illustration: Prodigal Son.]
+Plate 105. _Prodigal Son._ Franz Molitor.
+
+The man who has painted the parable as a whole is _Dubufe, Plate
+106._ The central panel in the triptych shows the young man wasting
+his substance in riotous living. "He squandered his property by his
+dissolute life," says one version. His feasts were such as that
+described by Isaiah 5:11, 12. The panel at the left shows the young
+man in want, feeding swine, when "no man gave unto him." (Luke
+15:16.) In that at the right, he has returned to his father's house.
+
+[Illustration: The Prodigal Son.]
+Plate 106. _The Prodigal Son._ E. Dubufe.
+
+_Doré, Plate 104,_ is truer to the parable in the matter of the
+return, for "while he was yet a great way off his father saw him and
+ran, and fell on his neck and kissed him." (Luke 15:20.)
+
+[Illustration: Prodigal Son.]
+Plate 104. _Prodigal Son._ Gustave Doré. 1833-1883.
+
+_Doré, Plate 107,_ illustrates the parable of the Rich Man and
+Lazarus, as recorded in Luke 16:19-31. He has added a dramatic touch
+by representing the servants ordering the beggar away, even with
+violence--a part of the "evil things" which Lazarus received during
+his life. (Luke 16:25.)
+
+[Illustration: The Rich Man and Lazarus.]
+Plate 107. _The Rich Man and Lazarus._ Gustave Doré. 1833-1883.
+
+Jesus was again called to visit Bethany by the death of the brother
+of Mary and Martha. None of the pictures here reproduced give an
+adequate representation of that which then occurred--the raising of
+Lazurus. Perhaps the event is too august to be put upon canvas.
+
+_Bonifazio, Plate 118,_ seems to take an almost childish delight in
+depicting the varying effects of a disagreeable odor! He has
+magnified the remark of Martha (John 11:39) into the motive for a
+picture!
+
+[Illustration: Raising of Lazarus.]
+Plate 118. _Raising of Lazarus._ Bonifazio II. 1494-1563.
+
+_Piombo, Plate 119,_ suggests the large company who witnessed
+the miracle, but ignores the statement that Lazarus was buried in a
+cave, and that he came forth without assistance. (Verses 38 and 44.)
+He has surpassed Bonifazio in one respect at least. Piombo's people
+are astonished and excited over what has occurred: they are not
+entirely witless because of Martha's suggestion.
+
+[Illustration: Raising of Lazarus.]
+Plate 119. _Raising of Lazarus._ Sebastian del Piombo. 1485-1547.
+
+_Rubens, Plate 120,_ has not included the crowd in his canvas; but
+his Lazarus comes forth vigorously and happily from his grave in the
+cave, to meet a master whose figure is charged with animation. The
+traditional characters of the sisters are not forgotten. Martha helps
+to remove the grave-clothes, while Mary, as usual, worships the
+Master.
+
+[Illustration: Raising of Lazarus.]
+Plate 120. _Raising of Lazarus._ Rubens. 1577-1640.
+
+_Doré, Plate 108,_ interprets the parable of the Pharisee and the
+Publican. The Pharisee stands and prays "with himself" (Luke 18:11),
+while the tax-gatherer will not so much as "lift up his eyes to
+heaven," but says, "God be merciful to me a sinner." (Verse 13.)
+Jesus is represented as saying, "This man went down to his house
+justified." (Verse 14.) Doré makes it an actual event, not merely a
+parable.
+
+[Illustration: The Pharisee and Publican.]
+Plate 108. _The Pharisee and Publican._ Gustave Doré. 1833-1883.
+
+Christ blessing the children, has been a favorite subject with
+artists.
+
+_Hofmann, Plate 109,_ tells the story in his own charming way. How
+sweetly child-like is that offering of the little bouquet! He
+remembers that not only little children came; mothers brought their
+babies. (Luke 18:15.)
+
+[Illustration: Christ Blessing Little Children.]
+Plate 109. _Christ Blessing Little Children._ H. Hofmann. 1824-
+
+_Plockhörst, Plate 110,_ is equally true to the account and to
+nature. Here a little child is asking to take her flowers to Jesus.
+Plockhörst loves symbolism. Sheep are present (Is. 40:11), and a
+little boy is about to offer Jesus a palm-branch in unconscious
+anticipation of his triumphal entry to Jerusalem. (Matt. 21:8, 9 and
+15.)
+
+[Illustration: Christ Blessing Little Children.]
+Plate 110. _Christ Blessing Little Children._ B. Plockhörst. 1825-
+
+_Vogel, Plate 111,_ has introduced one or two children old enough to
+have some consciousness of a real need of such love and forgiveness
+as the Master offers to all. Their attitude is not that of naïve
+childhood.
+
+[Illustration: Christ Blessing Little Children.]
+Plate 111. _Christ Blessing Little Children._ Carlo Vogel.
+
+_Hofmann, Plate 112,_ has excelled himself in the portrayal of Christ
+and the rich young ruler, who asked how to obtain eternal life.
+(Matt. 19:16.) Jesus is saying; "If thou wouldest be perfect go sell
+what thou hast and give to the poor, and thou shalt have treasure in
+heaven." The decision of the young man is already made. He will
+presently go away sorrowful, and keep his great possessions. (Matt.
+19:21, 22.)
+
+[Illustration: Christ and the Young Ruler.]
+Plate 112. _Christ and the Young Ruler._ H. Hofmann. 1824-
+
+_Bonifazio, Plate 121,_ illustrates the account of Matthew relative
+to the ambitions of James and John.
+
+Their mother comes worshiping, and asking that her two sons may
+receive special honor in Christ's Kingdom. Jesus is saying, "My cup
+indeed ye shall drink; but to sit on my right hand and on my left
+hand it is not mine to give." (Matt. 20:20-28.) Peter is ready to add
+his word of condemnation.
+
+[Illustration: Christ and Zebedee's Children.]
+Plate 121. _Christ and Zebedee's Children._ Bonifazio. 1494-1563.
+
+AT JERUSALEM.
+
+PASSION WEEK.
+
+Jesus went on his way towards Jerusalem, and when he came within
+sight of the city he wept over it and said, "Would that you had
+learned, while there was time--yes, even you--the things that make
+for peace! But as it is, they have been hidden from your sight. For a
+time is coming for you when your enemies will surround you with
+earthworks, and encircle you, and hem you in on every side; they will
+trample you down and your children within you, and they will not
+leave in you one stone upon another, because you did not see that God
+was visiting you." (Twentieth Century N. T., Luke 19:42-44.)
+
+_Eastlake, Plate, 124,_ has not followed the scriptural account
+closely, but has designed a panel, with the text in mind, possibly
+influenced also by Matt. 23:37, "How often would I have gathered thy
+children together as a hen gathers her chickens under her wings, and
+ye would not!"
+
+[Illustration: Christ Weeps Over Jerusalem.]
+Plate 124. _Christ Weeps Over Jerusalem._ Sir Charles Eastlake. 1793-
+1865.
+
+_Deger, Plate 123,_ represents the triumphal entry into Jerusalem as
+recorded in all the Gospels, but with most complete detail in Luke
+19:29-44. The people threw their garments upon a colt, and set Jesus
+thereon, and accompanied him from Bethpage to Jerusalem, waving palm
+branches (John 12:13), and spreading garments and palms in the street
+(Matt. 21:8), and shouting "Hosanna, Blessed is he that cometh in the
+name of the Lord." (Matt. 21:9.) The artist has allowed the mother of
+Jesus to witness this short lived triumph of her son; nor has he
+forgotten the children (Matt. 21:15).
+
+[Illustration: Triumphal Entry.]
+Plate 123. _Triumphal Entry._ Ernest Deger. 1809-1885.
+
+_Doré, Plates 125 and 127,_ gives two incidents of the early part of
+the week: the Herodians asking about tribute to Cæsar (Matt. 22:16-
+22), and the poor widow giving her contribution to the temple
+treasury (Mark 12:41-44).
+
+[Illustration: Jesus and the Tribute Money.]
+Plate 125. _Jesus and the Tribute Money._ Gustave Doré. 1833-1883.
+
+[Illustration: The Widow's Mite.]
+Plate 127. _The Widow's Mite._ Gustave Doré. 1833-1883.
+
+_Titian, Plate 126,_ in dealing with the incident of the tribute to
+Cæsar, has selected the moment Doré selected, when Jesus asks, "Whose
+image and superscription hath it?" (Mark 20:24.)
+
+[Illustration: Tribute to Cæsar.]
+Plate 126. _Tribute to Cæsar._ Titian. 1477-1576.
+
+_Van Dyck, Plate 96,_ has chosen the moment when Jesus says, "Render
+therefore unto Cæsar the things that are Cæsar's, and unto God the
+things that are God's" (Matt. 22:21).
+
+[Illustration: Tribute Money.]
+Plate 96. _Tribute Money._ A. Van Dyck. 1599-1641.
+
+Towards the close of his discourse about The Last Things, Jesus gave
+the parable of the Wise and Foolish Virgins. (Matt. 25:1-13.)
+
+_Poloty, Plate 128,_ has attempted to illustrate this parable, and
+has chosen the moment when the foolish virgins discover that they are
+unprepared. (Verses 8 and 9.) Evidently the cry, "Behold the
+bridegroom cometh," was not heard, upon this occasion, "at midnight"
+(Verse 6.)
+
+[Illustration: Parable of the Virgins.]
+Plate 128. _Parable of the Virgins._ Carl Theodor von Poloty. 1826-
+1886.
+
+THE LAST SUPPER.
+
+[Illustration: Conspiracy Against Jesus.]
+Plate 129. _Conspiracy Against Jesus._ Alexandre Bida. 1813-1895.
+
+When the disciples entered the upper room all had neglected to assume
+the office of servant in preparation for the meal. They were
+disputing as to who should be the greatest in the kingdom. (Luke
+22:24.) Jesus therefore arose from the table and performed the act of
+cleansing.
+
+_Brown, Plate 133,_ has portrayed the incident wonderfully well. The
+dialogue with Peter is just finished. (John 13:6-10.)
+
+[Illustration: Jesus Washes the Disciples' Feet.]
+Plate 133. _Jesus Washes the Disciples' Feet._ Ford Madox Brown.
+1821-1893.
+
+_Da Vinci, Plate 131,_ has excelled all others in rendering the
+effects of the announcement Jesus made shortly afterwards, when they
+were at table again, "One of you shall betray me." Some of the
+disciples wonder (John 13:22), some ask, "Is it I?" (Mark 14:19.)
+Peter whispers to John to inquire who it is. (John 13:24.) The face
+of Judas alone is in shadow and inscrutable. Presently Judas will go
+out to the conspiring chief priests. (John 13:27-30.)
+
+[Illustration: The Last Supper.]
+Plate 131. _The Last Supper._ Leonardo Da Vinci. 1452-1519.
+
+When Judas had departed, Jesus said, "Now is the Son of man
+glorified." (John 13:31.) "And as they were eating, Jesus took bread
+and blessed, and break it."
+
+_Bida, Plate 132,_ gives a graphic picture of the moment of blessing
+the bread. "This is my body which is given for you," he said (Luke
+22:19). "This do in remembrance of me."
+
+[Illustration: The Last Supper.]
+Plate 132. _The Last Supper._ Alexandra Bida. 1813-1895.
+
+Bida shows the bent figure of Judas retreating into the darkness.
+
+_Hofmann, Plate 130,_ continues the story. "And he took a cup, and
+gave thanks, and gave it to them, saying, Drink ye all of it; for
+this is my blood of the covenant, which is shed for many unto
+remission of sins." (Matt. 26:27-28.)
+
+[Illustration: The Last Supper.]
+Plate 130. _The Last Supper._ H. Hofmann. 1824-
+
+No one has portrayed more clearly the characteristic attitudes of the
+disciples who heard these astonishing words. John is the only one who
+seems to appreciate the meaning of the sacrament. John only seems to
+have recalled distinctly what followed--the touching and comforting
+farewell discourses.
+
+Hofmann, as well as Bida, shows the retreating Judas, going out into
+the night. "And when they had sung a hymn, they went out unto the
+mount of Olives." (Mark 14:26.)
+
+"And they came unto a place which was named Gethesame; and he said
+unto his disciples, Sit ye here, while I go yonder and pray." (Mark
+14:32, Matt. 26:36.)
+
+_Hofmann, Plate 136,_ reveals to us the Master in prayer, with Peter,
+James, and John in the distance. (Mark 14:33.) The moment is that
+when Jesus triumphs with the words, "Thy will be done." (Matt.
+26:42.)
+
+[Illustration: Jesus in Gethsemane.]
+Plate 136. _Jesus in Gethsemane._ H. Hofmann. 1824-
+
+_Dolci, Plate 135,_ shows the angel which came and strengthened him.
+(Luke 22:43.) The angel bears the cross and the cup as symbols, but
+the cup brought that which was sufficient to the occasion. (Compare
+II. Cor. 12:9.)
+
+[Illustration: Agony in the Garden.]
+Plate 135. _Agony in the Garden._ Carlo Dolci. 1616-1686.
+
+Jesus returned to the sleeping disciples. "Look," he said, "my
+betrayer is close at hand." He had hardly said the words when Judas
+came in sight with a crowd of people with swords and staffs. Judas
+came to Jesus and exclaimed, "I am glad to see you, Rabbi," and
+kissed him. (Twentieth Century N. T., Matt. 26:46-50.)
+
+_Scheffer, Plate 137,_ attempts to place the two characters, Jesus
+and Judas, in strong contrast before our eyes; but he hardly touches
+even the outside!
+
+[Illustration: Kiss of Judas.]
+Plate 137. _Kiss of Judas._ Ary Scheffer.
+
+_Hofmann, Plate 138,_ represents the captive Christ. Judas, smitten
+already with remorse, skulks along clutching his bag of silver. Mary
+is watching from a distance. John is weeping upon Peter's neck. "So
+the band and the chief captain and the officers of the Jews, seized
+Jesus, and bound him, and led him to Annas." (John 18:12-13.) Simon
+Peter and another disciple followed Jesus afar off, and managed to
+gain admittance to the court of the high priest's house. There Peter
+denied his Lord.
+
+[Illustration: Jesus Taken Captive.]
+Plate 138. _Jesus Taken Captive._ H. Hofmann. 1824-
+
+_West, Plate 140,_ represents Peter denying before the maid-servant
+(John 18:17), evidently the first time, for he was more violent the
+second time the maid questioned him. (Mark 14:70-71.) The painter has
+introduced the figure of Jesus to make the picture more intelligible.
+The maid seems to be asking Jesus if Peter has told the truth.
+
+[Illustration: Peter's Denial of Christ.]
+Plate 140. _Peter's Denial of Christ._ Benjamin West. 1738-1820.
+
+_Harrach, Plate 139,_ gives the denial of Peter before the soldiers
+in the presence of the maid-servant. (Mark 14:54 and 67.) As Peter
+denies, the cock, above in the branches of a vine, crows as Jesus had
+predicted. Harrach has seized upon the moment recorded by Luke alone.
+"And the Lord turned and looked upon Peter." (Luke 22:61.) And Peter
+remembered, and went out and wept bitterly. (Verse 6.)
+
+[Illustration: Peter's Denial of Christ.]
+Plate 139. _Peter's Denial of Christ._ Graf Harrach.
+
+In the morning the trial is continued before Pilate. Probably no one
+has painted that scene so well as has _Munkacsy, Plate 141._ The
+picture is true to the accounts of the evangelists, and is besides a
+great study of character. The face of Christ is about the only
+inadequate piece of representation in the whole picture. Munkacsy has
+evidently followed Luke's account. "And they began to accuse him,
+saying, We found this man perverting our nation, and forbidding to
+give tribute to Cæsar." The moment may be that after which Pilate
+says, "I find no fault in this man," and the accusers "become more
+urgent, saying, He stirreth up the people" (Luke 23:4, 5).
+
+[Illustration: Trial Before Pilate.]
+Plate 141. _Trial Before Pilate._ M'Haly Munkacsy. 1846-
+
+Then the soldiers took Jesus into the Pretorium, and stripped him,
+and scourged him, and plaited a crown of thorns, and gave him a
+scarlet robe, and put a reed in his hand. Smiting him again and again
+on the head, they offered him mock reverence.
+
+_Guido, Plate 142,_ portrays Jesus at this time (Matt. 27:27-30).
+Afterwards Pilate brings Jesus forth to the crowd and says, "Behold
+the Man." (John 19:5.)
+
+[Illustration: Ecce Homo.]
+Plate 142. _Ecce Homo._ Guido Reni. 1575-1642.
+
+_Ciseri, Plate 143,_ takes us upon the colonnade with Pilate and
+Jesus, and gives us a sense of the mad crowd below--immense,
+implacable--shouting "Crucify him! Crucify him!" (John 19:6.)
+
+[Illustration: Ecce Homo.]
+Plate 143. _Ecce Homo._ Antonio Ciseri. 1825-
+
+_Hofmann, Plate 144,_ shows "the man" to us, and says, Behold him!
+Hofmann too, suggests the angry crowd, and in the distance introduces
+the three Marys. Both these artists include Pilate's wife in the
+picture because of Matt. 27:19.
+
+[Illustration: Ecce Homo.]
+Plate 144. _Ecce Homo._ H. Hofmann. 1824-
+
+_Doré, Plate 145,_ with his love of the extraordinary, has
+objectified such a dream as he supposes might have caused a Roman
+matron to 'suffer many things.' She sees the living and the dead, all
+heaven and hell attendant upon the Christ, and because of this fears
+for the welfare of her husband if he does not protect so august a
+person as this mysterious King, whose Kingdom is not of this world.
+
+[Illustration: Pilate's Wife's Dream.]
+Plate 145. _Pilate's Wife's Dream._ Gustave Doré. 1833-1883.
+
+THE CRUCIFIXION.
+
+Pilate at last delivered Jesus over to be crucified. "And he went out
+bearing the cross for himself." Through loss of sleep and loss of
+blood, worn out with the long agony, Jesus fainted, and fell beneath
+the load of the cross. They compelled a man whom they met coming in
+from the country, Simon the Cyrenean, to bear the cross for Jesus,
+and thus, accompanied by a crowd of people, they came at last to
+Calvary. The scene which followed has been painted hundreds of times,
+as a whole, and in detail, sometimes with almost revolting realism,
+sometimes with fascinating power.
+
+_Hofmann, Plate 146,_ represents Jesus carrying the cross to Calvary
+(John 19:17), and the women who bewailed and lamented him. (Luke
+23:27.) The company is just going through the Damascus gate.
+
+[Illustration: Bearing the Cross.]
+Plate 146. _Bearing the Cross._ H. Hofmann. 1824-
+
+_Thiersch, Plate 147,_ gives the tragic incident which occurred just
+outside the gate. Jesus has fallen. He is speaking to the women the
+words recorded in Luke 23:28-31. Calvary is seen in the distance
+where the crosses for the two thieves have already been placed. There
+they crucified him between the two thieves.
+
+[Illustration: Bearing the Cross.]
+Plate 147. _Bearing the Cross._ Ludwig Thiersch.
+
+_Munkacsy, Plate 149,_ gives us a picture of the retreating soldiers
+after the awful deed has been done. "The people stood beholding . . .
+the rulers scoffed at him, the chief priests mocked, the scribes
+said, He saved others; himself he cannot save." (Luke 23:35, Mark
+15:31.) Darkness is coming upon the earth. In _Plate 150,_ John and
+the three Marys are at the foot of the cross. (John 19:25.)
+
+[Illustration: The Crucifixion.]
+Plate 149. _The Crucifixion._ M. Munkacsy. 1844-
+
+[Illustration: Christ on the Cross and the Three Marys.]
+Plate 150. _Christ on the Cross and the Three Marys._ M. Munkacsy.
+1844-
+
+_Hofmann, Plate 148,_ has chosen a later moment. Jesus has committed
+his mother to the care of John (John 19:26-27), and with the word,
+"It is finished," has given up his spirit into his Father's hands.
+(Luke 23:46.) Amid rending rocks and opening tombs the Centurion is
+saying, "Truly this was the Son of God." (Matt. 27:54.)
+
+[Illustration: The Crucifixion.]
+Plate 148. _The Crucifixion._ H. Hofmann. 1824-
+
+_Rubens, Plate 151,_ illustrates most graphically Mark 15:42-47.
+Joseph of Arimathæa went boldly to Pilate and asked for the body of
+Jesus. His request being granted, "he brought a linen cloth, and
+taking him down, wound him in the linen cloth." (Mark 15:46.) "And
+there came also Nicodemus, bringing a mixture of myrrh and aloes." So
+they took the body of Jesus and bound it in linen cloths, with the
+spices, as the custom of the Jews is to bury. (John 19:39-40.)
+
+[Illustration: Descent from the Cross.]
+Plate 151. _Descent from the Cross._ Rubens. 1577-1640.
+
+_Gerome, Plate 153,_ has given the most weird and graphic
+representation of the deserted hill and the doomed city. The
+supernatural darkness is passing. A flood of lurid light pours upon
+Calvary, casting the ominous shadows of the crosses towards the
+retreating multitude. In the distance the livid temple marks the
+place of the rending veil. (Mark 15:38.)
+
+[Illustration: Golgotha.]
+Plate 153. _Golgotha._ J. L. Gerome. 1824-
+
+_Morris, Plate 152,_ has drawn the deserted cross. An unknown woman
+lifts her little boy that he may see that which was written above the
+head of Christ. "And there was written, Jesus of Nazareth, The King
+of the Jews . . . in Hebrew, in Latin, and in Greek." (John
+19:19-22.)
+
+[Illustration: Whereon They Crucified Him.]
+Plate 152. _Whereon They Crucified Him._ P. R. Morris.
+
+THE BURIAL.
+
+_Ciseri, Plate 156,_ portrays, if not "The grandest funeral that ever
+passed on earth," certainly the greatest. Joseph of Arimathæa,
+Nicodemus, and John the beloved carry the dead Christ. His mother,
+Mary, the Wonderful, walks by his side. "Is it nothing to you, all ye
+that pass by? Behold, and see if there be any sorrow like unto my
+sorrow, which is done unto me, wherewith the Lord hath afflicted me."
+(Lam. 1:12.) Mary, the wife of Clopas, Mary Magdalene, and probably
+Mary of Bethany, are the other mourners. "Now in the place where he
+was crucified there was a garden, and in the garden a new tomb
+wherein was never man yet laid." (John 19:41.)
+
+[Illustration: Christ Borne to the Tomb.]
+Plate 156. _Christ Borne to the Tomb._ Antonio Ciseri.
+
+_Hofmann, Plate 155,_ represents the company entering the rock-hewn
+tomb. He composes his company differently. The four women are present
+in the background, but now two of Joseph's servants have arrived to
+assist the three men who had been carrying the body. There, in the
+tomb, the body of Jesus was laid (John 19:42).
+
+[Illustration: Entombment.]
+Plate 155. _Entombment._ H. Hofmann. 1824-
+
+_Hofmann, Plate 154,_ adds a human touch not found in the records of
+the evangelists. The last to leave the body are John and the Lord's
+mother, Mary.
+
+[Illustration: In the Sepulchre.]
+Plate 154. _In the Sepulchre._ H. Hofmann. 1824-
+
+_Dyce, Plate 158,_ shows John and Mary with the crown of thorns, on
+their way to John's own home. (John 19:27.) Joseph and Nicodemus are
+just leaving the garden, while Mary Magdalene and another Mary watch
+at the tomb. (Mark 15:47.)
+
+[Illustration: John and the Mother of Jesus.]
+Plate 158. _John and the Mother of Jesus._ Wm. Dyce.
+
+_Dobson, Plate 157,_ has attempted to express the sorrow of Mary and
+the solicitude of John as they continue the walk homeward.
+
+[Illustration: John and the Mother of Jesus.]
+Plate 157. _John and the Mother of Jesus._ W. C. T. Dobson.
+
+THE RESURRECTION.
+
+As it began to dawn towards the first day of the week, "there was a
+great earthquake, for an angel of the Lord descended from heaven, and
+came and rolled away the stone and sat upon it." (Matt. 28:1-2.)
+
+_Naack, Plate 159,_ has designed a panel which presents a synthesis
+of the various accounts of the resurrection, and adds the symbols of
+victory and triumph. Other artists have given more literal renderings
+of particular texts. For example:
+
+[Illustration: The Resurrection.]
+Plate 159. _The Resurrection._ A. Naack.
+
+_Hofmann, Plate 160,_ has Mary sitting upon the stone outside the
+tomb, weeping (John 20:11), and the risen Christ approaching her from
+behind.
+
+[Illustration: Easter Morning.]
+Plate 160. _Easter Morning._ H. Hofmann. 1824-
+
+_Di Credi, Plate 162,_ has selected the instant when Mary, turning,
+appeals to "the gardener," as she supposes, to show her where the
+body of Jesus has been hidden. (John 20:14-15.)
+
+[Illustration: Christ Appearing to Magdalene.]
+Plate 162. _Christ Appearing to Magdalene._ Lorenzo Di Credi. 1459-
+1537.
+
+_Plockhörst, Plate 161,_ expresses the joyful surprise of Mary when
+she recognizes her Lord. Jesus is directing her to go to his brethren
+and say, "I ascend unto my Father and your Father, and my God and
+your God." (John 20:17.) One hand is held as a warning to Mary not to
+touch him, the other points upward towards heaven.
+
+[Illustration: Risen Lord and Mary Magdalene.]
+Plate 161. _Risen Lord and Mary Magdalene._ B. Plockhörst. 1825-
+
+AFTER THE RESURRECTION.
+
+In the afternoon, after the resurrection, two disciples on the way to
+Emmaus found themselves accompanied by a stranger with wondrous power
+as an expositor of scripture. (Luke 24:13-27.)
+
+_Plockhörst, Plate 164,_ takes us along the road with the three. The
+speaker is asking, "Was not the Christ bound to undergo all this
+before entering upon his glory?" (Verse 26.)
+
+[Illustration: Walk to Emmaus.]
+Plate 164. _Walk to Emmaus._ B. Plockhörst. 1825-
+
+_Scheffer, Plate 163,_ shows Mary of Magdala, Mary the mother of
+James, and another woman who, after their vision at the sepulchre,
+are on their way to tell the disciples. (Luke 24:9-10.) These are the
+women whose words seemed to the disciples but idle tales unworthy of
+belief. (Verse 11.)
+
+[Illustration: Three Marys.]
+Plate 163. _Three Marys._ Ary Scheffer. 1795-1858.
+
+_Hofmann, Plate 166,_ shows the two urging the stranger to stop at
+Emmaus. (Verses 28, 29.)
+
+[Illustration: Walk to Emmaus.]
+Plate 166. _Walk to Emmaus._ H. Hofmann. 1824-
+
+_Fürst, Plate 165,_ shows them inviting him into the house. (Verse
+29.)
+
+[Illustration: Walk to Emmaus.]
+Plate 165. _Walk to Emmaus._ M. Fürst.
+
+_Müller, Plate 167,_ illustrates verse 30, "he took the bread and
+blessed it."
+
+[Illustration: Supper at Emmaus.]
+Plate 167. _Supper at Emmaus._ Carl Müller. 1839-
+
+_Diethe, Plate 168,_ shows him in the act of breaking the bread.
+
+[Illustration: Supper at Emmaus.]
+Plate 168. _Supper at Emmaus._ Alfred Diethe. 1836-
+
+In the picture of _Rembrandt, Plate 169,_ the glory appears, and the
+disciples recognize the Master "in the breaking of the bread."
+(Verses 31 and 35.)
+
+[Illustration: Supper at Emmaus.]
+Plate 169. _Supper at Emmaus._ Rembrandt 1607-1669.
+
+That very evening at Jerusalem, Jesus appeared to the disciples who
+were gathered in an upper room. Thomas, one of the twelve, was
+absent, and doubted when the others told him that they had seen the
+Lord. (John 20:24, 25.)
+
+Eight days later the disciples were again together, Thomas being with
+them. Suddenly Jesus stood in the midst. (John 20:26.)
+
+_Guercino, Plate 170,_ shows what followed. "Then said he to Thomas,
+reach hither thy finger and see my hand, and reach hither thy hand
+and put it into my side; and be not faithless, but believing." (John
+20:27.) The painter has given Jesus a banner as a symbol of victory,
+a Christian symbol as old as the catacombs.
+
+[Illustration: "Thomas the Doubter."]
+Plate 170. _"Thomas the Doubter."_ Guercino. 1590-1666.
+
+THE ASCENSION.
+
+At the end of forty days Jesus appeared to the disciples once more,
+and after giving final instructions as to their future work, "he led
+them out until they were over against Bethany: and he lifted up his
+hands and blessed them." (Luke 24:50.)
+
+_Hofmann, Plate 171,_ illustrates the next verse. "And it came to
+pass, while he blessed them, he parted from them, and was carried up
+into heaven." In Acts the added information is given that "a cloud
+received him out of their sight." (Acts 1:9.) Luke says, "they
+worshipped him" (verse 52); but Hofmann has angels worshipping (the
+"two men" of Acts 1:10), for the disciples are too greatly astonished
+to worship just then.
+
+[Illustration: The Ascension.]
+Plate 171. _The Ascension._ H. Hofmann. 1824-
+
+_Rembrandt, Plate 172,_ emphasizes the glory of it all. The prayer of
+Christ (John 17:5), is answered, the promise of God (John 12:28), is
+fulfilled. The Spirit which appeared at the baptism of Jesus in the
+form of a dove, descending upon him as he began his ministry, here
+descends again as he enters the heavens where he ever liveth to make
+intercession for us.
+
+[Illustration: The Ascension.]
+Plate 172. _The Ascension._ Rembrandt. 1607-1666.
+
+
+And many other such pictures have been painted, which are not given
+in this book; but these are given that ye may be helped to see Jesus
+the Christ, the Son of God, and that seeing ye may believe and have
+life in his name.
+
+
+Write the vision, and make it plain upon tables, that he may run that
+readeth it.
+
+HABAKKUK 2:2.
+
+
+
+INDEX BY TITLES OF PICTURES.
+
+Adoration of the Kings--MALDINI
+Adoration of the Magi--LUINI
+                       VERONESE
+Adulterous Woman--SIGNOL
+Agony in the Garden--DOLCI
+Angels and the Shepherds--PLOCKHÖRST
+Annunciation--TITIAN
+Annunciation to Mary--BAROCCIO
+                      DOSSO
+                      HOFMANN
+                      MÜLLER
+                      RENI
+Anointing Feet of Jesus--HOFMANN
+Arrival of the Shepherds--LEROLLE
+Ascension--HOFMANN
+           REMBRANDT
+Bearing the Cross--HOFMANN
+                   THIERSCH
+Behold, I stand at the Door and Knock--OVERBECK
+Behold the Lamb of God--BIDA
+Bethany--HOFMANN
+Bethlehem--HOFMANN
+Birth of John--ANGELICO
+Calling of Matthew--BIDA
+                    CHIMENTI
+                    PORDENONE
+Canaanitish Woman--VECCHIO
+Centurion's Servant--VERONESE
+Christ among the Doctors--LAFON
+Christ and St. Peter--PLOCKHÖRST
+                      SCHWARTZ
+Christ and the Fishermen--ZIMMERMANN
+Christ and the Sinner--HOFMANN
+Christ and the Young Ruler--HOFMANN
+Christ and Zebedee's Children--BONIFAZIO
+Christ Appearing to Magdalene--DI CREDI
+Christ Blessing Little Children--HOFMANN
+                                 PLOCKHÖRST
+                                 VOGEL
+Christ Borne to the Tomb--CISERI
+Christ Casting out the Money-changers--KIRCHBUCK
+Christ Disputing in the Temple--DOBSON
+Christ Disputing with the Doctors--HOFMANN
+Christ Giving Keys to St. Peter--RENI
+Christ in the House of Mary and Martha--ALLORI
+Christ on the Cross and the Three Marys--MUNKACSY
+Christ Raising the Daughter of Jairus--RICHTER
+Christ's Charge to St. Peter--RAPHAEL
+Christ Taking Leave of His Mother--PLOCKHÖRST
+Christ the Consoler--PLOCKHÖRST
+Christ Weeps Over Jerusalem--EASTLAKE
+Consider the Lilies--LE JEUNE
+Conspiracy against Jesus--BIDA
+Crucifixion--HOFMANN
+             MUNKACSY
+Daughter of Jairus--HOFMANN
+Demoniac Boy--RAPHAEL
+Descent from the Cross--RUBENS
+Easter Morning--HOFMANN
+Ecce Homo--CISERI
+           HOFMANN
+           RENI
+Entombment--HOFMANN
+Finding of Christ in the Temple--HUNT
+Flight into Egypt--FÜRST
+                   HOFMANN
+                   PLOCKHÖRST
+Golgotha--GEROME
+Good Samaritan--DORÉ
+                SIEMENROTH
+Good Shepherd--PLOCKHÖRST
+               SCHÖNHERR
+Head of John the Baptist in a Charger--RENI
+Healing of the Impotent Man--BIDA
+                             VAN LINT
+Healing the Sick--HOFMANN
+                  SCHÖNHERR
+Healing the Sick Child--MAX
+Holy Family--MURILLO
+Holy Night--CORREGGIO
+I am the Light of the World--HUNT
+Infancy of Christ--HOFMANN
+In the Sepulchre--HOFMANN
+In the Temple--HOFMANN
+Jesus and His Disciples Going through Cornfield--DORÉ
+Jesus and the Child--BALLHEIM
+Jesus and the Tribute Money--DORÉ
+Jesus and the Woman of Samaria--BILIVERTI
+                                DORÉ
+                                HOFMANN
+Jesus Anoints the Blind Man's Eyes--THEOTOCOPULI
+Jesus in Gethsemane--HOFMANN
+Jesus in the House of Simon--VERONESE
+Jesus on His Way to Jerusalem--MENGELBERG
+Jesus Preaches from a Boat--HOFMANN
+Jesus Taken Captive--HOFMANN
+Jesus Walking by the Sea--GRUNEWALD
+Jesus Washes the Disciples' Feet--BROWN
+John and the Mother of Jesus--DOBSON
+                              DYCE
+John the Baptist--SARTO
+John the Baptist Preaching--TITIAN
+Joseph and Mary; Arrival at Bethlehem--MERSON
+Joseph's Dream--CRESPI
+Kiss of Judas--SCHEFFER
+Last Supper--BIDA
+             HOFMANN
+             VINCI
+Lost Piece of Money--MILLAIS
+Lost Sheep--MOLITOR
+Madonna and Child--MURILLO
+Magdalen--RUBENS
+Marriage Feast--VERONESE
+Mary's Visit to Elizabeth--ALBERTINELLI
+Miracle of the Loaves and Fishes--MURILLO
+Miraculous Draught of Fishes--RAPHAEL
+Nativity--BOUGUEREAU
+          MÜLLER
+Nicodemus' Visit to Jesus--UNKNOWN
+Parable of the Sower--ROBERT
+Parable of the Virgins--POLOTY
+Peace, be still--DORÉ
+Peter's Denial of Christ--HARRACH
+                          WEST
+Pharisee and Publican--DORÉ
+Pilate's Wife's Dream--DORÉ
+Prayer in Secret--BIDA
+Presentation at the Temple--BARTOLOMMEO
+                            BORGOGNONE
+                            BOURDON
+                            CHAMPAIGNE
+                            FATTORINO
+Prodigal Son--DORÉ
+              DUBUFE
+              MOLITOR
+Purification of the Temple--HOFMANN
+Raising of Lazarus--BONIFAZIO
+                    PIOMBO
+                    RUBENS
+Raising the Daughter of Jairus--KELLER
+Raising the Widow's Son--HOFMANN
+Repose in Egypt--BENZ
+                 MERSON
+Resurrection--NAACK
+Rich Man and Lazarus--DORÉ
+Risen Lord and Mary Magdalene--PLOCKHÖRST
+Sermon on the Mount--DORÉ
+                     HOFMANN
+Shadow of Death--HUNT
+Shadow of the Cross--MORRIS
+Supper at Emmaus--DIETHE
+                  MÜLLER
+                  REMBRANDT
+Talking with Lame Man, Bethesda--VAN DYCK
+Temptation--HOFMANN
+Temptation of Christ--SCHEFFER
+Thomas the Doubter--GUERCINO
+Three Marys--SCHEFFER
+Transfiguration--RAPHAEL
+Trial before Pilate--MUNKACSY
+Tribute Money--VAN DYCK
+Tribute to Caesar--TITIAN
+Triumphal Entry--DEGER
+Walk to Emmaus--FÜRST
+                HOFMANN
+                PLOCKHÖRST
+Whereon they Crucified Him--MORRIS
+Widow's Mite--DORÉ
+Worship of the Magi--HOFMANN
+
+---
+
+NOTE.--The "Wilde Bible Pictures," from which are selected the
+pictures illustrating "The Great Painters' Gospel," are
+two-and-one-half times as large as the reduction herein used.
+A catalogue of these penny pictures will be furnished on
+application to the publishers.
+
+
+INDEX BY ARTISTS.
+
+Albertinelli.
+   Mary's Visit to Elisabeth
+Allori.
+   Christ in the house of Mary and Martha
+Angelico, Fra.
+   Birth of John
+Ballheim.
+   Jesus and the Child
+Baroccio.
+   Annunciation to Mary
+Bartolommeo, Fra.
+   Presentation at the Temple
+Benz, S.
+   Repose in Egypt
+Bida, Alexandre.
+   Behold the Lamb of God
+   Calling of Matthew
+   Conspiracy against Jesus
+   Healing of the Impotent Man
+   Last Supper
+   Prayer in Secret
+Biliverti.
+   Jesus and the Woman of Samaria
+Bonifazio.
+   Christ and Zebedee's Children
+   Raising of Lazarus
+Borgognone.
+   Presentation at the Temple
+Bourdon, Sebastien.
+   Presentation at the Temple
+Bouguereau, W. A.
+   Nativity
+Brown, Ford Madox.
+   Jesus Washes the Disciples' Feet
+Champaigne.
+   Presentation at the Temple
+Chimenti, Jacopo.
+   Calling of Matthew
+Ciseri, Antonio.
+   Christ borne to the tomb
+   Ecce Homo
+Correggio.
+   Holy Night
+Crespi, Daniele.
+   Joseph's Dream
+Deger, Ernest.
+   Triumphal Entry
+Di Credi, Lorenzo.
+   Christ appearing to Magdalene
+Diethe, Alfred.
+   Supper at Emmaus
+Dobson, W. C. T.
+   Christ disputing in the Temple
+   John and the Mother of Jesus
+Dolci, Carlo.
+   Agony in the Garden
+Doré, Gustave.
+   Good Samaritan
+   Jesus and His Disciples Going Through Cornfield
+   Jesus and the Tribute Money
+   Jesus and the Woman of Samaria
+   Peace, Be Still
+   Pharisee and Publican
+   Pilate's Wife's Dream
+   Prodigal Son
+   Rich Man and Lazarus
+   Sermon on the Mount
+   Widow's Mite
+Dosso, Dossi.
+   Annunciation to Mary
+Dubufe, E.
+   Prodigal Son
+Dyce, William.
+   John and the Mother of Jesus
+Eastlake, Sir Charles.
+   Christ Weeps Over Jerusalem
+Fattorino, Bartolommeo Del.
+   Presentation at the Temple
+Fürst, M.
+   Flight into Egypt
+   Walk to Emmaus
+Gerome, J. L.
+   Golgotha
+Grünewald, M.
+   Jesus Walking by the Sea
+Guercino.
+   Thomas the Doubter
+Harrach, Graf.
+   Peter's Denial of Christ
+Hofmann
+   Anointing feet of Jesus
+   Annunciation to Mary
+   Ascension
+   Bearing the Cross
+   Bethany
+   Bethlehem
+   Christ and the Sinner
+   Christ and the Young Ruler
+   Christ Blessing Little Children
+   Christ Disputing with the Doctors
+   Crucifixion
+   Daughter of Jairus
+   Easter Morning
+   Ecce Homo
+   Entombment
+   Flight into Egypt
+   Healing the Sick
+   Infancy of Christ
+   In the Sepulchre
+   In the Temple
+   Jesus and the Woman of Samaria
+   Jesus in Gethsemane
+   Jesus Preaches from a Boat
+   Jesus taken Captive
+   Last Supper
+   Purification of the Temple
+   Raising the Widow's Son
+   Sermon on the Mount
+   Temptation
+   Walk to Emmaus
+   Worship of the Magi
+Hunt, Holman.
+   Finding of Christ in the Temple
+   I am the Light of the World
+   Shadow of Death
+Keller, A.
+   Raising the Daughter of Jairus
+Kirchbuch, F
+   Christ Casting out the Money-changers
+Lafon, Émile, J.
+   Christ among the Doctors
+Le Jeune, Henry.
+   Consider the Lilies
+Lerolle, Henry.
+   Arrival of the Shepherds
+Luini.
+   Adoration of the Magi
+Maldini, Battista.
+   Adoration of the Kings
+Max, Gabriel.
+   Healing the Sick Child
+Mengleberg.
+   Jesus, Twelve Years Old, on his Way to Jerusalem
+Merson, Oliver L.
+   Joseph and Mary at Bethlehem
+   Repose in Egypt
+Millais, Sir John.
+   Lost Piece of Money
+Molitor, Franz.
+   Lost Sheep
+   Prodigal Son
+Morris, P. R.
+   Shadow of the Cross
+   Whereon they Crucified Him
+Müller, Carl.
+   Nativity
+   Supper at Emmaus
+Müller, Franz.
+   Annunciation to Mary
+Munkacsy.
+   Christ on the Cross and the Three Marys
+   Crucifixion
+   Trial before Pilate
+Murillo.
+   Holy Family
+   Madonna and Child
+   Miracle of the Loaves and Fishes
+Naack, A.
+   Resurrection
+Overbeck.
+   Behold, I Stand at the Door and Knock
+Piombo, Sebastian del.
+   Raising of Lazarus
+Plockhörst.
+   Angels and the Shepherds
+   Christ and St. Peter
+   Christ Blessing Little Children
+   Christ Taking Leave of His Mother
+   Christ the Consoler
+   Flight into Egypt
+   Good Shepherd
+   Risen Lord and Mary Magdalene
+   Walk to Emmaus
+Poloty, Theodore von
+   Parable of the Virgins
+Pordenone, Giovanni.
+   Calling of Matthew
+Raphael.
+   Christ's Charge to St. Peter
+   Demoniac Boy
+   Miraculous Draught of Fishes
+   Transfiguration
+Rembrandt.
+   Ascension
+   Supper at Emmaus
+Reni, Guido.
+   Annunciation to Mary
+   Christ Giving Keys to St. Peter
+   Ecce Homo
+   Head of John the Baptist in a Charger
+Richter, Gustav.
+   Christ Raising the Daughter of Jairus
+Robert, H. L.
+   Parable of the Sower
+Rubens.
+   Descent from the Cross
+   Magdalen
+   Raising of Lazarus
+Sarto, Andrea del.
+   John the Baptist
+Scheffer, Ary.
+   Kiss of Judas
+   Temptation of Christ
+   Three Marys
+Schönherr, Karl.
+   Good Shepherd
+   Healing the Sick
+Schwartz.
+   Christ and St. Peter
+Siemenroth, K.
+   Good Samaritan
+Signol, Emile.
+   Adulterous Woman
+Theotocopuli.
+   Jesus Anoints the Blind Man's Eyes
+Thiersch, Ludwig.
+   Bearing the Cross
+Titian.
+   Annunciation
+   John the Baptist Preaching
+   Tribute to Caesar
+Unknown Artist.
+   Nicodemus' Visit to Jesus
+Van Dyck.
+   Talking with Lame Man, Bethesda
+   Tribute Money
+Van Lint, Peter.
+   Healing of the Impotent Man
+Vecchio, Palma.
+   Canaanitish Woman
+Veronese, Bonifazio.
+   Adoration of the Magi
+Veronese, Paolo.
+   Centurion's Servant
+   Marriage Feast
+   Jesus in the House of Simon
+Vinci, Leonardo Da.
+   Last Supper
+Vogel, Carlo.
+   Christ Blessing Little Children
+West, Benjamin.
+   Peter's Denial of Christ
+Zimmermann, Ernst K.G.
+   Christ and the Fishermen
+
+
+
+
+
+
+
+
+End of Project Gutenberg's The Great Painters' Gospel, by Henry Turner Bailey
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+<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN">
+<html>
+<head>
+<meta http-equiv="Content-Type" content="text/html; charset=ISO-8859-1">
+<title>The Project Gutenberg eBook of The Great Painters' Gospel, by Henry Turner Bailey</title>
+<style type="text/css">
+   h1 { text-align: center }
+   h2 { text-align: center }
+   body { margin-left:10%; margin-right:10% }
+   .end { margin-left:35%; margin-right:35% }
+   .end2 { margin-left:60% }
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+    <body>
+
+
+<pre>
+
+Project Gutenberg's The Great Painters' Gospel, by Henry Turner Bailey
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Great Painters' Gospel
+       Pictures Representing Scenes and Incidents in the Life of
+              Our Lord Jesus Christ
+
+Author: Henry Turner Bailey
+
+Release Date: January 5, 2012 [EBook #38500]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE GREAT PAINTERS' GOSPEL ***
+
+
+
+
+Produced by Michael Gray, Diocese of San Jose
+
+
+
+
+
+</pre>
+
+        <p align="center">
+            <img src="images/102.jpg" alt=
+            "I am the Light of the World"><br>
+            <i>"I am the Light of the World."</i> &nbsp; &nbsp;
+            Holman Hunt. 1827-
+        </p><br>
+        <br>
+        <h2>
+            THE
+        </h2>
+        <h1>
+            GREAT PAINTERS' GOSPEL
+        </h1>
+        <p align="center">
+            <font size="+2">PICTURES</font><br>
+            representing scenes and<br>
+            incidents in the life of<br>
+            Our Lord Jesus Christ
+        </p>
+        <p align="center">
+            <i>With scriptural quotations, references and
+            suggestions for comparative study</i>
+        </p><br>
+        <p align="center">
+            By HENRY TURNER BAILEY
+        </p><br>
+        <br>
+        <p align="center">
+            W A WILDE COMPANY<br>
+            BOSTON MASS<br>
+            USA
+        </p><br>
+        <br>
+        <br>
+        <p align="center">
+            COPYRIGHT 1900 BY<br>
+            W. A. WILDE COMPANY<br>
+            All rights reserved
+        </p><br>
+        <br>
+        <br>
+        <h1>
+            TABLE OF CONTENTS.
+        </h1><br>
+        <h1>
+            Introductory.
+        </h1><br>
+        <h2>
+            The Annunciation.
+        </h2>
+        <table>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#1a">"Hail Mary"</a>
+                    </p>
+                </td>
+                <td width="5">
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Luke 1:28
+                    </p>
+                </td>
+                <td width="5">
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        TITIAN
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#1">"Blessed art thou among
+                        women"</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Luke 1:28
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        HOFMANN
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#2">"Thou has found favor with
+                        God"</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Luke 1:28
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        RENI
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#5">"How shall this be?"</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Luke 1:34
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        BAROCCIO
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#4">"The Holy Ghost shall come
+                        upon thee"</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Luke 1:35
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        DOSSO
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#3">"Let it be unto me according
+                        to they word"</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Luke 1:38
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        M&Uuml;LLER
+                    </p>
+                </td>
+            </tr>
+        </table>
+        <h2>
+            The Salutation.
+        </h2>
+        <table>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#6">Mary saluting Elizabeth</a>
+                    </p>
+                </td>
+                <td width="5">
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Luke 1:40
+                    </p>
+                </td>
+                <td width="5">
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        ALBERTINELLI
+                    </p>
+                </td>
+            </tr>
+        </table>
+        <h2>
+            The Birth of John.
+        </h2>
+        <table>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#7">"His name is John"</a>
+                    </p>
+                </td>
+                <td width="5">
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Luke 1:63
+                    </p>
+                </td>
+                <td width="5">
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        FRA ANGELICO
+                    </p>
+                </td>
+            </tr>
+        </table><br>
+        <h1>
+            Childhood.
+        </h1><br>
+        <h2>
+            Nativity.
+        </h2>
+        <table>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#8">"No room for them in the
+                        inn"</a>
+                    </p>
+                </td>
+                <td width="5">
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Luke 2:7
+                    </p>
+                </td>
+                <td width="5">
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        MERSON
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#14">"The angel of the Lord came
+                        upon them"</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Luke 2:9
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        PLOCKH&Ouml;RST
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#13">"Glory to God in the
+                        highest"</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Luke 2:14
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        HOFMANN
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#11">"Found Mary and Joseph and
+                        the babe"</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Luke 2:16
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        LEROLLE
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#9">"Wondered at those things"</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Luke 2:18
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        CORREGGIO
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        <a href="#10">BOUGUEREAU</a>
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        <a href="#12">M&Uuml;LLER</a>
+                    </p>
+                </td>
+            </tr>
+        </table>
+        <h2>
+            Presentation.
+        </h2>
+        <table>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#18">"Now lettest thou thy servant
+                        depart in peace"</a>
+                    </p>
+                </td>
+                <td width="5">
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Luke 2:29
+                    </p>
+                </td>
+                <td width="5">
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        FATTORINO
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#15">"This child is set for the
+                        falling and rising up of many in
+                        Israel"</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Luke 2:34
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        CHAMPAIGNE
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#16">"A sword shall pierce thine
+                        own soul"</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Luke 2:35
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        BORGOGNONE
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#17">Anna coming up at that
+                        instant</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Luke 2:38
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        BOURDON
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        <a href="#19">BARTOLOMMEO</a>
+                    </p>
+                </td>
+            </tr>
+        </table>
+        <h2>
+            Adoration of Magi.
+        </h2>
+        <table>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#20">The star stood over the
+                        child</a>
+                    </p>
+                </td>
+                <td width="5">
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Matt. 2:9
+                    </p>
+                </td>
+                <td width="5">
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        HOFMANN
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#23">They came to the house</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Matt. 2:11
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        MALDINI
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#21">And they worshipped the
+                        child</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Matt. 2:11
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        LUINI
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#22">And gave unto him gifts</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Matt. 2:11
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        BONIFAZIO
+                    </p>
+                </td>
+            </tr>
+        </table>
+        <h2>
+            Flight into Egypt.
+        </h2>
+        <table>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#24">An angel appeared to Joseph
+                        in a dream</a>
+                    </p>
+                </td>
+                <td width="5">
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Matt. 2:13
+                    </p>
+                </td>
+                <td width="5">
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        CRESPI
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#26">He arose and departed</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Matt. 2:14
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        F&Uuml;RST
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#27">With the child and his
+                        mother</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Matt. 2:14
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        PLOCKH&Ouml;RST
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#25">Guided by the angel</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        HOFMANN
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#28">Into Egypt</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Matt. 2:14
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        BENZ
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#29">In Egypt</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        MERSON
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#30">Was there till the death of
+                        Herod</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Matt. 2:15
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        MORRIS
+                    </p>
+                </td>
+            </tr>
+        </table>
+        <h2>
+            Return to Nazareth.
+        </h2>
+        <table>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#32">Mother and child</a>
+                    </p>
+                </td>
+                <td width="5">
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td width="5">
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        MURILLO
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#33">"Grace of God was upon
+                        him"</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Luke 2:40
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        MURILLO
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#31">Daily life at Nazareth</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        HOFMANN
+                    </p>
+                </td>
+            </tr>
+        </table>
+        <h1>
+            Youth.
+        </h1>
+        <h2>
+            Visit to Jerusalem.
+        </h2>
+        <table>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#34">"They went up to
+                        Jerusalem"</a>
+                    </p>
+                </td>
+                <td width="5">
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Luke 2:42
+                    </p>
+                </td>
+                <td width="5">
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        MENGELBERG
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#38">In the midst of the
+                        doctors</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Luke 2:46
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        HOFMANN
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        <a href="#36">LAFON</a>
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#37">"When they saw him they were
+                        amazed"</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Luke 2:48
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        DOBSON
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#35">"Son, why hast thou thus
+                        dealt with us?"</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Luke 2:48
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        HUNT
+                    </p>
+                </td>
+            </tr>
+        </table>
+        <h2>
+            Silent Years at Home.
+        </h2>
+        <table>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#40">The carpenter's son</a>
+                    </p>
+                </td>
+                <td width="5">
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td width="5">
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        HUNT
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#41">"Breaking home ties"</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        PLOCKH&Ouml;RST
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#42">[The youthful John]</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Luke 1:80
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        DEL SARTO
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#43">[The forerunner]</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Matt. 3:1-4
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        TITIAN
+                    </p>
+                </td>
+            </tr>
+        </table>
+        <h1>
+            Manhood.
+        </h1>
+        <h2>
+            Temptation.
+        </h2>
+        <table>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#44">"Worship the Lord thy
+                        God"</a>
+                    </p>
+                </td>
+                <td width="5">
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Matt. 4:10
+                    </p>
+                </td>
+                <td width="5">
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        SCHEFFER
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#45">"Left him and behold angels
+                        came"</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Matt. 4:11
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        HOFMANN
+                    </p>
+                </td>
+            </tr>
+        </table>
+        <h2>
+            Beginning of Public Service.
+        </h2>
+        <table>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#46">"Behold the Lamb of God"</a>
+                    </p>
+                </td>
+                <td width="5">
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        John 1:29
+                    </p>
+                </td>
+                <td width="5">
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        BIDA
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#48">"Jesus as he walked"</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        John 1:36
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        GR&Uuml;NEWALD
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#50">A marriage in Cana</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        John 2:1
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        VERONESE
+                    </p>
+                </td>
+            </tr>
+        </table>
+        <h2>
+            Early Judean Ministry.
+        </h2>
+        <table>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#51">Cleansing the temple</a>
+                    </p>
+                </td>
+                <td width="5">
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td width="5">
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        KIRCHBUCK
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#52">"He drove them all out"</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        John 2:15
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        HOFMANN
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#53">Visit of Nicodemus</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        John 3:1-21
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        UNKNOWN
+                    </p>
+                </td>
+            </tr>
+        </table>
+        <h2>
+            Return through Samaria.
+        </h2>
+        <table>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#56">"Thou wouldst have asked of
+                        him"</a>
+                    </p>
+                </td>
+                <td width="5">
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        John 4:10
+                    </p>
+                </td>
+                <td width="5">
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        BILIVERTI
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#54">"Worship the Father in spirit
+                        and truth"</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        John 4:23
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        DOR&Eacute;
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#55">"God is a Spirit"</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        John 4:24
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        HOFMANN
+                    </p>
+                </td>
+            </tr>
+        </table>
+        <h2>
+            Call of the Four.
+        </h2>
+        <table>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#47">"I will make you fishers of
+                        men"</a>
+                    </p>
+                </td>
+                <td width="5">
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Matt. 4:19
+                    </p>
+                </td>
+                <td width="5">
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        ZIMMERMAN
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#49">"Depart from me for I am a
+                        sinful man"</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Luke 5:8
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        RAPHAEL
+                    </p>
+                </td>
+            </tr>
+        </table>
+        <h2>
+            Early Galilean Ministry.
+        </h2>
+        <table>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#69">"He healed all that were
+                        sick"</a>
+                    </p>
+                </td>
+                <td width="5">
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Matt. 8:16
+                    </p>
+                </td>
+                <td width="5">
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        SCH&Ouml;NHERR
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        <a href="#70">HOFMANN</a>
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        <a href="#71">MAX</a>
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#58">Calling of Matthew</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Matt. 9:9
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        CHIMENTI
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#59">"Sitting at the receipt of
+                        custom"</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Matt. 9:9
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        PORDENONE
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#57">"Follow me"</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Matt. 9:9
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        BIDA
+                    </p>
+                </td>
+            </tr>
+        </table>
+        <h2>
+            At Jerusalem Again.
+        </h2>
+        <table>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#60">"Jesus saith unto him,
+                        'Rise'"</a>
+                    </p>
+                </td>
+                <td width="5">
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        John 5:8
+                    </p>
+                </td>
+                <td width="5">
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        BIDA
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#61">"He took up his bed and
+                        walked"</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        John 5:9
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        VAN LINT
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#62">"Afterward, Jesus findeth
+                        him"</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        John 5:14
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        VAN DYCK
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#63">Discussion in cornfield</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Matt. 12:1-8
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        DOR&Eacute;
+                    </p>
+                </td>
+            </tr>
+        </table>
+        <h2>
+            Sermon on the Mount.
+        </h2>
+        <table>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#65">Christ preaching</a>
+                    </p>
+                </td>
+                <td width="5">
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td width="5">
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        DOR&Eacute;
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#64">Giving beatitudes</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Matt. 5:1-12
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        HOFMANN
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#67">"Consider the lilies of the
+                        field"</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Matt. 6:28
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        LE JEUNE
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#66">Prayer in secret</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Matt. 6:6
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        BIDA
+                    </p>
+                </td>
+            </tr>
+        </table>
+        <h2>
+            Second Tour of Galilee.
+        </h2>
+        <table>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#68">The Centurion's servant</a>
+                    </p>
+                </td>
+                <td width="5">
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Matt. 8:5-13
+                    </p>
+                </td>
+                <td width="5">
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        VERONESE
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#72">Raising the widow's son</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Luke 7:11-17
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        HOFMANN
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#73">Jesus in the house of
+                        Simon</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        VERONESE
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#74">"Kissed his feet"</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Luke 7:38
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        RUBENS
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#75">"Thy sins are forgiven"</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Luke 7:48
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        HOFMANN
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#76">"He entered into a boat"</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Mark 4:1
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        HOFMANN
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#77">Parable of the sower</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Mark 4:3-9
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        ROBERT
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#78">Stilling of the tempest</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Mark 4:35-41
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        DOR&Eacute;
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#80">Raising of Jairus'
+                        daughter</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        RICHTER
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#79">"Taking the child by the
+                        hand"</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Mark 5:41
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        HOFMANN
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#81">"Straightway she rose up"</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Mark 5:42
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        KELLER
+                    </p>
+                </td>
+            </tr>
+        </table>
+        <h2>
+            Death of John the Baptist.
+        </h2>
+        <table>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#82">"The damsel gave it to her
+                        mother"</a>
+                    </p>
+                </td>
+                <td width="5">
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Mark 6:28
+                    </p>
+                </td>
+                <td width="5">
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        RENI
+                    </p>
+                </td>
+            </tr>
+        </table>
+        <h2>
+            Feeding of the Five Thousand
+        </h2>
+        <table>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#83">Blessing the food</a>
+                    </p>
+                </td>
+                <td width="5">
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        John 6:11
+                    </p>
+                </td>
+                <td width="5">
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        MURILLO
+                    </p>
+                </td>
+            </tr>
+        </table>
+        <h2>
+            Jesus Walking on the Water
+        </h2>
+        <table>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#85">"Lord, save me"</a>
+                    </p>
+                </td>
+                <td width="5">
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Matt. 14:30
+                    </p>
+                </td>
+                <td width="5">
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        SCHWARTZ
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#84">"Wherefore didst thou
+                        doubt?"</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Matt. 14:31
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        PLOCKH&Ouml;RST
+                    </p>
+                </td>
+            </tr>
+        </table>
+        <h2>
+            Trip into Ph&oelig;nicia.
+        </h2>
+        <table>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#86">Canaanitish woman</a>
+                    </p>
+                </td>
+                <td width="5">
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Matt. 15:21-28
+                    </p>
+                </td>
+                <td width="5">
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        VECCIO
+                    </p>
+                </td>
+            </tr>
+        </table>
+        <h2>
+            Peter's Confession.
+        </h2>
+        <table>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#87">"I will give the keys of the
+                        kingdom of heaven"</a>
+                    </p>
+                </td>
+                <td width="5">
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Matt. 16:19
+                    </p>
+                </td>
+                <td width="5">
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        RENI
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        <a href="#88">RAPHAEL</a>
+                    </p>
+                </td>
+            </tr>
+        </table>
+        <h2>
+            Transfiguration.
+        </h2>
+        <table>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#89">Transfiguration</a>
+                    </p>
+                </td>
+                <td width="5">
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Matt. 17:1-8
+                    </p>
+                </td>
+                <td width="5">
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        RAPHAEL
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#90">Demoniac Boy</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Matt. 17:14-20
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        RAPHAEL
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#97">"He called to him a little
+                        child"</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Matt. 18:2
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        BALLHEIM
+                    </p>
+                </td>
+            </tr>
+        </table>
+        <h2>
+            At the Feast of Tabernacles.
+        </h2>
+        <table>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#91">"Let him that is without sin
+                        cast the first stone"</a>
+                    </p>
+                </td>
+                <td width="5">
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        John 8:7
+                    </p>
+                </td>
+                <td width="5">
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        HOFMANN
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#92">Jesus left alone with the
+                        woman</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        John 8:19
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        SIGNOL
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#93">"I am the light of the
+                        world"</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        John 8:12
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        HUNT
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#94">"I stand at the door and
+                        knock"</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Rev. 3:20
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        OVERBECK
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#99">"I will give you rest"</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Matt. 11:28
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        PLOCKH&Ouml;RST
+                    </p>
+                </td>
+            </tr>
+        </table>
+        <h2>
+            Perean Ministry.
+        </h2>
+        <table>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#101">The good Samaritan</a>
+                    </p>
+                </td>
+                <td width="5">
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Luke 10:30-34
+                    </p>
+                </td>
+                <td width="5">
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        SIEMENROTH
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        <a href="#100">DOR&Eacute;</a>
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#114">Jesus in the home of
+                        Lazarus</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Luke 10:40
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        HOFMANN
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        <a href="#113">ALLORI</a>
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#115">Healing of the man born
+                        blind</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        John 9:1-40
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        THEOTOCOPULI
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#116">The good Shepherd</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        John 10:1-21
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        PLOCKH&Ouml;RST
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#117">Finding the lost sheep</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Luke 15:2
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        SCH&Ouml;NHERR
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        <a href="#102">MOLITOR</a>
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#103">Lost piece of money</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Luke 15:8
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        MILLAIS
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#106">The prodigal son</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Luke 15:11-32
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        DUBUFE
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#105">"Fell on his neck and kissed
+                        him"</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Luke 15:20
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        MOLITOR
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        <a href="#104">DOR&Eacute;</a>
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#107">Rich man and Lazarus</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Luke 16:19-31
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        DOR&Eacute;
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#118">Raising of Lazarus</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        John 11:1-46
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        BONIFAZIO
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        <a href="#119">PIOMBO</a>
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        <a href="#120">RUBENS</a>
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#108">Pharisee and Publican</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Luke 18:9-14
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        DOR&Eacute;
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#109">Christ blessing little
+                        children</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Mark 10:13-16
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        HOFMANN
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        <a href="#110">PLOCKH&Ouml;RST</a>
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        <a href="#111">VOGEL</a>
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#112">Christ and the Young
+                        Ruler</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Matt. 9:16-22
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        HOFMANN
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#121">Ambition of James and
+                        John</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Matt. 20:20-28
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        BONIFAZIO
+                    </p>
+                </td>
+            </tr>
+        </table>
+        <h2>
+            Passion Week.
+        </h2>
+        <table>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#123">Triumphal entry</a>
+                    </p>
+                </td>
+                <td width="5">
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Luke 19:29-44
+                    </p>
+                </td>
+                <td width="5">
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        DEGER
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#124">Christ weeps over
+                        Jerusalem</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Luke 19:41
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        EASTLAKE
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#125">Tribute money</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        DOR&Eacute;
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#126">"Whose image and
+                        superscription hath it?"</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Mark 20:24
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        TITIAN
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#126">"Render to C&aelig;sar the
+                        things that are C&aelig;sar's"</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Matt. 22:21
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        VAN DYCK
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#127">The widow's two mites</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Mark 12:41-44
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        DOR&Eacute;
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#128">Parable of the virgins</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Matt. 25:1-13
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        POLOTY
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#129">Conspiracy between Judas and
+                        Chief Priests</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Luke 22:3-6
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        BIDA
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#131">The Last Supper</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        VINCI
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#133">"When he had washed their
+                        feet"</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        John 13:12
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        BROWN
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#132">"This is my body"</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Luke 22:19
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        BIDA
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#130">"And he took a cup and gave
+                        thanks"</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Matt. 26:27
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        HOFMANN
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#136">"Thy will be done"</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Matt. 26:42
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        HOFMANN
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#135">"An angel from heaven
+                        strengthening him"</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Luke 22:43
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        DOLCI
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#137">Kiss of Judas</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Matt. 26:49
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        SCHEFFER
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#138">"Bound him and led him to
+                        Annas"</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        John 18:12
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        HOFMANN
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#140">Peter's denial before the
+                        maid-servant</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        John 18:17
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        WEST
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#139">Denial before soldiers</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Mark 14:54
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        HARRACH
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#141">Trial before Pilate</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Luke 23:1-7
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        MUNKACSY
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#142">"Hail, King of the
+                        Jews!"</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Matt. 27:29
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        RENI
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#144">"Behold the man"</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        John 19:5
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        HOFMANN
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        <a href="#143">CISERI</a>
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#145">Pilate's wife's dream</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Matt. 27:19
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        DOR&Eacute;
+                    </p>
+                </td>
+            </tr>
+        </table>
+        <h2>
+            The Crucifixion.
+        </h2>
+        <table>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#146">"They led him away"</a>
+                    </p>
+                </td>
+                <td width="5">
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Luke 23:26
+                    </p>
+                </td>
+                <td width="5">
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        HOFMANN
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#147">"Weep not for me"</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Luke 23:28
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        THIERSCH
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#149">"The people stood
+                        beholding"</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Luke 23:35
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        MUNKACSY
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#150">The group near the
+                        cross"</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        John 19:25
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        MUNKASCY
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#148">"Behold thy mother"</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        John 19:27
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        HOFMANN
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#151">Descent from the cross</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Mark 15:46
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        RUBENS
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#153">Golgotha</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        GEROME
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#152">The deserted cross</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        MORRIS
+                    </p>
+                </td>
+            </tr>
+        </table>
+        <h2>
+            The Burial.
+        </h2>
+        <table>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#156">"They took the body of
+                        Jesus"</a>
+                    </p>
+                </td>
+                <td width="5">
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        John 19:40
+                    </p>
+                </td>
+                <td width="5">
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        CISERI
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#155">"Laid him in a tomb"</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Mark 15:46
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        HOFMANN
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#158">John with Mary</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        DYCE
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        <a href="#157">DOBSON</a>
+                    </p>
+                </td>
+            </tr>
+        </table>
+        <h2>
+            The Resurrection.
+        </h2>
+        <table>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#160">"Mary was without
+                        weeping"</a>
+                    </p>
+                </td>
+                <td width="5">
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        John 20:11
+                    </p>
+                </td>
+                <td width="5">
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        HOFMANN
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#162">"Tell me where thou hast
+                        laid him"</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        John 20:15
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        DI CREDI
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#161">"Touch me not"</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        John 20:17
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        PLOCKH&Ouml;RST
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#163">"Returning from the
+                        tomb"</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Luke 24:9
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        SCHEFFER
+                    </p>
+                </td>
+            </tr>
+        </table>
+        <h2>
+            After the Resurrection.
+        </h2>
+        <table>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#164">"Jesus drew near and went
+                        with them"</a>
+                    </p>
+                </td>
+                <td width="5">
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Luke 24:15
+                    </p>
+                </td>
+                <td width="5">
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        PLOCKH&Ouml;RST
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#166">"Abide with us"</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Luke 24:29
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        HOFMANN
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#165">"And he went to abide with
+                        them"</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Luke 24:29
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        F&Uuml;RST
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#167">"He took the bread and
+                        blessed it"</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Luke 24:30
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        M&Uuml;LLER
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#168">"And break and gave to
+                        them"</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Luke 24:30
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        DIETHE
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#169">"And their eyes were
+                        opened"</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Luke 24:31
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        REMBRANDT
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#170">"Reach hither thy hand"</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        John 20:27
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        GUERCINO
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#171">The Ascension</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        Luke 24:51
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        HOFMANN
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        <a href="#172">REMBRANDT</a>
+                    </p>
+                </td>
+            </tr>
+        </table><br>
+        <br>
+        <br>
+        <p align="center">
+            <img src="images/2.jpg" alt="Fleur-de-lis">
+        </p><br>
+        <br>
+        <br>
+        <h1>
+            SUGGESTIONS.
+        </h1>
+        <p align="center">
+            <img src="images/3.jpg" alt="Capernaum"><br>
+            <i>Site of Capernaum, Sea of Galilee.</i>
+        </p>
+        <h1>
+            THE USE OF PICTURES IN TEACHING.
+        </h1>
+        <p>
+            PICTURES may hold a primary or secondary place in
+            teaching, according to their nature and the aim of the
+            teacher.
+        </p>
+        <p>
+            <b>The text itself</b> may be the supreme thing, and
+            pictures become mere pictorial comments upon the text.
+            Pictures when so used have the nature of <i>views</i>
+            or <i>illustrations</i>. The picture at the head of
+            this page is a view. It is reproduced from a photograph
+            taken directly from nature. Such pictures are of great
+            value in building up in the mind clear images of
+            objects or of scenes beyond the pupil's reach. A map
+            means almost nothing to a person unfamiliar with the
+            country, unless by means of numberless views the
+            appearance of the country has been made known to the
+            mind. Every teacher in Sunday-school should have a
+            collection of photographic views of the historical
+            sites of the Bible, of implements, household utensils,
+            articles of dress, etc., which may be used to make
+            clear the Biblical references to such things. Without
+            such illustrations words may convey little or no
+            meaning.
+        </p>
+        <p>
+            The first picture upon the next page may be called an
+            illustration. To a person unfamiliar with the text it
+            might convey any meaning but the true one; but to one
+            familiar with the story of Christ and the rich young
+            ruler it is wonderfully graphic and satisfactory. The
+            words of the text take on a deeper meaning as they are
+            studied in the light of this picture. Because Hofmann
+            is an artist, a man gifted with imagination, he sees
+            more clearly, more vividly than the average person.
+            Seen through his eyes what was before vague and
+            unconvincing becomes definite and powerful. Before
+            seeing the picture the pupil had heard the
+            words:"Jesus, looking upon him, loved him." Now with
+            the picture he <i>sees</i> that Jesus loves him and is
+            anxious to have him decide for life everlasting. Before
+            "the poor" were abstract; now they become a concrete
+            reality. Before the pupil had been told that the young
+            man had "great possessions;" now he sees that he had
+            also health and beauty and intelligence, greater
+            possessions than land and gold. The Sunday-school
+            teacher is fortunate who has at his command pictures
+            which illustrate, which make luminous the text. Plates
+            <a href="#11">11</a>, <a href="#20">20</a>, <a href=
+            "#34">34</a>, <a href="#39">39</a>, <a href=
+            "#47">47</a>, <a href="#62">62</a>, <a href=
+            "#70">70</a>, <a href="#101">101</a>, <a href=
+            "#106">106</a>, <a href="#133">133</a>, and <a href=
+            "#143">143</a> may be mentioned as notable examples of
+            good illustrations to supplement the text.
+        </p>
+        <p align="center">
+            <img src="images/4.jpg" alt=
+            "Christ and the Young Ruler"><br>
+            Plate 112. <i>Christ and the Young Ruler.</i> H.
+            Hofmann. 1824-
+        </p>
+        <p>
+            The picture itself may be the object of study, and the
+            text become a commentary upon the picture. For example,
+            consider this picture by Holman Hunt. Every detail has
+            something important to say to the pupil. The postures
+            of these people and the costumes say "oriental." The
+            profuse ornamentation both of the architecture and the
+            various furnishings speak of extraordinary conditions.
+            This is the temple which was the wonder of the age (see
+            Mark 13:1), and these are the people who loved to go
+            about in long clothing, and who "devoured widows'
+            houses" to be rich. (Matt. 23:14.) This boy with his
+            pure face and far-away-gazing eyes is he who had
+            thoughts about "his Father's house." The look in the
+            woman's face is appreciated in the light of what she is
+            recorded as having said, "I have sought thee
+            sorrowing." (Luke 2:48.) That she rather than her
+            husband should speak to him is no surprise to one
+            familiar with Matt. 1:18-25. The faces of these
+            serious-looking men must be read in the light of the
+            words, "And all that heard him were amazed at his
+            understanding and answers." One man has an ornamental
+            box in his hand. What is that for? Another has a
+            similar box upon his forehead. Why? Deut. 6:6-8 and
+            Matt. 23:5 will help answer those questions. A man is
+            begging at the entrance. It is not extraordinary in the
+            light of Acts 3:1, 2, and Mark 14:7. He begs in vain
+            outside, while within a servant brings wine to refresh
+            those who will not so much as lift a finger to help the
+            burdened. (Matt. 23:4.) Beyond the beggar craftsmen are
+            still at work upon the temple. Yes, because when this
+            child Jesus first visited the temple it was not
+            completed. "Forty and six years was this temple in
+            building." (John 2:20.) Birds are flying in and out!
+            "Yea, the sparrow hath found a house, and the swallow a
+            nest for herself, . . . even thine altars, O Lord of
+            Hosts." (Ps. 84:3.) The little boy with the fly-driver
+            tells the season of the year, the light and the few
+            worshippers and the idle musicians tell the time of
+            day. Everything has a message, even the ornament upon
+            wall and floor! That tells whence the Jews derived
+            their art. This picture is more than a commonplace
+            illustration of a single text: it is a graphic
+            presentation of an era. The particular event is shown
+            in its historical setting. The picture is a supreme
+            work of art.
+        </p>
+        <p align="center">
+            <img src="images/5.jpg" alt=
+            "Finding of Christ in the Temple."><br>
+            Plate 35. <i>Finding of Christ in the Temple.</i>
+            Holman Hunt. 1827-
+        </p>
+        <p>
+            If pictures of this sort are to be studied, every pupil
+            in the class should have a copy. The teacher's business
+            is to direct the pupil to individual observation and
+            inquiry. The perpetual questions should be, What do you
+            see? What does it mean? Why is that here? What does it
+            contribute to the total content of the picture? What
+            does the picture as a whole have to say? Plates
+            <a href="#8">8</a>, <a href="#9">9</a>, <a href=
+            "#18">18</a>, <a href="#25">25</a>, <a href=
+            "#29">29</a>, <a href="#33">33</a>, <a href=
+            "#40">40</a>, <a href="#81">81</a>, <a href=
+            "#89">89</a>, <a href="#93">93</a>, <a href=
+            "#110">110</a>, <a href="#139">139</a>, <a href=
+            "#153">153</a>, <a href="#159">159</a>, and <a href=
+            "#167">167</a>, might be mentioned among those
+            especially worthy of this analytical and exhaustive
+            study.
+        </p>
+        <p>
+            Occasionally pupils will find both interest and profit
+            in the comparative study of a series of pictures. For
+            example take the five plates of The Annunciation,
+            <a href="#1">pages 9 and 10</a>. After the facts have
+            been determined by a study of the text, the
+            investigation may proceed as follows: What are the
+            essential elements found in all the pictures alike?
+            Which artist has told the story most simply and
+            directly? The different artists have emphasized or
+            given special attention to some one phase or phrase.
+            Which has embodied more perfectly the first, or the
+            second, or the third? Which has introduced elements of
+            his own? Why? Do they help? Which has, on the whole,
+            told the story most vividly? Which most beautifully? A
+            study of this group of pictures in the light of such
+            notes as will be found printed therewith, will enable
+            any teacher to formulate for himself a plan for
+            studying any other group of pictures.
+        </p>
+        <p>
+            In such study it is essential that each pupil be
+            supplied with a complete set of the pictures to be
+            compared.
+        </p>
+        <p align="center">
+            <img src="images/6.jpg" alt="Madonna of the Shop."><br>
+            <i>Madonna.</i> Dagnan-Bouveret.
+        </p>
+        <p>
+            But the picture itself is sometimes not a thing to be
+            consciously analyzed and inventoried; it is simply a
+            thing of beauty, "its own excuse for being;" it is
+            something to be received as a whole with thankfulness,
+            like the odor of wild grape vines, or the form of a
+            calla lily, or the color of a sunrise, or the music of
+            wind in pine trees. Such a picture is this Madonna of
+            the Shop, by Dagnan-Bouveret. One may think for a
+            moment now and then of how well the picture is
+            composed, of how perfect a master of his art the man
+            must be who can make spots of paint suggest wood and
+            metal, linen and wool, soft flesh and softer light, but
+            the mind returns again and again to the contemplation
+            of the wondrous sweet face of the Virgin, whose deep
+            eyes see unspeakable things. One comes to love such a
+            picture as a dear familiar friend, and to yield to its
+            gentle influence as to moonlight upon the sea. The
+            contemplation of such pictures is one of the purest
+            pleasures of life, a foretaste of the sight of "the
+            King in his Beauty."
+        </p>
+        <h1>
+            THE GREAT PAINTERS' GOSPEL.
+        </h1>
+        <p align="center">
+            <a name="1a"><img src="images/7.jpg" alt=
+            "The Annunciation."></a><br>
+            <i>The Annunciation.</i> Titian.
+        </p>
+        <h2>
+            THE ANNUNCIATION.
+        </h2>
+        <p>
+            The angel Gabriel was sent from God to a virgin whose
+            name was Mary. The angel said "Hail, Mary, highly
+            favored, blessed art thou among women." (Luke 1:26-28.)
+            Mary is supposed to have been in a house of worship at
+            the time (like Hannah, 1 Sam. 1:9-18, and Zacharias,
+            Luke 1:8-13), hence the beautiful surroundings; and to
+            have been at prayer, as suggested by the kneeling
+            posture and the book. The dove is a symbol of the Holy
+            Ghost (Luke 3:22). The beam of light symbolizes the
+            going forth of divine power (Hos. 6:5). The angel is
+            borne upon a cloud (Ps. 104:3), and carries a rod or
+            scepter, symbols of authority (Ex. 4:1-5, Esther 4:11).
+            The lily is introduced as a symbol of perfection and
+            purity (Song 2:2; compare also Num. 17:8). Titian has
+            depicted the instant when the angel says "Hail, Mary."
+            He has introduced emblems of the ideal woman (Prov.
+            31:13, 14, 26, etc.).
+        </p>
+        <p>
+            <b>Hofmann, Plate 1,</b> shows the moment when Gabriel
+            says: "Blessed art thou among women." (Luke 1:28.) In
+            this picture only, the angel approaches from behind.
+            The picture recalls the experience of another Mary
+            (John 20:14).
+        </p>
+        <p align="center">
+            <a name="1"><img src="images/8.jpg" alt=
+            "Annunciation to Mary"></a><br>
+            Plate 1. <i>Annunciation to Mary.</i> H. Hofmann. 1824-
+        </p>
+        <p>
+            <b>Guido Reni, Plate 2,</b>, has chosen the instant
+            when Gabriel says, "Thou hast found favor with God."
+            The infant angels represent, perhaps, "the spirits of
+            love, intelligence and innocence," <sup><a href=
+            "#footnote1">[1]</a></sup> and accompany the Divine
+            Presence because of the words of Christ, when speaking
+            of children, "Their angels do always behold the face of
+            my Father which is in heaven." (Matt. 18:10.)
+        </p>
+        <p align="center">
+            <a name="2"><img src="images/9.jpg" alt=
+            "Annunciation to Mary"></a><br>
+            Plate 2. <i>Annunciation to Mary.</i> Guido Reni
+            1575-1642.
+        </p>
+        <p>
+            <b>M&uuml;ller, Plate 3,</b> seems to have shown the
+            moment when Mary said, "Let it be unto me according to
+            thy word." (Luke 1:38.) His figures and faces express
+            less animation than any of the others.
+        </p>
+        <p align="center">
+            <a name="3"><img src="images/10.jpg" alt=
+            "Annunciation to Mary"></a><br>
+            Plate 3. <i>Annunciation to Mary.</i> Franz
+            M&uuml;ller.
+        </p>
+        <p>
+            <b>Dosso, Plate 4,</b> represents Gabriel as saying,
+            "The Holy Ghost shall come upon thee and the power of
+            the Highest shall overshadow thee" (Luke 1:35), for
+            both the dove, symbol of the Holy Ghost, and the
+            Highest himself, upon a cloud and accompanied with
+            cherubs, are present. (Compare 2 Sam. 22:10-12.)
+        </p>
+        <p align="center">
+            <a name="4"><img src="images/11.jpg" alt=
+            "Annunciation to Mary"></a><br>
+            Plate 4. <i>Annunciation to Mary.</i> Dossi Dosso.
+            1479-1542.
+        </p>
+        <p>
+            <b>Baroccio, Plate 5,</b> seems to have seized upon the
+            moment when Mary has just asked "How shall this be?"
+            (Luke 1:34). The angel is encouraging her faith by
+            reference to Elisabeth. (Luke 1:36.)
+        </p>
+        <p align="center">
+            <a name="5"><img src="images/12.jpg" alt=
+            "Annunciation to Mary"></a><br>
+            Plate 5. <i>Annunciation to Mary.</i> F. Baroccio.
+            1528-1612.
+        </p>
+        <p>
+            <a name="footnote1" id="footnote1">[1]</a> Mrs.
+            Jameson, "Sacred and Legendary Art," vi., p. 57.
+        </p>
+        <h2>
+            THE SALUTATION.
+        </h2>
+        <p>
+            "And in those days Mary arose and went into the hill
+            country to a city of Judah, and entered into the house
+            of Zacharias and saluted Elisabeth . . . and Elisabeth,
+            filled with the Holy Ghost, said, Blessed art thou
+            among women." (Luke 1:39-45.)
+        </p>
+        <p>
+            <b>Albertinelli, Plate 6,</b> has depicted the two
+            women at the moment of meeting.
+        </p>
+        <p align="center">
+            <a name="6"><img src="images/13.jpg" alt=
+            "Mary's Visit to Elisabeth"></a><br>
+            Plate 6. <i>Mary's Visit to Elisabeth.</i>
+            Albertinelli. 1474-1515.
+        </p>
+        <h2>
+            BIRTH OF JOHN THE BAPTIST.
+        </h2>
+        <p>
+            Zacharias had been dumb since the moment when he
+            doubted the prophecy of the angel. (Luke 1:20.) When
+            the promised son was born the neighbors and friends of
+            the mother, Elisabeth, objected to the name John. (Luke
+            1:57-61.)
+        </p>
+        <p>
+            <b>Fra Angelico, Plate 7,</b> has represented the
+            moment when they appeal to the dumb father, and he
+            writes upon a tablet the words "His name is John."
+            (Luke 1:63.) The child, eight days old, is present to
+            be named preparatory to circumcision. (Gen. 17:12.)
+        </p>
+        <p align="center">
+            <a name="7"><img src="images/14.jpg" alt=
+            "Birth of John"></a><br>
+            Plate 7. <i>Birth of John.</i> Fra Angelico. 1370-1450.
+        </p>
+        <h2>
+            THE NATIVITY.
+        </h2>
+        <p>
+            <b>Merson, Plate 8,</b> has illustrated Luke 2:4-7.
+            "And Joseph went up from Galilee into Judea unto the
+            city of David, Bethlehem, to be enrolled, with Mary his
+            espoused wife. And there was no room for them in the
+            inn." Darkness covered the earth and gross darkness the
+            people who refused lodging to such as Mary, but that
+            night the glory of the Lord was revealed. (Is. 60:2.)
+        </p>
+        <p align="center">
+            <a name="8"><img src="images/17.jpg" alt=
+            "Joseph and Mary, Arrival at Bethlehem."></a><br>
+            Plate 8. <i>Joseph and Mary, Arrival at Bethlehem.</i>
+            Olivier L. Merson.
+        </p>
+        <p>
+            <b>Plockh&ouml;rst, Plate 14,</b> illustrates Luke
+            2:8-11. And in the same country were shepherds keeping
+            watch over their flock by night. And the angel of the
+            Lord came and said unto them, "Fear not, I bring you
+            good tidings of great joy. Unto you is born this day in
+            the city of David a Savior which is Christ the Lord."
+            The angel bears a palm branch, symbol of triumph. (John
+            12:13.)
+        </p>
+        <p align="center">
+            <a name="14"><img src="images/16.jpg" alt=
+            "The Angel and the Shepherds."></a><br>
+            Plate 14. <i>The Angel and the Shepherds.</i> B.
+            Plockh&ouml;rst, 1825-
+        </p>
+        <p>
+            <b>Hofmann, Plate 13,</b> shows a company of the
+            heavenly host praising God and saying, "Glory to God in
+            the highest, and on earth peace, good will toward men."
+            (Luke 2:14.) They are the first to visit the manger!
+        </p>
+        <p align="center">
+            <a name="13"><img src="images/15.jpg" alt=
+            "Bethlehem."></a><br>
+            Plate 13. <i>Bethlehem.</i> H. Hofmann. 1824-
+        </p>
+        <p>
+            <b>Lerolle, Plate 11,</b> shows the shepherds who "came
+            with haste and found Mary and Joseph and the babe lying
+            in a manger." (Luke 2:15-16.) The shepherds saw,
+            evidently from some little distance; for we have no
+            record of their speaking to Mary or Joseph, only to
+            others outside, after the visit. (Luke 2:17-18.)
+        </p>
+        <p align="center">
+            <a name="11"><img src="images/18.jpg" alt=
+            "The Arrival of the Shepherds."></a><br>
+            Plate 11. <i>The Arrival of the Shepherds.</i> H.
+            Lerolle.
+        </p>
+        <p>
+            <b>Correggio, Plate 9,</b> has expressed that surprise
+            and wonder of the shepherds which they imparted to
+            others when they told their story, "for all that heard
+            it wondered at those things which were told them by the
+            shepherds." (Luke 2:18.)
+        </p>
+        <p align="center">
+            <a name="9"><img src="images/19.jpg" alt=
+            "Holy Night."></a><br>
+            Plate 9. <i>Holy Night.</i> Correggio. 1494-1534.
+        </p>
+        <p>
+            <b>Bouguereau, Plate 10,</b> adds to the story a
+            dramatic touch. There are ominous shadows in the
+            background. Mary seems troubled by the presence of the
+            lamb, symbol of sacrifice. The angel had said "He shall
+            save his people from their sins." (Matt. 1:21.) Does
+            Mary seem already to behold the Lamb of God which
+            taketh away the sin of the world? (John 1:29.) One lamb
+            is already slain, and lies in the foreground. The
+            shepherd with the lamb in his arms may unconsciously
+            illustrate the Christ (Is. 40:11), and the odd disk
+            above the head of the older shepherd, catching the
+            light from the child, may be prophetic of saintly
+            glory.
+        </p>
+        <p align="center">
+            <a name="10"><img src="images/20.jpg" alt=
+            "The Nativity."></a><br>
+            Plate 10. <i>The Nativity.</i> (William) Adolphe
+            Bouguereau. 1825-
+        </p>
+        <p>
+            <b>M&uuml;ller, Plate 12,</b> gives us perhaps the
+            prettiest, most sweetly human group of all. Some of the
+            shepherds have arrived, others are coming; one with a
+            lamb in his arms, another with his dogs, who seem to
+            sympathize with their master's joyous haste. The rose
+            of the hills, and the violet of the meadows are there
+            as symbols of the rose of Sharon and the lily of the
+            valley (Cant. 2:1); "The ox knoweth his owner and the
+            ass his master's crib," and in this case the humble
+            representatives of Israel know also, and the people
+            consider. (Is. 1:3.)
+        </p>
+        <p align="center">
+            <a name="12"><img src="images/21.jpg" alt=
+            "The Nativity."></a><br>
+            Plate 12. <i>The Nativity.</i> Carl M&uuml;ller. 1839-
+        </p>
+        <h2>
+            THE PRESENTATION.
+        </h2>
+        <p>
+            His name was called Jesus, as the angel had commanded,
+            and after forty days they brought him to Jerusalem to
+            present him to the Lord, and to offer a sacrifice,
+            according to the ancient law. And Simeon, waiting for
+            the consolation of Israel, came by the spirit into the
+            temple when the parents brought in the child Jesus; and
+            he took him up into his arms and blessed God and said,
+            "Lord, now lettest thou thy servant depart in peace,
+            for mine eyes have seen thy salvation." (Luke 2:25-35.)
+            And Anna, a prophetess of great age, coming up at that
+            very hour, gave thanks to God and spake of him to all
+            them that were looking for the redemption of Jerusalem.
+            (Luke 2:36-38.)
+        </p>
+        <p>
+            <b>Bartolommeo, Plate 18,</b> depicts the moment when
+            Simeon says "Now lettest thou thy servant depart in
+            peace"&mdash;the <i>Nunc Dimittis</i> of the Latin
+            Church (Luke 2:29). Joseph has the two doves for the
+            offering (Lev. 12:6 and 8). In the distance the priest
+            may be seen at the altar, his robe ornamented with the
+            sacred fringe (Ex. 39:26) that there may be no
+            mistaking him. Anna is present, and is, evidently,
+            about to speak. The steps are of marble and the columns
+            richly carved, because of the words of the
+            artist-disciple recorded in Mark 13:1.
+        </p>
+        <p align="center">
+            <a name="18"><img src="images/22.jpg" alt=
+            "Presentation at the Temple."></a><br>
+            Plate 18. <i>Presentation at the Temple.</i>
+            Bartolommeo Del Fattorino. 1475-1517.
+        </p>
+        <p>
+            <b>Champaigne, Plate 15,</b> has chosen the moment when
+            Simeon says to Mary, "This child is set for the falling
+            and rising up of many in Israel." (Luke 2:34.)
+        </p>
+        <p align="center">
+            <a name="15"><img src="images/23.jpg" alt=
+            "Presentation at the Temple."></a><br>
+            Plate 15. <i>Presentation at the Temple.</i>
+            Champaigne. 1602-1674.
+        </p>
+        <p>
+            <b>Borgognone, Plate 16,</b> selects for his picture
+            the last moment, when Simeon returns the child to the
+            mother with the words "Yea, and a sword shall pierce
+            through thine own soul, also." (Luke 2:35.)
+        </p>
+        <p align="center">
+            <a name="16"><img src="images/25.jpg" alt=
+            "Presentation at the Temple."></a><br>
+            Plate 16. <i>Presentation at the Temple.</i>
+            Borgognone. 1445-1523.
+        </p>
+        <p>
+            <b>Bourdon, Plate 17,</b> represents the instant when
+            Anna arrives (at the extreme left), "coming up at that
+            very hour." (Luke 2:38.)
+        </p>
+        <p align="center">
+            <a name="17"><img src="images/26.jpg" alt=
+            "Presentation at the Temple."></a><br>
+            Plate 17. <i>Presentation at the Temple.</i> Sebastien
+            Bourdon. 1616-1671.
+        </p>
+        <p>
+            <b>Bartolommeo,</b> again, <b>Plate 19,</b> adds what
+            he pleases to the original story.
+        </p>
+        <p align="center">
+            <a name="19"><img src="images/24.jpg" alt=
+            "Presentation at the Temple."></a><br>
+            Plate 19. <i>Presentation at the Temple.</i> Fra
+            Bartolommeo. 1469-1517.
+        </p>
+        <h2>
+            THE ADORATION OF THE MAGI.
+        </h2>
+        <p>
+            Now when Jesus was born there came wise men from the
+            east, guided by a star, which went before them till it
+            stood over the place where the young child was. . . .
+            And when they were come into the house they saw Jesus
+            and Mary his mother, and fell down and worshipped him;
+            and when they had opened their treasures they presented
+            unto him gifts; gold, frankincense and myrrh. (Matt.
+            2:9-11.)
+        </p>
+        <p>
+            <b>Hofmann, Plate 20,</b> represents the arrival. The
+            star stands above the head of the child. The tradition
+            is that one wise man came from Europe, one from Asia
+            and one from Africa (See <i>Ben-Hur</i>, Book I.);
+            hence Hofmann has represented one with the oriental
+            turban, one with a helmet having hanging side pieces
+            like an Egyptian head dress, and one with the simple
+            band, the white hair and flowing beard of the Druid.
+        </p>
+        <p align="center">
+            <a name="20"><img src="images/27.jpg" alt=
+            "Worship of the Magi."></a><br>
+            Plate 20. <i>Worship of the Magi.</i> H. Hofmann. 1824-
+        </p>
+        <p>
+            <b>Luini, Plate 21,</b> following the same tradition,
+            gives the African a dark complexion.
+        </p>
+        <p align="center">
+            <a name="21"><img src="images/29.jpg" alt=
+            "Adoration of the Magi."></a><br>
+            Plate 21. <i>Adoration of the Magi.</i> Luini.
+            1460-1530.
+        </p>
+        <p>
+            <b>Maldini, Plate 23,</b> also makes one of the Magi
+            very dark, and adds an earring as a barbaric touch.
+            Moreover he gives each a crown (as does Luini) because
+            the Magi were supposed to have been Kings, in
+            fulfilment of Is. 60:3.
+        </p>
+        <p align="center">
+            <a name="23"><img src="images/28.jpg" alt=
+            "Adoration of the Kings."></a><br>
+            Plate 23. <i>Adoration of the Kings</i>. Battista
+            Maldini. 1537-1590.
+        </p>
+        <p>
+            <b>Bonifazio, Plate 22,</b> like Luini and Maldini,
+            represents a large company of servants to show the
+            importance of the Magi, and perhaps because of Is.
+            60:4-6.
+        </p>
+        <p align="center">
+            <a name="22"><img src="images/30.jpg" alt=
+            "Adoration of the Magi."></a><br>
+            Plate 22. <i>Adoration of the Magi.</i> Bonifazio
+            Veronese. 1494-1563.
+        </p>
+        <h2>
+            THE FLIGHT INTO EGYPT.
+        </h2>
+        <p>
+            <b>Crespi, Plate 24,</b> has pictured Joseph's dream.
+            An angel of the Lord appeared to Joseph in a dream,
+            saying, Arise and take the young child and his mother,
+            and flee into Egypt, for Herod will seek the young
+            child to destroy him. (Matt. 2:13.)
+        </p>
+        <p align="center">
+            <a name="24"><img src="images/31.jpg" alt=
+            "Joseph's Dream."></a><br>
+            Plate 24. <i>Joseph's Dream.</i> Daniele Crespi.
+        </p>
+        <p>
+            <b>F&uuml;rst, Plate 26,</b> illustrates the words "And
+            he arose and took the young child and his mother, and
+            departed." (Matt. 2:14.)
+        </p>
+        <p align="center">
+            <a name="26"><img src="images/32.jpg" alt=
+            "Flight into Egypt."></a><br>
+            Plate 26. <i>Flight into Egypt.</i> M. F&uuml;rst.
+        </p>
+        <p>
+            <b>Plockh&ouml;rst, Plate 27,</b> shows the holy family
+            passing through southern Judea, accompanied by cherubs,
+            but unconscious of their presence.
+        </p>
+        <p align="center">
+            <a name="27"><img src="images/33.jpg" alt=
+            "Flight into Egypt."></a><br>
+            Plate 27. <i>Flight into Egypt.</i> B. Plockh&ouml;rst.
+            1825-
+        </p>
+        <p>
+            <b>Hofmann, Plate 25,</b> shows them passing through
+            the Wilderness of Shur, Joseph with his broad axe for
+            protection, unconscious of the guardian angel who
+            accompanied them, to keep them in all their ways. (Ps.
+            91:11.) "That old serpent" is already in the
+            wilderness, waiting! His time has not yet come.
+        </p>
+        <p align="center">
+            <a name="25"><img src="images/34.jpg" alt=
+            "Flight into Egypt."></a><br>
+            Plate 25. <i>Flight into Egypt.</i> H. Hofmann. 1824-
+        </p>
+        <p>
+            <b>Benz, Plate 28,</b> has taken as his subject the
+            first moment of rest in a place "even as the garden of
+            the Lord, like the land of Egypt as thou comest into
+            Zoar." (Gen. 13:10.) Joseph has a typical Egyptian
+            water-jar upon his arm. The little child is pleased
+            with the flowers, after his long journey through the
+            desert, and holds a bunch of them in his hand. The
+            place of rest seems to be just at the edge of the
+            desert,&mdash;a secluded, well-watered spot, out of
+            Herod's reach.
+        </p>
+        <p align="center">
+            <a name="28"><img src="images/35.jpg" alt=
+            "Repose in Egypt."></a><br>
+            Plate 28. <i>Repose in Egypt.</i> S. Benz.
+        </p>
+        <p>
+            <b>Merson, Plate 29,</b> is a poetic seer as well as an
+            artist. The sphinx riddle was "What is man?" Merson has
+            placed the answer before the sphinx at last. He who was
+            himself the answer to the world-old question,
+            propounded a new question which all must answer, "What
+            think ye of Christ" (Matt. 22:42).
+        </p>
+        <p align="center">
+            <a name="29"><img src="images/36.jpg" alt=
+            "Repose in Egypt."></a><br>
+            Plate 29. <i>Repose in Egypt.</i> Olivier L. Merson.
+        </p>
+        <p>
+            <b>Morris, Plate 30,</b> gives us a glimpse of the life
+            of the Holy Family during the sojourn in Egypt. Joseph
+            is resting in the tent after his day's work, and Mary
+            is teaching the child to walk. All are unconscious of
+            the ominous shadow so evident now to us. The hatred
+            which threatened the child, would not spare the man.
+            The exile in Egypt is but the prophetic shadow of the
+            coming event&mdash;crucifixion. The child's hands
+            extend towards the cactus and the palm, symbols of
+            suffering and of victory.
+        </p>
+        <p align="center">
+            <a name="30"><img src="images/37.jpg" alt=
+            "Shadow of the Cross."></a><br>
+            Plate 30. <i>Shadow of the Cross.</i> P. R. Morris.
+        </p>
+        <h2>
+            THE RETURN TO NAZARETH.
+        </h2>
+        <p>
+            When Herod was dead, Joseph, instructed by an angel,
+            brought Mary and Jesus into the land of Israel, and
+            made them a home in Nazareth. The mother with her
+            divine child in this Nazareth home has ever been the
+            favorite subject with painters. "Madonna" pictures have
+            been multiplied into the thousands. The most famous are
+            those which were painted by Raphael,&mdash;the Sistine
+            Madonna, Madonna of the Chair, Madonna da Tempi,
+            Madonna of the Goldfinch, etc.,&mdash;reproductions of
+            which are familiar to everybody. Among other famous
+            painters of the Madonna is <b>Murillo,</b> who, in
+            <b>Plate 32,</b> represents the mother and child as the
+            neighbors might have seen them in their humble home.
+            The child is of course beautiful. (Luke 2:40.) In
+            <b>Plate 33,</b> the artist has emphasized the last
+            phrase of Luke 2:40, "The grace of God was upon him."
+            The Father in heaven is visibly present, and the grace
+            descends upon the child in the form of a dove, as
+            suggested by Luke 3:22. The action of all the accessory
+            figures, the arrangement of the light, everything in
+            the picture, is calculated to focus the attention upon
+            the face of the child Christ.
+        </p>
+        <p align="center">
+            <a name="32"><img src="images/40.jpg" alt=
+            "Madonna and Child."></a><br>
+            Plate 32. <i>Madonna and Child.</i> Murillo. 1618-1682.
+        </p>
+        <p align="center">
+            <a name="33"><img src="images/39.jpg" alt=
+            "Holy Family."></a><br>
+            Plate 33. Louvre. <i>Holy Family.</i> Murillo.
+            1618-1682.
+        </p>
+        <p>
+            <b>Hofmann, Plate 31,</b> tells of the quiet days at
+            Nazareth, when Joseph worked at his trade, and Mary sat
+            near spinning and watching the wondrous lad who in his
+            child-way could help Joseph by fetching a needed tool.
+            It was a peaceful, happy life, like that of the
+            chickens and the doves. The memories of those days
+            furnished Jesus with the wonderful figure of speech
+            recorded in Matt. 23:37, 38. Hofmann, like other
+            artists, is fond of symbolism, hence the square and the
+            measuring stick are upon the shoulder of the child (Is.
+            9:6) who was to lay judgment to the line and
+            righteousness to the plummet (Is. 28:17); and the tools
+            take the form of the cross. Jesus was subject unto his
+            parents (Luke 2:51), and, in a sense, took up his cross
+            daily, as all his disciples must ever do (Matt. 16:24).
+            Such service is healthful and profitable (Luke 2:52).
+        </p>
+        <p align="center">
+            <a name="31"><img src="images/38.jpg" alt=
+            "Infancy of Christ."></a><br>
+            Plate 31. <i>Infancy of Christ.</i> H. Hofmann. 1824-
+        </p>
+        <h2>
+            THE VISIT TO JERUSALEM.
+        </h2>
+        <p>
+            Joseph and Mary probably went every year to Jerusalem
+            at the feast of the passover. (Deut. 16:16.) And when
+            Jesus was twelve years old they went up as usual taking
+            him with them. (Luke 2:41-42.)
+        </p>
+        <p>
+            <b>Mengelberg, Plate 34,</b> represents the holy family
+            approaching the city. The temple with its smoking
+            altars is seen in the distance. The artist has
+            suggested the great company who went up every year to
+            worship, and with which, returning, Joseph and Mary
+            supposed Jesus to be.
+        </p>
+        <p align="center">
+            <a name="34"><img src="images/41.jpg" alt=
+            "Jesus, Twelve Years Old, on his way to Jerusalem."></a><br>
+
+            Plate 34. <i>Jesus, Twelve Years Old, on his Way to
+            Jerusalem.</i> O. Mengelberg.
+        </p>
+        <p>
+            <b>Hofmann, Plates 38 and 39,</b> illustrates (Luke
+            2:46). Plate 38 is from the drawing in the artist's
+            Life of Christ. Plate 39, from the famous painting in
+            Dresden, is the more carefully finished. Hofmann has
+            shown the seal of Solomon upon the "chair of
+            philosophy," he has introduced the scroll of the
+            prophets and suggested the rich stones of the temple,
+            but the interest of all is upon the Boy, who came to
+            fulfill the law and the prophets, and who was greater
+            than the temple and greater than Solomon. (Matt. 5:17,
+            John 2:19-20, Matt. 12:42). This picture has become a
+            classic already, though Hofmann is still living.
+        </p>
+        <p align="center">
+            <a name="38"><img src="images/42.jpg" alt=
+            "Christ Disputing with the Doctors."></a><br>
+            Plate 38. <i>Christ Disputing with the Doctors.</i> H.
+            Hofmann. 1824-
+        </p>
+        <p align="center">
+            <a name="39"><img src="images/43.jpg" alt=
+            "In The Temple."></a><br>
+            Plate 39. <i>In The Temple.</i> H. Hofmann. 1824-
+        </p>
+        <p>
+            <b>Lafon, Plate 36,</b> has idealized his subject. He
+            has placed Jesus "in Moses' seat" (Matt. 23:2),
+            conferring upon him a distinction amply justified by
+            subsequent events especially by the Sermon on the
+            Mount. "It hath been said . . . but I say unto you . .
+            ." these are the words which give Jesus a unique
+            position as a teacher.
+        </p>
+        <p align="center">
+            <a name="36"><img src="images/44.jpg" alt=
+            "Christ Among the Doctors."></a><br>
+            Plate 36. <i>Christ Among the Doctors.</i> &Eacute;mile
+            J. Lafon.
+        </p>
+        <p>
+            <b>Hunt, Plate 35,</b> adds that truthfulness of
+            detail, that literalness of statement made possible by
+            the antiquarian and the arch&aelig;ologist. It is the
+            moment described in Luke 2:48, when his mother speaks
+            to Jesus, "Son, why hast thou dealt thus with us?"
+        </p>
+        <p align="center">
+            <a name="35"><img src="images/5.jpg" alt=
+            "Finding of Christ in the Temple."></a><br>
+            Plate 35. <i>Finding of Christ in the Temple.</i>
+            Holman Hunt. 1827-
+        </p>
+        <p>
+            <b>Dobson, Plate 37,</b> shows the moment of discovery,
+            the moment just before Mary speaks. Some of the
+            kinsfolk and acquaintances have evidently returned with
+            Joseph and Mary. A rabbi is telling them about this
+            wondrous child. (Luke 2:47.)
+        </p>
+        <p align="center">
+            <a name="37"><img src="images/46.jpg" alt=
+            "Christ Disputing in the Temple."></a><br>
+            Plate 37. <i>Christ Disputing in the Temple.</i> W. C.
+            T. Dobson.
+        </p>
+        <h2>
+            THE SILENT YEARS AT HOME.
+        </h2>
+        <p>
+            Tradition says that Joseph soon died, and that Jesus
+            supported the family by working at his trade.
+        </p>
+        <p>
+            <b>Hunt, Plate 40</b>, has invented an occasion to
+            emphasize the prophetic words often applied to Mary,
+            "Is any sorrow like unto my sorrow?" (Lam. 1:12.)
+            Simeon had said "Yea and a sword shall pierce through
+            thine own soul," and Mary, "pondering all these things
+            in her heart," is startled, at the close of the day, by
+            seeing the shadow of her son cast upon the wall, like
+            the form of one upon a cross.
+        </p>
+        <p align="center">
+            <a name="40"><img src="images/47.jpg" alt=
+            "Shadow of Death."></a><br>
+            Plate 40. <i>Shadow of Death.</i> Holman Hunt. 1827-
+        </p>
+        <p>
+            <b>Plockh&ouml;rst, Plate 41,</b> depicts the parting
+            of Mother and Son,&mdash;another pang for the saintly
+            Mary.
+        </p>
+        <p align="center">
+            <a name="41"><img src="images/48.jpg" alt=
+            "Christ taking leave of his Mother."></a><br>
+            Plate 41. <i>Christ taking leave of his Mother.</i> B.
+            Plockh&ouml;rst. 1825-
+        </p>
+        <p>
+            <b>Plate 42</b> is Andrea del Sarto's famous the
+            youthful John the Baptist, in the days before he came
+            preaching in the of Judea. (Luke 1:80.)
+        </p>
+        <p align="center">
+            <a name="42"><img src="images/49.jpg" alt=
+            "John the Baptist."></a><br>
+            Plate 42. <i>John the Baptist.</i> Andrea del Sarto.
+            1488-1530.
+        </p>
+        <p>
+            <b>Titian, Plate 43,</b> shows John as he appeared a
+            few years later upon the banks of Jordan, "his raiment
+            of camel's hair, and a leathern girdle about his
+            loins." (Matt. 3:1-4.) He seems to be saying, "Behold
+            the Lamb of God, which taketh away the sin of the
+            world." (John 1:29.) The river is introduced as a
+            symbol (Luke 3:16), and the lamb also (John 1:35). Del
+            Sarto seems to have studied this figure before painting
+            his boy John. Compare the two faces, and the two arms
+            and hands. Notice the two crosses also.
+        </p>
+        <p align="center">
+            <a name="43"><img src="images/50.jpg" alt=
+            "John the Baptist Preaching."></a><br>
+            Plate 43. <i>John the Baptist Preaching.</i> Titian.
+            1477-1576.
+        </p>
+        <h2>
+            THE TEMPTATION.
+        </h2>
+        <p>
+            <b>Scheffer, Plate 44,</b> shows Jesus "upon an
+            exceeding high mountain" and Satan offering him the
+            world for one act of worship. Jesus is about to say,
+            "Worship God." (Matt. 4:8-10.) <b>Hofmann, Plate
+            45,</b> has selected the next moment when Satan
+            retreats and an angel comes to minister to the famished
+            man. (Matt. 4:11.) The serpent is present because of
+            Rev. 12:9.
+        </p>
+        <p align="center">
+            <a name="44"><img src="images/52.jpg" alt=
+            "Temptation of Christ."></a><br>
+            Plate 44. <i>Temptation of Christ.</i> Ary Scheffer.
+            1795-1858.
+        </p>
+        <p align="center">
+            <a name="45"><img src="images/51.jpg" alt=
+            "Temptation."></a><br>
+            Plate 45. <i>Temptation.</i> H. Hofmann. 1824-
+        </p>
+        <h2>
+            THE BEGINNING OF PUBLIC SERVICE.
+        </h2>
+        <p>
+            <b>Bida, Plate 46,</b> illustrates John 1:35. "Behold
+            the Lamb of God," said John to two of his disciples,
+            who straightway left John and followed Jesus.
+            <b>Gr&uuml;newald, Plate 48,</b> represents Jesus
+            meditating as he walks by the sea alone, possibly
+            before he had chosen his disciples, but more likely
+            after the people threatened to make him a King (John
+            6:15), for it is evening near the sea of Galilee.
+        </p>
+        <p align="center">
+            <a name="46"><img src="images/53.jpg" alt=
+            "Behold the Lamb of God."></a><br>
+            Plate 46. <i>Behold the Lamb of God.</i> Alexandre
+            Bida. 1813-1895.
+        </p>
+        <p align="center">
+            <a name="48"><img src="images/54.jpg" alt=
+            "Jesus Walking by the Sea."></a><br>
+            Plate 48. <i>Jesus Walking by the Sea.</i> M.
+            Gr&uuml;newald (was painting 1518).
+        </p>
+        <p>
+            <b>Veronese, Plate 50,</b> transforms the modest
+            wedding at Cana into a gorgeous Venetian Feast, to
+            which "Jesus also was bidden, and his disciples," "and
+            the Mother of Jesus was there." (John 2:1-2.) They may
+            all be discovered in the central part of the picture,
+            but to the mind of Veronese the miracle of the wine
+            seems to be of but secondary importance.
+        </p>
+        <p align="center">
+            <a name="50"><img src="images/55.jpg" alt=
+            "The Marriage Feast."></a><br>
+            Plate 50. <i>The Marriage Feast.</i> Paolo Veronese.
+            1528-1588.
+        </p>
+        <h2>
+            EARLY JUDEAN MINISTRY.
+        </h2>
+        <p>
+            <b>Kirchbuck, Plate 51,</b> presents a general view of
+            the event recorded in John 2:13-22. Jesus expels the
+            desecrators by his presence merely, as he overthrew his
+            enemies in Gethsemane. (John 18:6.)
+        </p>
+        <p align="center">
+            <a name="51"><img src="images/56.jpg" alt=
+            "Christ casting out the Money-changers."></a><br>
+            Plate 51. <i>Christ casting out the Money-changers.</i>
+            F. Kirchbuck.
+        </p>
+        <p>
+            <b>Hofmann, Plate 52,</b> with his usual literalness,
+            gives Jesus the whip of small cords, and represents him
+            as actively aggressive. "The zeal of thine house shall
+            eat me up," said the prophet, and as they watched Jesus
+            the disciples remembered those words. (John 2:17.)
+        </p>
+        <p align="center">
+            <a name="52"><img src="images/58.jpg" alt=
+            "Purification of the Temple."></a><br>
+            Plate 52. <i>Purification of the Temple.</i> H.
+            Hofmann. 1824-
+        </p>
+        <p>
+            <b>Plate 53,</b> by an unknown artist, is an attempt to
+            portray the discourse with Nicodemus. The incident is
+            related in John 2:23-3:21. The moment is that when
+            Jesus says, "If I have told you earthly things and ye
+            believe not, how shall ye believe if I tell you
+            heavenly things?"
+        </p>
+        <p align="center">
+            <a name="53"><img src="images/57.jpg" alt=
+            "Nicodemus' Visit to Jesus."></a><br>
+            Plate 53. <i>Nicodemus' Visit to Jesus.</i> Artist
+            unknown.
+        </p>
+        <h2>
+            THE RETURN THROUGH SAMARIA.
+        </h2>
+        <p>
+            "He came to a town called Shechem, near the plot of
+            land that Jacob gave his son Joseph. Jacob's Spring was
+            there, and Jesus, being tired after his journey, sat
+            down, just as he was, close to it. It was then about
+            mid-day. A woman of Samaria came to draw water; so
+            Jesus asked her to give him some to drink, his
+            disciples having gone into the town to buy provisions."
+            <sup><a href="#footnote2">[1]</a></sup>
+        </p>
+        <p>
+            <b>Biliverti, Plate 56,</b> gives the woman a companion
+            not mentioned in the text. The moment is that of John
+            4:10, "If you knew the gift of God, and who it is that
+            is asking you to give him some water, you would have
+            asked him, and he would have given you living water."
+        </p>
+        <p align="center">
+            <a name="56"><img src="images/61.jpg" alt=
+            "Jesus and the Woman of Samaria."></a><br>
+            Plate 56. <i>Jesus and the Woman of Samaria.</i>
+            Biliverti.
+        </p>
+        <p>
+            <b>Dor&eacute;, Plate 54,</b> has selected a later
+            moment, "Trust me," Jesus replied, "a time is coming
+            when it will not be on this mountain or in Jerusalem
+            that you will worship God the Father."
+        </p>
+        <p align="center">
+            <a name="54"><img src="images/59.jpg" alt=
+            "Jesus and the Woman of Samaria."></a><br>
+            Plate 54. <i>Jesus and the Woman of Samaria.</i>
+            Gustave Dor&eacute;. 1833-1883.
+        </p>
+        <p>
+            <b>Hofmann, Plate 55,</b> may have chosen to illustrate
+            the twenty-fourth verse, "God is Spirit; and those who
+            worship him must worship spiritually, with true
+            insight." (John 4:24.)
+        </p>
+        <p align="center">
+            <a name="55"><img src="images/60.jpg" alt=
+            "Jesus and the Woman of Samaria."></a><br>
+            Plate 55. <i>Jesus and the Woman of Samaria.</i> H.
+            Hofmann. 1824-
+        </p>
+        <p>
+            <a name="footnote2" id="footnote2">[1]</a> Twentieth
+            Century New Testament
+        </p>
+        <h2>
+            THE CALL OF THE FOUR.
+        </h2>
+        <p>
+            Walking by the sea of Galilee one morning, Jesus saw
+            two brethren, Simon who is called Peter, and Andrew his
+            brother, . . . and two other brethren, James, the son
+            of Zebedee, and John his brother, with their nets, for
+            they were fishermen. And he called them: "Come ye after
+            me and I will make you fishers of men." These four
+            became his first disciples. (Matt. 4:18-22.)
+        </p>
+        <p>
+            <b>Zimmermann, Plate 47,</b> has seized upon the moment
+            when Jesus makes that extraordinary statement. Peter
+            and John are nearest Jesus, the other two in the
+            background. "Fishers of men;" the phrase is mysterious;
+            they cannot understand it. Nevertheless, they leave all
+            and follow Him.
+        </p>
+        <p align="center">
+            <a name="47"><img src="images/62.jpg" alt=
+            "Christ and the Fishermen."></a><br>
+            Plate 47. <i>Christ and the Fishermen.</i> Zimmermann.
+            1832-
+        </p>
+        <p>
+            Luke gives the account of a miracle between the morning
+            sermon of Jesus to the crowd upon the beach, and this
+            call of the four fishermen: "When he had finished
+            speaking he said to Simon, Push off into deep water,
+            and then all throw out your nets for a haul." "We have
+            been hard at work all night, sir," Simon answered, "and
+            have not caught anything, but as you say so, I will
+            throw the nets out." They did so, and they enclosed
+            such a great shoal of fish that their nets began to
+            break. So they signalled to their mates in the other
+            boat to come and help them; which they did, filling
+            both the boats so full of fish that they were almost
+            sinking.
+        </p>
+        <p>
+            <b>Raphael, Plate 49,</b> illustrates the moment, a
+            little later, when Peter threw himself down at Jesus'
+            knees, exclaiming: "Depart from me, for I am a sinful
+            man, O Lord." (Luke 5:8.) Raphael made this as a design
+            for a tapestry for the Sistine Chapel, Rome.
+        </p>
+        <p align="center">
+            <a name="49"><img src="images/63.jpg" alt=
+            "The Miraculous Draught of Fishes."></a><br>
+            Plate 49. <i>The Miraculous Draught of Fishes.</i>
+            Raphael. 1483-1520.
+        </p>
+        <h2>
+            EARLY GALILEAN MINISTRY.
+        </h2>
+        <p>
+            <b>Sch&ouml;nherr, Plate 69, Hofmann, Plate 70, Max,
+            Plate 71,</b> give different interpretations of Matt.
+            8:16-17. An evening at Capernaum, when the words of
+            Isaiah (53:4) began to be fulfilled, "Himself took our
+            infirmities and bare our diseases."
+        </p>
+        <p align="center">
+            <a name="69"><img src="images/64.jpg" alt=
+            "Healing the Sick."></a><br>
+            Plate 69. <i>Healing the Sick.</i> Karl Gottlieb
+            Sch&ouml;nherr. 1824-
+        </p>
+        <p align="center">
+            <a name="70"><img src="images/65.jpg" alt=
+            "Healing the Sick."></a><br>
+            Plate 70. <i>Healing the Sick.</i> H. Hofmann. 1824-
+        </p>
+        <p align="center">
+            <a name="71"><img src="images/66.jpg" alt=
+            "Healing the Sick Child."></a><br>
+            Plate 71. <i>Healing the Sick Child.</i> Gabriel Max.
+            1840-
+        </p>
+        <p>
+            The Call of Matthew has been represented variously.
+            (Matt. 9:9-10.)
+        </p>
+        <p>
+            <b>Pordenone, Plate 59,</b> has Matthew "sitting at the
+            place of toll."
+        </p>
+        <p align="center">
+            <a name="59"><img src="images/67.jpg" alt=
+            "Calling of Matthew."></a><br>
+            Plate 59. <i>Calling of Matthew.</i> Giovanni
+            Pordenone. 1483-1539.
+        </p>
+        <p>
+            <b>Bida, Plate 57,</b> shows Jesus "as he passed by,"
+            and Matthew leaving his place of business to follow
+            him.
+        </p>
+        <p align="center">
+            <a name="57"><img src="images/68.jpg" alt=
+            "Calling of Matthew."></a><br>
+            Plate 57. <i>Calling of Matthew.</i> Alexandre Bida.
+            1813-1895.
+        </p>
+        <p>
+            <b>Chimenti, Plate 58,</b> would have us believe that
+            Jesus entered the great khan of the city where the
+            customs were collected, and called Matthew from thence.
+        </p>
+        <p align="center">
+            <a name="58"><img src="images/69.jpg" alt=
+            "Calling of Matthew."></a><br>
+            Place 58. <i>Calling of Matthew.</i> Jacopo Chimenti.
+        </p>
+        <h2>
+            AT JERUSALEM AGAIN.
+        </h2>
+        <p>
+            After these things Jesus went up to Jerusalem to a
+            Feast of the Jews, and visited the Pool of Bethesda.
+            There he saw a man who had been infirm for thirty-eight
+            years. After talking with him Jesus cured him, although
+            it was Sabbath. (John 5:1-8.)
+        </p>
+        <p>
+            <b>Van Lint, Plate 61,</b> shows the man arising with
+            his bed, verse 9.
+        </p>
+        <p align="center">
+            <a name="61"><img src="images/70.jpg" alt=
+            "Healing of the Impotent Man."></a><br>
+            Plate 61. <i>Healing of the Impotent Man.</i> Peter Van
+            Lint.
+        </p>
+        <p>
+            <b>Bida, Plate 60,</b> represents the instant when
+            Jesus is giving the command, but before the man has
+            grasped its meaning. Both artists suggest the pool,
+            with its colonnade, or porches. Perhaps a subsequent
+            event is illustrated by <b>Van Dyck, Plate 62,</b> for
+            "Afterward Jesus findeth him in the temple, and said
+            unto him, Behold thou art made whole; sin no more lest
+            a worse thing befall thee." (John 5:14.)
+        </p>
+        <p align="center">
+            <a name="60"><img src="images/71.jpg" alt=
+            "Healing of the Impotent Man."></a><br>
+            Plate 60. <i>Healing of the Impotent Man.</i> Alexandra
+            Bida. 1813-1895.
+        </p>
+        <p align="center">
+            <a name="62"><img src="images/73.jpg" alt=
+            "Talking with the Lame Man, Bethesda."></a><br>
+            Plate 62. <i>Talking with the Lame Man, Bethesda.</i>
+            Van Dyck. 1599-1641.
+        </p>
+        <p>
+            <b>Dor&eacute;, Plate 63,</b> gives an interpretation
+            of Matt. 12:1-8. The Pharisees are accusing the
+            disciples of breaking the Sabbath by plucking the heads
+            of wheat, and Jesus is excusing them. The Master seems
+            to be saying, "Have ye not read what David did when he
+            was an hungered, and they that were with him? . . . If
+            ye had known ye would not have condemned the guiltless.
+            The Son of man is lord of the Sabbath. The Sabbath was
+            made for man, not man for the Sabbath." (Mark 2:27.)
+        </p>
+        <p align="center">
+            <a name="63"><img src="images/72.jpg" alt=
+            "Jesus and His Disciples Going Through the Cornfield."></a><br>
+
+            Plate 63. <i>Jesus and His Disciples Going Through the
+            Cornfield.</i> Gustave Dor&eacute;. 1833-1883.
+        </p>
+        <h2>
+            THE SERMON ON THE MOUNT
+        </h2>
+        <p>
+            "And seeing the multitudes, he went up into the
+            mountain, and when he had sat down, his disciples came
+            unto him, and he opened his mouth and taught them."
+            (Matt. 5:1, 2.)
+        </p>
+        <p>
+            <b>Dor&eacute;, Plate 65,</b> has represented the scene
+            as a whole. The instant might be almost any in the
+            discourse.
+        </p>
+        <p align="center">
+            <a name="65"><img src="images/74.jpg" alt=
+            "The Sermon on the Mount."></a><br>
+            Plate 65. <i>The Sermon on the Mount.</i> Gustave
+            Dor&eacute;. 1833-1883.
+        </p>
+        <p>
+            <b>Hofmann, Plate 64,</b> seems to have depicted the
+            giving of the beatitudes. The poor in spirit, the
+            mourner, the meek, those who hunger for righteousness,
+            the pure, and the persecuted, all seem to be
+            represented in the audience.
+        </p>
+        <p align="center">
+            <a name="64"><img src="images/75.jpg" alt=
+            "The Sermon on the Mount."></a><br>
+            Plate 64. <i>The Sermon on the Mount.</i> H. Hofmann.
+            1824-
+        </p>
+        <p>
+            <b>Jeune, Plate 67,</b> has selected the moment when
+            Jesus says, "Consider the lilies how they grow. . . .
+            If God so clothe the grass of the field, shall he not
+            much more clothe you? . . . Seek first his kingdom and
+            his righteousness." (Matt. 6:28-33.)
+        </p>
+        <p align="center">
+            <a name="67"><img src="images/76.jpg" alt=
+            "Consider the Lilies."></a><br>
+            Plate 67. <i>Consider the Lilies.</i> Henry Le Jeune.
+            1820.
+        </p>
+        <p>
+            <b>Bida, Plate 66,</b> illustrates one section of the
+            Sermon on the Mount, viz.: Matt. 6:5-15. Here is the
+            man in his inner chamber, having shut his door, praying
+            to his Father who is in secret, and who will reward
+            him.
+        </p>
+        <p align="center">
+            <a name="66"><img src="images/77.jpg" alt=
+            "Prayer in Secret."></a><br>
+            Plate 66. <i>Prayer in Secret.</i> Alexandra Bida.
+            1813-1895.
+        </p>
+        <h2>
+            EVENTS DURING THE SECOND TOUR OF GALILEE.
+        </h2>
+        <p>
+            <b>Veronese, Plate 68,</b> represents the Centurion who
+            came to Jesus at Capernaum, beseeching him to cure his
+            servant. "I am not worthy," the Centurion is saying,
+            "that thou shouldest come under my roof&mdash;only say
+            the word and my servant shall be healed." (Matt. 8:8.)
+        </p>
+        <p align="center">
+            <a name="68"><img src="images/80.jpg" alt=
+            "The Centurion's Servant."></a><br>
+            Plate 68. <i>The Centurion's Servant.</i> Veronese.
+            1528-1588.
+        </p>
+        <p>
+            <b>Hofmann, Plate 72,</b> has illustrated the raising
+            of the widow of Nain's son, as graphically as Luke has
+            told it, in chapter 7, verses 11 to 16. "Every one was
+            awe-struck and began praising God."
+        </p>
+        <p align="center">
+            <a name="72"><img src="images/78.jpg" alt=
+            "Raising the Widow's Son."></a><br>
+            Plate 72. <i>Raising the Widow's Son.</i> H. Hofmann.
+            1824-
+        </p>
+        <p>
+            <b>Veronese, Plate 73,</b> gives another grand feast to
+            his friends (compare <a href="#50">plate 50</a>). This
+            time it is supposed to be in the house of Simon the
+            Pharisee, as recorded in Luke 7:36-50. The woman, who
+            bathed the Master's feet with tears, is in this case a
+            beautiful and decorous person, a center of attraction.
+        </p>
+        <p align="center">
+            <a name="73"><img src="images/81.jpg" alt=
+            "Jesus in the House of Simon."></a><br>
+            Plate 73. <i>Jesus in the House of Simon.</i> Paolo
+            Veronese. 1528-1588.
+        </p>
+        <p>
+            <b>Rubens, Plate 74,</b> has been more faithful to the
+            story as recorded. The woman kisses the Master's feet
+            and wipes them with her hair, v. 38. There is great
+            consternation among the guests.
+        </p>
+        <p align="center">
+            <a name="74"><img src="images/82.jpg" alt=
+            "Magdalen."></a><br>
+            Plate 74. <i>Magdalen.</i> Rubens. 1577-1640.
+        </p>
+        <p>
+            <b>Hofmann, Plate 75,</b> shows the self-righteous
+            Pharisee, with his hypocritical friends, more
+            graphically than either of the other artists. His keen
+            insight into character is reflected from every face.
+            Hofmann, above many others, is true to the account, and
+            true to human nature. "Thy sins are forgiven," Jesus is
+            saying. (Verse 48.)
+        </p>
+        <p align="center">
+            <a name="75"><img src="images/79.jpg" alt=
+            "Anointing Feet of Jesus."></a><br>
+            Plate 75. <i>Anointing Feet of Jesus.</i> H. Hofmann.
+            1824-
+        </p>
+        <p>
+            <b>Hofmann, Plate 76,</b> tells of Jesus preaching from
+            the boat (Mark 4:1). Every face in the picture is worth
+            studying. The world is present by
+            representation&mdash;infancy, childhood, youth,
+            maturity, old age; the healthy and the diseased, the
+            workman and the scholar. "And he taught them many
+            things in parables," among other things the truth about
+            the Kingdom of God. (Luke 8:9-10.)
+        </p>
+        <p align="center">
+            <a name="76"><img src="images/83.jpg" alt=
+            "Jesus Preaches from a Boat."></a><br>
+            Plate 76. <i>Jesus Preaches from a Boat.</i> H.
+            Hofmann. 1824-
+        </p>
+        <p>
+            <b>Robert, Plate 77,</b> in four decorative panels,
+            illustrates the parable of the Sower, which Jesus gave
+            at this time. In the first the birds came and devoured
+            the seed, in the second the stony ground offered no
+            good opportunity for a harvest, in the third thorns and
+            thistles and other worldly things, "the deceitfulness
+            of riches and the lusts of other things," symbolized by
+            the short-lived mushrooms and daisies, and by the
+            moths, choke the good seed. In the last is the abundant
+            harvest. (Mark 4:1-34.)
+        </p>
+        <p align="center">
+            <a name="77"><img src="images/84.jpg" alt=
+            "Parable of the Sower."></a><br>
+            Plate 77. <i>Parable of the Sower.</i> H. L. Robert
+        </p>
+        <p>
+            And when Jesus had finished these parables he departed
+            to the other side of the lake. "And behold there arose
+            a great tempest in the sea." <b>Dor&eacute;, Plate
+            78,</b> shows the disciples in fear, crying out, "Save,
+            Lord; we perish." Jesus, awakened from a sound sleep,
+            says calmly, "Why are ye fearful, O ye of little
+            faith?" (Matt. 8:25-26.) "Then he arose and rebuked the
+            winds and the sea, and there was a great calm." (Verse
+            26.)
+        </p>
+        <p align="center">
+            <a name="78"><img src="images/85.jpg" alt=
+            "&quot;Peace, Be Still.&quot;"></a><br>
+            Plate 78. <i>"Peace, Be Still."</i> Gustave
+            Dor&eacute;. 1833-1883.
+        </p>
+        <p>
+            By the time Jesus had re-crossed in the boat, a great
+            number of people had gathered to meet him. Here Jairus
+            came and entreated Jesus to cure his little daughter
+            who was at the point of death. As they were going to
+            the house, servants came saying that the child was
+            dead: but they went on to the house of Jairus. Clearing
+            the house of the mourners, Jesus takes the child's
+            father and mother, Peter, James and John, and with them
+            enters the room of death. (Mark 5:21, 24, 35-40.)
+        </p>
+        <p>
+            <b>Richter, Plate 80,</b> is true to the account in the
+            number of witnesses, but not in the action of the
+            Master.
+        </p>
+        <p align="center">
+            <a name="80"><img src="images/87.jpg" alt=
+            "Christ Raising the Daughter of Jairus."></a><br>
+            Plate 80. <i>Christ Raising the Daughter of Jairus.</i>
+            Gustav Richter. 1823-1884.
+        </p>
+        <p>
+            <b>Hofmann, Plate 79,</b> is, as usual, more literal.
+            "Taking the child by the hand" Jesus said, "Little
+            girl, I am speaking to you, get up." (Mark 5:41.)
+        </p>
+        <p align="center">
+            <a name="79"><img src="images/86.jpg" alt=
+            "Daughter of Jairus."></a><br>
+            Plate 79. <i>Daughter of Jairus.</i> H. Hofmann. 1824-
+        </p>
+        <p>
+            <b>Keller, Plate 81,</b> shows the next moment when the
+            damsel arose and the people were "utterly astounded."
+            (Verse 43 in Twentieth Century New Testament.) Keller
+            is no doubt more accurate than either of the others in
+            the matters of costume and other accessories. The face
+            of the child is worth studying.
+        </p>
+        <p align="center">
+            <a name="81"><img src="images/88.jpg" alt=
+            "Raising the Daughter of Jairus."></a><br>
+            Plate 81. <i>Raising the Daughter of Jairus.</i> A.
+            Keller.
+        </p>
+        <h2>
+            DEATH OF JOHN THE BAPTIST.
+        </h2>
+        <p>
+            The account is given in Mark 6:14-29.
+        </p>
+        <p>
+            <b>Reni, Plate 82,</b> represents the daughter of
+            Herodius bearing John's head to her mother. At Herod's
+            command a soldier had brought it in a charger, and
+            given it to the damsel. (Verse 28.)
+        </p>
+        <p align="center">
+            <a name="82"><img src="images/89.jpg" alt=
+            "Head of John the Baptist in a Charger."></a><br>
+            Plate 82. <i>Head of John the Baptist in a Charger.</i>
+            Guido Reni. 1575-1642.
+        </p>
+        <h2>
+            THE FEEDING OF THE FIVE THOUSAND.
+        </h2>
+        <p>
+            When Jesus heard of the death of John he withdrew into
+            a desert place to rest. But the crowds followed him on
+            foot from all the cities of Galilee. After a day spent
+            in healing the sick and in teaching, the Master fed the
+            multitude generously, with five loaves and two fishes.
+            The account is given by Mark (6:30-46) and by all the
+            other evangelists.
+        </p>
+        <p>
+            <b>Murillo, Plate 83,</b> has selected the moment when
+            the multitude is being seated "by companies upon the
+            green grass," and the disciples are procuring the
+            loaves and fishes from the lad. (John 6:9.) Jesus is
+            taking the loaves preparatory to giving thanks and
+            distributing them.
+        </p>
+        <p align="center">
+            <a name="83"><img src="images/91.jpg" alt=
+            "Miracle of the Loaves and Fishes."></a><br>
+            Plate 83. <i>Miracle of the Loaves and Fishes.</i>
+            Bartolome Esteran Murillo. 1618-1682.
+        </p>
+        <p>
+            The following night Jesus came to the disciples,
+            walking upon the water. The most complete account is
+            given by Matthew (14:24-36). Upon Peter's request Jesus
+            gave him permission to come out upon the water.
+        </p>
+        <p>
+            <b>Schwartz, Plate 85,</b> shows the moment when Peter,
+            sinking, cries out, "Lord, save me." (Matt. 14:30.)
+        </p>
+        <p align="center">
+            <a name="85"><img src="images/92.jpg" alt=
+            "Christ and St. Peter."></a><br>
+            Plate 85. <i>Christ and St. Peter.</i> A. Schwartz.
+        </p>
+        <p>
+            <b>Plockh&ouml;rst, Plate 84,</b> gives the next
+            instant when Jesus stretched forth his hand and took
+            hold of him, saying, "O thou of little faith, wherefore
+            didst thou doubt?" (Matt. 14:31.)
+        </p>
+        <p align="center">
+            <a name="84"><img src="images/90.jpg" alt=
+            "Christ and St. Peter."></a><br>
+            Plate 84. <i>Christ and St. Peter.</i> S.
+            Plockh&ouml;rst. 1825-
+        </p>
+        <h2>
+            THE TRIP INTO PHOENICIA.
+        </h2>
+        <p>
+            And Jesus went away into the borders of Tyre and Sidon.
+            There a Canaanitish woman begged him to cure her
+            daughter. The interesting dialogue which ensued is
+            recorded by both Matthew and Mark.
+        </p>
+        <p>
+            <b>Vecchio, Plate 86,</b> gives the beginning of the
+            dialogue. "I was not sent but unto the lost sheep of
+            the house of Israel." (Matt. 15:24.)
+        </p>
+        <p align="center">
+            <a name="86"><img src="images/94.jpg" alt=
+            "The Canaanitish Woman."></a><br>
+            Plate 86. <i>The Canaanitish Woman.</i> Palma Vecchio.
+            1475-1528.
+        </p>
+        <h2>
+            PETER'S CONFESSION.
+        </h2>
+        <p>
+            The event recorded in Matt. 16:13-20, and that recorded
+            in John 21:15-23, have often been closely related in
+            the minds of artists employed by the church during the
+            middle ages.
+        </p>
+        <p>
+            <b>Reni, Plate 87,</b> gives a literal interpretation
+            to Matt. 16:19. "I give unto thee the keys of the
+            kingdom of heaven."
+        </p>
+        <p align="center">
+            <a name="87"><img src="images/93.jpg" alt=
+            "Christ Giving Keys to St. Peter."></a><br>
+            Plate 87. <i>Christ Giving Keys to St. Peter.</i> Guido
+            Reni. 1575-1642.
+        </p>
+        <p>
+            <b>Raphael, Plate 88,</b> represents the later event,
+            when Christ says, "Feed my sheep," but Peter has
+            evidently just received the keys. The sheep are
+            actually present, as symbols, to make clear the moment
+            selected by the artist. (John 21:17.)
+        </p>
+        <p align="center">
+            <a name="88"><img src="images/95.jpg" alt=
+            "Christ's Charge to St. Peter."></a><br>
+            Plate 88. <i>Christ's Charge to St. Peter.</i> Raphael.
+            1483-1520.
+        </p>
+        <h2>
+            THE TRANSFIGURATION.
+        </h2>
+        <p>
+            <b>Raphael, Plate 89,</b> has given upon one canvas,
+            and that one of the most famous in the world, the
+            Transfiguration, and that which took place at the same
+            time at the foot of the mountain. (Luke 9:28-36, and
+            Mark 9:14-29.) <b>Plate 90</b> is a part of the same
+            picture. Compare the details of both of these plates
+            with the scriptural account! No artist ever packed more
+            literal and spiritual truth into a single canvas.
+        </p>
+        <p align="center">
+            <a name="89"><img src="images/96.jpg" alt=
+            "The Transfiguration."></a><br>
+            Plate 89. <i>The Transfiguration.</i> Raphael.
+            1483-1520.
+        </p>
+        <p align="center">
+            <a name="90"><img src="images/97.jpg" alt=
+            "The Demoniac Boy."></a><br>
+            Plate 90. <i>The Demoniac Boy.</i> Raphael. 1483-1520.
+        </p>
+        <p>
+            Shortly after the Transfiguration Jesus talked with his
+            disciples about true greatness. By way of illustration
+            "He took a little child in his arms and said unto them,
+            Whosoever shall humble himself as this little child,
+            the same is the greatest in the kingdom of heaven."
+            (Mark 9:36, Matt. 18:4.)
+        </p>
+        <p>
+            <b>Ballheim, Plate 97,</b> suggests this event.
+        </p>
+        <p align="center">
+            <a name="97"><img src="images/98.jpg" alt=
+            "Jesus and the Child."></a><br>
+            Plate 97. <i>Jesus and the Child.</i> H. Ballheim.
+        </p>
+        <h2>
+            AT THE FEAST OF TABERNACLES.
+        </h2>
+        <p>
+            The Scribes and the Pharisees brought to Jesus a woman
+            taken in adultery.
+        </p>
+        <p>
+            <b>Hofmann, Plate 91,</b> depicts the scene most
+            graphically, at the moment when Jesus says, "Let him
+            that is without sin cast the first stone."
+        </p>
+        <p align="center">
+            <a name="91"><img src="images/99.jpg" alt=
+            "Christ and the Sinner."></a><br>
+            Plate 91. <i>Christ and the Sinner.</i> H. Hofmann.
+            1824-
+        </p>
+        <p>
+            <b>Signol, Plate 92,</b> does not show the woman "in
+            the midst" as did Hofmann, but after they had gone out
+            one by one, when Jesus was left alone with the woman.
+            The words, "Let him that is without sin," etc., are
+            written upon the pavement because of verses 6 and 8,
+            where it is said that Jesus wrote upon the ground.
+        </p>
+        <p align="center">
+            <a name="92"><img src="images/100.jpg" alt=
+            "The Adulterous Woman."></a><br>
+            Plate 92. <i>The Adulterous Woman.</i> Emile Signol.
+        </p>
+        <p>
+            At this feast Jesus spoke of himself as the Light of
+            the world. (John 8:12-30.)
+        </p>
+        <p>
+            <b>Hunt, Plate 93,</b> has idealized the words of
+            Jesus, and added the thought expressed in Rev. 3:20,
+            "Behold, I stand at the door and knock." The picture
+            shows also, without doubt, the influence of the
+            well-known hymn, by Mrs. Stowe, "Knocking, knocking,
+            who is there?" Every detail of this picture is
+            symbolical, and most exquisitely painted.
+        </p>
+        <p align="center">
+            <a name="93"><img src="images/102.jpg" alt=
+            "&quot;I am the Light of the World.&quot;"></a><br>
+            Plate 93. <i>"I am the Light of the World."</i> Holman
+            Hunt. 1827-
+        </p>
+        <p>
+            <b>Overbeck, Plate 94,</b> emphasizes the thought in
+            Rev. 3:20.
+        </p>
+        <p align="center">
+            <a name="94"><img src="images/101.jpg" alt=
+            "&quot;Behold, I stand at the Door and Knock.&quot;"></a><br>
+
+            Plate 94. <i>"Behold, I stand at the Door and
+            Knock."</i> Overbeck. 1789-1869.
+        </p>
+        <p>
+            <b>Plockh&ouml;rst, Plate 99,</b> has attempted to put
+            into a single picture the wealth of meaning suggested
+            by the wondrous words, "Come unto me, all ye that labor
+            and are heavy laden, and I will give you rest." (Matt,
+            11:28.) Humanity is symbolized by the pilgrim who needs
+            comforting.
+        </p>
+        <p align="center">
+            <a name="99"><img src="images/103.jpg" alt=
+            "Christ the Consoler."></a><br>
+            Plate 99. <i>Christ the Consoler.</i> B.
+            Plockh&ouml;rst. 1825-
+        </p>
+        <h2>
+            THE PEREAN MINISTRY.
+        </h2>
+        <p>
+            During this part of his life Jesus gave some of his
+            most famous parables.
+        </p>
+        <p>
+            <b>Siemenroth, Plate 101,</b> illustrates the parable
+            of the Good Samaritan. The Priest and the Levite have
+            passed by; the Samaritan is pouring oil and wine upon
+            the wounds preparatory to binding them up. (Luke
+            10:30-34.)
+        </p>
+        <p align="center">
+            <a name="101"><img src="images/104.jpg" alt=
+            "The Good Samaritan."></a><br>
+            Plate 101. <i>The Good Samaritan.</i> K. Siemenroth.
+        </p>
+        <p>
+            <b>Dor&eacute;, Plate 100,</b> shows the Samaritan
+            bringing the wounded man to the inn, as described in
+            verse 34. In both pictures the plains of Jericho are
+            shown in the distance. It is interesting to note that
+            one artist translates "beast" as an ass, and the other
+            as a horse.
+        </p>
+        <p align="center">
+            <a name="100"><img src="images/105.jpg" alt=
+            "The Good Samaritan."></a><br>
+            Plate 100. <i>The Good Samaritan.</i> Gustave
+            Dor&eacute;. 1833-1883.
+        </p>
+        <p>
+            The Perean ministry was interrupted by a visit to
+            Bethany and Jerusalem.
+        </p>
+        <p>
+            <b>Hofmann, Plate 114,</b> has most beautifully drawn
+            the group in the home of Lazarus,&mdash;Martha,
+            "cumbered with much serving," (Luke 10:40), Mary, "who
+            has chosen the good part," (verse 40), and for a
+            reminder of Lazarus, who has not yet returned from
+            work, his house-dog, asleep by the chair of Jesus.
+        </p>
+        <p align="center">
+            <a name="114"><img src="images/106.jpg" alt=
+            "Bethany."></a><br>
+            Plate 114. <i>Bethany.</i> H. Hofmann. 1824-
+        </p>
+        <p>
+            <b>Allori, Plate 113,</b> gives Martha a maidservant
+            drawing water, and a man-servant bringing in a sheep
+            for dinner. Mary has her alabaster box close at hand!
+            (Compare John 12:1-3.) About the time of the visit
+            Jesus opened the eyes of the man born blind. (John 9.)
+        </p>
+        <p align="center">
+            <a name="113"><img src="images/107.jpg" alt=
+            "Christ in the House of Mary and Martha."></a><br>
+            Plate 113. <i>Christ in the House of Mary and
+            Martha.</i> A. Allori. 1544-1628.
+        </p>
+        <p>
+            <b>Theotocopuli, Plate 115,</b> represents Jesus
+            performing the miracle, and the hypocritical Pharisees,
+            shocked and offended that he should do such a thing on
+            the Sabbath. Following this event was the discourse
+            about "The Good Shepherd." (John 10:1-21.)
+        </p>
+        <p align="center">
+            <a name="115"><img src="images/109.jpg" alt=
+            "Jesus Anoints the Blind Man's Eyes with Clay."></a><br>
+
+            Plate 115. <i>Jesus Anoints the Blind Man's Eyes with
+            Clay.</i> Theotocopuli. 1548-1625.
+        </p>
+        <p>
+            <b>Plockh&ouml;rst, Plate 116,</b> has chosen to
+            illustrate the phrase, "He goeth before them and the
+            sheep follow him."
+        </p>
+        <p>
+            Upon returning into Perea Jesus gave the "Three
+            Parables of Grace." (Luke 15.)
+        </p>
+        <p align="center">
+            <a name="116"><img src="images/108.jpg" alt=
+            "The Good Shepherd."></a><br>
+            Plate 116. <i>The Good Shepherd.</i> B.
+            Plockh&ouml;rst. 1825-
+        </p>
+        <p>
+            <b>Sch&ouml;nherr, Plate 117,</b> and <b>Molitor, Plate
+            102,</b> represent the good shepherd who leaves the
+            ninety and nine on the moor and goes after the lost
+            sheep until he finds it. (Luke 15:4.)
+        </p>
+        <p align="center">
+            <a name="117"><img src="images/111.jpg" alt=
+            "The Good Shepherd."></a><br>
+            Plate 117. The Good Shepherd. Carl Sch&ouml;nherr.
+        </p>
+        <p align="center">
+            <a name="102"><img src="images/110.jpg" alt=
+            "The Lost Sheep."></a><br>
+            Plate 102. <i>The Lost Sheep.</i> Franz Molitor.
+        </p>
+        <p>
+            <b>Millais, Plate 103,</b> illustrates the next
+            parable, that of the lost coin. "If a woman lose a
+            coin, does she not light a candle and search carefully
+            until she finds it?" (Luke 15:8-10.)
+        </p>
+        <p align="center">
+            <a name="103"><img src="images/112.jpg" alt=
+            "The Lost Piece of Money."></a><br>
+            Plate 103. <i>The Lost Piece of Money.</i> Sir John
+            Millais. 1829-1896.
+        </p>
+        <p>
+            If the first parable of the group teaches the
+            compassion of the Son, and the second the solicitude of
+            the Spirit, the third teaches the enduring love of God
+            the Father.
+        </p>
+        <p>
+            <b>Molitor, Plate 105,</b> has designed an almost
+            abstract father and son&mdash;<i>a</i> prodigal,
+            perhaps, but not <i>the</i> prodigal&mdash;to match his
+            panel of the lost sheep. The parable is but faintly
+            echoed in this picture.
+        </p>
+        <p align="center">
+            <a name="105"><img src="images/113.jpg" alt=
+            "Prodigal Son."></a><br>
+            Plate 105. <i>Prodigal Son.</i> Franz Molitor.
+        </p>
+        <p>
+            The man who has painted the parable as a whole is
+            <b>Dubufe, Plate 106.</b> The central panel in the
+            triptych shows the young man wasting his substance in
+            riotous living. "He squandered his property by his
+            dissolute life," says one version. His feasts were such
+            as that described by Isaiah 5:11, 12. The panel at the
+            left shows the young man in want, feeding swine, when
+            "no man gave unto him." (Luke 15:16.) In that at the
+            right, he has returned to his father's house.
+        </p>
+        <p align="center">
+            <a name="106"><img src="images/114.jpg" alt=
+            "The Prodigal Son."></a><br>
+            Plate 106. <i>The Prodigal Son.</i> E. Dubufe.
+        </p>
+        <p>
+            <b>Dor&eacute;, Plate 104,</b> is truer to the parable
+            in the matter of the return, for "while he was yet a
+            great way off his father saw him and ran, and fell on
+            his neck and kissed him." (Luke 15:20.)
+        </p>
+        <p align="center">
+            <a name="104"><img src="images/115.jpg" alt=
+            "Prodigal Son."></a><br>
+            Plate 104. <i>Prodigal Son.</i> Gustave Dor&eacute;.
+            1833-1883.
+        </p>
+        <p>
+            <b>Dor&eacute;, Plate 107,</b> illustrates the parable
+            of the Rich Man and Lazarus, as recorded in Luke
+            16:19-31. He has added a dramatic touch by representing
+            the servants ordering the beggar away, even with
+            violence&mdash;a part of the "evil things" which
+            Lazarus received during his life. (Luke 16:25.)
+        </p>
+        <p align="center">
+            <a name="107"><img src="images/116.jpg" alt=
+            "The Rich Man and Lazarus."></a><br>
+            Plate 107. <i>The Rich Man and Lazarus.</i> Gustave
+            Dor&eacute;. 1833-1883.
+        </p>
+        <p>
+            Jesus was again called to visit Bethany by the death of
+            the brother of Mary and Martha. None of the pictures
+            here reproduced give an adequate representation of that
+            which then occurred&mdash;the raising of Lazurus.
+            Perhaps the event is too august to be put upon canvas.
+        </p>
+        <p>
+            <b>Bonifazio, Plate 118,</b> seems to take an almost
+            childish delight in depicting the varying effects of a
+            disagreeable odor! He has magnified the remark of
+            Martha (John 11:39) into the motive for a picture!
+        </p>
+        <p align="center">
+            <a name="118"><img src="images/117.jpg" alt=
+            "Raising of Lazarus."></a><br>
+            Plate 118. <i>Raising of Lazarus.</i> Bonifazio II.
+            1494-1563.
+        </p>
+        <p>
+            <b>Piombo, Plate 119,</b> suggests the large company
+            who witnessed the miracle, but ignores the statement
+            that Lazarus was buried in a cave, and that he came
+            forth without assistance. (Verses 38 and 44.) He has
+            surpassed Bonifazio in one respect at least. Piombo's
+            people are astonished and excited over what has
+            occurred: they are not entirely witless because of
+            Martha's suggestion.
+        </p>
+        <p align="center">
+            <a name="119"><img src="images/119.jpg" alt=
+            "Raising of Lazarus."></a><br>
+            Plate 119. <i>Raising of Lazarus.</i> Sebastian del
+            Piombo. 1485-1547.
+        </p>
+        <p>
+            <b>Rubens, Plate 120,</b> has not included the crowd in
+            his canvas; but his Lazarus comes forth vigorously and
+            happily from his grave in the cave, to meet a master
+            whose figure is charged with animation. The traditional
+            characters of the sisters are not forgotten. Martha
+            helps to remove the grave-clothes, while Mary, as
+            usual, worships the Master.
+        </p>
+        <p align="center">
+            <a name="120"><img src="images/118.jpg" alt=
+            "Raising of Lazarus."></a><br>
+            Plate 120. <i>Raising of Lazarus.</i> Rubens.
+            1577-1640.
+        </p>
+        <p>
+            <b>Dor&eacute;, Plate 108,</b> interprets the parable
+            of the Pharisee and the Publican. The Pharisee stands
+            and prays "with himself" (Luke 18:11), while the
+            tax-gatherer will not so much as "lift up his eyes to
+            heaven," but says, "God be merciful to me a sinner."
+            (Verse 13.) Jesus is represented as saying, "This man
+            went down to his house justified." (Verse 14.)
+            Dor&eacute; makes it an actual event, not merely a
+            parable.
+        </p>
+        <p align="center">
+            <a name="108"><img src="images/120.jpg" alt=
+            "The Pharisee and Publican."></a><br>
+            Plate 108. <i>The Pharisee and Publican.</i> Gustave
+            Dor&eacute;. 1833-1883.
+        </p>
+        <p>
+            Christ blessing the children, has been a favorite
+            subject with artists.
+        </p>
+        <p>
+            <b>Hofmann, Plate 109,</b> tells the story in his own
+            charming way. How sweetly child-like is that offering
+            of the little bouquet! He remembers that not only
+            little children came; mothers brought their babies.
+            (Luke 18:15.)
+        </p>
+        <p align="center">
+            <a name="109"><img src="images/121.jpg" alt=
+            "Christ Blessing Little Children."></a><br>
+            Plate 109. <i>Christ Blessing Little Children.</i> H.
+            Hofmann. 1824-
+        </p>
+        <p>
+            <b>Plockh&ouml;rst, Plate 110,</b> is equally true to
+            the account and to nature. Here a little child is
+            asking to take her flowers to Jesus. Plockh&ouml;rst
+            loves symbolism. Sheep are present (Is. 40:11), and a
+            little boy is about to offer Jesus a palm-branch in
+            unconscious anticipation of his triumphal entry to
+            Jerusalem. (Matt. 21:8, 9 and 15.)
+        </p>
+        <p align="center">
+            <a name="110"><img src="images/122.jpg" alt=
+            "Christ Blessing Little Children."></a><br>
+            Plate 110. <i>Christ Blessing Little Children.</i> B.
+            Plockh&ouml;rst. 1825-
+        </p>
+        <p>
+            <b>Vogel, Plate 111,</b> has introduced one or two
+            children old enough to have some consciousness of a
+            real need of such love and forgiveness as the Master
+            offers to all. Their attitude is not that of na&iuml;ve
+            childhood.
+        </p>
+        <p align="center">
+            <a name="111"><img src="images/123.jpg" alt=
+            "Christ Blessing Little Children."></a><br>
+            Plate 111. <i>Christ Blessing Little Children.</i>
+            Carlo Vogel.
+        </p>
+        <p>
+            <b>Hofmann, Plate 112,</b> has excelled himself in the
+            portrayal of Christ and the rich young ruler, who asked
+            how to obtain eternal life. (Matt. 19:16.) Jesus is
+            saying; "If thou wouldest be perfect go sell what thou
+            hast and give to the poor, and thou shalt have treasure
+            in heaven." The decision of the young man is already
+            made. He will presently go away sorrowful, and keep his
+            great possessions. (Matt. 19:21, 22.)
+        </p>
+        <p align="center">
+            <a name="112"><img src="images/4.jpg" alt=
+            "Christ and the Young Ruler."></a><br>
+            Plate 112. <i>Christ and the Young Ruler.</i> H.
+            Hofmann. 1824-
+        </p>
+        <p>
+            <b>Bonifazio, Plate 121,</b> illustrates the account of
+            Matthew relative to the ambitions of James and John.
+        </p>
+        <p>
+            Their mother comes worshiping, and asking that her two
+            sons may receive special honor in Christ's Kingdom.
+            Jesus is saying, "My cup indeed ye shall drink; but to
+            sit on my right hand and on my left hand it is not mine
+            to give." (Matt. 20:20-28.) Peter is ready to add his
+            word of condemnation.
+        </p>
+        <p align="center">
+            <a name="121"><img src="images/125.jpg" alt=
+            "Christ and Zebedee's Children."></a><br>
+            Plate 121. <i>Christ and Zebedee's Children.</i>
+            Bonifazio. 1494-1563.
+        </p>
+        <h2>
+            AT JERUSALEM.
+        </h2><br>
+        <h2>
+            PASSION WEEK.
+        </h2>
+        <p>
+            Jesus went on his way towards Jerusalem, and when he
+            came within sight of the city he wept over it and said,
+            "Would that you had learned, while there was
+            time&mdash;yes, even you&mdash;the things that make for
+            peace! But as it is, they have been hidden from your
+            sight. For a time is coming for you when your enemies
+            will surround you with earthworks, and encircle you,
+            and hem you in on every side; they will trample you
+            down and your children within you, and they will not
+            leave in you one stone upon another, because you did
+            not see that God was visiting you." (Twentieth Century
+            N. T., Luke 19:42-44.)
+        </p>
+        <p>
+            <b>Eastlake, Plate, 124,</b> has not followed the
+            scriptural account closely, but has designed a panel,
+            with the text in mind, possibly influenced also by
+            Matt. 23:37, "How often would I have gathered thy
+            children together as a hen gathers her chickens under
+            her wings, and ye would not!"
+        </p>
+        <p align="center">
+            <a name="124"><img src="images/126.jpg" alt=
+            "Christ Weeps Over Jerusalem."></a><br>
+            Plate 124. <i>Christ Weeps Over Jerusalem.</i> Sir
+            Charles Eastlake. 1793-1865.
+        </p>
+        <p>
+            <b>Deger, Plate 123,</b> represents the triumphal entry
+            into Jerusalem as recorded in all the Gospels, but with
+            most complete detail in Luke 19:29-44. The people threw
+            their garments upon a colt, and set Jesus thereon, and
+            accompanied him from Bethpage to Jerusalem, waving palm
+            branches (John 12:13), and spreading garments and palms
+            in the street (Matt. 21:8), and shouting "Hosanna,
+            Blessed is he that cometh in the name of the Lord."
+            (Matt. 21:9.) The artist has allowed the mother of
+            Jesus to witness this short lived triumph of her son;
+            nor has he forgotten the children (Matt. 21:15).
+        </p>
+        <p align="center">
+            <a name="123"><img src="images/127.jpg" alt=
+            "Triumphal Entry."></a><br>
+            Plate 123. <i>Triumphal Entry.</i> Ernest Deger.
+            1809-1885.
+        </p>
+        <p>
+            <b>Dor&eacute;, Plates 125 and 127,</b> gives two
+            incidents of the early part of the week: the Herodians
+            asking about tribute to C&aelig;sar (Matt. 22:16-22),
+            and the poor widow giving her contribution to the
+            temple treasury (Mark 12:41-44).
+        </p>
+        <p align="center">
+            <a name="125"><img src="images/128.jpg" alt=
+            "Jesus and the Tribute Money."></a><br>
+            Plate 125. <i>Jesus and the Tribute Money.</i> Gustave
+            Dor&eacute;. 1833-1883.
+        </p>
+        <p align="center">
+            <a name="127"><img src="images/129.jpg" alt=
+            "The Widow's Mite."></a><br>
+            Plate 127. <i>The Widow's Mite.</i> Gustave
+            Dor&eacute;. 1833-1883.
+        </p>
+        <p>
+            <b>Titian, Plate 126,</b> in dealing with the incident
+            of the tribute to C&aelig;sar, has selected the moment
+            Dor&eacute; selected, when Jesus asks, "Whose image and
+            superscription hath it?" (Mark 20:24.)
+        </p>
+        <p align="center">
+            <a name="126"><img src="images/130.jpg" alt=
+            "Tribute to C&aelig;sar."></a><br>
+            Plate 126. <i>Tribute to C&aelig;sar.</i> Titian.
+            1477-1576.
+        </p>
+        <p>
+            <b>Van Dyck, Plate 96,</b> has chosen the moment when
+            Jesus says, "Render therefore unto C&aelig;sar the
+            things that are C&aelig;sar's, and unto God the things
+            that are God's" (Matt. 22:21).
+        </p>
+        <p align="center">
+            <a name="96"><img src="images/131.jpg" alt=
+            "Tribute Money."></a><br>
+            Plate 96. <i>Tribute Money.</i> A. Van Dyck. 1599-1641.
+        </p>
+        <p>
+            Towards the close of his discourse about The Last
+            Things, Jesus gave the parable of the Wise and Foolish
+            Virgins. (Matt. 25:1-13.)
+        </p>
+        <p>
+            <b>Poloty, Plate 128,</b> has attempted to illustrate
+            this parable, and has chosen the moment when the
+            foolish virgins discover that they are unprepared.
+            (Verses 8 and 9.) Evidently the cry, "Behold the
+            bridegroom cometh," was not heard, upon this occasion,
+            "at midnight" (Verse 6.)
+        </p>
+        <p align="center">
+            <a name="128"><img src="images/132.jpg" alt=
+            "Parable of the Virgins."></a><br>
+            Plate 128. <i>Parable of the Virgins.</i> Carl Theodor
+            von Poloty. 1826-1886.
+        </p>
+        <h2>
+            THE LAST SUPPER.
+        </h2>
+        <p align="center">
+            <a name="129"><img src="images/134.jpg" alt=
+            "Conspiracy Against Jesus."></a><br>
+            Plate 129. <i>Conspiracy Against Jesus.</i> Alexandre
+            Bida. 1813-1895.
+        </p>
+        <p>
+            When the disciples entered the upper room all had
+            neglected to assume the office of servant in
+            preparation for the meal. They were disputing as to who
+            should be the greatest in the kingdom. (Luke 22:24.)
+            Jesus therefore arose from the table and performed the
+            act of cleansing.
+        </p>
+        <p>
+            <b>Brown, Plate 133,</b> has portrayed the incident
+            wonderfully well. The dialogue with Peter is just
+            finished. (John 13:6-10.)
+        </p>
+        <p align="center">
+            <a name="133"><img src="images/136.jpg" alt=
+            "Jesus Washes the Disciples' Feet."></a><br>
+            Plate 133. <i>Jesus Washes the Disciples' Feet.</i>
+            Ford Madox Brown. 1821-1893.
+        </p>
+        <p>
+            <b>Da Vinci, Plate 131,</b> has excelled all others in
+            rendering the effects of the announcement Jesus made
+            shortly afterwards, when they were at table again, "One
+            of you shall betray me." Some of the disciples wonder
+            (John 13:22), some ask, "Is it I?" (Mark 14:19.) Peter
+            whispers to John to inquire who it is. (John 13:24.)
+            The face of Judas alone is in shadow and inscrutable.
+            Presently Judas will go out to the conspiring chief
+            priests. (John 13:27-30.)
+        </p>
+        <p align="center">
+            <a name="131"><img src="images/133.jpg" alt=
+            "The Last Supper."></a><br>
+            Plate 131. <i>The Last Supper.</i> Leonardo Da Vinci.
+            1452-1519.
+        </p>
+        <p>
+            When Judas had departed, Jesus said, "Now is the Son of
+            man glorified." (John 13:31.) "And as they were eating,
+            Jesus took bread and blessed, and break it."
+        </p>
+        <p>
+            <b>Bida, Plate 132,</b> gives a graphic picture of the
+            moment of blessing the bread. "This is my body which is
+            given for you," he said (Luke 22:19). "This do in
+            remembrance of me."
+        </p>
+        <p align="center">
+            <a name="132"><img src="images/135.jpg" alt=
+            "The Last Supper."></a><br>
+            Plate 132. <i>The Last Supper.</i> Alexandra Bida.
+            1813-1895.
+        </p>
+        <p>
+            Bida shows the bent figure of Judas retreating into the
+            darkness.
+        </p>
+        <p>
+            <b>Hofmann, Plate 130,</b> continues the story. "And he
+            took a cup, and gave thanks, and gave it to them,
+            saying, Drink ye all of it; for this is my blood of the
+            covenant, which is shed for many unto remission of
+            sins." (Matt. 26:27-28.)
+        </p>
+        <p align="center">
+            <a name="130"><img src="images/137.jpg" alt=
+            "The Last Supper."></a><br>
+            Plate 130. <i>The Last Supper.</i> H. Hofmann. 1824-
+        </p>
+        <p>
+            No one has portrayed more clearly the characteristic
+            attitudes of the disciples who heard these astonishing
+            words. John is the only one who seems to appreciate the
+            meaning of the sacrament. John only seems to have
+            recalled distinctly what followed&mdash;the touching
+            and comforting farewell discourses.
+        </p>
+        <p>
+            Hofmann, as well as Bida, shows the retreating Judas,
+            going out into the night. "And when they had sung a
+            hymn, they went out unto the mount of Olives." (Mark
+            14:26.)
+        </p>
+        <p>
+            "And they came unto a place which was named Gethesame;
+            and he said unto his disciples, Sit ye here, while I go
+            yonder and pray." (Mark 14:32, Matt. 26:36.)
+        </p>
+        <p>
+            <b>Hofmann, Plate 136,</b> reveals to us the Master in
+            prayer, with Peter, James, and John in the distance.
+            (Mark 14:33.) The moment is that when Jesus triumphs
+            with the words, "Thy will be done." (Matt. 26:42.)
+        </p>
+        <p align="center">
+            <a name="136"><img src="images/138.jpg" alt=
+            "Jesus in Gethsemane."></a><br>
+            Plate 136. <i>Jesus in Gethsemane.</i> H. Hofmann.
+            1824-
+        </p>
+        <p>
+            <b>Dolci, Plate 135,</b> shows the angel which came and
+            strengthened him. (Luke 22:43.) The angel bears the
+            cross and the cup as symbols, but the cup brought that
+            which was sufficient to the occasion. (Compare II. Cor.
+            12:9.)
+        </p>
+        <p align="center">
+            <a name="135"><img src="images/140.jpg" alt=
+            "Agony in the Garden."></a><br>
+            Plate 135. <i>Agony in the Garden.</i> Carlo Dolci.
+            1616-1686.
+        </p>
+        <p>
+            Jesus returned to the sleeping disciples. "Look," he
+            said, "my betrayer is close at hand." He had hardly
+            said the words when Judas came in sight with a crowd of
+            people with swords and staffs. Judas came to Jesus and
+            exclaimed, "I am glad to see you, Rabbi," and kissed
+            him. (Twentieth Century N. T., Matt. 26:46-50.)
+        </p>
+        <p>
+            <b>Scheffer, Plate 137,</b> attempts to place the two
+            characters, Jesus and Judas, in strong contrast before
+            our eyes; but he hardly touches even the outside!
+        </p>
+        <p align="center">
+            <a name="137"><img src="images/139.jpg" alt=
+            "Kiss of Judas."></a><br>
+            Plate 137. <i>Kiss of Judas.</i> Ary Scheffer.
+        </p>
+        <p>
+            <b>Hofmann, Plate 138,</b> represents the captive
+            Christ. Judas, smitten already with remorse, skulks
+            along clutching his bag of silver. Mary is watching
+            from a distance. John is weeping upon Peter's neck. "So
+            the band and the chief captain and the officers of the
+            Jews, seized Jesus, and bound him, and led him to
+            Annas." (John 18:12-13.) Simon Peter and another
+            disciple followed Jesus afar off, and managed to gain
+            admittance to the court of the high priest's house.
+            There Peter denied his Lord.
+        </p>
+        <p align="center">
+            <a name="138"><img src="images/143.jpg" alt=
+            "Jesus Taken Captive."></a><br>
+            Plate 138. <i>Jesus Taken Captive.</i> H. Hofmann.
+            1824-
+        </p>
+        <p>
+            <b>West, Plate 140,</b> represents Peter denying before
+            the maid-servant (John 18:17), evidently the first
+            time, for he was more violent the second time the maid
+            questioned him. (Mark 14:70-71.) The painter has
+            introduced the figure of Jesus to make the picture more
+            intelligible. The maid seems to be asking Jesus if
+            Peter has told the truth.
+        </p>
+        <p align="center">
+            <a name="140"><img src="images/141.jpg" alt=
+            "Peter's Denial of Christ."></a><br>
+            Plate 140. <i>Peter's Denial of Christ.</i> Benjamin
+            West. 1738-1820.
+        </p>
+        <p>
+            <b>Harrach, Plate 139,</b> gives the denial of Peter
+            before the soldiers in the presence of the
+            maid-servant. (Mark 14:54 and 67.) As Peter denies, the
+            cock, above in the branches of a vine, crows as Jesus
+            had predicted. Harrach has seized upon the moment
+            recorded by Luke alone. "And the Lord turned and looked
+            upon Peter." (Luke 22:61.) And Peter remembered, and
+            went out and wept bitterly. (Verse 6.)
+        </p>
+        <p align="center">
+            <a name="139"><img src="images/142.jpg" alt=
+            "Peter's Denial of Christ."></a><br>
+            Plate 139. <i>Peter's Denial of Christ.</i> Graf
+            Harrach.
+        </p>
+        <p>
+            In the morning the trial is continued before Pilate.
+            Probably no one has painted that scene so well as has
+            <b>Munkacsy, Plate 141.</b> The picture is true to the
+            accounts of the evangelists, and is besides a great
+            study of character. The face of Christ is about the
+            only inadequate piece of representation in the whole
+            picture. Munkacsy has evidently followed Luke's
+            account. "And they began to accuse him, saying, We
+            found this man perverting our nation, and forbidding to
+            give tribute to C&aelig;sar." The moment may be that
+            after which Pilate says, "I find no fault in this man,"
+            and the accusers "become more urgent, saying, He
+            stirreth up the people" (Luke 23:4, 5).
+        </p>
+        <p align="center">
+            <a name="141"><img src="images/144.jpg" alt=
+            "Trial Before Pilate."></a><br>
+            Plate 141. <i>Trial Before Pilate.</i> M'Haly Munkacsy.
+            1846-
+        </p>
+        <p>
+            Then the soldiers took Jesus into the Pretorium, and
+            stripped him, and scourged him, and plaited a crown of
+            thorns, and gave him a scarlet robe, and put a reed in
+            his hand. Smiting him again and again on the head, they
+            offered him mock reverence.
+        </p>
+        <p>
+            <b>Guido, Plate 142,</b> portrays Jesus at this time
+            (Matt. 27:27-30). Afterwards Pilate brings Jesus forth
+            to the crowd and says, "Behold the Man." (John 19:5.)
+        </p>
+        <p align="center">
+            <a name="142"><img src="images/145.jpg" alt=
+            "Ecce Homo."></a><br>
+            Plate 142. <i>Ecce Homo.</i> Guido Reni. 1575-1642.
+        </p>
+        <p>
+            <b>Ciseri, Plate 143,</b> takes us upon the colonnade
+            with Pilate and Jesus, and gives us a sense of the mad
+            crowd below&mdash;immense, implacable&mdash;shouting
+            "Crucify him! Crucify him!" (John 19:6.)
+        </p>
+        <p align="center">
+            <a name="143"><img src="images/147.jpg" alt=
+            "Ecce Homo."></a><br>
+            Plate 143. <i>Ecce Homo.</i> Antonio Ciseri. 1825-
+        </p>
+        <p>
+            <b>Hofmann, Plate 144,</b> shows "the man" to us, and
+            says, Behold him! Hofmann too, suggests the angry
+            crowd, and in the distance introduces the three Marys.
+            Both these artists include Pilate's wife in the picture
+            because of Matt. 27:19.
+        </p>
+        <p align="center">
+            <a name="144"><img src="images/146.jpg" alt=
+            "Ecce Homo."></a><br>
+            Plate 144. <i>Ecce Homo.</i> H. Hofmann. 1824-
+        </p>
+        <p>
+            <b>Dor&eacute;, Plate 145,</b> with his love of the
+            extraordinary, has objectified such a dream as he
+            supposes might have caused a Roman matron to 'suffer
+            many things.' She sees the living and the dead, all
+            heaven and hell attendant upon the Christ, and because
+            of this fears for the welfare of her husband if he does
+            not protect so august a person as this mysterious King,
+            whose Kingdom is not of this world.
+        </p>
+        <p align="center">
+            <a name="145"><img src="images/148.jpg" alt=
+            "Pilate's Wife's Dream."></a><br>
+            Plate 145. <i>Pilate's Wife's Dream.</i> Gustave
+            Dor&eacute;. 1833-1883.
+        </p>
+        <h2>
+            THE CRUCIFIXION.
+        </h2>
+        <p>
+            Pilate at last delivered Jesus over to be crucified.
+            "And he went out bearing the cross for himself."
+            Through loss of sleep and loss of blood, worn out with
+            the long agony, Jesus fainted, and fell beneath the
+            load of the cross. They compelled a man whom they met
+            coming in from the country, Simon the Cyrenean, to bear
+            the cross for Jesus, and thus, accompanied by a crowd
+            of people, they came at last to Calvary. The scene
+            which followed has been painted hundreds of times, as a
+            whole, and in detail, sometimes with almost revolting
+            realism, sometimes with fascinating power.
+        </p>
+        <p>
+            <b>Hofmann, Plate 146,</b> represents Jesus carrying
+            the cross to Calvary (John 19:17), and the women who
+            bewailed and lamented him. (Luke 23:27.) The company is
+            just going through the Damascus gate.
+        </p>
+        <p align="center">
+            <a name="146"><img src="images/150.jpg" alt=
+            "Bearing the Cross."></a><br>
+            Plate 146. <i>Bearing the Cross.</i> H. Hofmann. 1824-
+        </p>
+        <p>
+            <b>Thiersch, Plate 147,</b> gives the tragic incident
+            which occurred just outside the gate. Jesus has fallen.
+            He is speaking to the women the words recorded in Luke
+            23:28-31. Calvary is seen in the distance where the
+            crosses for the two thieves have already been placed.
+            There they crucified him between the two thieves.
+        </p>
+        <p align="center">
+            <a name="147"><img src="images/149.jpg" alt=
+            "Bearing the Cross."></a><br>
+            Plate 147. <i>Bearing the Cross.</i> Ludwig Thiersch.
+        </p>
+        <p>
+            <b>Munkacsy, Plate 149,</b> gives us a picture of the
+            retreating soldiers after the awful deed has been done.
+            "The people stood beholding . . . the rulers scoffed at
+            him, the chief priests mocked, the scribes said, He
+            saved others; himself he cannot save." (Luke 23:35, Mark
+            15:31.) Darkness is coming upon the earth. In <b>Plate
+            150,</b> John and the three Marys are at the foot of
+            the cross. (John 19:25.)
+        </p>
+        <p align="center">
+            <a name="149"><img src="images/152.jpg" alt=
+            "The Crucifixion."></a><br>
+            Plate 149. <i>The Crucifixion.</i> M. Munkacsy. 1844-
+        </p>
+        <p align="center">
+            <a name="150"><img src="images/153.jpg" alt=
+            "Christ on the Cross and the Three Marys."></a><br>
+            Plate 150. <i>Christ on the Cross and the Three
+            Marys.</i> M. Munkacsy. 1844-
+        </p>
+        <p>
+            <b>Hofmann, Plate 148,</b> has chosen a later moment.
+            Jesus has committed his mother to the care of John
+            (John 19:26-27), and with the word, "It is finished,"
+            has given up his spirit into his Father's hands. (Luke
+            23:46.) Amid rending rocks and opening tombs the
+            Centurion is saying, "Truly this was the Son of God."
+            (Matt. 27:54.)
+        </p>
+        <p align="center">
+            <a name="148"><img src="images/151.jpg" alt=
+            "The Crucifixion."></a><br>
+            Plate 148. <i>The Crucifixion.</i> H. Hofmann. 1824-
+        </p>
+        <p>
+            <b>Rubens, Plate 151,</b> illustrates most graphically
+            Mark 15:42-47. Joseph of Arimath&aelig;a went boldly to
+            Pilate and asked for the body of Jesus. His request
+            being granted, "he brought a linen cloth, and taking
+            him down, wound him in the linen cloth." (Mark 15:46.)
+            "And there came also Nicodemus, bringing a mixture of
+            myrrh and aloes." So they took the body of Jesus and
+            bound it in linen cloths, with the spices, as the
+            custom of the Jews is to bury. (John 19:39-40.)
+        </p>
+        <p align="center">
+            <a name="151"><img src="images/154.jpg" alt=
+            "Descent from the Cross."></a><br>
+            Plate 151. <i>Descent from the Cross.</i> Rubens.
+            1577-1640.
+        </p>
+        <p>
+            <b>Gerome, Plate 153,</b> has given the most weird and
+            graphic representation of the deserted hill and the
+            doomed city. The supernatural darkness is passing. A
+            flood of lurid light pours upon Calvary, casting the
+            ominous shadows of the crosses towards the retreating
+            multitude. In the distance the livid temple marks the
+            place of the rending veil. (Mark 15:38.)
+        </p>
+        <p align="center">
+            <a name="153"><img src="images/155.jpg" alt=
+            "Golgotha."></a><br>
+            Plate 153. <i>Golgotha.</i> J. L. Gerome. 1824-
+        </p>
+        <p>
+            <b>Morris, Plate 152,</b> has drawn the deserted cross.
+            An unknown woman lifts her little boy that he may see
+            that which was written above the head of Christ. "And
+            there was written, Jesus of Nazareth, The King of the
+            Jews . . . in Hebrew, in Latin, and in Greek." (John
+            19:19-22.)
+        </p>
+        <p align="center">
+            <a name="152"><img src="images/156.jpg" alt=
+            "Whereon They Crucified Him."></a><br>
+            Plate 152. <i>Whereon They Crucified Him.</i> P. R.
+            Morris.
+        </p>
+        <h2>
+            THE BURIAL.
+        </h2>
+        <p>
+            <b>Ciseri, Plate 156,</b> portrays, if not "The
+            grandest funeral that ever passed on earth," certainly
+            the greatest. Joseph of Arimath&aelig;a, Nicodemus, and
+            John the beloved carry the dead Christ. His mother,
+            Mary, the Wonderful, walks by his side. "Is it nothing
+            to you, all ye that pass by? Behold, and see if there
+            be any sorrow like unto my sorrow, which is done unto
+            me, wherewith the Lord hath afflicted me." (Lam. 1:12.)
+            Mary, the wife of Clopas, Mary Magdalene, and probably
+            Mary of Bethany, are the other mourners. "Now in the
+            place where he was crucified there was a garden, and in
+            the garden a new tomb wherein was never man yet laid."
+            (John 19:41.)
+        </p>
+        <p align="center">
+            <a name="156"><img src="images/157.jpg" alt=
+            "Christ Borne to the Tomb."></a><br>
+            Plate 156. <i>Christ Borne to the Tomb.</i> Antonio
+            Ciseri.
+        </p>
+        <p>
+            <b>Hofmann, Plate 155,</b> represents the company
+            entering the rock-hewn tomb. He composes his company
+            differently. The four women are present in the
+            background, but now two of Joseph's servants have
+            arrived to assist the three men who had been carrying
+            the body. There, in the tomb, the body of Jesus was
+            laid (John 19:42).
+        </p>
+        <p align="center">
+            <a name="155"><img src="images/158.jpg" alt=
+            "Entombment."></a><br>
+            Plate 155. <i>Entombment.</i> H. Hofmann. 1824-
+        </p>
+        <p>
+            <b>Hofmann, Plate 154,</b> adds a human touch not found
+            in the records of the evangelists. The last to leave
+            the body are John and the Lord's mother, Mary.
+        </p>
+        <p align="center">
+            <a name="154"><img src="images/159.jpg" alt=
+            "In the Sepulchre."></a><br>
+            Plate 154. <i>In the Sepulchre.</i> H. Hofmann. 1824-
+        </p>
+        <p>
+            <b>Dyce, Plate 158,</b> shows John and Mary with the
+            crown of thorns, on their way to John's own home. (John
+            19:27.) Joseph and Nicodemus are just leaving the
+            garden, while Mary Magdalene and another Mary watch at
+            the tomb. (Mark 15:47.)
+        </p>
+        <p align="center">
+            <a name="158"><img src="images/160.jpg" alt=
+            "John and the Mother of Jesus."></a><br>
+            Plate 158. <i>John and the Mother of Jesus.</i> Wm.
+            Dyce.
+        </p>
+        <p>
+            <b>Dobson, Plate 157,</b> has attempted to express the
+            sorrow of Mary and the solicitude of John as they
+            continue the walk homeward.
+        </p>
+        <p align="center">
+            <a name="157"><img src="images/161.jpg" alt=
+            "John and the Mother of Jesus."></a><br>
+            Plate 157. <i>John and the Mother of Jesus.</i> W. C.
+            T. Dobson.
+        </p>
+        <h2>
+            THE RESURRECTION.
+        </h2>
+        <p>
+            As it began to dawn towards the first day of the week,
+            "there was a great earthquake, for an angel of the Lord
+            descended from heaven, and came and rolled away the
+            stone and sat upon it." (Matt. 28:1-2.)
+        </p>
+        <p>
+            <b>Naack, Plate 159,</b> has designed a panel which
+            presents a synthesis of the various accounts of the
+            resurrection, and adds the symbols of victory and
+            triumph. Other artists have given more literal
+            renderings of particular texts. For example:
+        </p>
+        <p align="center">
+            <a name="159"><img src="images/162.jpg" alt=
+            "The Resurrection."></a><br>
+            Plate 159. <i>The Resurrection.</i> A. Naack.
+        </p>
+        <p>
+            <b>Hofmann, Plate 160,</b> has Mary sitting upon the
+            stone outside the tomb, weeping (John 20:11), and the
+            risen Christ approaching her from behind.
+        </p>
+        <p align="center">
+            <a name="160"><img src="images/163.jpg" alt=
+            "Easter Morning."></a><br>
+            Plate 160. <i>Easter Morning.</i> H. Hofmann. 1824-
+        </p>
+        <p>
+            <b>Di Credi, Plate 162,</b> has selected the instant
+            when Mary, turning, appeals to "the gardener," as she
+            supposes, to show her where the body of Jesus has been
+            hidden. (John 20:14-15.)
+        </p>
+        <p align="center">
+            <a name="162"><img src="images/165.jpg" alt=
+            "Christ Appearing to Magdalene."></a><br>
+            Plate 162. <i>Christ Appearing to Magdalene.</i>
+            Lorenzo Di Credi. 1459-1537.
+        </p>
+        <p>
+            <b>Plockh&ouml;rst, Plate 161,</b> expresses the joyful
+            surprise of Mary when she recognizes her Lord. Jesus is
+            directing her to go to his brethren and say, "I ascend
+            unto my Father and your Father, and my God and your
+            God." (John 20:17.) One hand is held as a warning to
+            Mary not to touch him, the other points upward towards
+            heaven.
+        </p>
+        <p align="center">
+            <a name="161"><img src="images/164.jpg" alt=
+            "Risen Lord and Mary Magdalene."></a><br>
+            Plate 161. <i>Risen Lord and Mary Magdalene.</i> B.
+            Plockh&ouml;rst. 1825-
+        </p>
+        <h2>
+            AFTER THE RESURRECTION.
+        </h2>
+        <p>
+            In the afternoon, after the resurrection, two disciples
+            on the way to Emmaus found themselves accompanied by a
+            stranger with wondrous power as an expositor of
+            scripture. (Luke 24:13-27.)
+        </p>
+        <p>
+            <b>Plockh&ouml;rst, Plate 164,</b> takes us along the
+            road with the three. The speaker is asking, "Was not
+            the Christ bound to undergo all this before entering
+            upon his glory?" (Verse 26.)
+        </p>
+        <p align="center">
+            <a name="164"><img src="images/168.jpg" alt=
+            "Walk to Emmaus."></a><br>
+            Plate 164. <i>Walk to Emmaus.</i> B. Plockh&ouml;rst.
+            1825-
+        </p>
+        <p>
+            <b>Scheffer, Plate 163,</b> shows Mary of Magdala, Mary
+            the mother of James, and another woman who, after their
+            vision at the sepulchre, are on their way to tell the
+            disciples. (Luke 24:9-10.) These are the women whose
+            words seemed to the disciples but idle tales unworthy
+            of belief. (Verse 11.)
+        </p>
+        <p align="center">
+            <a name="163"><img src="images/166.jpg" alt=
+            "Three Marys."></a><br>
+            Plate 163. <i>Three Marys.</i> Ary Scheffer. 1795-1858.
+        </p>
+        <p>
+            <b>Hofmann, Plate 166,</b> shows the two urging the
+            stranger to stop at Emmaus. (Verses 28, 29.)
+        </p>
+        <p align="center">
+            <a name="166"><img src="images/169.jpg" alt=
+            "Walk to Emmaus."></a><br>
+            Plate 166. <i>Walk to Emmaus.</i> H. Hofmann. 1824-
+        </p>
+        <p>
+            <b>F&uuml;rst, Plate 165,</b> shows them inviting him
+            into the house. (Verse 29.)
+        </p>
+        <p align="center">
+            <a name="165"><img src="images/167.jpg" alt=
+            "Walk to Emmaus."></a><br>
+            Plate 165. <i>Walk to Emmaus.</i> M. F&uuml;rst.
+        </p>
+        <p>
+            <b>M&uuml;ller, Plate 167,</b> illustrates verse 30,
+            "he took the bread and blessed it."
+        </p>
+        <p align="center">
+            <a name="167"><img src="images/170.jpg" alt=
+            "Supper at Emmaus."></a><br>
+            Plate 167. <i>Supper at Emmaus.</i> Carl M&uuml;ller.
+            1839-
+        </p>
+        <p>
+            <b>Diethe, Plate 168,</b> shows him in the act of
+            breaking the bread.
+        </p>
+        <p align="center">
+            <a name="168"><img src="images/172.jpg" alt=
+            "Supper at Emmaus."></a><br>
+            Plate 168. <i>Supper at Emmaus.</i> Alfred Diethe.
+            1836-
+        </p>
+        <p>
+            In the picture of <b>Rembrandt, Plate 169,</b> the
+            glory appears, and the disciples recognize the Master
+            "in the breaking of the bread." (Verses 31 and 35.)
+        </p>
+        <p align="center">
+            <a name="169"><img src="images/171.jpg" alt=
+            "Supper at Emmaus."></a><br>
+            Plate 169. <i>Supper at Emmaus.</i> Rembrandt
+            1607-1669.
+        </p>
+        <p>
+            That very evening at Jerusalem, Jesus appeared to the
+            disciples who were gathered in an upper room. Thomas,
+            one of the twelve, was absent, and doubted when the
+            others told him that they had seen the Lord. (John
+            20:24, 25.)
+        </p>
+        <p>
+            Eight days later the disciples were again together,
+            Thomas being with them. Suddenly Jesus stood in the
+            midst. (John 20:26.)
+        </p>
+        <p>
+            <b>Guercino, Plate 170,</b> shows what followed. "Then
+            said he to Thomas, reach hither thy finger and see my
+            hand, and reach hither thy hand and put it into my
+            side; and be not faithless, but believing." (John
+            20:27.) The painter has given Jesus a banner as a
+            symbol of victory, a Christian symbol as old as the
+            catacombs.
+        </p>
+        <p align="center">
+            <a name="170"><img src="images/173.jpg" alt=
+            "&quot;Thomas the Doubter.&quot;"></a><br>
+            Plate 170. <i>"Thomas the Doubter."</i> Guercino.
+            1590-1666.
+        </p>
+        <h2>
+            THE ASCENSION.
+        </h2>
+        <p>
+            At the end of forty days Jesus appeared to the
+            disciples once more, and after giving final
+            instructions as to their future work, "he led them out
+            until they were over against Bethany: and he lifted up
+            his hands and blessed them." (Luke 24:50.)
+        </p>
+        <p>
+            <b>Hofmann, Plate 171,</b> illustrates the next verse.
+            "And it came to pass, while he blessed them, he parted
+            from them, and was carried up into heaven." In Acts the
+            added information is given that "a cloud received him
+            out of their sight." (Acts 1:9.) Luke says, "they
+            worshipped him" (verse 52); but Hofmann has angels
+            worshipping (the "two men" of Acts 1:10), for the
+            disciples are too greatly astonished to worship just
+            then.
+        </p>
+        <p align="center">
+            <a name="171"><img src="images/174.jpg" alt=
+            "The Ascension."></a><br>
+            Plate 171. <i>The Ascension.</i> H. Hofmann. 1824-
+        </p>
+        <p>
+            <b>Rembrandt, Plate 172,</b> emphasizes the glory of it
+            all. The prayer of Christ (John 17:5), is answered, the
+            promise of God (John 12:28), is fulfilled. The Spirit
+            which appeared at the baptism of Jesus in the form of a
+            dove, descending upon him as he began his ministry,
+            here descends again as he enters the heavens where he
+            ever liveth to make intercession for us.
+        </p>
+        <p align="center">
+            <a name="172"><img src="images/175.jpg" alt=
+            "The Ascension."></a><br>
+            Plate 172. <i>The Ascension.</i> Rembrandt. 1607-1666.
+        </p><br>
+        <br>
+        <p class="end">
+            And many other such pictures have been painted, which
+            are not given in this book; but these are given that ye
+            may be helped to see Jesus the Christ, the Son of God,
+            and that seeing ye may believe and have life in his
+            name.
+        </p><br>
+        <br>
+        <p>
+            <b>Write the vision, and make it plain upon tables,
+            that he may run that readeth it.</b>
+        </p>
+        <p class="end2">
+            <b>HABAKKUK 2:2.</b>
+        </p><br>
+        <br>
+        <br>
+        <h1>
+            INDEX BY TITLES OF PICTURES.
+        </h1>
+        <table>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#23">Adoration of the Kings</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        MALDINI
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#21">Adoration of the Magi</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        LUINI
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        <a href="#22">VERONESE</a>
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#92">Adulterous Woman</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        SIGNOL
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#135">Agony in the Garden</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        DOLCI
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#14">Angels and the Shepherds</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        PLOCKH&Ouml;RST
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#1a">Annunciation</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        TITIAN
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#5">Annunciation to Mary</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        BAROCCIO
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        <a href="#4">DOSSO</a>
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        <a href="#1">HOFMANN</a>
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        <a href="#3">M&Uuml;LLER</a>
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        <a href="#2">RENI</a>
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#75">Anointing Feet of Jesus</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        HOFMANN
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#11">Arrival of the Shepherds</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        LEROLLE
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#171">Ascension</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        HOFMANN
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        <a href="#172">REMBRANDT</a>
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#146">Bearing the Cross</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        HOFMANN
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        <a href="#147">THIERSCH</a>
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#94">Behold, I stand at the Door
+                        and Knock</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        OVERBECK
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#46">Behold the Lamb of God</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        BIDA
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#114">Bethany</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        HOFMANN
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#13">Bethlehem</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        HOFMANN
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#7">Birth of John</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        ANGELICO
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#57">Calling of Matthew</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        BIDA
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        <a href="#58">CHIMENTI</a>
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        <a href="#59">PORDENONE</a>
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#86">Canaanitish Woman</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        VECCHIO
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#68">Centurion's Servant</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        VERONESE
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#36">Christ among the Doctors</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        LAFON
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#84">Christ and St. Peter</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        PLOCKH&Ouml;RST
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        <a href="#85">SCHWARTZ</a>
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#47">Christ and the Fishermen</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        ZIMMERMANN
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#91">Christ and the Sinner</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        HOFMANN
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#112">Christ and the Young
+                        Ruler</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        HOFMANN
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#121">Christ and Zebedee's
+                        Children</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        BONIFAZIO
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#162">Christ Appearing to
+                        Magdalene</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        DI CREDI
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#109">Christ Blessing Little
+                        Children</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        HOFMANN
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        <a href="#110">PLOCKH&Ouml;RST</a>
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        <a href="#111">VOGEL</a>
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#156">Christ Borne to the Tomb</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        CISERI
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#51">Christ Casting out the
+                        Money-changers</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        KIRCHBUCK
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#37">Christ Disputing in the
+                        Temple</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        DOBSON
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#38">Christ Disputing with the
+                        Doctors</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        HOFMANN
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#87">Christ Giving Keys to St.
+                        Peter</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        RENI
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#113">Christ in the House of Mary
+                        and Martha</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        ALLORI
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#150">Christ on the Cross and the
+                        Three Marys</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        MUNKACSY
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#80">Christ Raising the Daughter
+                        of Jairus</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        RICHTER
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#88">Christ's Charge to St.
+                        Peter</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        RAPHAEL
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#41">Christ Taking Leave of His
+                        Mother</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        PLOCKH&Ouml;RST
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#99">Christ the Consoler</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        PLOCKH&Ouml;RST
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#124">Christ Weeps Over
+                        Jerusalem</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        EASTLAKE
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#67">Consider the Lilies</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        LE JEUNE
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#129">Conspiracy against Jesus</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        BIDA
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#148">Crucifixion</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        HOFMANN
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        <a href="#149">MUNKACSY</a>
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#79">Daughter of Jairus</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        HOFMANN
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#90">Demoniac Boy</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        RAPHAEL
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#151">Descent from the Cross</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        RUBENS
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#160">Easter Morning</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        HOFMANN
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#143">Ecce Homo</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        CISERI
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        <a href="#144">HOFMANN</a>
+                    </p><a href="#144"></a>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        <a href="#142">RENI</a>
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#155">Entombment</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        HOFMANN
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#35">Finding of Christ in the
+                        Temple</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        HUNT
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#26">Flight into Egypt</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        F&Uuml;RST
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        <a href="#25">HOFMANN</a>
+                    </p><a href="#25"></a>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        <a href="#27">PLOCKH&Ouml;RST</a>
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#153">Golgotha</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        GEROME
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#100">Good Samaritan</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        DOR&Eacute;
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        <a href="#101">SIEMENROTH</a>
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#116">Good Shepherd</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        PLOCKH&Ouml;RST
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        <a href="#117">SCH&Ouml;NHERR</a>
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#82">Head of John the Baptist in a
+                        Charger</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        RENI
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#60">Healing of the Impotent
+                        Man</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        BIDA
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        <a href="#61">VAN LINT</a>
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#70">Healing the Sick</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        HOFMANN
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        <a href="#69">SCH&Ouml;NHERR</a>
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#71">Healing the Sick Child</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        MAX
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#33">Holy Family</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        MURILLO
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#9">Holy Night</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        CORREGGIO
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#93">I am the Light of the
+                        World</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        HUNT
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#31">Infancy of Christ</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        HOFMANN
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#154">In the Sepulchre</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        HOFMANN
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#39">In the Temple</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        HOFMANN
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#63">Jesus and His Disciples Going
+                        through Cornfield</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        DOR&Eacute;
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#97">Jesus and the Child</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        BALLHEIM
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#125">Jesus and the Tribute
+                        Money</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        DOR&Eacute;
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#56">Jesus and the Woman of
+                        Samaria</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        BILIVERTI
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        <a href="#54">DOR&Eacute;</a>
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        <a href="#55">HOFMANN</a>
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#115">Jesus Anoints the Blind
+                        Man's Eyes</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        THEOTOCOPULI
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#136">Jesus in Gethsemane</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        HOFMANN
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#73">Jesus in the House of
+                        Simon</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        VERONESE
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#34">Jesus on His Way to
+                        Jerusalem</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        MENGELBERG
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#76">Jesus Preaches from a
+                        Boat</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        HOFMANN
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#138">Jesus Taken Captive</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        HOFMANN
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#48">Jesus Walking by the Sea</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        GRUNEWALD
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#133">Jesus Washes the Disciples'
+                        Feet</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        BROWN
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#157">John and the Mother of
+                        Jesus</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        DOBSON
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        <a href="#158">DYCE</a>
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#42">John the Baptist</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        SARTO
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#43">John the Baptist
+                        Preaching</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        TITIAN
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#8">Joseph and Mary; Arrival at
+                        Bethlehem</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        MERSON
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#24">Joseph's Dream</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        CRESPI
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#137">Kiss of Judas</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        SCHEFFER
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#132">Last Supper</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        BIDA
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        <a href="#130">HOFMANN</a>
+                    </p><a href="#130"></a>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        <a href="#131">VINCI</a>
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#103">Lost Piece of Money</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        MILLAIS
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#102">Lost Sheep</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        MOLITOR
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#32">Madonna and Child</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        MURILLO
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#74">Magdalen</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        RUBENS
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#50">Marriage Feast</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        VERONESE
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#6">Mary's Visit to Elizabeth</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        ALBERTINELLI
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#83">Miracle of the Loaves and
+                        Fishes</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        MURILLO
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#49">Miraculous Draught of
+                        Fishes</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        RAPHAEL
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#10">Nativity</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        BOUGUEREAU
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        <a href="#12">M&Uuml;LLER</a>
+                    </p><a href="#12"></a>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#53">Nicodemus' Visit to Jesus</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        UNKNOWN
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#77">Parable of the Sower</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        ROBERT
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#128">Parable of the Virgins</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        POLOTY
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#78">Peace, be still</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        DOR&Eacute;
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#139">Peter's Denial of Christ</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        HARRACH
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        <a href="#140">WEST</a>
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#108">Pharisee and Publican</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        DOR&Eacute;
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#145">Pilate's Wife's Dream</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        DOR&Eacute;
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#66">Prayer in Secret</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        BIDA
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#19">Presentation at the
+                        Temple</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        BARTOLOMMEO
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        <a href="#16">BORGOGNONE</a>
+                    </p><a href="#16"></a>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        <a href="#17">BOURDON</a>
+                    </p><a href="#17"></a>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        <a href="#15">CHAMPAIGNE</a>
+                    </p><a href="#15"></a>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        <a href="#18">FATTORINO</a>
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#104">Prodigal Son</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        DOR&Eacute;
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        <a href="#106">DUBUFE</a>
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        <a href="#105">MOLITOR</a>
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#52">Purification of the
+                        Temple</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        HOFMANN
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#118">Raising of Lazarus</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        BONIFAZIO
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        <a href="#119">PIOMBO</a>
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        <a href="#120">RUBENS</a>
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#81">Raising the Daughter of
+                        Jairus</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        KELLER
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#72">Raising the Widow's Son</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        HOFMANN
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#28">Repose in Egypt</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        BENZ
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        <a href="#29">MERSON</a>
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#159">Resurrection</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        NAACK
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#107">Rich Man and Lazarus</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        DOR&Eacute;
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#161">Risen Lord and Mary
+                        Magdalene</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        PLOCKH&Ouml;RST
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#65">Sermon on the Mount</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        DOR&Eacute;
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        <a href="#64">HOFMANN</a>
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#40">Shadow of Death</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        HUNT
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#30">Shadow of the Cross</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        MORRIS
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#168">Supper at Emmaus</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        DIETHE
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        <a href="#167">M&Uuml;LLER</a>
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        <a href="#169">REMBRANDT</a>
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#62">Talking with Lame Man,
+                        Bethesda</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        VAN DYCK
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#45">Temptation</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        HOFMANN
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#44">Temptation of Christ</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        SCHEFFER
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#170">Thomas the Doubter</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        GUERCINO
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#163">Three Marys</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        SCHEFFER
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#89">Transfiguration</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        RAPHAEL
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#141">Trial before Pilate</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        MUNKACSY
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#96">Tribute Money</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        VAN DYCK
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#126">Tribute to C&aelig;sar</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        TITIAN
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#123">Triumphal Entry</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        DEGER
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#165">Walk to Emmaus</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        F&Uuml;RST
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        <a href="#166">HOFMANN</a>
+                    </p><a href="#166"></a>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        &nbsp;
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        <a href="#164">PLOCKH&Ouml;RST</a>
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#152">Whereon they Crucified
+                        Him</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        MORRIS
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#127">Widow's Mite</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        DOR&Eacute;
+                    </p>
+                </td>
+            </tr>
+            <tr>
+                <td>
+                    <p>
+                        <a href="#20">Worship of the Magi</a>
+                    </p>
+                </td>
+                <td>
+                    <p>
+                        HOFMANN
+                    </p>
+                </td>
+            </tr>
+        </table><br>
+        <hr width="30%">
+        <p>
+            NOTE.&mdash;The "Wilde Bible Pictures," from which are
+            selected the pictures illustrating "The Great Painters'
+            Gospel," are two-and-one-half times as large as the
+            reduction herein used. A catalogue of these penny
+            pictures will be furnished on application to the
+            publishers.
+        </p><br>
+        <br>
+        <br>
+        <h1>
+            INDEX BY ARTISTS.
+        </h1>
+        <p>
+            <b>Albertinelli.</b><br>
+            <a href="#6">Mary's Visit to Elisabeth</a>
+        </p>
+        <p>
+            <b>Allori.</b><br>
+            <a href="#113">Christ in the house of Mary and
+            Martha</a>
+        </p>
+        <p>
+            <b>Angelico, Fra.</b><br>
+            <a href="#7">Birth of John</a>
+        </p>
+        <p>
+            <b>Ballheim.</b><br>
+            <a href="#97">Jesus and the Child</a>
+        </p>
+        <p>
+            <b>Baroccio.</b><br>
+            <a href="#5">Annunciation to Mary</a>
+        </p>
+        <p>
+            <b>Bartolommeo, Fra.</b><br>
+            <a href="#18">Presentation at the Temple</a>
+        </p>
+        <p>
+            <b>Benz, S.</b><br>
+            <a href="#28">Repose in Egypt</a>
+        </p>
+        <p>
+            <b>Bida, Alexandre.</b><br>
+            <a href="#46">Behold the Lamb of God</a><br>
+            <a href="#57">Calling of Matthew</a><br>
+            <a href="#129">Conspiracy against Jesus</a><br>
+            <a href="#60">Healing of the Impotent Man</a><br>
+            <a href="#132">Last Supper</a><br>
+            <a href="#66">Prayer in Secret</a>
+        </p>
+        <p>
+            <b>Biliverti.</b><br>
+            <a href="#56">Jesus and the Woman of Samaria</a>
+        </p>
+        <p>
+            <b>Bonifazio.</b><br>
+            <a href="#121">Christ and Zebedee's Children</a><br>
+            <a href="#118">Raising of Lazarus</a>
+        </p>
+        <p>
+            <b>Borgognone.</b><br>
+            <a href="#16">Presentation at the Temple</a>
+        </p>
+        <p>
+            <b>Bourdon, Sebastien.</b><br>
+            <a href="#17">Presentation at the Temple</a>
+        </p>
+        <p>
+            <b>Bouguereau, W. A.</b><br>
+            <a href="#10">Nativity</a>
+        </p>
+        <p>
+            <b>Brown, Ford Madox.</b><br>
+            <a href="#133">Jesus Washes the Disciples' Feet</a>
+        </p>
+        <p>
+            <b>Champaigne.</b><br>
+            <a href="#15">Presentation at the Temple</a>
+        </p>
+        <p>
+            <b>Chimenti, Jacopo.</b><br>
+            <a href="#58">Calling of Matthew</a>
+        </p>
+        <p>
+            <b>Ciseri, Antonio.</b><br>
+            <a href="#156">Christ borne to the tomb</a><br>
+            <a href="#143">Ecce Homo</a>
+        </p>
+        <p>
+            <b>Correggio.</b><br>
+            <a href="#9">Holy Night</a>
+        </p>
+        <p>
+            <b>Crespi, Daniele.</b><br>
+            <a href="#24">Joseph's Dream</a>
+        </p>
+        <p>
+            <b>Deger, Ernest.</b><br>
+            <a href="#123">Triumphal Entry</a>
+        </p>
+        <p>
+            <b>Di Credi, Lorenzo.</b><br>
+            <a href="#162">Christ appearing to Magdalene</a>
+        </p>
+        <p>
+            <b>Diethe, Alfred.</b><br>
+            <a href="#168">Supper at Emmaus</a>
+        </p>
+        <p>
+            <b>Dobson, W. C. T.</b><br>
+            <a href="#37">Christ disputing in the Temple</a><br>
+            <a href="#157">John and the Mother of Jesus</a>
+        </p>
+        <p>
+            <b>Dolci, Carlo.</b><br>
+            <a href="#135">Agony in the Garden</a>
+        </p>
+        <p>
+            <b>Dor&eacute;, Gustave.</b><br>
+            <a href="#100">Good Samaritan</a><br>
+            <a href="#63">Jesus and His Disciples Going Through
+            Cornfield</a><br>
+            <a href="#125">Jesus and the Tribute Money</a><br>
+            <a href="#54">Jesus and the Woman of Samaria</a><br>
+            <a href="#78">Peace, Be Still</a><br>
+            <a href="#108">Pharisee and Publican</a><br>
+            <a href="#145">Pilate's Wife's Dream</a><br>
+            <a href="#104">Prodigal Son</a><br>
+            <a href="#107">Rich Man and Lazarus</a><br>
+            <a href="#65">Sermon on the Mount</a><br>
+            <a href="#127">Widow's Mite</a>
+        </p>
+        <p>
+            <b>Dosso, Dossi.</b><br>
+            <a href="#4">Annunciation to Mary</a>
+        </p>
+        <p>
+            <b>Dubufe, E.</b><br>
+            <a href="#106">Prodigal Son</a>
+        </p>
+        <p>
+            <b>Dyce, William.</b><br>
+            <a href="#158">John and the Mother of Jesus</a>
+        </p>
+        <p>
+            <b>Eastlake, Sir Charles.</b><br>
+            <a href="#124">Christ Weeps Over Jerusalem</a>
+        </p>
+        <p>
+            <b>Fattorino, Bartolommeo Del.</b><br>
+            <a href="#18">Presentation at the Temple</a>
+        </p>
+        <p>
+            <b>F&uuml;rst, M.</b><br>
+            <a href="#26">Flight into Egypt<br></a> <a href=
+            "#165">Walk to Emmaus</a>
+        </p>
+        <p>
+            <b>Gerome, J. L.</b><br>
+            <a href="#153">Golgotha</a>
+        </p>
+        <p>
+            <b>Gr&uuml;newald, M.</b><br>
+            <a href="#48">Jesus Walking by the Sea</a>
+        </p>
+        <p>
+            <b>Guercino.</b><br>
+            <a href="#170">Thomas the Doubter</a>
+        </p>
+        <p>
+            <b>Harrach, Graf.</b><br>
+            <a href="#139">Peter's Denial of Christ</a>
+        </p>
+        <p>
+            <b>Hofmann</b><br>
+            <a href="#75">Anointing feet of Jesus</a><br>
+            <a href="#1">Annunciation to Mary</a><br>
+            <a href="#171">Ascension</a><br>
+            <a href="#146">Bearing the Cross</a><br>
+            <a href="#114">Bethany</a><br>
+            <a href="#13">Bethlehem</a><br>
+            <a href="#91">Christ and the Sinner</a><br>
+            <a href="#112">Christ and the Young Ruler</a><br>
+            <a href="#109">Christ Blessing Little Children</a><br>
+            <a href="#38">Christ Disputing with the Doctors</a><br>
+            <a href="#148">Crucifixion</a><br>
+            <a href="#79">Daughter of Jairus</a><br>
+            <a href="#160">Easter Morning</a><br>
+            <a href="#144">Ecce Homo</a><br>
+            <a href="#155">Entombment</a><br>
+            <a href="#25">Flight into Egypt</a><br>
+            <a href="#70">Healing the Sick</a><br>
+            <a href="#31">Infancy of Christ</a><br>
+            <a href="#154">In the Sepulchre</a><br>
+            <a href="#39">In the Temple</a><br>
+            <a href="#55">Jesus and the Woman of Samaria</a><br>
+            <a href="#136">Jesus in Gethsemane</a><br>
+            <a href="#76">Jesus Preaches from a Boat</a><br>
+            <a href="#138">Jesus taken Captive</a><br>
+            <a href="#130">Last Supper</a><br>
+            <a href="#52">Purification of the Temple</a><br>
+            <a href="#72">Raising the Widow's Son</a><br>
+            <a href="#64">Sermon on the Mount</a><br>
+            <a href="#45">Temptation</a><br>
+            <a href="#166">Walk to Emmaus</a><br>
+            <a href="#20">Worship of the Magi</a>
+        </p>
+        <p>
+            <b>Hunt, Holman.</b><br>
+            <a href="#35">Finding of Christ in the Temple</a><br>
+            <a href="#93">I am the Light of the World</a><br>
+            <a href="#40">Shadow of Death</a>
+        </p>
+        <p>
+            <b>Keller, A.</b><br>
+            <a href="#81">Raising the Daughter of Jairus</a>
+        </p>
+        <p>
+            <b>Kirchbuch, F</b><br>
+            <a href="#51">Christ Casting out the Money-changers</a>
+        </p>
+        <p>
+            <b>Lafon, &Eacute;mile, J.</b><br>
+            <a href="#36">Christ among the Doctors</a>
+        </p>
+        <p>
+            <b>Le Jeune, Henry.</b><br>
+            <a href="#67">Consider the Lilies</a>
+        </p>
+        <p>
+            <b>Lerolle, Henry.</b><br>
+            <a href="#11">Arrival of the Shepherds</a>
+        </p>
+        <p>
+            <b>Luini.</b><br>
+            <a href="#21">Adoration of the Magi</a>
+        </p>
+        <p>
+            <b>Maldini, Battista.</b><br>
+            <a href="#23">Adoration of the Kings</a>
+        </p>
+        <p>
+            <b>Max, Gabriel.</b><br>
+            <a href="#71">Healing the Sick Child</a>
+        </p>
+        <p>
+            <b>Mengleberg.</b><br>
+            <a href="#34">Jesus, Twelve Years Old, on his Way to
+            Jerusalem</a>
+        </p>
+        <p>
+            <b>Merson, Oliver L.</b><br>
+            <a href="#8">Joseph and Mary at Bethlehem</a><br>
+            <a href="#29">Repose in Egypt</a>
+        </p>
+        <p>
+            <b>Millais, Sir John.</b><br>
+            <a href="#103">Lost Piece of Money</a>
+        </p>
+        <p>
+            <b>Molitor, Franz.</b><br>
+            <a href="#102">Lost Sheep</a><br>
+            <a href="#105">Prodigal Son</a>
+        </p>
+        <p>
+            <b>Morris, P. R.</b><br>
+            <a href="#30">Shadow of the Cross</a><br>
+            <a href="#152">Whereon they Crucified Him</a>
+        </p>
+        <p>
+            <b>M&uuml;ller, Carl.</b><br>
+            <a href="#12">Nativity<br></a> <a href="#167">Supper at
+            Emmaus</a>
+        </p>
+        <p>
+            <b>M&uuml;ller, Franz.</b><br>
+            <a href="#3">Annunciation to Mary</a>
+        </p>
+        <p>
+            <b>Munkacsy.</b><br>
+            <a href="#150">Christ on the Cross and the Three
+            Marys</a><br>
+            <a href="#149">Crucifixion</a><br>
+            <a href="#141">Trial before Pilate</a>
+        </p>
+        <p>
+            <b>Murillo.</b><br>
+            <a href="#33">Holy Family</a><br>
+            <a href="#32">Madonna and Child</a><br>
+            <a href="#83">Miracle of the Loaves and Fishes</a>
+        </p>
+        <p>
+            <b>Naack, A.</b><br>
+            <a href="#159">Resurrection</a>
+        </p>
+        <p>
+            <b>Overbeck.</b><br>
+            <a href="#94">Behold, I Stand at the Door and Knock</a>
+        </p>
+        <p>
+            <b>Piombo, Sebastian del.</b><br>
+            <a href="#119">Raising of Lazarus</a>
+        </p>
+        <p>
+            <b>Plockh&ouml;rst.</b><br>
+            <a href="#14">Angels and the Shepherds</a><br>
+            <a href="#84">Christ and St. Peter</a><br>
+            <a href="#110">Christ Blessing Little Children</a><br>
+            <a href="#41">Christ Taking Leave of His Mother</a><br>
+            <a href="#99">Christ the Consoler</a><br>
+            <a href="#27">Flight into Egypt</a><br>
+            <a href="#116">Good Shepherd</a><br>
+            <a href="#161">Risen Lord and Mary Magdalene</a><br>
+            <a href="#164">Walk to Emmaus</a>
+        </p>
+        <p>
+            <b>Poloty, Theodore von</b><br>
+            <a href="#128">Parable of the Virgins</a>
+        </p>
+        <p>
+            <b>Pordenone, Giovanni.</b><br>
+            <a href="#59">Calling of Matthew</a>
+        </p>
+        <p>
+            <b>Raphael.</b><br>
+            <a href="#88">Christ's Charge to St. Peter</a><br>
+            <a href="#90">Demoniac Boy</a><br>
+            <a href="#49">Miraculous Draught of Fishes</a><br>
+            <a href="#89">Transfiguration</a>
+        </p>
+        <p>
+            <b>Rembrandt.</b><br>
+            <a href="#172">Ascension</a><br>
+            <a href="#169">Supper at Emmaus</a>
+        </p>
+        <p>
+            <b>Reni, Guido.</b><br>
+            <a href="#2">Annunciation to Mary</a><br>
+            <a href="#87">Christ Giving Keys to St. Peter</a><br>
+            <a href="#142">Ecce Homo</a><br>
+            <a href="#82">Head of John the Baptist in a Charger</a>
+        </p>
+        <p>
+            <b>Richter, Gustav.</b><br>
+            <a href="#80">Christ Raising the Daughter of Jairus</a>
+        </p>
+        <p>
+            <b>Robert, H. L.</b><br>
+            <a href="#77">Parable of the Sower</a>
+        </p>
+        <p>
+            <b>Rubens.</b><br>
+            <a href="#151">Descent from the Cross</a><br>
+            <a href="#74">Magdalen</a><br>
+            <a href="#120">Raising of Lazarus</a>
+        </p>
+        <p>
+            <b>Sarto, Andrea del.</b><br>
+            <a href="#42">John the Baptist</a>
+        </p>
+        <p>
+            <b>Scheffer, Ary.</b><br>
+            <a href="#137">Kiss of Judas</a><br>
+            <a href="#44">Temptation of Christ</a><br>
+            <a href="#163">Three Marys</a>
+        </p>
+        <p>
+            <b>Sch&ouml;nherr, Karl.</b><br>
+            <a href="#117">Good Shepherd</a><br>
+            <a href="#69">Healing the Sick</a>
+        </p>
+        <p>
+            <b>Schwartz.</b><br>
+            <a href="#85">Christ and St. Peter</a>
+        </p>
+        <p>
+            <b>Siemenroth, K.</b><br>
+            <a href="#101">Good Samaritan</a>
+        </p>
+        <p>
+            <b>Signol, Emile.</b><br>
+            <a href="#92">Adulterous Woman</a>
+        </p>
+        <p>
+            <b>Theotocopuli.</b><br>
+            <a href="#115">Jesus Anoints the Blind Man's Eyes</a>
+        </p>
+        <p>
+            <b>Thiersch, Ludwig.</b><br>
+            <a href="#147">Bearing the Cross</a>
+        </p>
+        <p>
+            <b>Titian.</b><br>
+            <a href="#1a">Annunciation<br></a> <a href="#43">John
+            the Baptist Preaching</a><br>
+            <a href="#126">Tribute to C&aelig;sar</a>
+        </p>
+        <p>
+            <b>Unknown Artist.</b><br>
+            <a href="#53">Nicodemus' Visit to Jesus</a>
+        </p>
+        <p>
+            <b>Van Dyck.</b><br>
+            <a href="#62">Talking with Lame Man, Bethesda</a><br>
+            <a href="#96">Tribute Money</a>
+        </p>
+        <p>
+            <b>Van Lint, Peter.</b><br>
+            <a href="#61">Healing of the Impotent Man</a>
+        </p>
+        <p>
+            <b>Vecchio, Palma.</b><br>
+            <a href="#86">Canaanitish Woman</a>
+        </p>
+        <p>
+            <b>Veronese, Bonifazio.</b><br>
+            <a href="#22">Adoration of the Magi</a>
+        </p>
+        <p>
+            <b>Veronese, Paolo.</b><br>
+            <a href="#68">Centurion's Servant</a><br>
+            <a href="#50">Marriage Feast</a><br>
+            <a href="#73">Jesus in the House of Simon</a>
+        </p>
+        <p>
+            <b>Vinci, Leonardo Da.</b><br>
+            <a href="#131">Last Supper</a>
+        </p>
+        <p>
+            <b>Vogel, Carlo.</b><br>
+            <a href="#111">Christ Blessing Little Children</a>
+        </p>
+        <p>
+            <b>West, Benjamin.</b><br>
+            <a href="#140">Peter's Denial of Christ</a>
+        </p>
+        <p>
+            <b>Zimmermann, Ernst K.G.</b><br>
+            <a href="#47">Christ and the Fishermen</a>
+        </p>
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
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+Project Gutenberg's The Great Painters' Gospel, by Henry Turner Bailey
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Great Painters' Gospel
+       Pictures Representing Scenes and Incidents in the Life of
+       Our Lord Jesus Christ
+
+Author: Henry Turner Bailey
+
+Release Date: January 5, 2012 [EBook #38500]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE GREAT PAINTERS' GOSPEL ***
+
+
+
+
+Produced by Michael Gray, Diocese of San Jose
+
+
+
+
+[Illustration: "I am the Light of the World"]
+Holman Hunt. 1827-
+_"I am the Light of the World."_
+
+
+
+  THE
+  GREAT PAINTERS' GOSPEL
+
+  PICTURES
+  representing scenes and
+  incidents in the life of
+  Our Lord Jesus Christ
+
+  _With scriptural quotations, references and suggestions for
+comparative study_
+
+  By HENRY TURNER BAILEY
+
+  W A WILDE COMPANY
+  BOSTON MASS
+  USA
+
+
+
+  COPYRIGHT 1900 BY
+  W. A. WILDE COMPANY
+  All rights reserved
+
+
+
+
+TABLE OF CONTENTS.
+
+Introductory.
+
+The Annunciation.
+
+  "Hail Mary"                             Luke 1:28   TITIAN
+  "Blessed art thou among women"          Luke 1:28   HOFMANN
+  "Thou hast found favor with God"        Luke 1:28   RENI
+  "How shall this be?"                    Luke 1:34   BAROCCIO
+  "The Holy Ghost shall come upon thee"   Luke 1:35   DOSSO
+  "Let it be unto me according to thy     Luke 1:38   MUeLLER
+    word"
+
+The Salutation.
+
+  Mary saluting Elizabeth                 Luke 1:40   ALBERTINELLI
+
+The Birth of John.
+
+  "His name is John"                      Luke 1:63   FRA ANGELICO
+
+
+Childhood.
+
+Nativity.
+
+  "No room for them in the inn"           Luke 2:7    MERSON
+  "The angel of the Lord came upon them"  Luke 2:9    PLOeCKHORST
+  "Glory to God in the highest"           Luke 2:14   HOFMANN
+  "Found Mary and Joseph and the babe"    Luke 2:16   LEROLLE
+  "Wondered at those things"              Luke 2:18   CORREGGIO
+                                                      BOUGUEREAU
+                                                      MUeLLER
+
+Presentation.
+
+  "Now lettest thou thy servant depart    Luke 2:29   FATTORINO
+    in peace"
+  "This child is set for the falling      Luke 2:34   CHAMPAIGNE
+    and rising up of many in Israel"
+  "A sword shall pierce thine own soul"   Luke 2:35   BORGOGNONE
+  Anna coming up at that instant          Luke 2:38   BOURDON
+                                                      BARTOLOMMEO
+
+Adoration of Magi.
+
+  The star stood over the child           Matt. 2:9   HOFMANN
+  They came to the house                  Matt. 2:11  MALDINI
+  And they worshipped the child           Matt. 2:11  LUINI
+  And gave unto him gifts                 Matt. 2:11  BONIFAZIO
+
+Flight into Egypt.
+
+  An angel appeared to Joseph in a dream  Matt. 2:13  CRESPI
+  He arose and departed                   Matt. 2:14  FUeRST
+  With the child and his mother           Matt. 2:14  PLOCKHOeRST
+  Guided by the angel                                 HOFMANN
+  Into Egypt                              Matt. 2:14  BENZ
+  In Egypt                                            MERSON
+  Was there till the death of Herod       Matt. 2:15  MORRIS
+
+Return to Nazareth.
+
+  Mother and child                                    MURILLO
+  "Grace of God was upon him"             Luke 2:40   MURILLO
+  Daily life at Nazareth                              HOFMANN
+
+
+Youth.
+
+Visit to Jerusalem.
+
+  "They went up to Jerusalem"             Luke 2:42   MENGELBERG
+  In the midst of the doctors             Luke 2:46   HOFMANN
+                                                      LAFON
+  "When they saw him they were amazed"    Luke 2:48   DOBSON
+  "Son, why hast thou thus dealt with     Luke 2:48   HUNT
+    us?"
+
+Silent Years at Home.
+
+  The carpenter's son                                 HUNT
+  "Breaking home ties"                                PLOCKHOeRST
+  [The youthful John]                     Luke 1:80   DEL SARTO
+  [The forerunner]                        Matt. 3:1-4 TITIAN
+
+
+Manhood.
+
+Temptation.
+
+  "Worship the Lord thy God"              Matt. 4:10  SCHEFFER
+  "Left him and behold angels came"       Matt. 4:11  HOFMANN
+
+Beginning of Public Service.
+
+  "Behold the Lamb of God"                John 1:29   BIDA
+  "Jesus as he walked"                    John 1:36   GRUeNEWALD
+  A marriage in Cana                      John 2:1    VERONESE
+
+Early Judean Ministry.
+
+  Cleansing the temple                                KIRCHBUCK
+  "He drove them all out"                 John 2:15   HOFMANN
+  Visit of Nicodemus                      John 3:1-21 UNKNOWN
+
+Return through Samaria.
+
+  "Thou wouldst have asked of him"        John 4:10   BILIVERTI
+  "Worship the Father in spirit and       John 4:23   DORE
+    truth"
+  "God is a Spirit"                       John 4:24   HOFMANN
+
+Call of the Four.
+
+  "I will make you fishers of men"        Matt. 4:19  ZIMMERMAN
+  "Depart from me for I am a sinful man"  Luke 5:8    RAPHAEL
+
+Early Galilean Ministry.
+
+  "He healed all that were sick"          Matt. 8:16  SCHOeNHERR
+                                                      HOFMANN
+                                                      MAX
+  Calling of Matthew                      Matt. 9:9   CHIMENTI
+  "Sitting at the receipt of custom"      Matt. 9:9   PORDENONE
+  "Follow me"                             Matt. 9:9   BIDA
+
+At Jerusalem Again.
+
+  "Jesus saith unto him, 'Rise'"         John 5:8     BIDA
+  "He took up his bed and walked"        John 5:9     VAN LINT
+  "Afterward, Jesus findeth him"         John 5:14    VAN DYCK
+  Discussion in cornfield                Matt. 12:1-8 DORE
+
+Sermon on the Mount.
+
+  Christ preaching                                    DORE
+  Giving beatitudes                      Matt. 5:1-12 HOFMANN
+  "Consider the lilies of the field"     Matt. 6:28   LE JEUNE
+  Prayer in secret                       Matt. 6:6    BIDA
+
+Second Tour of Galilee.
+
+  The Centurion's servant                 Matt. 8:5-13 VERONESE
+  Raising the widow's son                 Luke 7:11-17 HOFMANN
+  Jesus in the house of Simon                          VERONESE
+  "Kissed his feet"                       Luke 7:38    RUBENS
+  "Thy sins are forgiven"                 Luke 7:48    HOFMANN
+  "He entered into a boat"                Mark 4:1     HOFMANN
+  Parable of the sower                    Mark 4:3-9   ROBERT
+  Stilling of the tempest                 Mark 4:35-41 DORE
+  Raising of Jairus' daughter                          RICHTER
+  "Taking the child by the hand"          Mark 5:41    HOFMANN
+  "Straightway she rose up"               Mark 5:42    KELLER
+
+Death of John the Baptist.
+
+  "The damsel gave it to her mother"      Mark 6:28   RENI
+
+Feeding of the Five Thousand
+
+  Blessing the food                       John 6:11   MURILLO
+
+Jesus Walking on the Water
+
+  "Lord, save me"                         Matt. 14:30 SCHWARTZ
+  "Wherefore didst thou doubt?"           Matt. 14:31 PLOCKHOeRST
+
+Trip into Phoenicia.
+
+  Canaanitish woman                    Matt. 15:21-28 VECCIO
+
+Peter's Confession.
+
+  "I will give the keys of the kingdom    Matt. 16:19 RENI
+    of heaven"
+                                                      RAPHAEL
+
+Transfiguration.
+
+  Transfiguration                     Matt. 17:1-8    RAPHAEL
+  Demoniac Boy                        Matt. 17:14-20  RAPHAEL
+  "He called to him a little child"   Matt. 18:2      BALLHEIM
+
+At the Feast of Tabernacles.
+
+  "Let him that is without sin cast       John 8:7    HOFMANN
+    the first stone"
+  Jesus left alone with the woman         John 8:19   SIGNOL
+  "I am the light of the world"           John 8:12   HUNT
+  "I stand at the door and knock"         Rev. 3:20   OVERBECK
+  "I will give you rest"                  Matt. 11:28 PLOCKHOeRST
+
+Perean Ministry.
+
+  The good Samaritan                   Luke 10:30-34  SIEMENROTH
+                                                      DORE
+  Jesus in the home of Lazarus         Luke 10:40     HOFMANN
+                                                      ALLORI
+  Healing of the man born blind        John 9:1-40    THEOTOCOPULI
+  The good Shepherd                    John 10:1-21   PLOCKHOeRST
+  Finding the lost sheep               Luke 15:2      SCHOeNHERR
+                                                      MOLITOR
+  Lost piece of money                  Luke 15:8      MILLAIS
+  The prodigal son                     Luke 15:11-32  DUBUFE
+  "Fell on his neck and kissed him"    Luke 15:20     MOLITOR
+                                                      DORE
+  Rich man and Lazarus                 Luke 16:19-31  DORE
+  Raising of Lazarus                   John 11:1-46   BONIFAZIO
+                                                      PIOMBO
+                                                      RUBENS
+  Pharisee and Publican                Luke 18:9-14   DORE
+  Christ blessing little children      Mark 10:13-16  HOFMANN
+                                                      PLOCKHOeRST
+                                                      VOGEL
+  Christ and the Young Ruler           Matt. 9:16-22  HOFMANN
+  Ambition of James and John           Matt. 20:20-28 BONIFAZIO
+
+Passion Week.
+
+  Triumphal entry                      Luke 19:29-44  DEGER
+  Christ weeps over Jerusalem          Luke 19:41     EASTLAKE
+  Tribute money                                       DORE
+  "Whose image and superscription      Mark 20:24     TITIAN
+    hath it?"
+
+
+  "Render to Caesar the things that    Matt. 22:21    VAN DYCK
+    are Caesar's"
+  The widow's two mites                Mark 12:41-44  DORE
+  Parable of the virgins               Matt. 25:1-13  POLOTY
+  Conspiracy between Judas and         Luke 22:3-6    BIDA
+    Chief Priests
+  The Last Supper                                     VINCI
+  "When he had washed their feet"      John 13:12     BROWN
+  "This is my body"                    Luke 22:19     BIDA
+  "And he took a cup and gave thanks"  Matt. 26:27    HOFMANN
+  "Thy will be done"                   Matt. 26:42    HOFMANN
+  "An angel from heaven                Luke 22:43     DOLCI
+    strengthening him"
+  Kiss of Judas                        Matt. 26:49    SCHEFFER
+  "Bound him and led him to Annas"     John 18:12     HOFMANN
+  Peter's denial before the            John 18:17     WEST
+    maid-servant
+  Denial before soldiers               Mark 14:54     HARRACH
+  Trial before Pilate                  Luke 23:1-7    MUNKACSY
+  "Hail, King of the Jews!"            Matt. 27:29    RENI
+  "Behold the man"                     John 19:5      HOFMANN
+                                                      CISERI
+  Pilate's wife's dream                Matt. 27:19    DORE
+
+The Crucifixion.
+
+  "They led him away"                     Luke 23:26  HOFMANN
+  "Weep not for me"                       Luke 23:28  THIERSCH
+  "The people stood beholding"            Luke 23:35  MUNKACSY
+  The group near the cross                John 19:25  MUNKASCY
+  "Behold thy mother"                     John 19:27  HOFMANN
+  Descent from the cross                  Mark 15:46  RUBENS
+  Golgotha                                            GEROME
+  The deserted cross                                  MORRIS
+
+The Burial.
+
+  "They took the body of Jesus"           John 19:40  CISERI
+  "Laid him in a tomb"                    Mark 15:46  HOFMANN
+  John with Mary                                      DYCE
+                                                      DOBSON
+
+The Resurrection.
+
+  "Mary was without weeping"              John 20:11  HOFMANN
+  "Tell me where thou hast laid him"      John 20:15  DI CREDI
+  "Touch me not"                          John 20:17  PLOCKHOeRST
+  "Returning from the tomb"               Luke 24:9   SCHEFFER
+
+After the Resurrection.
+
+  "Jesus drew near and went with them"    Luke 24:15  PLOCKHOeRST
+  "Abide with us"                         Luke 24:29  HOFMANN
+  "And he went to abide with them"        Luke 24:29  FUeRST
+  "He took the bread and blessed it"      Luke 24:30  MULLER
+  "And break and gave to them"            Luke 24:30  DIETHE
+  "And their eyes were opened"            Luke 24:31  REMBRANDT
+  "Reach hither thy hand"                 John 20:27  GUERCINO
+  The Ascension                           Luke 24:51  HOFMANN
+                                                      REMBRANDT
+
+
+
+SUGGESTIONS.
+
+[Illustration: Capernaum]
+_Site of Capernaum, Sea of Galilee._
+
+THE USE OF PICTURES IN TEACHING.
+
+PICTURES may hold a primary or secondary place in teaching, according
+to their nature and the aim of the teacher.
+
+_The text itself_ may be the supreme thing, and pictures become mere
+pictorial comments upon the text. Pictures when so used have the
+nature of _views_ or _illustrations_. The picture at the head of this
+page is a view. It is reproduced from a photograph taken directly
+from nature. Such pictures are of great value in building up in the
+mind clear images of objects or of scenes beyond the pupil's reach. A
+map means almost nothing to a person unfamiliar with the country,
+unless by means of numberless views the appearance of the country has
+been made known to the mind. Every teacher in Sunday-school should
+have a collection of photographic views of the historical sites of
+the Bible, of implements, household utensils, articles of dress,
+etc., which may be used to make clear the Biblical references to such
+things. Without such illustrations words may convey little or no
+meaning.
+
+The first picture upon the next page may be called an illustration.
+To a person unfamiliar with the text it might convey any meaning but
+the true one; but to one familiar with the story of Christ and the
+rich young ruler it is wonderfully graphic and satisfactory. The
+words of the text take on a deeper meaning as they are studied in the
+light of this picture. Because Hofmann is an artist, a man gifted
+with imagination, he sees more clearly, more vividly than the average
+person. Seen through his eyes what was before vague and unconvincing
+becomes definite and powerful. Before seeing the picture the pupil
+had heard the words:"Jesus, looking upon him, loved him." Now with
+the picture he _sees_ that Jesus loves him and is anxious to have him
+decide for life everlasting. Before "the poor" were abstract; now
+they become a concrete reality. Before the pupil had been told that
+the young man had "great possessions;" now he sees that he had also
+health and beauty and intelligence, greater possessions than land and
+gold. The Sunday-school teacher is fortunate who has at his command
+pictures which illustrate, which make luminous the text. Plates 11,
+20, 34, 39, 47, 62, 70, 101, 106, 133, and 143 may be mentioned as
+notable examples of good illustrations to supplement the text.
+
+[Illustration: Christ and the Young Ruler.]
+Plate 112. _Christ and the Young Ruler._ H. Hofmann. 1824-
+
+The picture itself may be the object of study, and the text become a
+commentary upon the picture. For example, consider this picture by
+Holman Hunt. Every detail has something important to say to the
+pupil. The postures of these people and the costumes say "oriental."
+The profuse ornamentation both of the architecture and the various
+furnishings speak of extraordinary conditions. This is the temple
+which was the wonder of the age (see Mark 13:1), and these are the
+people who loved to go about in long clothing, and who "devoured
+widows' houses" to be rich. (Matt. 23:14.) This boy with his pure
+face and far-away-gazing eyes is he who had thoughts about "his
+Father's house." The look in the woman's face is appreciated in the
+light of what she is recorded as having said, "I have sought thee
+sorrowing." (Luke 2:48.) That she rather than her husband should
+speak to him is no surprise to one familiar with Matt. 1:18-25. The
+faces of these serious-looking men must be read in the light of the
+words, "And all that heard him were amazed at his understanding and
+answers." One man has an ornamental box in his hand. What is that
+for? Another has a similar box upon his forehead. Why? Deut. 6:6-8
+and Matt. 23:5 will help answer those questions. A man is begging at
+the entrance. It is not extraordinary in the light of Acts 3:1, 2,
+and Mark 14:7. He begs in vain outside, while within a servant brings
+wine to refresh those who will not so much as lift a finger to help
+the burdened. (Matt. 23:4.) Beyond the beggar craftsmen are still at
+work upon the temple. Yes, because when this child Jesus first
+visited the temple it was not completed. "Forty and six years was
+this temple in building." (John 2:20.) Birds are flying in and out!
+"Yea, the sparrow hath found a house, and the swallow a nest for
+herself, . . . even thine altars, O Lord of Hosts." (Ps. 84:3.) The
+little boy with the fly-driver tells the season of the year, the
+light and the few worshippers and the idle musicians tell the time of
+day. Everything has a message, even the ornament upon wall and floor!
+That tells whence the Jews derived their art. This picture is more
+than a commonplace illustration of a single text: it is a graphic
+presentation of an era. The particular event is shown in its
+historical setting. The picture is a supreme work of art.
+
+[Illustration: Finding of Christ in the Temple.]
+Plate 35. _Finding of Christ in the Temple._ Holman Hunt. 1827-
+
+If pictures of this sort are to be studied, every pupil in the class
+should have a copy. The teacher's business is to direct the pupil to
+individual observation and inquiry. The perpetual questions should
+be, What do you see? What does it mean? Why is that here? What does
+it contribute to the total content of the picture? What does the
+picture as a whole have to say? Plates 8, 9, 18, 25, 29, 33, 40, 81,
+89, 93, 110, 139, 153, 159, and 167, might be mentioned among those
+especially worthy of this analytical and exhaustive study.
+
+Occasionally pupils will find both interest and profit in the
+comparative study of a series of pictures. For example take the five
+plates of The Annunciation, pages 9 and 10. After the facts have been
+determined by a study of the text, the investigation may proceed as
+follows: What are the essential elements found in all the pictures
+alike? Which artist has told the story most simply and directly? The
+different artists have emphasized or given special attention to some
+one phase or phrase. Which has embodied more perfectly the first, or
+the second, or the third? Which has introduced elements of his own?
+Why? Do they help? Which has, on the whole, told the story most
+vividly? Which most beautifully? A study of this group of pictures in
+the light of such notes as will be found printed therewith, will
+enable any teacher to formulate for himself a plan for studying any
+other group of pictures.
+
+In such study it is essential that each pupil be supplied with a
+complete set of the pictures to be compared.
+
+[Illustration: Madonna of the Shop.]
+_Madonna._ Dagnan-Bouveret.
+
+But the picture itself is sometimes not a thing to be consciously
+analyzed and inventoried; it is simply a thing of beauty, "its own
+excuse for being;" it is something to be received as a whole with
+thankfulness, like the odor of wild grape vines, or the form of a
+calla lily, or the color of a sunrise, or the music of wind in pine
+trees. Such a picture is this Madonna of the Shop, by Dagnan-Bouveret.
+One may think for a moment now and then of how well the picture is
+composed, of how perfect a master of his art the man must be who
+can make spots of paint suggest wood and metal, linen and wool, soft
+flesh and softer light, but the mind returns again and again to the
+contemplation of the wondrous sweet face of the Virgin, whose deep
+eyes see unspeakable things. One comes to love such a picture as a
+dear familiar friend, and to yield to its gentle influence as to
+moonlight upon the sea. The contemplation of such pictures is one of
+the purest pleasures of life, a foretaste of the sight of "the King
+in his Beauty."
+
+
+
+
+THE GREAT PAINTERS' GOSPEL.
+
+
+
+THE GREAT PAINTERS' GOSPEL.
+
+[Illustration: The Annunciation.]
+_The Annunciation._ Titian.
+
+THE ANNUNCIATION.
+
+The angel Gabriel was sent from God to a virgin whose name was Mary.
+The angel said "Hail, Mary, highly favored, blessed art thou among
+women." (Luke 1:26-28.) Mary is supposed to have been in a house of
+worship at the time (like Hannah, 1 Sam. 1:9-18, and Zacharias, Luke
+1:8-13), hence the beautiful surroundings; and to have been at
+prayer, as suggested by the kneeling posture and the book. The dove
+is a symbol of the Holy Ghost (Luke 3:22). The beam of light
+symbolizes the going forth of divine power (Hos. 6:5). The angel is
+borne upon a cloud (Ps. 104:3), and carries a rod or scepter, symbols
+of authority (Ex. 4:1-5, Esther 4:11). The lily is introduced as a
+symbol of perfection and purity (Song 2:2; compare also Num. 17:8).
+Titian has depicted the instant when the angel says "Hail, Mary." He
+has introduced emblems of the ideal woman (Prov. 31:13, 14, 26,
+etc.).
+
+[Transcriber's Note: As you may note, each plate is introduced with
+the artist's name and the plate number. In the original source, this
+text was bolded, not italicized.]
+
+_Hofmann, Plate 1,_ shows the moment when Gabriel says: "Blessed art
+thou among women." (Luke 1:28.) In this picture only, the angel
+approaches from behind. The picture recalls the experience of another
+Mary (John 20:14).
+
+_Guido Reni, Plate 2,_, has chosen the instant when Gabriel says,
+"Thou hast found favor with God." The infant angels represent,
+perhaps, "the spirits of love, intelligence and innocence," [1] and
+accompany the Divine Presence because of the words of Christ, when
+speaking of children, "Their angels do always behold the face of my
+Father which is in heaven." (Matt. 18:10.)
+
+_Mueller, Plate 3,_ seems to have shown the moment when Mary said,
+"Let it be unto me according to thy word." (Luke 1:38.) His figures
+and faces express less animation than any of the others.
+
+_Dosso, Plate 4,_ represents Gabriel as saying, "The Holy Ghost shall
+come upon thee and the power of the Highest shall overshadow thee"
+(Luke 1:35), for both the dove, symbol of the Holy Ghost, and the
+Highest himself, upon a cloud and accompanied with cherubs, are
+present. (Compare 2 Sam. 22:10-12.)
+
+_Baroccio, Plate 5,_ seems to have seized upon the moment when Mary
+has just asked "How shall this be?" (Luke 1:34). The angel is
+encouraging her faith by reference to Elisabeth. (Luke 1:36.)
+
+[1] Mrs. Jameson, "Sacred and Legendary Art," vi., p. 57.
+
+[Illustration: Annunciation to Mary.]
+Plate 1. _Annunciation to Mary._ H. Hofmann. 1824-
+
+[Illustration: Annunciation to Mary.]
+Plate 2. _Annunciation to Mary._ Guido Reni 1575-1642.
+
+[Illustration: Annunciation to Mary.]
+Plate 3. _Annunciation to Mary._ Franz Mueller.
+
+[Illustration: Annunciation to Mary.]
+Plate 4. _Annunciation to Mary._ Dossi Dosso. 1479-1542.
+
+[Illustration: Annunciation to Mary.]
+Plate 5. _Annunciation to Mary._ F. Baroccio. 1528-1612.
+
+THE SALUTATION.
+
+"And in those days Mary arose and went into the hill country to a
+city of Judah, and entered into the house of Zacharias and saluted
+Elisabeth . . . and Elisabeth, filled with the Holy Ghost, said,
+Blessed art thou among women." (Luke 1:39-45.)
+
+_Albertinelli, Plate 6,_ has depicted the two women at the moment of
+meeting.
+
+[Illustration: Mary's Visit to Elisabeth.]
+Plate 6. _Mary's Visit to Elisabeth._ Albertinelli. 1474-1515.
+
+BIRTH OF JOHN THE BAPTIST.
+
+Zacharias had been dumb since the moment when he doubted the prophecy
+of the angel. (Luke 1:20.) When the promised son was born the
+neighbors and friends of the mother, Elisabeth, objected to the name
+John. (Luke 1:57-61.)
+
+_Fra Angelico, Plate 7,_ has represented the moment when they appeal
+to the dumb father, and he writes upon a tablet the words "His name
+is John." (Luke 1:63.) The child, eight days old, is present to be
+named preparatory to circumcision. (Gen. 17:12.)
+
+[Illustration: Birth of John.]
+Plate 7. _Birth of John._ Fra Angelico. 1370-1450.
+
+THE NATIVITY.
+
+_Merson, Plate 8,_ has illustrated Luke 2:4-7. "And Joseph went up
+from Galilee into Judea unto the city of David, Bethlehem, to be
+enrolled, with Mary his espoused wife. And there was no room for them
+in the inn." Darkness covered the earth and gross darkness the people
+who refused lodging to such as Mary, but that night the glory of the
+Lord was revealed. (Is. 60:2.)
+
+[Illustration: Joseph and Mary, Arrival at Bethlehem.]
+Plate 8. _Joseph and Mary, Arrival at Bethlehem._ Olivier L. Merson.
+
+_Plockhoerst, Plate 14,_ illustrates Luke 2:8-11. And in the same
+country were shepherds keeping watch over their flock by night. And
+the angel of the Lord came and said unto them, "Fear not, I bring you
+good tidings of great joy. Unto you is born this day in the city of
+David a Savior which is Christ the Lord." The angel bears a palm
+branch, symbol of triumph. (John 12:13.)
+
+[Illustration: The Angel and the Shepherds.]
+Plate 14. _The Angel and the Shepherds._ B. Plockhoerst, 1825-
+
+_Hofmann, Plate 13,_ shows a company of the heavenly host praising
+God and saying, "Glory to God in the highest, and on earth peace,
+good will toward men." (Luke 2:14.) They are the first to visit the
+manger!
+
+[Illustration: Bethlehem.]
+Plate 13. _Bethlehem._ H. Hofmann. 1824-
+
+_Lerolle, Plate 11,_ shows the shepherds who "came with haste and
+found Mary and Joseph and the babe lying in a manger." (Luke
+2:15-16.) The shepherds saw, evidently from some little distance;
+for we have no record of their speaking to Mary or Joseph, only to
+others outside, after the visit. (Luke 2:17-18.)
+
+[Illustration: The Arrival of the Shepherds.]
+Plate 11. _The Arrival of the Shepherds._ H. Lerolle.
+
+_Correggio, Plate 9,_ has expressed that surprise and wonder of the
+shepherds which they imparted to others when they told their story,
+"for all that heard it wondered at those things which were told them
+by the shepherds." (Luke 2:18.)
+
+[Illustration: Holy Night.]
+Plate 9. _Holy Night._ Correggio. 1494-1534.
+
+_Bouguereau, Plate 10,_ adds to the story a dramatic touch. There are
+ominous shadows in the background. Mary seems troubled by the
+presence of the lamb, symbol of sacrifice. The angel had said "He
+shall save his people from their sins." (Matt. 1:21.) Does Mary seem
+already to behold the Lamb of God which taketh away the sin of the
+world? (John 1:29.) One lamb is already slain, and lies in the
+foreground. The shepherd with the lamb in his arms may unconsciously
+illustrate the Christ (Is. 40:11), and the odd disk above the head of
+the older shepherd, catching the light from the child, may be
+prophetic of saintly glory.
+
+[Illustration: The Nativity.]
+Plate 10. _The Nativity._ (William) Adolphe Bouguereau. 1825-
+
+_Mueller, Plate 12,_ gives us perhaps the prettiest, most sweetly
+human group of all. Some of the shepherds have arrived, others are
+coming; one with a lamb in his arms, another with his dogs, who seem
+to sympathize with their master's joyous haste. The rose of the
+hills, and the violet of the meadows are there as symbols of the rose
+of Sharon and the lily of the valley (Cant. 2:1); "The ox knoweth his
+owner and the ass his master's crib," and in this case the humble
+representatives of Israel know also, and the people consider. (Is.
+1:3.)
+
+[Illustration: The Nativity.]
+Plate 12._ The Nativity._ Carl Mueller. 1839-
+
+THE PRESENTATION.
+
+His name was called Jesus, as the angel had commanded, and after
+forty days they brought him to Jerusalem to present him to the Lord,
+and to offer a sacrifice, according to the ancient law. And Simeon,
+waiting for the consolation of Israel, came by the spirit into the
+temple when the parents brought in the child Jesus; and he took him
+up into his arms and blessed God and said, "Lord, now lettest thou
+thy servant depart in peace, for mine eyes have seen thy salvation."
+(Luke 2:25-35.) And Anna, a prophetess of great age, coming up at
+that very hour, gave thanks to God and spake of him to all them that
+were looking for the redemption of Jerusalem. (Luke 2:36-38.)
+
+_Bartolommeo, Plate 18,_ depicts the moment when Simeon says "Now
+lettest thou thy servant depart in peace"--the _Nunc Dimittis_ of the
+Latin Church (Luke 2:29). Joseph has the two doves for the offering
+(Lev. 12:6 and 8). In the distance the priest may be seen at the
+altar, his robe ornamented with the sacred fringe (Ex. 39:26) that
+there may be no mistaking him. Anna is present, and is, evidently,
+about to speak. The steps are of marble and the columns richly
+carved, because of the words of the artist-disciple recorded in Mark
+13:1.
+
+[Illustration: Presentation at the Temple.]
+Plate 18. _Presentation at the Temple._ Bartolommeo Del Fattorino.
+1475-1517.
+
+_Champaigne, Plate 15,_ has chosen the moment when Simeon says to
+Mary, "This child is set for the falling and rising up of many in
+Israel." (Luke 2:34.)
+
+[Illustration: Presentation at the Temple.]
+Plate 15. _Presentation at the Temple._ Champaigne. 1602-1674.
+
+_Borgognone, Plate 16,_ selects for his picture the last moment, when
+Simeon returns the child to the mother with the words "Yea, and a
+sword shall pierce through thine own soul, also." (Luke 2:35.)
+
+[Illustration: Presentation at the Temple.]
+Plate 16. _Presentation at the Temple._ Borgognone. 1445-1523.
+
+_Bourdon, Plate 17,_ represents the instant when Anna arrives (at the
+extreme left), "coming up at that very hour." (Luke 2:38.)
+
+[Illustration: Presentation at the Temple.]
+Plate 17. _Presentation at the Temple._ Sebastien Bourdon. 1616-1671.
+
+_Bartolommeo,_ again, _Plate 19,_ adds what he pleases to the
+original story.
+
+[Illustration: Presentation at the Temple.]
+Plate 19. _Presentation at the Temple._ Fra Bartolommeo. 1469-1517.
+
+THE ADORATION OF THE MAGI.
+
+Now when Jesus was born there came wise men from the east, guided by
+a star, which went before them till it stood over the place where the
+young child was. . . . And when they were come into the house they
+saw Jesus and Mary his mother, and fell down and worshipped him; and
+when they had opened their treasures they presented unto him gifts;
+gold, frankincense and myrrh. (Matt. 2:9-11.)
+
+_Hofmann, Plate 20,_ represents the arrival. The star stands above
+the head of the child. The tradition is that one wise man came from
+Europe, one from Asia and one from Africa (See _Ben-Hur_, Book I.);
+hence Hofmann has represented one with the oriental turban, one with
+a helmet having hanging side pieces like an Egyptian head dress, and
+one with the simple band, the white hair and flowing beard of the
+Druid.
+
+[Illustration: Worship of the Magi.]
+Plate 20. _Worship of the Magi._ H. Hofmann. 1824-
+
+_Luini, Plate 21,_ following the same tradition, gives the African a
+dark complexion.
+
+[Illustration: Adoration of the Magi.]
+Plate 21. _Adoration of the Magi._ Luini. 1460-1530.
+
+_Maldini, Plate 23,_ also makes one of the Magi very dark, and adds
+an earring as a barbaric touch. Moreover he gives each a crown (as
+does Luini) because the Magi were supposed to have been Kings, in
+fulfilment of Is. 60:3.
+
+[Illustration: Adoration of the Kings.]
+Plate 23. _Adoration of the Kings_. Battista Maldini. 1537-1590.
+
+_Bonifazio, Plate 22,_ like Luini and Maldini, represents a large
+company of servants to show the importance of the Magi, and perhaps
+because of Is. 60:4-6.
+
+[Illustration: Adoration of the Magi.]
+Plate 22. _Adoration of the Magi._ Bonifazio Veronese. 1494-1563.
+
+THE FLIGHT INTO EGYPT.
+
+_Crespi, Plate 24,_ has pictured Joseph's dream. An angel of the Lord
+appeared to Joseph in a dream, saying, Arise and take the young child
+and his mother, and flee into Egypt, for Herod will seek the young
+child to destroy him. (Matt. 2:13.)
+
+[Illustration: Joseph's Dream.]
+Plate 24. _Joseph's Dream._ Daniele Crespi.
+
+_Fuerst, Plate 26,_ illustrates the words "And he arose and took the
+young child and his mother, and departed." (Matt. 2:14.)
+
+[Illustration: Flight into Egypt.]
+Plate 26. _Flight into Egypt._ M. Fuerst.
+
+_Plockhoerst, Plate 27,_ shows the holy family passing through
+southern Judea, accompanied by cherubs, but unconscious of their
+presence.
+
+[Illustration: Flight into Egypt.]
+Plate 27. _Flight into Egypt._ B. Plockhoerst. 1825-
+
+_Hofmann, Plate 25,_ shows them passing through the Wilderness of
+Shur, Joseph with his broad axe for protection, unconscious of the
+guardian angel who accompanied them, to keep them in all their ways.
+(Ps. 91:11.) "That old serpent" is already in the wilderness,
+waiting! His time has not yet come.
+
+[Illustration: Flight into Egypt.]
+Plate 25. _Flight into Egypt._ H. Hofmann. 1824-
+
+_Benz, Plate 28,_ has taken as his subject the first moment of rest
+in a place "even as the garden of the Lord, like the land of Egypt as
+thou comest into Zoar." (Gen. 13:10.) Joseph has a typical Egyptian
+water-jar upon his arm. The little child is pleased with the flowers,
+after his long journey through the desert, and holds a bunch of them
+in his hand. The place of rest seems to be just at the edge of the
+desert,--a secluded, well-watered spot, out of Herod's reach.
+
+[Illustration: Repose in Egypt.]
+Plate 28. _Repose in Egypt._ S. Benz.
+
+_Merson, Plate 29,_ is a poetic seer as well as an artist. The sphinx
+riddle was "What is man?" Merson has placed the answer before the
+sphinx at last. He who was himself the answer to the world-old
+question, propounded a new question which all must answer, "What
+think ye of Christ" (Matt. 22:42).
+
+[Illustration: Repose in Egypt.]
+Plate 29. _Repose in Egypt._ Olivier L. Merson.
+
+_Morris, Plate 30,_ gives us a glimpse of the life of the Holy Family
+during the sojourn in Egypt. Joseph is resting in the tent after his
+day's work, and Mary is teaching the child to walk. All are
+unconscious of the ominous shadow so evident now to us. The hatred
+which threatened the child, would not spare the man. The exile in
+Egypt is but the prophetic shadow of the coming event--crucifixion.
+The child's hands extend towards the cactus and the palm, symbols of
+suffering and of victory.
+
+[Illustration: Shadow of the Cross.]
+Plate 30. _Shadow of the Cross._ P. R. Morris.
+
+THE RETURN TO NAZARETH.
+
+When Herod was dead, Joseph, instructed by an angel, brought Mary and
+Jesus into the land of Israel, and made them a home in Nazareth. The
+mother with her divine child in this Nazareth home has ever been the
+favorite subject with painters. "Madonna" pictures have been
+multiplied into the thousands. The most famous are those which were
+painted by Raphael,--the Sistine Madonna, Madonna of the Chair,
+Madonna da Tempi, Madonna of the Goldfinch, etc.,--reproductions of
+which are familiar to everybody. Among other famous painters of the
+Madonna is _Murillo,_ who, in _Plate 32,_ represents the mother and
+child as the neighbors might have seen them in their humble home. The
+child is of course beautiful. (Luke 2:40.) In _Plate 33,_ the artist
+has emphasized the last phrase of Luke 2:40, "The grace of God was
+upon him." The Father in heaven is visibly present, and the grace
+descends upon the child in the form of a dove, as suggested by Luke
+3:22. The action of all the accessory figures, the arrangement of the
+light, everything in the picture, is calculated to focus the
+attention upon the face of the child Christ.
+
+[Illustration: Madonna and Child.]
+Plate 32. _Madonna and Child._ Murillo. 1618-1682.
+
+[Illustration: Holy Family.]
+Plate 33. Louvre. _Holy Family._ Murillo. 1618-1682.
+
+_Hofmann, Plate 31,_ tells of the quiet days at Nazareth, when Joseph
+worked at his trade, and Mary sat near spinning and watching the
+wondrous lad who in his child-way could help Joseph by fetching a
+needed tool. It was a peaceful, happy life, like that of the chickens
+and the doves. The memories of those days furnished Jesus with the
+wonderful figure of speech recorded in Matt. 23:37, 38. Hofmann, like
+other artists, is fond of symbolism, hence the square and the
+measuring stick are upon the shoulder of the child (Is. 9:6) who was
+to lay judgment to the line and righteousness to the plummet (Is.
+28:17); and the tools take the form of the cross. Jesus was subject
+unto his parents (Luke 2:51), and, in a sense, took up his cross
+daily, as all his disciples must ever do (Matt. 16:24). Such service
+is healthful and profitable (Luke 2:52).
+
+[Illustration: Infancy of Christ.]
+Plate 31. _Infancy of Christ._ H. Hofmann. 1824-
+
+THE VISIT TO JERUSALEM.
+
+Joseph and Mary probably went every year to Jerusalem at the feast of
+the passover. (Deut. 16:16.) And when Jesus was twelve years old they
+went up as usual taking him with them. (Luke 2:41-42.)
+
+_Mengelberg, Plate 34,_ represents the holy family approaching the
+city. The temple with its smoking altars is seen in the distance. The
+artist has suggested the great company who went up every year to
+worship, and with which, returning, Joseph and Mary supposed Jesus to
+be.
+
+[Illustration: Jesus, Twelve Years Old, on his way to Jerusalem.]
+Plate 34. _Jesus, Twelve Years Old, on his Way to Jerusalem._ O.
+Mengelberg.
+
+_Hofmann, Plates 38 and 39,_ illustrates (Luke 2:46). Plate 38 is
+from the drawing in the artist's Life of Christ. Plate 39, from the
+famous painting in Dresden, is the more carefully finished. Hofmann
+has shown the seal of Solomon upon the "chair of philosophy," he has
+introduced the scroll of the prophets and suggested the rich stones
+of the temple, but the interest of all is upon the Boy, who came to
+fulfill the law and the prophets, and who was greater than the temple
+and greater than Solomon. (Matt. 5:17, John 2:19-20, Matt. 12:42).
+This picture has become a classic already, though Hofmann is still
+living.
+
+[Illustration: Christ Disputing with the Doctors.]
+Plate 38. _Christ Disputing with the Doctors._ H. Hofmann. 1824-
+
+[Illustration: In The Temple.]
+Plate 39. _In The Temple._ H. Hofmann. 1824-
+
+_Lafon, Plate 36,_ has idealized his subject. He has placed Jesus "in
+Moses' seat" (Matt. 23:2), conferring upon him a distinction amply
+justified by subsequent events especially by the Sermon on the Mount.
+"It hath been said . . . but I say unto you . . ." these are the
+words which give Jesus a unique position as a teacher.
+
+[Illustration: Christ Among the Doctors.]
+Plate 36. _Christ Among the Doctors._ Emile J. Lafon.
+
+_Hunt, Plate 35,_ adds that truthfulness of detail, that literalness
+of statement made possible by the antiquarian and the archaeologist.
+It is the moment described in Luke 2:48, when his mother speaks to
+Jesus, "Son, why hast thou dealt thus with us?"
+
+[Illustration: Finding of Christ in the Temple.]
+Plate 35. _Finding of Christ in the Temple._ Holman Hunt. 1827-
+
+_Dobson, Plate 37,_ shows the moment of discovery, the moment just
+before Mary speaks. Some of the kinsfolk and acquaintances have
+evidently returned with Joseph and Mary. A rabbi is telling them
+about this wondrous child. (Luke 2:47.)
+
+[Illustration: Christ Disputing in the Temple.]
+Plate 37. _Christ Disputing in the Temple._ W. C. T. Dobson.
+
+THE SILENT YEARS AT HOME.
+
+Tradition says that Joseph soon died, and that Jesus supported the
+family by working at his trade.
+
+_Hunt, Plate 40_, has invented an occasion to emphasize the prophetic
+words often applied to Mary, "Is any sorrow like unto my sorrow?"
+(Lam. 1:12.) Simeon had said "Yea and a sword shall pierce through
+thine own soul," and Mary, "pondering all these things in her heart,"
+is startled, at the close of the day, by seeing the shadow of her son
+cast upon the wall, like the form of one upon a cross.
+
+[Illustration: Shadow of Death.]
+Plate 40. _Shadow of Death._ Holman Hunt. 1827-
+
+_Plockhoerst, Plate 41,_ depicts the parting of Mother and Son,--
+another pang for the saintly Mary.
+
+[Illustration: Christ taking leave of his Mother.]
+Plate 41. _Christ taking leave of his Mother._ B. Plockhoerst. 1825-
+
+_Plate 42_ is Andrea del Sarto's famous the youthful John the
+Baptist, in the days before he came preaching in the of Judea. (Luke
+1:80.)
+
+[Illustration: John the Baptist.]
+Plate 42. _John the Baptist._ Andrea del Sarto. 1488-1530.
+
+_Titian, Plate 43,_ shows John as he appeared a few years later upon
+the banks of Jordan, "his raiment of camel's hair, and a leathern
+girdle about his loins." (Matt. 3:1-4.) He seems to be saying,
+"Behold the Lamb of God, which taketh away the sin of the world."
+(John 1:29.) The river is introduced as a symbol (Luke 3:16), and the
+lamb also (John 1:35). Del Sarto seems to have studied this figure
+before painting his boy John. Compare the two faces, and the two arms
+and hands. Notice the two crosses also.
+
+[Illustration: John the Baptist Preaching.]
+Plate 43. _John the Baptist Preaching._ Titian. 1477-1576.
+
+THE TEMPTATION.
+
+_Scheffer, Plate 44,_ shows Jesus "upon an exceeding high mountain"
+and Satan offering him the world for one act of worship. Jesus is
+about to say, "Worship God." (Matt. 4:8-10.) _Hofmann, Plate 45,_ has
+selected the next moment when Satan retreats and an angel comes to
+minister to the famished man. (Matt. 4:11.) The serpent is present
+because of Rev. 12:9.
+
+[Illustration: Temptation of Christ.]
+Plate 44. _Temptation of Christ._ Ary Scheffer. 1795-1858.
+
+[Illustration: Temptation.]
+Plate 45. _Temptation._ H. Hofmann. 1824-
+
+THE BEGINNING OF PUBLIC SERVICE.
+
+_Bida, Plate 46,_ illustrates John 1:35. "Behold the Lamb of God,"
+said John to two of his disciples, who straightway left John and
+followed Jesus. _Gruenewald, Plate 48,_ represents Jesus meditating as
+he walks by the sea alone, possibly before he had chosen his
+disciples, but more likely after the people threatened to make him a
+King (John 6:15), for it is evening near the sea of Galilee.
+
+[Illustration: Behold the Lamb of God.]
+Plate 46. _Behold the Lamb of God._ Alexandre Bida. 1813-1895.
+
+[Illustration: Jesus Walking by the Sea.]
+Plate 48. _Jesus Walking by the Sea._ M. Gruenewald (was painting
+1518).
+
+
+
+_Veronese, Plate 50,_ transforms the modest wedding at Cana into a
+gorgeous Venetian Feast, to which "Jesus also was bidden, and his
+disciples," "and the Mother of Jesus was there." (John 2:1-2.) They
+may all be discovered in the central part of the picture, but to the
+mind of Veronese the miracle of the wine seems to be of but secondary
+importance.
+
+[Illustration: The Marriage Feast.]
+Plate 50. _The Marriage Feast._ Paolo Veronese. 1528-1588.
+
+EARLY JUDEAN MINISTRY.
+
+_Kirchbuck, Plate 51,_ presents a general view of the event recorded
+in John 2:13-22. Jesus expels the desecrators by his presence merely,
+as he overthrew his enemies in Gethsemane. (John 18:6.)
+
+[Illustration: Christ casting out the Money-changers.]
+Plate 51. _Christ casting out the Money-changers._ F. Kirchbuck.
+
+_Hofmann, Plate 52,_ with his usual literalness, gives Jesus the whip
+of small cords, and represents him as actively aggressive. "The zeal
+of thine house shall eat me up," said the prophet, and as they
+watched Jesus the disciples remembered those words. (John 2:17.)
+
+[Illustration: Purification of the Temple.]
+Plate 52. _Purification of the Temple._ H. Hofmann. 1824-
+
+_Plate 53,_ by an unknown artist, is an attempt to portray the
+discourse with Nicodemus. The incident is related in John 2:23-3:21.
+The moment is that when Jesus says, "If I have told you earthly
+things and ye believe not, how shall ye believe if I tell you
+heavenly things?"
+
+[Illustration: Nicodemus' Visit to Jesus.]
+Plate 53. _Nicodemus' Visit to Jesus._ Artist unknown.
+
+THE RETURN THROUGH SAMARIA.
+
+"He came to a town called Shechem, near the plot of land that Jacob
+gave his son Joseph. Jacob's Spring was there, and Jesus, being tired
+after his journey, sat down, just as he was, close to it. It was then
+about mid-day. A woman of Samaria came to draw water; so Jesus asked
+her to give him some to drink, his disciples having gone into the
+town to buy provisions." [*]
+
+[*] Twentieth Century New Testament
+
+_Biliverti, Plate 56,_ gives the woman a companion not mentioned in
+the text. The moment is that of John 4:10, "If you knew the gift of
+God, and who it is that is asking you to give him some water, you
+would have asked him, and he would have given you living water."
+
+[Illustration: Jesus and the Woman of Samaria.]
+Plate 56. _Jesus and the Woman of Samaria._ Biliverti.
+
+_Dore, Plate 54,_ has selected a later moment, "Trust me," Jesus
+replied, "a time is coming when it will not be on this mountain or in
+Jerusalem that you will worship God the Father."
+
+[Illustration: Jesus and the Woman of Samaria.]
+Plate 54. _Jesus and the Woman of Samaria._ Gustave Dore. 1833-1883.
+
+_Hofmann, Plate 55,_ may have chosen to illustrate the twenty-fourth
+verse, "God is Spirit; and those who worship him must worship
+spiritually, with true insight." (John 4:24.)
+
+[Illustration: Jesus and the Woman of Samaria.]
+Plate 55. _Jesus and the Woman of Samaria._ H. Hofmann. 1824-
+
+THE CALL OF THE FOUR.
+
+Walking by the sea of Galilee one morning, Jesus saw two brethren,
+Simon who is called Peter, and Andrew his brother, . . . and two
+other brethren, James, the son of Zebedee, and John his brother, with
+their nets, for they were fishermen. And he called them: "Come ye
+after me and I will make you fishers of men." These four became his
+first disciples. (Matt. 4:18-22.)
+
+_Zimmermann, Plate 47,_ has seized upon the moment when Jesus makes
+that extraordinary statement. Peter and John are nearest Jesus, the
+other two in the background. "Fishers of men;" the phrase is
+mysterious; they cannot understand it. Nevertheless, they leave all
+and follow Him.
+
+[Illustration: Christ and the Fishermen.]
+Plate 47. _Christ and the Fishermen._ Zimmermann. 1832-
+
+Luke gives the account of a miracle between the morning sermon of
+Jesus to the crowd upon the beach, and this call of the four
+fishermen: "When he had finished speaking he said to Simon, Push off
+into deep water, and then all throw out your nets for a haul." "We
+have been hard at work all night, sir," Simon answered, "and have not
+caught anything, but as you say so, I will throw the nets out." They
+did so, and they enclosed such a great shoal of fish that their nets
+began to break. So they signalled to their mates in the other boat to
+come and help them; which they did, filling both the boats so full of
+fish that they were almost sinking.
+
+_Raphael, Plate 49,_ illustrates the moment, a little later, when
+Peter threw himself down at Jesus' knees, exclaiming: "Depart from
+me, for I am a sinful man, O Lord." (Luke 5:8.) Raphael made this as
+a design for a tapestry for the Sistine Chapel, Rome.
+
+[Illustration: The Miraculous Draught of Fishes.]
+Plate 49. _The Miraculous Draught of Fishes._ Raphael. 1483-1520.
+
+EARLY GALILEAN MINISTRY.
+
+_Schoenherr, Plate 69, Hofmann, Plate 70, Max, Plate 71,_ give
+different interpretations of Matt. 8:16-17. An evening at Capernaum,
+when the words of Isaiah (53:4) began to be fulfilled, "Himself took
+our infirmities and bare our diseases."
+
+[Illustration: Healing the Sick.]
+Plate 69. _Healing the Sick._ Karl Gottlieb Schoenherr. 1824-
+
+[Illustration: Healing the Sick.]
+Plate 70. _Healing the Sick._ H. Hofmann. 1824-
+
+[Illustration: Healing the Sick Child.]
+Plate 71. _Healing the Sick Child._ Gabriel Max. 1840-
+
+The Call of Matthew has been represented variously. (Matt. 9:9-10.)
+
+_Pordenone, Plate 59,_ has Matthew "sitting at the place of toll."
+
+[Illustration: Calling of Matthew.]
+Plate 59. _Calling of Matthew._ Giovanni Pordenone. 1483-1539.
+
+_Bida, Plate 57,_ shows Jesus "as he passed by," and Matthew leaving
+his place of business to follow him.
+
+[Illustration: Calling of Matthew.]
+Plate 57. _Calling of Matthew._ Alexandre Bida. 1813-1895.
+
+_Chimenti, Plate 58,_ would have us believe that Jesus entered the
+great khan of the city where the customs were collected, and called
+Matthew from thence.
+
+[Illustration: Calling of Matthew.]
+Place 58. _Calling of Matthew._ Jacopo Chimenti.
+
+AT JERUSALEM AGAIN.
+
+After these things Jesus went up to Jerusalem to a Feast of the Jews,
+and visited the Pool of Bethesda. There he saw a man who had been
+infirm for thirty-eight years. After talking with him Jesus cured
+him, although it was Sabbath. (John 5:1-8.)
+
+_Van Lint, Plate 61,_ shows the man arising with his bed, verse 9.
+
+[Illustration: Healing of the Impotent Man.]
+Plate 61. _Healing of the Impotent Man._ Peter Van Lint.
+
+_Bida, Plate 60,_ represents the instant when Jesus is giving the
+command, but before the man has grasped its meaning. Both artists
+suggest the pool, with its colonnade, or porches. Perhaps a
+subsequent event is illustrated by _Van Dyck, Plate 62,_ for
+"Afterward Jesus findeth him in the temple, and said unto him, Behold
+thou art made whole; sin no more lest a worse thing befall thee."
+(John 5:14.)
+
+[Illustration: Healing of the Impotent Man.]
+Plate 60. _Healing of the Impotent Man._ Alexandra Bida. 1813-1895.
+
+[Illustration: Talking with the Lame Man, Bethesda.]
+Plate 62. _Talking with the Lame Man, Bethesda._ Van Dyck. 1599-1641.
+
+_Dore, Plate 63,_ gives an interpretation of Matt. 12:1-8. The
+Pharisees are accusing the disciples of breaking the Sabbath by
+plucking the heads of wheat, and Jesus is excusing them. The Master
+seems to be saying, "Have ye not read what David did when he was an
+hungered, and they that were with him? . . . If ye had known ye would
+not have condemned the guiltless. The Son of man is lord of the
+Sabbath. The Sabbath was made for man, not man for the Sabbath."
+(Mark 2:27.)
+
+[Illustration: Jesus and His Disciples Going Through the Cornfield.]
+Plate 63. _Jesus and His Disciples Going Through the Cornfield._
+Gustave Dore. 1833-1883.
+
+THE SERMON ON THE MOUNT
+
+"And seeing the multitudes, he went up into the mountain, and when he
+had sat down, his disciples came unto him, and he opened his mouth
+and taught them." (Matt. 5:1, 2.)
+
+_Dore, Plate 65,_ has represented the scene as a whole. The instant
+might be almost any in the discourse.
+
+[Illustration: The Sermon on the Mount.]
+Plate 65. _The Sermon on the Mount._ Gustave Dore. 1833-1883.
+
+_Hofmann, Plate 64,_ seems to have depicted the giving of the
+beatitudes. The poor in spirit, the mourner, the meek, those who
+hunger for righteousness, the pure, and the persecuted, all seem to
+be represented in the audience.
+
+[Illustration: The Sermon on the Mount.]
+Plate 64. _The Sermon on the Mount._ H. Hofmann. 1824-
+
+_Jeune, Plate 67,_ has selected the moment when Jesus says, "Consider
+the lilies how they grow. . . . If God so clothe the grass of the
+field, shall he not much more clothe you? . . . Seek first his
+kingdom and his righteousness." (Matt. 6:28-33.)
+
+[Illustration: Consider the Lilies.]
+Plate 67. _Consider the Lilies._ Henry Le Jeune. 1820.
+
+_Bida, Plate 66,_ illustrates one section of the Sermon on the Mount,
+viz.: Matt. 6:5-15. Here is the man in his inner chamber, having shut
+his door, praying to his Father who is in secret, and who will reward
+him.
+
+[Illustration: Prayer in Secret.]
+Plate 66. _Prayer in Secret._ Alexandra Bida. 1813-1895.
+
+EVENTS DURING THE SECOND TOUR OF GALILEE.
+
+_Veronese, Plate 68,_ represents the Centurion who came to Jesus at
+Capernaum, beseeching him to cure his servant. "I am not worthy," the
+Centurion is saying, "that thou shouldest come under my roof--only
+say the word and my servant shall be healed." (Matt. 8:8.)
+
+[Illustration: The Centurion's Servant.]
+Plate 68. _The Centurion's Servant._ Veronese. 1528-1588.
+
+_Hofmann, Plate 72,_ has illustrated the raising of the widow of
+Nain's son, as graphically as Luke has told it, in chapter 7, verses
+11 to 16. "Every one was awe-struck and began praising God."
+
+[Illustration: Raising the Widow's Son.]
+Plate 72. _Raising the Widow's Son._ H. Hofmann. 1824-
+
+_Veronese, Plate 73,_ gives another grand feast to his friends
+(compare plate 50). This time it is supposed to be in the house of
+Simon the Pharisee, as recorded in Luke 7:36-50. The woman, who
+bathed the Master's feet with tears, is in this case a beautiful and
+decorous person, a center of attraction.
+
+[Illustration: Jesus in the House of Simon.]
+Plate 73. _Jesus in the House of Simon._ Paolo Veronese. 1528-1588.
+
+_Rubens, Plate 74,_ has been more faithful to the story as recorded.
+The woman kisses the Master's feet and wipes them with her hair, v.
+38. There is great consternation among the guests.
+
+[Illustration: Magdalen.]
+Plate 74. _Magdalen._ Rubens. 1577-1640.
+
+_Hofmann, Plate 75,_ shows the self-righteous Pharisee, with his
+hypocritical friends, more graphically than either of the other
+artists. His keen insight into character is reflected from every
+face. Hofmann, above many others, is true to the account, and true to
+human nature. "Thy sins are forgiven," Jesus is saying. (Verse 48.)
+
+[Illustration: Anointing Feet of Jesus.]
+Plate 75. _Anointing Feet of Jesus._ H. Hofmann. 1824-
+
+_Hofmann, Plate 76,_ tells of Jesus preaching from the boat (Mark
+4:1). Every face in the picture is worth studying. The world is
+present by representation--infancy, childhood, youth, maturity, old
+age; the healthy and the diseased, the workman and the scholar. "And
+he taught them many things in parables," among other things the truth
+about the Kingdom of God. (Luke 8:9-10.)
+
+[Illustration: Jesus Preaches from a Boat.]
+Plate 76. _Jesus Preaches from a Boat._ H. Hofmann. 1824-
+
+_Robert, Plate 77,_ in four decorative panels, illustrates the
+parable of the Sower, which Jesus gave at this time. In the first the
+birds came and devoured the seed, in the second the stony ground
+offered no good opportunity for a harvest, in the third thorns and
+thistles and other worldly things, "the deceitfulness of riches and
+the lusts of other things," symbolized by the short-lived mushrooms
+and daisies, and by the moths, choke the good seed. In the last is
+the abundant harvest. (Mark 4:1-34.)
+
+[Illustration: Parable of the Sower.]
+Plate 77. _Parable of the Sower._ H. L. Robert
+
+And when Jesus had finished these parables he departed to the other
+side of the lake. "And behold there arose a great tempest in the
+sea." _Dore, Plate 78,_ shows the disciples in fear, crying out,
+"Save, Lord; we perish." Jesus, awakened from a sound sleep, says
+calmly, "Why are ye fearful, O ye of little faith?" (Matt. 8:25-26.)
+"Then he arose and rebuked the winds and the sea, and there was a
+great calm." (Verse 26.)
+
+[Illustration: "Peace, Be Still."]
+Plate 78. _"Peace, Be Still."_ Gustave Dore. 1833-1883.
+
+By the time Jesus had re-crossed in the boat, a great number of
+people had gathered to meet him. Here Jairus came and entreated Jesus
+to cure his little daughter who was at the point of death. As they
+were going to the house, servants came saying that the child was
+dead: but they went on to the house of Jairus. Clearing the house of
+the mourners, Jesus takes the child's father and mother, Peter, James
+and John, and with them enters the room of death. (Mark 5:21, 24,
+35-40.)
+
+_Richter, Plate 80,_ is true to the account in the number of
+witnesses, but not in the action of the Master.
+
+[Illustration: Christ Raising the Daughter of Jairus.]
+Plate 80. _Christ Raising the Daughter of Jairus._ Gustav Richter.
+1823-1884.
+
+_Hofmann, Plate 79,_ is, as usual, more literal. "Taking the child by
+the hand" Jesus said, "Little girl, I am speaking to you, get up."
+(Mark 5:41.)
+
+[Illustration: Daughter of Jairus.]
+Plate 79. _Daughter of Jairus._ H. Hofmann. 1824-
+
+_Keller, Plate 81,_ shows the next moment when the damsel arose and
+the people were "utterly astounded." (Verse 43 in Twentieth Century
+New Testament.) Keller is no doubt more accurate than either of the
+others in the matters of costume and other accessories. The face of
+the child is worth studying.
+
+[Illustration: Raising the Daughter of Jairus.]
+Plate 81. _Raising the Daughter of Jairus._ A. Keller.
+
+DEATH OF JOHN THE BAPTIST.
+
+The account is given in Mark 6:14-29.
+
+_Reni, Plate 82,_ represents the daughter of Herodius bearing John's
+head to her mother. At Herod's command a soldier had brought it in a
+charger, and given it to the damsel. (Verse 28.)
+
+[Illustration: Head of John the Baptist in a Charger.]
+Plate 82. _Head of John the Baptist in a Charger._ Guido Reni. 1575-
+1642.
+
+
+THE FEEDING OF THE FIVE THOUSAND.
+
+When Jesus heard of the death of John he withdrew into a desert place
+to rest. But the crowds followed him on foot from all the cities of
+Galilee. After a day spent in healing the sick and in teaching, the
+Master fed the multitude generously, with five loaves and two fishes.
+The account is given by Mark (6:30-46) and by all the other
+evangelists.
+
+_Murillo, Plate 83,_ has selected the moment when the multitude is
+being seated "by companies upon the green grass," and the disciples
+are procuring the loaves and fishes from the lad. (John 6:9.) Jesus
+is taking the loaves preparatory to giving thanks and distributing
+them.
+
+[Illustration: Miracle of the Loaves and Fishes.]
+Plate 83. _Miracle of the Loaves and Fishes._ Bartolome Esteran
+Murillo. 1618-1682.
+
+The following night Jesus came to the disciples, walking upon the
+water. The most complete account is given by Matthew (14:24-36). Upon
+Peter's request Jesus gave him permission to come out upon the water.
+
+_Schwartz, Plate 85,_ shows the moment when Peter, sinking, cries
+out, "Lord, save me." (Matt. 14:30.)
+
+[Illustration: Christ and St. Peter.]
+Plate 85. _Christ and St. Peter._ A. Schwartz.
+
+_Plockhoerst, Plate 84,_ gives the next instant when Jesus stretched
+forth his hand and took hold of him, saying, "O thou of little faith,
+wherefore didst thou doubt?" (Matt. 14:31.)
+
+[Illustration: Christ and St. Peter.]
+Plate 84. _Christ and St. Peter._ S. Plockhoerst. 1825-
+
+THE TRIP INTO PHOENICIA.
+
+And Jesus went away into the borders of Tyre and Sidon. There a
+Canaanitish woman begged him to cure her daughter. The interesting
+dialogue which ensued is recorded by both Matthew and Mark.
+
+_Vecchio, Plate 86,_ gives the beginning of the dialogue. "I was not
+sent but unto the lost sheep of the house of Israel." (Matt. 15:24.)
+
+[Illustration: The Canaanitish Woman.]
+Plate 86. _The Canaanitish Woman._ Palma Vecchio. 1475-1528.
+
+PETER'S CONFESSION.
+
+The event recorded in Matt. 16:13-20, and that recorded in John
+21:15-23, have often been closely related in the minds of artists
+employed by the church during the middle ages.
+
+_Reni, Plate 87,_ gives a literal interpretation to Matt. 16:19. "I
+give unto thee the keys of the kingdom of heaven."
+
+[Illustration: Christ Giving Keys to St. Peter.]
+Plate 87. _Christ Giving Keys to St. Peter._ Guido Reni. 1575-1642.
+
+_Raphael, Plate 88,_ represents the later event, when Christ says,
+"Feed my sheep," but Peter has evidently just received the keys. The
+sheep are actually present, as symbols, to make clear the moment
+selected by the artist. (John 21:17.)
+
+[Illustration: Christ's Charge to St. Peter.]
+Plate 88. _Christ's Charge to St. Peter._ Raphael. 1483-1520.
+
+THE TRANSFIGURATION.
+
+_Raphael, Plate 89,_ has given upon one canvas, and that one of the
+most famous in the world, the Transfiguration, and that which took
+place at the same time at the foot of the mountain. (Luke 9:28-36,
+and Mark 9:14-29.) _Plate 90_ is a part of the same picture. Compare
+the details of both of these plates with the scriptural account! No
+artist ever packed more literal and spiritual truth into a single
+canvas.
+
+[Illustration: The Transfiguration.]
+Plate 89. _The Transfiguration._ Raphael. 1483-1520.
+
+[Illustration: The Demoniac Boy.]
+Plate 90. _The Demoniac Boy._ Raphael. 1483-1520.
+
+Shortly after the Transfiguration Jesus talked with his disciples
+about true greatness. By way of illustration "He took a little child
+in his arms and said unto them, Whosoever shall humble himself as
+this little child, the same is the greatest in the kingdom of
+heaven." (Mark 9:36, Matt. 18:4.)
+
+_Ballheim, Plate 97,_ suggests this event.
+
+[Illustration: Jesus and the Child.]
+Plate 97. _Jesus and the Child._ H. Ballheim.
+
+AT THE FEAST OF TABERNACLES.
+
+The Scribes and the Pharisees brought to Jesus a woman taken in
+adultery.
+
+_Hofmann, Plate 91,_ depicts the scene most graphically, at the
+moment when Jesus says, "Let him that is without sin cast the first
+stone."
+
+[Illustration: Christ and the Sinner.]
+Plate 91. _Christ and the Sinner._ H. Hofmann. 1824-
+
+_Signol, Plate 92,_ does not show the woman "in the midst" as did
+Hofmann, but after they had gone out one by one, when Jesus was left
+alone with the woman. The words, "Let him that is without sin," etc.,
+are written upon the pavement because of verses 6 and 8, where it is
+said that Jesus wrote upon the ground.
+
+[Illustration: The Adulterous Woman.]
+Plate 92. _The Adulterous Woman._ Emile Signol.
+
+At this feast Jesus spoke of himself as the Light of the world. (John
+8:12-30.)
+
+_Hunt, Plate 93,_ has idealized the words of Jesus, and added the
+thought expressed in Rev. 3:20, "Behold, I stand at the door and
+knock." The picture shows also, without doubt, the influence of the
+well-known hymn, by Mrs. Stowe, "Knocking, knocking, who is there?"
+Every detail of this picture is symbolical, and most exquisitely
+painted.
+
+[Illustration: "I am the Light of the World."]
+Plate 93. _"I am the Light of the World."_ Holman Hunt. 1827-
+
+_Overbeck, Plate 94,_ emphasizes the thought in Rev. 3:20.
+
+[Illustration: "Behold, I stand at the Door and Knock."]
+Plate 94. _"Behold, I stand at the Door and Knock."_ Overbeck. 1789-
+1869.
+
+_Plockhoerst, Plate 99,_ has attempted to put into a single picture
+the wealth of meaning suggested by the wondrous words, "Come unto me,
+all ye that labor and are heavy laden, and I will give you rest."
+(Matt, 11:28.) Humanity is symbolized by the pilgrim who needs
+comforting.
+
+[Illustration: Christ the Consoler.]
+Plate 99. _Christ the Consoler._ B. Plockhoerst. 1825-
+
+THE PEREAN MINISTRY.
+
+During this part of his life Jesus gave some of his most famous
+parables.
+
+_Siemenroth, Plate 101,_ illustrates the parable of the Good
+Samaritan. The Priest and the Levite have passed by; the Samaritan is
+pouring oil and wine upon the wounds preparatory to binding them up.
+(Luke 10:30-34.)
+
+[Illustration: The Good Samaritan.]
+Plate 101. _The Good Samaritan._ K. Siemenroth.
+
+_Dore, Plate 100,_ shows the Samaritan bringing the wounded man to
+the inn, as described in verse 34. In both pictures the plains of
+Jericho are shown in the distance. It is interesting to note that one
+artist translates "beast" as an ass, and the other as a horse.
+
+[Illustration: The Good Samaritan.]
+Plate 100. _The Good Samaritan._ Gustave Dore. 1833-1883.
+
+The Perean ministry was interrupted by a visit to Bethany and
+Jerusalem.
+
+_Hofmann, Plate 114,_ has most beautifully drawn the group in the
+home of Lazarus,--Martha, "cumbered with much serving," (Luke 10:40),
+Mary, "who has chosen the good part," (verse 40), and for a reminder
+of Lazarus, who has not yet returned from work, his house-dog, asleep
+by the chair of Jesus.
+
+[Illustration: Bethany.]
+Plate 114. _Bethany._ H. Hofmann. 1824-
+
+_Allori, Plate 113,_ gives Martha a maidservant drawing water, and a
+man-servant bringing in a sheep for dinner. Mary has her alabaster
+box close at hand! (Compare John 12:1-3.) About the time of the visit
+Jesus opened the eyes of the man born blind. (John 9.)
+
+[Illustration: Christ in the House of Mary and Martha.]
+Plate 113. _Christ in the House of Mary and Martha._ A. Allori. 1544-
+1628.
+
+_Theotocopuli, Plate 115,_ represents Jesus performing the miracle,
+and the hypocritical Pharisees, shocked and offended that he should
+do such a thing on the Sabbath. Following this event was the
+discourse about "The Good Shepherd." (John 10:1-21.)
+
+[Illustration: Jesus Anoints the Blind Man's Eyes with Clay.]
+Plate 115. _Jesus Anoints the Blind Man's Eyes with Clay._
+Theotocopuli. 1548-1625.
+
+_Plockhoerst, Plate 116,_ has chosen to illustrate the phrase, "He
+goeth before them and the sheep follow him."
+
+Upon returning into Perea Jesus gave the "Three Parables of Grace."
+(Luke 15.)
+
+[Illustration: The Good Shepherd.]
+Plate 116. _The Good Shepherd._ B. Plockhoerst. 1825-
+
+_Schoenherr, Plate 117,_ and _Molitor, Plate 102,_ represent the good
+shepherd who leaves the ninety and nine on the moor and goes after
+the lost sheep until he finds it. (Luke 15:4.)
+
+[Illustration: The Good Shepherd.]
+Plate 117. The Good Shepherd. Carl Schoenherr.
+
+[Illustration: The Lost Sheep.]
+Plate 102. _The Lost Sheep._ Franz Molitor.
+
+_Millais, Plate 103,_ illustrates the next parable, that of the lost
+coin. "If a woman lose a coin, does she not light a candle and search
+carefully until she finds it?" (Luke 15:8-10.)
+
+[Illustration: The Lost Piece of Money.]
+Plate 103. _The Lost Piece of Money._ Sir John Millais. 1829-1896.
+
+If the first parable of the group teaches the compassion of the Son,
+and the second the solicitude of the Spirit, the third teaches the
+enduring love of God the Father.
+
+_Molitor, Plate 105,_ has designed an almost abstract father and
+son--_a_ prodigal, perhaps, but not _the_ prodigal--to match his panel
+of the lost sheep. The parable is but faintly echoed in this picture.
+
+[Illustration: Prodigal Son.]
+Plate 105. _Prodigal Son._ Franz Molitor.
+
+The man who has painted the parable as a whole is _Dubufe, Plate
+106._ The central panel in the triptych shows the young man wasting
+his substance in riotous living. "He squandered his property by his
+dissolute life," says one version. His feasts were such as that
+described by Isaiah 5:11, 12. The panel at the left shows the young
+man in want, feeding swine, when "no man gave unto him." (Luke
+15:16.) In that at the right, he has returned to his father's house.
+
+[Illustration: The Prodigal Son.]
+Plate 106. _The Prodigal Son._ E. Dubufe.
+
+_Dore, Plate 104,_ is truer to the parable in the matter of the
+return, for "while he was yet a great way off his father saw him and
+ran, and fell on his neck and kissed him." (Luke 15:20.)
+
+[Illustration: Prodigal Son.]
+Plate 104. _Prodigal Son._ Gustave Dore. 1833-1883.
+
+_Dore, Plate 107,_ illustrates the parable of the Rich Man and
+Lazarus, as recorded in Luke 16:19-31. He has added a dramatic touch
+by representing the servants ordering the beggar away, even with
+violence--a part of the "evil things" which Lazarus received during
+his life. (Luke 16:25.)
+
+[Illustration: The Rich Man and Lazarus.]
+Plate 107. _The Rich Man and Lazarus._ Gustave Dore. 1833-1883.
+
+Jesus was again called to visit Bethany by the death of the brother
+of Mary and Martha. None of the pictures here reproduced give an
+adequate representation of that which then occurred--the raising of
+Lazurus. Perhaps the event is too august to be put upon canvas.
+
+_Bonifazio, Plate 118,_ seems to take an almost childish delight in
+depicting the varying effects of a disagreeable odor! He has
+magnified the remark of Martha (John 11:39) into the motive for a
+picture!
+
+[Illustration: Raising of Lazarus.]
+Plate 118. _Raising of Lazarus._ Bonifazio II. 1494-1563.
+
+_Piombo, Plate 119,_ suggests the large company who witnessed
+the miracle, but ignores the statement that Lazarus was buried in a
+cave, and that he came forth without assistance. (Verses 38 and 44.)
+He has surpassed Bonifazio in one respect at least. Piombo's people
+are astonished and excited over what has occurred: they are not
+entirely witless because of Martha's suggestion.
+
+[Illustration: Raising of Lazarus.]
+Plate 119. _Raising of Lazarus._ Sebastian del Piombo. 1485-1547.
+
+_Rubens, Plate 120,_ has not included the crowd in his canvas; but
+his Lazarus comes forth vigorously and happily from his grave in the
+cave, to meet a master whose figure is charged with animation. The
+traditional characters of the sisters are not forgotten. Martha helps
+to remove the grave-clothes, while Mary, as usual, worships the
+Master.
+
+[Illustration: Raising of Lazarus.]
+Plate 120. _Raising of Lazarus._ Rubens. 1577-1640.
+
+_Dore, Plate 108,_ interprets the parable of the Pharisee and the
+Publican. The Pharisee stands and prays "with himself" (Luke 18:11),
+while the tax-gatherer will not so much as "lift up his eyes to
+heaven," but says, "God be merciful to me a sinner." (Verse 13.)
+Jesus is represented as saying, "This man went down to his house
+justified." (Verse 14.) Dore makes it an actual event, not merely a
+parable.
+
+[Illustration: The Pharisee and Publican.]
+Plate 108. _The Pharisee and Publican._ Gustave Dore. 1833-1883.
+
+Christ blessing the children, has been a favorite subject with
+artists.
+
+_Hofmann, Plate 109,_ tells the story in his own charming way. How
+sweetly child-like is that offering of the little bouquet! He
+remembers that not only little children came; mothers brought their
+babies. (Luke 18:15.)
+
+[Illustration: Christ Blessing Little Children.]
+Plate 109. _Christ Blessing Little Children._ H. Hofmann. 1824-
+
+_Plockhoerst, Plate 110,_ is equally true to the account and to
+nature. Here a little child is asking to take her flowers to Jesus.
+Plockhoerst loves symbolism. Sheep are present (Is. 40:11), and a
+little boy is about to offer Jesus a palm-branch in unconscious
+anticipation of his triumphal entry to Jerusalem. (Matt. 21:8, 9 and
+15.)
+
+[Illustration: Christ Blessing Little Children.]
+Plate 110. _Christ Blessing Little Children._ B. Plockhoerst. 1825-
+
+_Vogel, Plate 111,_ has introduced one or two children old enough to
+have some consciousness of a real need of such love and forgiveness
+as the Master offers to all. Their attitude is not that of naive
+childhood.
+
+[Illustration: Christ Blessing Little Children.]
+Plate 111. _Christ Blessing Little Children._ Carlo Vogel.
+
+_Hofmann, Plate 112,_ has excelled himself in the portrayal of Christ
+and the rich young ruler, who asked how to obtain eternal life.
+(Matt. 19:16.) Jesus is saying; "If thou wouldest be perfect go sell
+what thou hast and give to the poor, and thou shalt have treasure in
+heaven." The decision of the young man is already made. He will
+presently go away sorrowful, and keep his great possessions. (Matt.
+19:21, 22.)
+
+[Illustration: Christ and the Young Ruler.]
+Plate 112. _Christ and the Young Ruler._ H. Hofmann. 1824-
+
+_Bonifazio, Plate 121,_ illustrates the account of Matthew relative
+to the ambitions of James and John.
+
+Their mother comes worshiping, and asking that her two sons may
+receive special honor in Christ's Kingdom. Jesus is saying, "My cup
+indeed ye shall drink; but to sit on my right hand and on my left
+hand it is not mine to give." (Matt. 20:20-28.) Peter is ready to add
+his word of condemnation.
+
+[Illustration: Christ and Zebedee's Children.]
+Plate 121. _Christ and Zebedee's Children._ Bonifazio. 1494-1563.
+
+AT JERUSALEM.
+
+PASSION WEEK.
+
+Jesus went on his way towards Jerusalem, and when he came within
+sight of the city he wept over it and said, "Would that you had
+learned, while there was time--yes, even you--the things that make
+for peace! But as it is, they have been hidden from your sight. For a
+time is coming for you when your enemies will surround you with
+earthworks, and encircle you, and hem you in on every side; they will
+trample you down and your children within you, and they will not
+leave in you one stone upon another, because you did not see that God
+was visiting you." (Twentieth Century N. T., Luke 19:42-44.)
+
+_Eastlake, Plate, 124,_ has not followed the scriptural account
+closely, but has designed a panel, with the text in mind, possibly
+influenced also by Matt. 23:37, "How often would I have gathered thy
+children together as a hen gathers her chickens under her wings, and
+ye would not!"
+
+[Illustration: Christ Weeps Over Jerusalem.]
+Plate 124. _Christ Weeps Over Jerusalem._ Sir Charles Eastlake. 1793-
+1865.
+
+_Deger, Plate 123,_ represents the triumphal entry into Jerusalem as
+recorded in all the Gospels, but with most complete detail in Luke
+19:29-44. The people threw their garments upon a colt, and set Jesus
+thereon, and accompanied him from Bethpage to Jerusalem, waving palm
+branches (John 12:13), and spreading garments and palms in the street
+(Matt. 21:8), and shouting "Hosanna, Blessed is he that cometh in the
+name of the Lord." (Matt. 21:9.) The artist has allowed the mother of
+Jesus to witness this short lived triumph of her son; nor has he
+forgotten the children (Matt. 21:15).
+
+[Illustration: Triumphal Entry.]
+Plate 123. _Triumphal Entry._ Ernest Deger. 1809-1885.
+
+_Dore, Plates 125 and 127,_ gives two incidents of the early part of
+the week: the Herodians asking about tribute to Caesar (Matt. 22:16-
+22), and the poor widow giving her contribution to the temple
+treasury (Mark 12:41-44).
+
+[Illustration: Jesus and the Tribute Money.]
+Plate 125. _Jesus and the Tribute Money._ Gustave Dore. 1833-1883.
+
+[Illustration: The Widow's Mite.]
+Plate 127. _The Widow's Mite._ Gustave Dore. 1833-1883.
+
+_Titian, Plate 126,_ in dealing with the incident of the tribute to
+Caesar, has selected the moment Dore selected, when Jesus asks, "Whose
+image and superscription hath it?" (Mark 20:24.)
+
+[Illustration: Tribute to Caesar.]
+Plate 126. _Tribute to Caesar._ Titian. 1477-1576.
+
+_Van Dyck, Plate 96,_ has chosen the moment when Jesus says, "Render
+therefore unto Caesar the things that are Caesar's, and unto God the
+things that are God's" (Matt. 22:21).
+
+[Illustration: Tribute Money.]
+Plate 96. _Tribute Money._ A. Van Dyck. 1599-1641.
+
+Towards the close of his discourse about The Last Things, Jesus gave
+the parable of the Wise and Foolish Virgins. (Matt. 25:1-13.)
+
+_Poloty, Plate 128,_ has attempted to illustrate this parable, and
+has chosen the moment when the foolish virgins discover that they are
+unprepared. (Verses 8 and 9.) Evidently the cry, "Behold the
+bridegroom cometh," was not heard, upon this occasion, "at midnight"
+(Verse 6.)
+
+[Illustration: Parable of the Virgins.]
+Plate 128. _Parable of the Virgins._ Carl Theodor von Poloty. 1826-
+1886.
+
+THE LAST SUPPER.
+
+[Illustration: Conspiracy Against Jesus.]
+Plate 129. _Conspiracy Against Jesus._ Alexandre Bida. 1813-1895.
+
+When the disciples entered the upper room all had neglected to assume
+the office of servant in preparation for the meal. They were
+disputing as to who should be the greatest in the kingdom. (Luke
+22:24.) Jesus therefore arose from the table and performed the act of
+cleansing.
+
+_Brown, Plate 133,_ has portrayed the incident wonderfully well. The
+dialogue with Peter is just finished. (John 13:6-10.)
+
+[Illustration: Jesus Washes the Disciples' Feet.]
+Plate 133. _Jesus Washes the Disciples' Feet._ Ford Madox Brown.
+1821-1893.
+
+_Da Vinci, Plate 131,_ has excelled all others in rendering the
+effects of the announcement Jesus made shortly afterwards, when they
+were at table again, "One of you shall betray me." Some of the
+disciples wonder (John 13:22), some ask, "Is it I?" (Mark 14:19.)
+Peter whispers to John to inquire who it is. (John 13:24.) The face
+of Judas alone is in shadow and inscrutable. Presently Judas will go
+out to the conspiring chief priests. (John 13:27-30.)
+
+[Illustration: The Last Supper.]
+Plate 131. _The Last Supper._ Leonardo Da Vinci. 1452-1519.
+
+When Judas had departed, Jesus said, "Now is the Son of man
+glorified." (John 13:31.) "And as they were eating, Jesus took bread
+and blessed, and break it."
+
+_Bida, Plate 132,_ gives a graphic picture of the moment of blessing
+the bread. "This is my body which is given for you," he said (Luke
+22:19). "This do in remembrance of me."
+
+[Illustration: The Last Supper.]
+Plate 132. _The Last Supper._ Alexandra Bida. 1813-1895.
+
+Bida shows the bent figure of Judas retreating into the darkness.
+
+_Hofmann, Plate 130,_ continues the story. "And he took a cup, and
+gave thanks, and gave it to them, saying, Drink ye all of it; for
+this is my blood of the covenant, which is shed for many unto
+remission of sins." (Matt. 26:27-28.)
+
+[Illustration: The Last Supper.]
+Plate 130. _The Last Supper._ H. Hofmann. 1824-
+
+No one has portrayed more clearly the characteristic attitudes of the
+disciples who heard these astonishing words. John is the only one who
+seems to appreciate the meaning of the sacrament. John only seems to
+have recalled distinctly what followed--the touching and comforting
+farewell discourses.
+
+Hofmann, as well as Bida, shows the retreating Judas, going out into
+the night. "And when they had sung a hymn, they went out unto the
+mount of Olives." (Mark 14:26.)
+
+"And they came unto a place which was named Gethesame; and he said
+unto his disciples, Sit ye here, while I go yonder and pray." (Mark
+14:32, Matt. 26:36.)
+
+_Hofmann, Plate 136,_ reveals to us the Master in prayer, with Peter,
+James, and John in the distance. (Mark 14:33.) The moment is that
+when Jesus triumphs with the words, "Thy will be done." (Matt.
+26:42.)
+
+[Illustration: Jesus in Gethsemane.]
+Plate 136. _Jesus in Gethsemane._ H. Hofmann. 1824-
+
+_Dolci, Plate 135,_ shows the angel which came and strengthened him.
+(Luke 22:43.) The angel bears the cross and the cup as symbols, but
+the cup brought that which was sufficient to the occasion. (Compare
+II. Cor. 12:9.)
+
+[Illustration: Agony in the Garden.]
+Plate 135. _Agony in the Garden._ Carlo Dolci. 1616-1686.
+
+Jesus returned to the sleeping disciples. "Look," he said, "my
+betrayer is close at hand." He had hardly said the words when Judas
+came in sight with a crowd of people with swords and staffs. Judas
+came to Jesus and exclaimed, "I am glad to see you, Rabbi," and
+kissed him. (Twentieth Century N. T., Matt. 26:46-50.)
+
+_Scheffer, Plate 137,_ attempts to place the two characters, Jesus
+and Judas, in strong contrast before our eyes; but he hardly touches
+even the outside!
+
+[Illustration: Kiss of Judas.]
+Plate 137. _Kiss of Judas._ Ary Scheffer.
+
+_Hofmann, Plate 138,_ represents the captive Christ. Judas, smitten
+already with remorse, skulks along clutching his bag of silver. Mary
+is watching from a distance. John is weeping upon Peter's neck. "So
+the band and the chief captain and the officers of the Jews, seized
+Jesus, and bound him, and led him to Annas." (John 18:12-13.) Simon
+Peter and another disciple followed Jesus afar off, and managed to
+gain admittance to the court of the high priest's house. There Peter
+denied his Lord.
+
+[Illustration: Jesus Taken Captive.]
+Plate 138. _Jesus Taken Captive._ H. Hofmann. 1824-
+
+_West, Plate 140,_ represents Peter denying before the maid-servant
+(John 18:17), evidently the first time, for he was more violent the
+second time the maid questioned him. (Mark 14:70-71.) The painter has
+introduced the figure of Jesus to make the picture more intelligible.
+The maid seems to be asking Jesus if Peter has told the truth.
+
+[Illustration: Peter's Denial of Christ.]
+Plate 140. _Peter's Denial of Christ._ Benjamin West. 1738-1820.
+
+_Harrach, Plate 139,_ gives the denial of Peter before the soldiers
+in the presence of the maid-servant. (Mark 14:54 and 67.) As Peter
+denies, the cock, above in the branches of a vine, crows as Jesus had
+predicted. Harrach has seized upon the moment recorded by Luke alone.
+"And the Lord turned and looked upon Peter." (Luke 22:61.) And Peter
+remembered, and went out and wept bitterly. (Verse 6.)
+
+[Illustration: Peter's Denial of Christ.]
+Plate 139. _Peter's Denial of Christ._ Graf Harrach.
+
+In the morning the trial is continued before Pilate. Probably no one
+has painted that scene so well as has _Munkacsy, Plate 141._ The
+picture is true to the accounts of the evangelists, and is besides a
+great study of character. The face of Christ is about the only
+inadequate piece of representation in the whole picture. Munkacsy has
+evidently followed Luke's account. "And they began to accuse him,
+saying, We found this man perverting our nation, and forbidding to
+give tribute to Caesar." The moment may be that after which Pilate
+says, "I find no fault in this man," and the accusers "become more
+urgent, saying, He stirreth up the people" (Luke 23:4, 5).
+
+[Illustration: Trial Before Pilate.]
+Plate 141. _Trial Before Pilate._ M'Haly Munkacsy. 1846-
+
+Then the soldiers took Jesus into the Pretorium, and stripped him,
+and scourged him, and plaited a crown of thorns, and gave him a
+scarlet robe, and put a reed in his hand. Smiting him again and again
+on the head, they offered him mock reverence.
+
+_Guido, Plate 142,_ portrays Jesus at this time (Matt. 27:27-30).
+Afterwards Pilate brings Jesus forth to the crowd and says, "Behold
+the Man." (John 19:5.)
+
+[Illustration: Ecce Homo.]
+Plate 142. _Ecce Homo._ Guido Reni. 1575-1642.
+
+_Ciseri, Plate 143,_ takes us upon the colonnade with Pilate and
+Jesus, and gives us a sense of the mad crowd below--immense,
+implacable--shouting "Crucify him! Crucify him!" (John 19:6.)
+
+[Illustration: Ecce Homo.]
+Plate 143. _Ecce Homo._ Antonio Ciseri. 1825-
+
+_Hofmann, Plate 144,_ shows "the man" to us, and says, Behold him!
+Hofmann too, suggests the angry crowd, and in the distance introduces
+the three Marys. Both these artists include Pilate's wife in the
+picture because of Matt. 27:19.
+
+[Illustration: Ecce Homo.]
+Plate 144. _Ecce Homo._ H. Hofmann. 1824-
+
+_Dore, Plate 145,_ with his love of the extraordinary, has
+objectified such a dream as he supposes might have caused a Roman
+matron to 'suffer many things.' She sees the living and the dead, all
+heaven and hell attendant upon the Christ, and because of this fears
+for the welfare of her husband if he does not protect so august a
+person as this mysterious King, whose Kingdom is not of this world.
+
+[Illustration: Pilate's Wife's Dream.]
+Plate 145. _Pilate's Wife's Dream._ Gustave Dore. 1833-1883.
+
+THE CRUCIFIXION.
+
+Pilate at last delivered Jesus over to be crucified. "And he went out
+bearing the cross for himself." Through loss of sleep and loss of
+blood, worn out with the long agony, Jesus fainted, and fell beneath
+the load of the cross. They compelled a man whom they met coming in
+from the country, Simon the Cyrenean, to bear the cross for Jesus,
+and thus, accompanied by a crowd of people, they came at last to
+Calvary. The scene which followed has been painted hundreds of times,
+as a whole, and in detail, sometimes with almost revolting realism,
+sometimes with fascinating power.
+
+_Hofmann, Plate 146,_ represents Jesus carrying the cross to Calvary
+(John 19:17), and the women who bewailed and lamented him. (Luke
+23:27.) The company is just going through the Damascus gate.
+
+[Illustration: Bearing the Cross.]
+Plate 146. _Bearing the Cross._ H. Hofmann. 1824-
+
+_Thiersch, Plate 147,_ gives the tragic incident which occurred just
+outside the gate. Jesus has fallen. He is speaking to the women the
+words recorded in Luke 23:28-31. Calvary is seen in the distance
+where the crosses for the two thieves have already been placed. There
+they crucified him between the two thieves.
+
+[Illustration: Bearing the Cross.]
+Plate 147. _Bearing the Cross._ Ludwig Thiersch.
+
+_Munkacsy, Plate 149,_ gives us a picture of the retreating soldiers
+after the awful deed has been done. "The people stood beholding . . .
+the rulers scoffed at him, the chief priests mocked, the scribes
+said, He saved others; himself he cannot save." (Luke 23:35, Mark
+15:31.) Darkness is coming upon the earth. In _Plate 150,_ John and
+the three Marys are at the foot of the cross. (John 19:25.)
+
+[Illustration: The Crucifixion.]
+Plate 149. _The Crucifixion._ M. Munkacsy. 1844-
+
+[Illustration: Christ on the Cross and the Three Marys.]
+Plate 150. _Christ on the Cross and the Three Marys._ M. Munkacsy.
+1844-
+
+_Hofmann, Plate 148,_ has chosen a later moment. Jesus has committed
+his mother to the care of John (John 19:26-27), and with the word,
+"It is finished," has given up his spirit into his Father's hands.
+(Luke 23:46.) Amid rending rocks and opening tombs the Centurion is
+saying, "Truly this was the Son of God." (Matt. 27:54.)
+
+[Illustration: The Crucifixion.]
+Plate 148. _The Crucifixion._ H. Hofmann. 1824-
+
+_Rubens, Plate 151,_ illustrates most graphically Mark 15:42-47.
+Joseph of Arimathaea went boldly to Pilate and asked for the body of
+Jesus. His request being granted, "he brought a linen cloth, and
+taking him down, wound him in the linen cloth." (Mark 15:46.) "And
+there came also Nicodemus, bringing a mixture of myrrh and aloes." So
+they took the body of Jesus and bound it in linen cloths, with the
+spices, as the custom of the Jews is to bury. (John 19:39-40.)
+
+[Illustration: Descent from the Cross.]
+Plate 151. _Descent from the Cross._ Rubens. 1577-1640.
+
+_Gerome, Plate 153,_ has given the most weird and graphic
+representation of the deserted hill and the doomed city. The
+supernatural darkness is passing. A flood of lurid light pours upon
+Calvary, casting the ominous shadows of the crosses towards the
+retreating multitude. In the distance the livid temple marks the
+place of the rending veil. (Mark 15:38.)
+
+[Illustration: Golgotha.]
+Plate 153. _Golgotha._ J. L. Gerome. 1824-
+
+_Morris, Plate 152,_ has drawn the deserted cross. An unknown woman
+lifts her little boy that he may see that which was written above the
+head of Christ. "And there was written, Jesus of Nazareth, The King
+of the Jews . . . in Hebrew, in Latin, and in Greek." (John
+19:19-22.)
+
+[Illustration: Whereon They Crucified Him.]
+Plate 152. _Whereon They Crucified Him._ P. R. Morris.
+
+THE BURIAL.
+
+_Ciseri, Plate 156,_ portrays, if not "The grandest funeral that ever
+passed on earth," certainly the greatest. Joseph of Arimathaea,
+Nicodemus, and John the beloved carry the dead Christ. His mother,
+Mary, the Wonderful, walks by his side. "Is it nothing to you, all ye
+that pass by? Behold, and see if there be any sorrow like unto my
+sorrow, which is done unto me, wherewith the Lord hath afflicted me."
+(Lam. 1:12.) Mary, the wife of Clopas, Mary Magdalene, and probably
+Mary of Bethany, are the other mourners. "Now in the place where he
+was crucified there was a garden, and in the garden a new tomb
+wherein was never man yet laid." (John 19:41.)
+
+[Illustration: Christ Borne to the Tomb.]
+Plate 156. _Christ Borne to the Tomb._ Antonio Ciseri.
+
+_Hofmann, Plate 155,_ represents the company entering the rock-hewn
+tomb. He composes his company differently. The four women are present
+in the background, but now two of Joseph's servants have arrived to
+assist the three men who had been carrying the body. There, in the
+tomb, the body of Jesus was laid (John 19:42).
+
+[Illustration: Entombment.]
+Plate 155. _Entombment._ H. Hofmann. 1824-
+
+_Hofmann, Plate 154,_ adds a human touch not found in the records of
+the evangelists. The last to leave the body are John and the Lord's
+mother, Mary.
+
+[Illustration: In the Sepulchre.]
+Plate 154. _In the Sepulchre._ H. Hofmann. 1824-
+
+_Dyce, Plate 158,_ shows John and Mary with the crown of thorns, on
+their way to John's own home. (John 19:27.) Joseph and Nicodemus are
+just leaving the garden, while Mary Magdalene and another Mary watch
+at the tomb. (Mark 15:47.)
+
+[Illustration: John and the Mother of Jesus.]
+Plate 158. _John and the Mother of Jesus._ Wm. Dyce.
+
+_Dobson, Plate 157,_ has attempted to express the sorrow of Mary and
+the solicitude of John as they continue the walk homeward.
+
+[Illustration: John and the Mother of Jesus.]
+Plate 157. _John and the Mother of Jesus._ W. C. T. Dobson.
+
+THE RESURRECTION.
+
+As it began to dawn towards the first day of the week, "there was a
+great earthquake, for an angel of the Lord descended from heaven, and
+came and rolled away the stone and sat upon it." (Matt. 28:1-2.)
+
+_Naack, Plate 159,_ has designed a panel which presents a synthesis
+of the various accounts of the resurrection, and adds the symbols of
+victory and triumph. Other artists have given more literal renderings
+of particular texts. For example:
+
+[Illustration: The Resurrection.]
+Plate 159. _The Resurrection._ A. Naack.
+
+_Hofmann, Plate 160,_ has Mary sitting upon the stone outside the
+tomb, weeping (John 20:11), and the risen Christ approaching her from
+behind.
+
+[Illustration: Easter Morning.]
+Plate 160. _Easter Morning._ H. Hofmann. 1824-
+
+_Di Credi, Plate 162,_ has selected the instant when Mary, turning,
+appeals to "the gardener," as she supposes, to show her where the
+body of Jesus has been hidden. (John 20:14-15.)
+
+[Illustration: Christ Appearing to Magdalene.]
+Plate 162. _Christ Appearing to Magdalene._ Lorenzo Di Credi. 1459-
+1537.
+
+_Plockhoerst, Plate 161,_ expresses the joyful surprise of Mary when
+she recognizes her Lord. Jesus is directing her to go to his brethren
+and say, "I ascend unto my Father and your Father, and my God and
+your God." (John 20:17.) One hand is held as a warning to Mary not to
+touch him, the other points upward towards heaven.
+
+[Illustration: Risen Lord and Mary Magdalene.]
+Plate 161. _Risen Lord and Mary Magdalene._ B. Plockhoerst. 1825-
+
+AFTER THE RESURRECTION.
+
+In the afternoon, after the resurrection, two disciples on the way to
+Emmaus found themselves accompanied by a stranger with wondrous power
+as an expositor of scripture. (Luke 24:13-27.)
+
+_Plockhoerst, Plate 164,_ takes us along the road with the three. The
+speaker is asking, "Was not the Christ bound to undergo all this
+before entering upon his glory?" (Verse 26.)
+
+[Illustration: Walk to Emmaus.]
+Plate 164. _Walk to Emmaus._ B. Plockhoerst. 1825-
+
+_Scheffer, Plate 163,_ shows Mary of Magdala, Mary the mother of
+James, and another woman who, after their vision at the sepulchre,
+are on their way to tell the disciples. (Luke 24:9-10.) These are the
+women whose words seemed to the disciples but idle tales unworthy of
+belief. (Verse 11.)
+
+[Illustration: Three Marys.]
+Plate 163. _Three Marys._ Ary Scheffer. 1795-1858.
+
+_Hofmann, Plate 166,_ shows the two urging the stranger to stop at
+Emmaus. (Verses 28, 29.)
+
+[Illustration: Walk to Emmaus.]
+Plate 166. _Walk to Emmaus._ H. Hofmann. 1824-
+
+_Fuerst, Plate 165,_ shows them inviting him into the house. (Verse
+29.)
+
+[Illustration: Walk to Emmaus.]
+Plate 165. _Walk to Emmaus._ M. Fuerst.
+
+_Mueller, Plate 167,_ illustrates verse 30, "he took the bread and
+blessed it."
+
+[Illustration: Supper at Emmaus.]
+Plate 167. _Supper at Emmaus._ Carl Mueller. 1839-
+
+_Diethe, Plate 168,_ shows him in the act of breaking the bread.
+
+[Illustration: Supper at Emmaus.]
+Plate 168. _Supper at Emmaus._ Alfred Diethe. 1836-
+
+In the picture of _Rembrandt, Plate 169,_ the glory appears, and the
+disciples recognize the Master "in the breaking of the bread."
+(Verses 31 and 35.)
+
+[Illustration: Supper at Emmaus.]
+Plate 169. _Supper at Emmaus._ Rembrandt 1607-1669.
+
+That very evening at Jerusalem, Jesus appeared to the disciples who
+were gathered in an upper room. Thomas, one of the twelve, was
+absent, and doubted when the others told him that they had seen the
+Lord. (John 20:24, 25.)
+
+Eight days later the disciples were again together, Thomas being with
+them. Suddenly Jesus stood in the midst. (John 20:26.)
+
+_Guercino, Plate 170,_ shows what followed. "Then said he to Thomas,
+reach hither thy finger and see my hand, and reach hither thy hand
+and put it into my side; and be not faithless, but believing." (John
+20:27.) The painter has given Jesus a banner as a symbol of victory,
+a Christian symbol as old as the catacombs.
+
+[Illustration: "Thomas the Doubter."]
+Plate 170. _"Thomas the Doubter."_ Guercino. 1590-1666.
+
+THE ASCENSION.
+
+At the end of forty days Jesus appeared to the disciples once more,
+and after giving final instructions as to their future work, "he led
+them out until they were over against Bethany: and he lifted up his
+hands and blessed them." (Luke 24:50.)
+
+_Hofmann, Plate 171,_ illustrates the next verse. "And it came to
+pass, while he blessed them, he parted from them, and was carried up
+into heaven." In Acts the added information is given that "a cloud
+received him out of their sight." (Acts 1:9.) Luke says, "they
+worshipped him" (verse 52); but Hofmann has angels worshipping (the
+"two men" of Acts 1:10), for the disciples are too greatly astonished
+to worship just then.
+
+[Illustration: The Ascension.]
+Plate 171. _The Ascension._ H. Hofmann. 1824-
+
+_Rembrandt, Plate 172,_ emphasizes the glory of it all. The prayer of
+Christ (John 17:5), is answered, the promise of God (John 12:28), is
+fulfilled. The Spirit which appeared at the baptism of Jesus in the
+form of a dove, descending upon him as he began his ministry, here
+descends again as he enters the heavens where he ever liveth to make
+intercession for us.
+
+[Illustration: The Ascension.]
+Plate 172. _The Ascension._ Rembrandt. 1607-1666.
+
+
+And many other such pictures have been painted, which are not given
+in this book; but these are given that ye may be helped to see Jesus
+the Christ, the Son of God, and that seeing ye may believe and have
+life in his name.
+
+
+Write the vision, and make it plain upon tables, that he may run that
+readeth it.
+
+HABAKKUK 2:2.
+
+
+
+INDEX BY TITLES OF PICTURES.
+
+Adoration of the Kings--MALDINI
+Adoration of the Magi--LUINI
+                       VERONESE
+Adulterous Woman--SIGNOL
+Agony in the Garden--DOLCI
+Angels and the Shepherds--PLOCKHOeRST
+Annunciation--TITIAN
+Annunciation to Mary--BAROCCIO
+                      DOSSO
+                      HOFMANN
+                      MUeLLER
+                      RENI
+Anointing Feet of Jesus--HOFMANN
+Arrival of the Shepherds--LEROLLE
+Ascension--HOFMANN
+           REMBRANDT
+Bearing the Cross--HOFMANN
+                   THIERSCH
+Behold, I stand at the Door and Knock--OVERBECK
+Behold the Lamb of God--BIDA
+Bethany--HOFMANN
+Bethlehem--HOFMANN
+Birth of John--ANGELICO
+Calling of Matthew--BIDA
+                    CHIMENTI
+                    PORDENONE
+Canaanitish Woman--VECCHIO
+Centurion's Servant--VERONESE
+Christ among the Doctors--LAFON
+Christ and St. Peter--PLOCKHOeRST
+                      SCHWARTZ
+Christ and the Fishermen--ZIMMERMANN
+Christ and the Sinner--HOFMANN
+Christ and the Young Ruler--HOFMANN
+Christ and Zebedee's Children--BONIFAZIO
+Christ Appearing to Magdalene--DI CREDI
+Christ Blessing Little Children--HOFMANN
+                                 PLOCKHOeRST
+                                 VOGEL
+Christ Borne to the Tomb--CISERI
+Christ Casting out the Money-changers--KIRCHBUCK
+Christ Disputing in the Temple--DOBSON
+Christ Disputing with the Doctors--HOFMANN
+Christ Giving Keys to St. Peter--RENI
+Christ in the House of Mary and Martha--ALLORI
+Christ on the Cross and the Three Marys--MUNKACSY
+Christ Raising the Daughter of Jairus--RICHTER
+Christ's Charge to St. Peter--RAPHAEL
+Christ Taking Leave of His Mother--PLOCKHOeRST
+Christ the Consoler--PLOCKHOeRST
+Christ Weeps Over Jerusalem--EASTLAKE
+Consider the Lilies--LE JEUNE
+Conspiracy against Jesus--BIDA
+Crucifixion--HOFMANN
+             MUNKACSY
+Daughter of Jairus--HOFMANN
+Demoniac Boy--RAPHAEL
+Descent from the Cross--RUBENS
+Easter Morning--HOFMANN
+Ecce Homo--CISERI
+           HOFMANN
+           RENI
+Entombment--HOFMANN
+Finding of Christ in the Temple--HUNT
+Flight into Egypt--FUeRST
+                   HOFMANN
+                   PLOCKHOeRST
+Golgotha--GEROME
+Good Samaritan--DORE
+                SIEMENROTH
+Good Shepherd--PLOCKHOeRST
+               SCHOeNHERR
+Head of John the Baptist in a Charger--RENI
+Healing of the Impotent Man--BIDA
+                             VAN LINT
+Healing the Sick--HOFMANN
+                  SCHOeNHERR
+Healing the Sick Child--MAX
+Holy Family--MURILLO
+Holy Night--CORREGGIO
+I am the Light of the World--HUNT
+Infancy of Christ--HOFMANN
+In the Sepulchre--HOFMANN
+In the Temple--HOFMANN
+Jesus and His Disciples Going through Cornfield--DORE
+Jesus and the Child--BALLHEIM
+Jesus and the Tribute Money--DORE
+Jesus and the Woman of Samaria--BILIVERTI
+                                DORE
+                                HOFMANN
+Jesus Anoints the Blind Man's Eyes--THEOTOCOPULI
+Jesus in Gethsemane--HOFMANN
+Jesus in the House of Simon--VERONESE
+Jesus on His Way to Jerusalem--MENGELBERG
+Jesus Preaches from a Boat--HOFMANN
+Jesus Taken Captive--HOFMANN
+Jesus Walking by the Sea--GRUNEWALD
+Jesus Washes the Disciples' Feet--BROWN
+John and the Mother of Jesus--DOBSON
+                              DYCE
+John the Baptist--SARTO
+John the Baptist Preaching--TITIAN
+Joseph and Mary; Arrival at Bethlehem--MERSON
+Joseph's Dream--CRESPI
+Kiss of Judas--SCHEFFER
+Last Supper--BIDA
+             HOFMANN
+             VINCI
+Lost Piece of Money--MILLAIS
+Lost Sheep--MOLITOR
+Madonna and Child--MURILLO
+Magdalen--RUBENS
+Marriage Feast--VERONESE
+Mary's Visit to Elizabeth--ALBERTINELLI
+Miracle of the Loaves and Fishes--MURILLO
+Miraculous Draught of Fishes--RAPHAEL
+Nativity--BOUGUEREAU
+          MUeLLER
+Nicodemus' Visit to Jesus--UNKNOWN
+Parable of the Sower--ROBERT
+Parable of the Virgins--POLOTY
+Peace, be still--DORE
+Peter's Denial of Christ--HARRACH
+                          WEST
+Pharisee and Publican--DORE
+Pilate's Wife's Dream--DORE
+Prayer in Secret--BIDA
+Presentation at the Temple--BARTOLOMMEO
+                            BORGOGNONE
+                            BOURDON
+                            CHAMPAIGNE
+                            FATTORINO
+Prodigal Son--DORE
+              DUBUFE
+              MOLITOR
+Purification of the Temple--HOFMANN
+Raising of Lazarus--BONIFAZIO
+                    PIOMBO
+                    RUBENS
+Raising the Daughter of Jairus--KELLER
+Raising the Widow's Son--HOFMANN
+Repose in Egypt--BENZ
+                 MERSON
+Resurrection--NAACK
+Rich Man and Lazarus--DORE
+Risen Lord and Mary Magdalene--PLOCKHOeRST
+Sermon on the Mount--DORE
+                     HOFMANN
+Shadow of Death--HUNT
+Shadow of the Cross--MORRIS
+Supper at Emmaus--DIETHE
+                  MUeLLER
+                  REMBRANDT
+Talking with Lame Man, Bethesda--VAN DYCK
+Temptation--HOFMANN
+Temptation of Christ--SCHEFFER
+Thomas the Doubter--GUERCINO
+Three Marys--SCHEFFER
+Transfiguration--RAPHAEL
+Trial before Pilate--MUNKACSY
+Tribute Money--VAN DYCK
+Tribute to Caesar--TITIAN
+Triumphal Entry--DEGER
+Walk to Emmaus--FUeRST
+                HOFMANN
+                PLOCKHOeRST
+Whereon they Crucified Him--MORRIS
+Widow's Mite--DORE
+Worship of the Magi--HOFMANN
+
+---
+
+NOTE.--The "Wilde Bible Pictures," from which are selected the
+pictures illustrating "The Great Painters' Gospel," are
+two-and-one-half times as large as the reduction herein used.
+A catalogue of these penny pictures will be furnished on
+application to the publishers.
+
+
+INDEX BY ARTISTS.
+
+Albertinelli.
+   Mary's Visit to Elisabeth
+Allori.
+   Christ in the house of Mary and Martha
+Angelico, Fra.
+   Birth of John
+Ballheim.
+   Jesus and the Child
+Baroccio.
+   Annunciation to Mary
+Bartolommeo, Fra.
+   Presentation at the Temple
+Benz, S.
+   Repose in Egypt
+Bida, Alexandre.
+   Behold the Lamb of God
+   Calling of Matthew
+   Conspiracy against Jesus
+   Healing of the Impotent Man
+   Last Supper
+   Prayer in Secret
+Biliverti.
+   Jesus and the Woman of Samaria
+Bonifazio.
+   Christ and Zebedee's Children
+   Raising of Lazarus
+Borgognone.
+   Presentation at the Temple
+Bourdon, Sebastien.
+   Presentation at the Temple
+Bouguereau, W. A.
+   Nativity
+Brown, Ford Madox.
+   Jesus Washes the Disciples' Feet
+Champaigne.
+   Presentation at the Temple
+Chimenti, Jacopo.
+   Calling of Matthew
+Ciseri, Antonio.
+   Christ borne to the tomb
+   Ecce Homo
+Correggio.
+   Holy Night
+Crespi, Daniele.
+   Joseph's Dream
+Deger, Ernest.
+   Triumphal Entry
+Di Credi, Lorenzo.
+   Christ appearing to Magdalene
+Diethe, Alfred.
+   Supper at Emmaus
+Dobson, W. C. T.
+   Christ disputing in the Temple
+   John and the Mother of Jesus
+Dolci, Carlo.
+   Agony in the Garden
+Dore, Gustave.
+   Good Samaritan
+   Jesus and His Disciples Going Through Cornfield
+   Jesus and the Tribute Money
+   Jesus and the Woman of Samaria
+   Peace, Be Still
+   Pharisee and Publican
+   Pilate's Wife's Dream
+   Prodigal Son
+   Rich Man and Lazarus
+   Sermon on the Mount
+   Widow's Mite
+Dosso, Dossi.
+   Annunciation to Mary
+Dubufe, E.
+   Prodigal Son
+Dyce, William.
+   John and the Mother of Jesus
+Eastlake, Sir Charles.
+   Christ Weeps Over Jerusalem
+Fattorino, Bartolommeo Del.
+   Presentation at the Temple
+Fuerst, M.
+   Flight into Egypt
+   Walk to Emmaus
+Gerome, J. L.
+   Golgotha
+Gruenewald, M.
+   Jesus Walking by the Sea
+Guercino.
+   Thomas the Doubter
+Harrach, Graf.
+   Peter's Denial of Christ
+Hofmann
+   Anointing feet of Jesus
+   Annunciation to Mary
+   Ascension
+   Bearing the Cross
+   Bethany
+   Bethlehem
+   Christ and the Sinner
+   Christ and the Young Ruler
+   Christ Blessing Little Children
+   Christ Disputing with the Doctors
+   Crucifixion
+   Daughter of Jairus
+   Easter Morning
+   Ecce Homo
+   Entombment
+   Flight into Egypt
+   Healing the Sick
+   Infancy of Christ
+   In the Sepulchre
+   In the Temple
+   Jesus and the Woman of Samaria
+   Jesus in Gethsemane
+   Jesus Preaches from a Boat
+   Jesus taken Captive
+   Last Supper
+   Purification of the Temple
+   Raising the Widow's Son
+   Sermon on the Mount
+   Temptation
+   Walk to Emmaus
+   Worship of the Magi
+Hunt, Holman.
+   Finding of Christ in the Temple
+   I am the Light of the World
+   Shadow of Death
+Keller, A.
+   Raising the Daughter of Jairus
+Kirchbuch, F
+   Christ Casting out the Money-changers
+Lafon, Emile, J.
+   Christ among the Doctors
+Le Jeune, Henry.
+   Consider the Lilies
+Lerolle, Henry.
+   Arrival of the Shepherds
+Luini.
+   Adoration of the Magi
+Maldini, Battista.
+   Adoration of the Kings
+Max, Gabriel.
+   Healing the Sick Child
+Mengleberg.
+   Jesus, Twelve Years Old, on his Way to Jerusalem
+Merson, Oliver L.
+   Joseph and Mary at Bethlehem
+   Repose in Egypt
+Millais, Sir John.
+   Lost Piece of Money
+Molitor, Franz.
+   Lost Sheep
+   Prodigal Son
+Morris, P. R.
+   Shadow of the Cross
+   Whereon they Crucified Him
+Mueller, Carl.
+   Nativity
+   Supper at Emmaus
+Mueller, Franz.
+   Annunciation to Mary
+Munkacsy.
+   Christ on the Cross and the Three Marys
+   Crucifixion
+   Trial before Pilate
+Murillo.
+   Holy Family
+   Madonna and Child
+   Miracle of the Loaves and Fishes
+Naack, A.
+   Resurrection
+Overbeck.
+   Behold, I Stand at the Door and Knock
+Piombo, Sebastian del.
+   Raising of Lazarus
+Plockhoerst.
+   Angels and the Shepherds
+   Christ and St. Peter
+   Christ Blessing Little Children
+   Christ Taking Leave of His Mother
+   Christ the Consoler
+   Flight into Egypt
+   Good Shepherd
+   Risen Lord and Mary Magdalene
+   Walk to Emmaus
+Poloty, Theodore von
+   Parable of the Virgins
+Pordenone, Giovanni.
+   Calling of Matthew
+Raphael.
+   Christ's Charge to St. Peter
+   Demoniac Boy
+   Miraculous Draught of Fishes
+   Transfiguration
+Rembrandt.
+   Ascension
+   Supper at Emmaus
+Reni, Guido.
+   Annunciation to Mary
+   Christ Giving Keys to St. Peter
+   Ecce Homo
+   Head of John the Baptist in a Charger
+Richter, Gustav.
+   Christ Raising the Daughter of Jairus
+Robert, H. L.
+   Parable of the Sower
+Rubens.
+   Descent from the Cross
+   Magdalen
+   Raising of Lazarus
+Sarto, Andrea del.
+   John the Baptist
+Scheffer, Ary.
+   Kiss of Judas
+   Temptation of Christ
+   Three Marys
+Schoenherr, Karl.
+   Good Shepherd
+   Healing the Sick
+Schwartz.
+   Christ and St. Peter
+Siemenroth, K.
+   Good Samaritan
+Signol, Emile.
+   Adulterous Woman
+Theotocopuli.
+   Jesus Anoints the Blind Man's Eyes
+Thiersch, Ludwig.
+   Bearing the Cross
+Titian.
+   Annunciation
+   John the Baptist Preaching
+   Tribute to Caesar
+Unknown Artist.
+   Nicodemus' Visit to Jesus
+Van Dyck.
+   Talking with Lame Man, Bethesda
+   Tribute Money
+Van Lint, Peter.
+   Healing of the Impotent Man
+Vecchio, Palma.
+   Canaanitish Woman
+Veronese, Bonifazio.
+   Adoration of the Magi
+Veronese, Paolo.
+   Centurion's Servant
+   Marriage Feast
+   Jesus in the House of Simon
+Vinci, Leonardo Da.
+   Last Supper
+Vogel, Carlo.
+   Christ Blessing Little Children
+West, Benjamin.
+   Peter's Denial of Christ
+Zimmermann, Ernst K.G.
+   Christ and the Fishermen
+
+
+
+
+
+
+
+
+End of Project Gutenberg's The Great Painters' Gospel, by Henry Turner Bailey
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