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| author | Roger Frank <rfrank@pglaf.org> | 2025-10-14 20:10:29 -0700 |
|---|---|---|
| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-14 20:10:29 -0700 |
| commit | a4171034880f134575ec887c361d89800164c6c4 (patch) | |
| tree | c050bde787b8d6dd8d654fec049fa2ce9852b968 /38500-h | |
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diff --git a/38500-h/38500-h.htm b/38500-h/38500-h.htm new file mode 100644 index 0000000..211cbf9 --- /dev/null +++ b/38500-h/38500-h.htm @@ -0,0 +1,10544 @@ +<!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% } +</style> +</head> + <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> + 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> + + </p> + </td> + <td> + <p> + Luke 1:28 + </p> + </td> + <td width="5"> + <p> + + </p> + </td> + <td> + <p> + TITIAN + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#1">"Blessed art thou among + women"</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + Luke 1:28 + </p> + </td> + <td> + <p> + + </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> + + </p> + </td> + <td> + <p> + Luke 1:28 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + RENI + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#5">"How shall this be?"</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + Luke 1:34 + </p> + </td> + <td> + <p> + + </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> + + </p> + </td> + <td> + <p> + Luke 1:35 + </p> + </td> + <td> + <p> + + </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> + + </p> + </td> + <td> + <p> + Luke 1:38 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + MÜLLER + </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> + + </p> + </td> + <td> + <p> + Luke 1:40 + </p> + </td> + <td width="5"> + <p> + + </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> + + </p> + </td> + <td> + <p> + Luke 1:63 + </p> + </td> + <td width="5"> + <p> + + </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> + + </p> + </td> + <td> + <p> + Luke 2:7 + </p> + </td> + <td width="5"> + <p> + + </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> + + </p> + </td> + <td> + <p> + Luke 2:9 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + PLOCKHÖRST + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#13">"Glory to God in the + highest"</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + Luke 2:14 + </p> + </td> + <td> + <p> + + </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> + + </p> + </td> + <td> + <p> + Luke 2:16 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + LEROLLE + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#9">"Wondered at those things"</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + Luke 2:18 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + CORREGGIO + </p> + </td> + </tr> + <tr> + <td> + <p> + + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + <a href="#10">BOUGUEREAU</a> + </p> + </td> + </tr> + <tr> + <td> + <p> + + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + <a href="#12">MÜLLER</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> + + </p> + </td> + <td> + <p> + Luke 2:29 + </p> + </td> + <td width="5"> + <p> + + </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> + + </p> + </td> + <td> + <p> + Luke 2:34 + </p> + </td> + <td> + <p> + + </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> + + </p> + </td> + <td> + <p> + Luke 2:35 + </p> + </td> + <td> + <p> + + </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> + + </p> + </td> + <td> + <p> + Luke 2:38 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + BOURDON + </p> + </td> + </tr> + <tr> + <td> + <p> + + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + + </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> + + </p> + </td> + <td> + <p> + Matt. 2:9 + </p> + </td> + <td width="5"> + <p> + + </p> + </td> + <td> + <p> + HOFMANN + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#23">They came to the house</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + Matt. 2:11 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + MALDINI + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#21">And they worshipped the + child</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + Matt. 2:11 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + LUINI + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#22">And gave unto him gifts</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + Matt. 2:11 + </p> + </td> + <td> + <p> + + </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> + + </p> + </td> + <td> + <p> + Matt. 2:13 + </p> + </td> + <td width="5"> + <p> + + </p> + </td> + <td> + <p> + CRESPI + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#26">He arose and departed</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + Matt. 2:14 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + FÜRST + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#27">With the child and his + mother</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + Matt. 2:14 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + PLOCKHÖRST + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#25">Guided by the angel</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + HOFMANN + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#28">Into Egypt</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + Matt. 2:14 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + BENZ + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#29">In Egypt</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + + </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> + + </p> + </td> + <td> + <p> + Matt. 2:15 + </p> + </td> + <td> + <p> + + </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> + + </p> + </td> + <td> + <p> + + </p> + </td> + <td width="5"> + <p> + + </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> + + </p> + </td> + <td> + <p> + Luke 2:40 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + MURILLO + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#31">Daily life at Nazareth</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + + </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> + + </p> + </td> + <td> + <p> + Luke 2:42 + </p> + </td> + <td width="5"> + <p> + + </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> + + </p> + </td> + <td> + <p> + Luke 2:46 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + HOFMANN + </p> + </td> + </tr> + <tr> + <td> + <p> + + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + + </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> + + </p> + </td> + <td> + <p> + Luke 2:48 + </p> + </td> + <td> + <p> + + </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> + + </p> + </td> + <td> + <p> + Luke 2:48 + </p> + </td> + <td> + <p> + + </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> + + </p> + </td> + <td> + <p> + + </p> + </td> + <td width="5"> + <p> + + </p> + </td> + <td> + <p> + HUNT + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#41">"Breaking home ties"</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + PLOCKHÖRST + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#42">[The youthful John]</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + Luke 1:80 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + DEL SARTO + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#43">[The forerunner]</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + Matt. 3:1-4 + </p> + </td> + <td> + <p> + + </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> + + </p> + </td> + <td> + <p> + Matt. 4:10 + </p> + </td> + <td width="5"> + <p> + + </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> + + </p> + </td> + <td> + <p> + Matt. 4:11 + </p> + </td> + <td> + <p> + + </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> + + </p> + </td> + <td> + <p> + John 1:29 + </p> + </td> + <td width="5"> + <p> + + </p> + </td> + <td> + <p> + BIDA + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#48">"Jesus as he walked"</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + John 1:36 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + GRÜNEWALD + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#50">A marriage in Cana</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + John 2:1 + </p> + </td> + <td> + <p> + + </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> + + </p> + </td> + <td> + <p> + + </p> + </td> + <td width="5"> + <p> + + </p> + </td> + <td> + <p> + KIRCHBUCK + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#52">"He drove them all out"</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + John 2:15 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + HOFMANN + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#53">Visit of Nicodemus</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + John 3:1-21 + </p> + </td> + <td> + <p> + + </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> + + </p> + </td> + <td> + <p> + John 4:10 + </p> + </td> + <td width="5"> + <p> + + </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> + + </p> + </td> + <td> + <p> + John 4:23 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + DORÉ + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#55">"God is a Spirit"</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + John 4:24 + </p> + </td> + <td> + <p> + + </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> + + </p> + </td> + <td> + <p> + Matt. 4:19 + </p> + </td> + <td width="5"> + <p> + + </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> + + </p> + </td> + <td> + <p> + Luke 5:8 + </p> + </td> + <td> + <p> + + </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> + + </p> + </td> + <td> + <p> + Matt. 8:16 + </p> + </td> + <td width="5"> + <p> + + </p> + </td> + <td> + <p> + SCHÖNHERR + </p> + </td> + </tr> + <tr> + <td> + <p> + + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + <a href="#70">HOFMANN</a> + </p> + </td> + </tr> + <tr> + <td> + <p> + + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + + </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> + + </p> + </td> + <td> + <p> + Matt. 9:9 + </p> + </td> + <td> + <p> + + </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> + + </p> + </td> + <td> + <p> + Matt. 9:9 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + PORDENONE + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#57">"Follow me"</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + Matt. 9:9 + </p> + </td> + <td> + <p> + + </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> + + </p> + </td> + <td> + <p> + John 5:8 + </p> + </td> + <td width="5"> + <p> + + </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> + + </p> + </td> + <td> + <p> + John 5:9 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + VAN LINT + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#62">"Afterward, Jesus findeth + him"</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + John 5:14 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + VAN DYCK + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#63">Discussion in cornfield</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + Matt. 12:1-8 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + DORÉ + </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> + + </p> + </td> + <td> + <p> + + </p> + </td> + <td width="5"> + <p> + + </p> + </td> + <td> + <p> + DORÉ + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#64">Giving beatitudes</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + Matt. 5:1-12 + </p> + </td> + <td> + <p> + + </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> + + </p> + </td> + <td> + <p> + Matt. 6:28 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + LE JEUNE + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#66">Prayer in secret</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + Matt. 6:6 + </p> + </td> + <td> + <p> + + </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> + + </p> + </td> + <td> + <p> + Matt. 8:5-13 + </p> + </td> + <td width="5"> + <p> + + </p> + </td> + <td> + <p> + VERONESE + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#72">Raising the widow's son</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + Luke 7:11-17 + </p> + </td> + <td> + <p> + + </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> + + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + VERONESE + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#74">"Kissed his feet"</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + Luke 7:38 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + RUBENS + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#75">"Thy sins are forgiven"</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + Luke 7:48 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + HOFMANN + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#76">"He entered into a boat"</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + Mark 4:1 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + HOFMANN + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#77">Parable of the sower</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + Mark 4:3-9 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + ROBERT + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#78">Stilling of the tempest</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + Mark 4:35-41 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + DORÉ + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#80">Raising of Jairus' + daughter</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + + </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> + + </p> + </td> + <td> + <p> + Mark 5:41 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + HOFMANN + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#81">"Straightway she rose up"</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + Mark 5:42 + </p> + </td> + <td> + <p> + + </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> + + </p> + </td> + <td> + <p> + Mark 6:28 + </p> + </td> + <td width="5"> + <p> + + </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> + + </p> + </td> + <td> + <p> + John 6:11 + </p> + </td> + <td width="5"> + <p> + + </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> + + </p> + </td> + <td> + <p> + Matt. 14:30 + </p> + </td> + <td width="5"> + <p> + + </p> + </td> + <td> + <p> + SCHWARTZ + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#84">"Wherefore didst thou + doubt?"</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + Matt. 14:31 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + PLOCKHÖRST + </p> + </td> + </tr> + </table> + <h2> + Trip into Phœnicia. + </h2> + <table> + <tr> + <td> + <p> + <a href="#86">Canaanitish woman</a> + </p> + </td> + <td width="5"> + <p> + + </p> + </td> + <td> + <p> + Matt. 15:21-28 + </p> + </td> + <td width="5"> + <p> + + </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> + + </p> + </td> + <td> + <p> + Matt. 16:19 + </p> + </td> + <td width="5"> + <p> + + </p> + </td> + <td> + <p> + RENI + </p> + </td> + </tr> + <tr> + <td> + <p> + + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + + </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> + + </p> + </td> + <td> + <p> + Matt. 17:1-8 + </p> + </td> + <td width="5"> + <p> + + </p> + </td> + <td> + <p> + RAPHAEL + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#90">Demoniac Boy</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + Matt. 17:14-20 + </p> + </td> + <td> + <p> + + </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> + + </p> + </td> + <td> + <p> + Matt. 18:2 + </p> + </td> + <td> + <p> + + </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> + + </p> + </td> + <td> + <p> + John 8:7 + </p> + </td> + <td width="5"> + <p> + + </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> + + </p> + </td> + <td> + <p> + John 8:19 + </p> + </td> + <td> + <p> + + </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> + + </p> + </td> + <td> + <p> + John 8:12 + </p> + </td> + <td> + <p> + + </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> + + </p> + </td> + <td> + <p> + Rev. 3:20 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + OVERBECK + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#99">"I will give you rest"</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + Matt. 11:28 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + PLOCKHÖRST + </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> + + </p> + </td> + <td> + <p> + Luke 10:30-34 + </p> + </td> + <td width="5"> + <p> + + </p> + </td> + <td> + <p> + SIEMENROTH + </p> + </td> + </tr> + <tr> + <td> + <p> + + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + <a href="#100">DORÉ</a> + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#114">Jesus in the home of + Lazarus</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + Luke 10:40 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + HOFMANN + </p> + </td> + </tr> + <tr> + <td> + <p> + + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + + </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> + + </p> + </td> + <td> + <p> + John 9:1-40 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + THEOTOCOPULI + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#116">The good Shepherd</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + John 10:1-21 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + PLOCKHÖRST + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#117">Finding the lost sheep</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + Luke 15:2 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + SCHÖNHERR + </p> + </td> + </tr> + <tr> + <td> + <p> + + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + + </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> + + </p> + </td> + <td> + <p> + Luke 15:8 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + MILLAIS + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#106">The prodigal son</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + Luke 15:11-32 + </p> + </td> + <td> + <p> + + </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> + + </p> + </td> + <td> + <p> + Luke 15:20 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + MOLITOR + </p> + </td> + </tr> + <tr> + <td> + <p> + + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + <a href="#104">DORÉ</a> + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#107">Rich man and Lazarus</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + Luke 16:19-31 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + DORÉ + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#118">Raising of Lazarus</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + John 11:1-46 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + BONIFAZIO + </p> + </td> + </tr> + <tr> + <td> + <p> + + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + <a href="#119">PIOMBO</a> + </p> + </td> + </tr> + <tr> + <td> + <p> + + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + + </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> + + </p> + </td> + <td> + <p> + Luke 18:9-14 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + DORÉ + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#109">Christ blessing little + children</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + Mark 10:13-16 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + HOFMANN + </p> + </td> + </tr> + <tr> + <td> + <p> + + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + <a href="#110">PLOCKHÖRST</a> + </p> + </td> + </tr> + <tr> + <td> + <p> + + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + + </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> + + </p> + </td> + <td> + <p> + Matt. 9:16-22 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + HOFMANN + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#121">Ambition of James and + John</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + Matt. 20:20-28 + </p> + </td> + <td> + <p> + + </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> + + </p> + </td> + <td> + <p> + Luke 19:29-44 + </p> + </td> + <td width="5"> + <p> + + </p> + </td> + <td> + <p> + DEGER + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#124">Christ weeps over + Jerusalem</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + Luke 19:41 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + EASTLAKE + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#125">Tribute money</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + DORÉ + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#126">"Whose image and + superscription hath it?"</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + Mark 20:24 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + TITIAN + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#126">"Render to Cæsar the + things that are Cæsar's"</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + Matt. 22:21 + </p> + </td> + <td> + <p> + + </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> + + </p> + </td> + <td> + <p> + Mark 12:41-44 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + DORÉ + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#128">Parable of the virgins</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + Matt. 25:1-13 + </p> + </td> + <td> + <p> + + </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> + + </p> + </td> + <td> + <p> + Luke 22:3-6 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + BIDA + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#131">The Last Supper</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + + </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> + + </p> + </td> + <td> + <p> + John 13:12 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + BROWN + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#132">"This is my body"</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + Luke 22:19 + </p> + </td> + <td> + <p> + + </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> + + </p> + </td> + <td> + <p> + Matt. 26:27 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + HOFMANN + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#136">"Thy will be done"</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + Matt. 26:42 + </p> + </td> + <td> + <p> + + </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> + + </p> + </td> + <td> + <p> + Luke 22:43 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + DOLCI + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#137">Kiss of Judas</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + Matt. 26:49 + </p> + </td> + <td> + <p> + + </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> + + </p> + </td> + <td> + <p> + John 18:12 + </p> + </td> + <td> + <p> + + </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> + + </p> + </td> + <td> + <p> + John 18:17 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + WEST + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#139">Denial before soldiers</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + Mark 14:54 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + HARRACH + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#141">Trial before Pilate</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + Luke 23:1-7 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + MUNKACSY + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#142">"Hail, King of the + Jews!"</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + Matt. 27:29 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + RENI + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#144">"Behold the man"</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + John 19:5 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + HOFMANN + </p> + </td> + </tr> + <tr> + <td> + <p> + + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + + </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> + + </p> + </td> + <td> + <p> + Matt. 27:19 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + DORÉ + </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> + + </p> + </td> + <td> + <p> + Luke 23:26 + </p> + </td> + <td width="5"> + <p> + + </p> + </td> + <td> + <p> + HOFMANN + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#147">"Weep not for me"</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + Luke 23:28 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + THIERSCH + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#149">"The people stood + beholding"</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + Luke 23:35 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + MUNKACSY + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#150">The group near the + cross"</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + John 19:25 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + MUNKASCY + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#148">"Behold thy mother"</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + John 19:27 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + HOFMANN + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#151">Descent from the cross</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + Mark 15:46 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + RUBENS + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#153">Golgotha</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + GEROME + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#152">The deserted cross</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + + </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> + + </p> + </td> + <td> + <p> + John 19:40 + </p> + </td> + <td width="5"> + <p> + + </p> + </td> + <td> + <p> + CISERI + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#155">"Laid him in a tomb"</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + Mark 15:46 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + HOFMANN + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#158">John with Mary</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + DYCE + </p> + </td> + </tr> + <tr> + <td> + <p> + + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + + </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> + + </p> + </td> + <td> + <p> + John 20:11 + </p> + </td> + <td width="5"> + <p> + + </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> + + </p> + </td> + <td> + <p> + John 20:15 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + DI CREDI + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#161">"Touch me not"</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + John 20:17 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + PLOCKHÖRST + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#163">"Returning from the + tomb"</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + Luke 24:9 + </p> + </td> + <td> + <p> + + </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> + + </p> + </td> + <td> + <p> + Luke 24:15 + </p> + </td> + <td width="5"> + <p> + + </p> + </td> + <td> + <p> + PLOCKHÖRST + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#166">"Abide with us"</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + Luke 24:29 + </p> + </td> + <td> + <p> + + </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> + + </p> + </td> + <td> + <p> + Luke 24:29 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + FÜRST + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#167">"He took the bread and + blessed it"</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + Luke 24:30 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + MÜLLER + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#168">"And break and gave to + them"</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + Luke 24:30 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + DIETHE + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#169">"And their eyes were + opened"</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + Luke 24:31 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + REMBRANDT + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#170">"Reach hither thy hand"</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + John 20:27 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + GUERCINO + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#171">The Ascension</a> + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + Luke 24:51 + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + HOFMANN + </p> + </td> + </tr> + <tr> + <td> + <p> + + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + + </p> + </td> + <td> + <p> + + </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>Müller, 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 + Müller. + </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>Plockhörst, 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. + Plockhörst, 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>Müller, 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 Müller. 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"—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>Fürst, 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. Fürst. + </p> + <p> + <b>Plockhörst, 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. Plockhörst. + 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,—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—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,—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 <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> Émile + 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 archæologist. 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>Plockhörst, Plate 41,</b> depicts the parting + of Mother and Son,—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. + Plockhörst. 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>Grünewald, 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. + Grünewald (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>Doré, 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 Doré. 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>Schönherr, 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 + Schönherr. 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>Doré, 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 Doré. 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>Doré, 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 + Doré. 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—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—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>Doré, 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= + ""Peace, Be Still.""></a><br> + Plate 78. <i>"Peace, Be Still."</i> Gustave + Doré. 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>Plockhörst, 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. + Plockhörst. 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= + ""I am the Light of the World.""></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= + ""Behold, I stand at the Door and Knock.""></a><br> + + Plate 94. <i>"Behold, I stand at the Door and + Knock."</i> Overbeck. 1789-1869. + </p> + <p> + <b>Plockhörst, 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. + Plockhörst. 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>Doré, 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 + Doré. 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,—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>Plockhörst, 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. + Plockhörst. 1825- + </p> + <p> + <b>Schönherr, 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 Schönherr. + </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—<i>a</i> prodigal, + perhaps, but not <i>the</i> prodigal—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>Doré, 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 Doré. + 1833-1883. + </p> + <p> + <b>Doré, 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—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 + Doré. 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—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>Doré, 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.) + Doré 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 + Doré. 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>Plockhörst, Plate 110,</b> 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.) + </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. + Plockhörst. 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 naïve + 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—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.) + </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>Doré, Plates 125 and 127,</b> 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). + </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 + Doré. 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 + Doré. 1833-1883. + </p> + <p> + <b>Titian, Plate 126,</b> 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.) + </p> + <p align="center"> + <a name="126"><img src="images/130.jpg" alt= + "Tribute to Cæsar."></a><br> + Plate 126. <i>Tribute to Cæsar.</i> Titian. + 1477-1576. + </p> + <p> + <b>Van Dyck, Plate 96,</b> 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). + </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—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 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). + </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—immense, implacable—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>Doré, 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 + Doré. 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 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.) + </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 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.) + </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>Plockhörst, 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. + Plockhörst. 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>Plockhörst, 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. Plockhörst. + 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>Fürst, 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. Fürst. + </p> + <p> + <b>Müller, 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 Müller. + 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= + ""Thomas the Doubter.""></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> + + </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> + PLOCKHÖRST + </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> + + </p> + </td> + <td> + <p> + <a href="#4">DOSSO</a> + </p> + </td> + </tr> + <tr> + <td> + <p> + + </p> + </td> + <td> + <p> + <a href="#1">HOFMANN</a> + </p> + </td> + </tr> + <tr> + <td> + <p> + + </p> + </td> + <td> + <p> + <a href="#3">MÜLLER</a> + </p> + </td> + </tr> + <tr> + <td> + <p> + + </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> + + </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> + + </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> + + </p> + </td> + <td> + <p> + <a href="#58">CHIMENTI</a> + </p> + </td> + </tr> + <tr> + <td> + <p> + + </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> + PLOCKHÖRST + </p> + </td> + </tr> + <tr> + <td> + <p> + + </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> + + </p> + </td> + <td> + <p> + <a href="#110">PLOCKHÖRST</a> + </p> + </td> + </tr> + <tr> + <td> + <p> + + </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> + PLOCKHÖRST + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#99">Christ the Consoler</a> + </p> + </td> + <td> + <p> + PLOCKHÖRST + </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> + + </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> + + </p> + </td> + <td> + <p> + <a href="#144">HOFMANN</a> + </p><a href="#144"></a> + </td> + </tr> + <tr> + <td> + <p> + + </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> + FÜRST + </p> + </td> + </tr> + <tr> + <td> + <p> + + </p> + </td> + <td> + <p> + <a href="#25">HOFMANN</a> + </p><a href="#25"></a> + </td> + </tr> + <tr> + <td> + <p> + + </p> + </td> + <td> + <p> + <a href="#27">PLOCKHÖRST</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> + DORÉ + </p> + </td> + </tr> + <tr> + <td> + <p> + + </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> + PLOCKHÖRST + </p> + </td> + </tr> + <tr> + <td> + <p> + + </p> + </td> + <td> + <p> + <a href="#117">SCHÖNHERR</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> + + </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> + + </p> + </td> + <td> + <p> + <a href="#69">SCHÖNHERR</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> + DORÉ + </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> + DORÉ + </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> + + </p> + </td> + <td> + <p> + <a href="#54">DORÉ</a> + </p> + </td> + </tr> + <tr> + <td> + <p> + + </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> + + </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> + + </p> + </td> + <td> + <p> + <a href="#130">HOFMANN</a> + </p><a href="#130"></a> + </td> + </tr> + <tr> + <td> + <p> + + </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> + + </p> + </td> + <td> + <p> + <a href="#12">MÜLLER</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> + DORÉ + </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> + + </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> + DORÉ + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#145">Pilate's Wife's Dream</a> + </p> + </td> + <td> + <p> + DORÉ + </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> + + </p> + </td> + <td> + <p> + <a href="#16">BORGOGNONE</a> + </p><a href="#16"></a> + </td> + </tr> + <tr> + <td> + <p> + + </p> + </td> + <td> + <p> + <a href="#17">BOURDON</a> + </p><a href="#17"></a> + </td> + </tr> + <tr> + <td> + <p> + + </p> + </td> + <td> + <p> + <a href="#15">CHAMPAIGNE</a> + </p><a href="#15"></a> + </td> + </tr> + <tr> + <td> + <p> + + </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> + DORÉ + </p> + </td> + </tr> + <tr> + <td> + <p> + + </p> + </td> + <td> + <p> + <a href="#106">DUBUFE</a> + </p> + </td> + </tr> + <tr> + <td> + <p> + + </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> + + </p> + </td> + <td> + <p> + <a href="#119">PIOMBO</a> + </p> + </td> + </tr> + <tr> + <td> + <p> + + </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> + + </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> + DORÉ + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#161">Risen Lord and Mary + Magdalene</a> + </p> + </td> + <td> + <p> + PLOCKHÖRST + </p> + </td> + </tr> + <tr> + <td> + <p> + <a href="#65">Sermon on the Mount</a> + </p> + </td> + <td> + <p> + DORÉ + </p> + </td> + </tr> + <tr> + <td> + <p> + + </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> + + </p> + </td> + <td> + <p> + <a href="#167">MÜLLER</a> + </p> + </td> + </tr> + <tr> + <td> + <p> + + </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 Cæsar</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> + FÜRST + </p> + </td> + </tr> + <tr> + <td> + <p> + + </p> + </td> + <td> + <p> + <a href="#166">HOFMANN</a> + </p><a href="#166"></a> + </td> + </tr> + <tr> + <td> + <p> + + </p> + </td> + <td> + <p> + <a href="#164">PLOCKHÖRST</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> + DORÉ + </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.—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>Doré, 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>Fürst, 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>Grünewald, 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, Émile, 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>Müller, Carl.</b><br> + <a href="#12">Nativity<br></a> <a href="#167">Supper at + Emmaus</a> + </p> + <p> + <b>Müller, 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>Plockhörst.</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>Schönherr, 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 Cæsar</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> + + + + + +End of Project Gutenberg's The Great Painters' Gospel, by Henry Turner Bailey + +*** END OF THIS PROJECT GUTENBERG EBOOK THE GREAT PAINTERS' GOSPEL *** + +***** This file should be named 38500-h.htm or 38500-h.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/3/8/5/0/38500/ + +Produced by Michael Gray, Diocese of San Jose + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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