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diff --git a/38500-8.txt b/38500-8.txt new file mode 100644 index 0000000..97fb062 --- /dev/null +++ b/38500-8.txt @@ -0,0 +1,3021 @@ +Project Gutenberg's The Great Painters' Gospel, by Henry Turner Bailey + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: The Great Painters' Gospel + Pictures Representing Scenes and Incidents in the Life of + Our Lord Jesus Christ + +Author: Henry Turner Bailey + +Release Date: January 5, 2012 [EBook #38500] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK THE GREAT PAINTERS' GOSPEL *** + + + + +Produced by Michael Gray, Diocese of San Jose + + + + +[Illustration: "I am the Light of the World"] +Holman Hunt. 1827- +_"I am the Light of the World."_ + + + + THE + GREAT PAINTERS' GOSPEL + + PICTURES + representing scenes and + incidents in the life of + Our Lord Jesus Christ + + _With scriptural quotations, references and suggestions for +comparative study_ + + By HENRY TURNER BAILEY + + W A WILDE COMPANY + BOSTON MASS + USA + + + + COPYRIGHT 1900 BY + W. A. WILDE COMPANY + All rights reserved + + + + +TABLE OF CONTENTS. + +Introductory. + +The Annunciation. + + "Hail Mary" Luke 1:28 TITIAN + "Blessed art thou among women" Luke 1:28 HOFMANN + "Thou hast found favor with God" Luke 1:28 RENI + "How shall this be?" Luke 1:34 BAROCCIO + "The Holy Ghost shall come upon thee" Luke 1:35 DOSSO + "Let it be unto me according to thy Luke 1:38 MÜLLER + word" + +The Salutation. + + Mary saluting Elizabeth Luke 1:40 ALBERTINELLI + +The Birth of John. + + "His name is John" Luke 1:63 FRA ANGELICO + + +Childhood. + +Nativity. + + "No room for them in the inn" Luke 2:7 MERSON + "The angel of the Lord came upon them" Luke 2:9 PLÖCKHORST + "Glory to God in the highest" Luke 2:14 HOFMANN + "Found Mary and Joseph and the babe" Luke 2:16 LEROLLE + "Wondered at those things" Luke 2:18 CORREGGIO + BOUGUEREAU + MÜLLER + +Presentation. + + "Now lettest thou thy servant depart Luke 2:29 FATTORINO + in peace" + "This child is set for the falling Luke 2:34 CHAMPAIGNE + and rising up of many in Israel" + "A sword shall pierce thine own soul" Luke 2:35 BORGOGNONE + Anna coming up at that instant Luke 2:38 BOURDON + BARTOLOMMEO + +Adoration of Magi. + + The star stood over the child Matt. 2:9 HOFMANN + They came to the house Matt. 2:11 MALDINI + And they worshipped the child Matt. 2:11 LUINI + And gave unto him gifts Matt. 2:11 BONIFAZIO + +Flight into Egypt. + + An angel appeared to Joseph in a dream Matt. 2:13 CRESPI + He arose and departed Matt. 2:14 FÜRST + With the child and his mother Matt. 2:14 PLOCKHÖRST + Guided by the angel HOFMANN + Into Egypt Matt. 2:14 BENZ + In Egypt MERSON + Was there till the death of Herod Matt. 2:15 MORRIS + +Return to Nazareth. + + Mother and child MURILLO + "Grace of God was upon him" Luke 2:40 MURILLO + Daily life at Nazareth HOFMANN + + +Youth. + +Visit to Jerusalem. + + "They went up to Jerusalem" Luke 2:42 MENGELBERG + In the midst of the doctors Luke 2:46 HOFMANN + LAFON + "When they saw him they were amazed" Luke 2:48 DOBSON + "Son, why hast thou thus dealt with Luke 2:48 HUNT + us?" + +Silent Years at Home. + + The carpenter's son HUNT + "Breaking home ties" PLOCKHÖRST + [The youthful John] Luke 1:80 DEL SARTO + [The forerunner] Matt. 3:1-4 TITIAN + + +Manhood. + +Temptation. + + "Worship the Lord thy God" Matt. 4:10 SCHEFFER + "Left him and behold angels came" Matt. 4:11 HOFMANN + +Beginning of Public Service. + + "Behold the Lamb of God" John 1:29 BIDA + "Jesus as he walked" John 1:36 GRÜNEWALD + A marriage in Cana John 2:1 VERONESE + +Early Judean Ministry. + + Cleansing the temple KIRCHBUCK + "He drove them all out" John 2:15 HOFMANN + Visit of Nicodemus John 3:1-21 UNKNOWN + +Return through Samaria. + + "Thou wouldst have asked of him" John 4:10 BILIVERTI + "Worship the Father in spirit and John 4:23 DORÉ + truth" + "God is a Spirit" John 4:24 HOFMANN + +Call of the Four. + + "I will make you fishers of men" Matt. 4:19 ZIMMERMAN + "Depart from me for I am a sinful man" Luke 5:8 RAPHAEL + +Early Galilean Ministry. + + "He healed all that were sick" Matt. 8:16 SCHÖNHERR + HOFMANN + MAX + Calling of Matthew Matt. 9:9 CHIMENTI + "Sitting at the receipt of custom" Matt. 9:9 PORDENONE + "Follow me" Matt. 9:9 BIDA + +At Jerusalem Again. + + "Jesus saith unto him, 'Rise'" John 5:8 BIDA + "He took up his bed and walked" John 5:9 VAN LINT + "Afterward, Jesus findeth him" John 5:14 VAN DYCK + Discussion in cornfield Matt. 12:1-8 DORÉ + +Sermon on the Mount. + + Christ preaching DORÉ + Giving beatitudes Matt. 5:1-12 HOFMANN + "Consider the lilies of the field" Matt. 6:28 LE JEUNE + Prayer in secret Matt. 6:6 BIDA + +Second Tour of Galilee. + + The Centurion's servant Matt. 8:5-13 VERONESE + Raising the widow's son Luke 7:11-17 HOFMANN + Jesus in the house of Simon VERONESE + "Kissed his feet" Luke 7:38 RUBENS + "Thy sins are forgiven" Luke 7:48 HOFMANN + "He entered into a boat" Mark 4:1 HOFMANN + Parable of the sower Mark 4:3-9 ROBERT + Stilling of the tempest Mark 4:35-41 DORÉ + Raising of Jairus' daughter RICHTER + "Taking the child by the hand" Mark 5:41 HOFMANN + "Straightway she rose up" Mark 5:42 KELLER + +Death of John the Baptist. + + "The damsel gave it to her mother" Mark 6:28 RENI + +Feeding of the Five Thousand + + Blessing the food John 6:11 MURILLO + +Jesus Walking on the Water + + "Lord, save me" Matt. 14:30 SCHWARTZ + "Wherefore didst thou doubt?" Matt. 14:31 PLOCKHÖRST + +Trip into Phoenicia. + + Canaanitish woman Matt. 15:21-28 VECCIO + +Peter's Confession. + + "I will give the keys of the kingdom Matt. 16:19 RENI + of heaven" + RAPHAEL + +Transfiguration. + + Transfiguration Matt. 17:1-8 RAPHAEL + Demoniac Boy Matt. 17:14-20 RAPHAEL + "He called to him a little child" Matt. 18:2 BALLHEIM + +At the Feast of Tabernacles. + + "Let him that is without sin cast John 8:7 HOFMANN + the first stone" + Jesus left alone with the woman John 8:19 SIGNOL + "I am the light of the world" John 8:12 HUNT + "I stand at the door and knock" Rev. 3:20 OVERBECK + "I will give you rest" Matt. 11:28 PLOCKHÖRST + +Perean Ministry. + + The good Samaritan Luke 10:30-34 SIEMENROTH + DORÉ + Jesus in the home of Lazarus Luke 10:40 HOFMANN + ALLORI + Healing of the man born blind John 9:1-40 THEOTOCOPULI + The good Shepherd John 10:1-21 PLOCKHÖRST + Finding the lost sheep Luke 15:2 SCHÖNHERR + MOLITOR + Lost piece of money Luke 15:8 MILLAIS + The prodigal son Luke 15:11-32 DUBUFE + "Fell on his neck and kissed him" Luke 15:20 MOLITOR + DORÉ + Rich man and Lazarus Luke 16:19-31 DORÉ + Raising of Lazarus John 11:1-46 BONIFAZIO + PIOMBO + RUBENS + Pharisee and Publican Luke 18:9-14 DORÉ + Christ blessing little children Mark 10:13-16 HOFMANN + PLOCKHÖRST + VOGEL + Christ and the Young Ruler Matt. 9:16-22 HOFMANN + Ambition of James and John Matt. 20:20-28 BONIFAZIO + +Passion Week. + + Triumphal entry Luke 19:29-44 DEGER + Christ weeps over Jerusalem Luke 19:41 EASTLAKE + Tribute money DORÉ + "Whose image and superscription Mark 20:24 TITIAN + hath it?" + + + "Render to Caesar the things that Matt. 22:21 VAN DYCK + are Caesar's" + The widow's two mites Mark 12:41-44 DORÉ + Parable of the virgins Matt. 25:1-13 POLOTY + Conspiracy between Judas and Luke 22:3-6 BIDA + Chief Priests + The Last Supper VINCI + "When he had washed their feet" John 13:12 BROWN + "This is my body" Luke 22:19 BIDA + "And he took a cup and gave thanks" Matt. 26:27 HOFMANN + "Thy will be done" Matt. 26:42 HOFMANN + "An angel from heaven Luke 22:43 DOLCI + strengthening him" + Kiss of Judas Matt. 26:49 SCHEFFER + "Bound him and led him to Annas" John 18:12 HOFMANN + Peter's denial before the John 18:17 WEST + maid-servant + Denial before soldiers Mark 14:54 HARRACH + Trial before Pilate Luke 23:1-7 MUNKACSY + "Hail, King of the Jews!" Matt. 27:29 RENI + "Behold the man" John 19:5 HOFMANN + CISERI + Pilate's wife's dream Matt. 27:19 DORÉ + +The Crucifixion. + + "They led him away" Luke 23:26 HOFMANN + "Weep not for me" Luke 23:28 THIERSCH + "The people stood beholding" Luke 23:35 MUNKACSY + The group near the cross John 19:25 MUNKASCY + "Behold thy mother" John 19:27 HOFMANN + Descent from the cross Mark 15:46 RUBENS + Golgotha GEROME + The deserted cross MORRIS + +The Burial. + + "They took the body of Jesus" John 19:40 CISERI + "Laid him in a tomb" Mark 15:46 HOFMANN + John with Mary DYCE + DOBSON + +The Resurrection. + + "Mary was without weeping" John 20:11 HOFMANN + "Tell me where thou hast laid him" John 20:15 DI CREDI + "Touch me not" John 20:17 PLOCKHÖRST + "Returning from the tomb" Luke 24:9 SCHEFFER + +After the Resurrection. + + "Jesus drew near and went with them" Luke 24:15 PLOCKHÖRST + "Abide with us" Luke 24:29 HOFMANN + "And he went to abide with them" Luke 24:29 FÜRST + "He took the bread and blessed it" Luke 24:30 MULLER + "And break and gave to them" Luke 24:30 DIETHE + "And their eyes were opened" Luke 24:31 REMBRANDT + "Reach hither thy hand" John 20:27 GUERCINO + The Ascension Luke 24:51 HOFMANN + REMBRANDT + + + +SUGGESTIONS. + +[Illustration: Capernaum] +_Site of Capernaum, Sea of Galilee._ + +THE USE OF PICTURES IN TEACHING. + +PICTURES may hold a primary or secondary place in teaching, according +to their nature and the aim of the teacher. + +_The text itself_ may be the supreme thing, and pictures become mere +pictorial comments upon the text. Pictures when so used have the +nature of _views_ or _illustrations_. The picture at the head of this +page is a view. It is reproduced from a photograph taken directly +from nature. Such pictures are of great value in building up in the +mind clear images of objects or of scenes beyond the pupil's reach. A +map means almost nothing to a person unfamiliar with the country, +unless by means of numberless views the appearance of the country has +been made known to the mind. Every teacher in Sunday-school should +have a collection of photographic views of the historical sites of +the Bible, of implements, household utensils, articles of dress, +etc., which may be used to make clear the Biblical references to such +things. Without such illustrations words may convey little or no +meaning. + +The first picture upon the next page may be called an illustration. +To a person unfamiliar with the text it might convey any meaning but +the true one; but to one familiar with the story of Christ and the +rich young ruler it is wonderfully graphic and satisfactory. The +words of the text take on a deeper meaning as they are studied in the +light of this picture. Because Hofmann is an artist, a man gifted +with imagination, he sees more clearly, more vividly than the average +person. Seen through his eyes what was before vague and unconvincing +becomes definite and powerful. Before seeing the picture the pupil +had heard the words:"Jesus, looking upon him, loved him." Now with +the picture he _sees_ that Jesus loves him and is anxious to have him +decide for life everlasting. Before "the poor" were abstract; now +they become a concrete reality. Before the pupil had been told that +the young man had "great possessions;" now he sees that he had also +health and beauty and intelligence, greater possessions than land and +gold. The Sunday-school teacher is fortunate who has at his command +pictures which illustrate, which make luminous the text. Plates 11, +20, 34, 39, 47, 62, 70, 101, 106, 133, and 143 may be mentioned as +notable examples of good illustrations to supplement the text. + +[Illustration: Christ and the Young Ruler.] +Plate 112. _Christ and the Young Ruler._ H. Hofmann. 1824- + +The picture itself may be the object of study, and the text become a +commentary upon the picture. For example, consider this picture by +Holman Hunt. Every detail has something important to say to the +pupil. The postures of these people and the costumes say "oriental." +The profuse ornamentation both of the architecture and the various +furnishings speak of extraordinary conditions. This is the temple +which was the wonder of the age (see Mark 13:1), and these are the +people who loved to go about in long clothing, and who "devoured +widows' houses" to be rich. (Matt. 23:14.) This boy with his pure +face and far-away-gazing eyes is he who had thoughts about "his +Father's house." The look in the woman's face is appreciated in the +light of what she is recorded as having said, "I have sought thee +sorrowing." (Luke 2:48.) That she rather than her husband should +speak to him is no surprise to one familiar with Matt. 1:18-25. The +faces of these serious-looking men must be read in the light of the +words, "And all that heard him were amazed at his understanding and +answers." One man has an ornamental box in his hand. What is that +for? Another has a similar box upon his forehead. Why? Deut. 6:6-8 +and Matt. 23:5 will help answer those questions. A man is begging at +the entrance. It is not extraordinary in the light of Acts 3:1, 2, +and Mark 14:7. He begs in vain outside, while within a servant brings +wine to refresh those who will not so much as lift a finger to help +the burdened. (Matt. 23:4.) Beyond the beggar craftsmen are still at +work upon the temple. Yes, because when this child Jesus first +visited the temple it was not completed. "Forty and six years was +this temple in building." (John 2:20.) Birds are flying in and out! +"Yea, the sparrow hath found a house, and the swallow a nest for +herself, . . . even thine altars, O Lord of Hosts." (Ps. 84:3.) The +little boy with the fly-driver tells the season of the year, the +light and the few worshippers and the idle musicians tell the time of +day. Everything has a message, even the ornament upon wall and floor! +That tells whence the Jews derived their art. This picture is more +than a commonplace illustration of a single text: it is a graphic +presentation of an era. The particular event is shown in its +historical setting. The picture is a supreme work of art. + +[Illustration: Finding of Christ in the Temple.] +Plate 35. _Finding of Christ in the Temple._ Holman Hunt. 1827- + +If pictures of this sort are to be studied, every pupil in the class +should have a copy. The teacher's business is to direct the pupil to +individual observation and inquiry. The perpetual questions should +be, What do you see? What does it mean? Why is that here? What does +it contribute to the total content of the picture? What does the +picture as a whole have to say? Plates 8, 9, 18, 25, 29, 33, 40, 81, +89, 93, 110, 139, 153, 159, and 167, might be mentioned among those +especially worthy of this analytical and exhaustive study. + +Occasionally pupils will find both interest and profit in the +comparative study of a series of pictures. For example take the five +plates of The Annunciation, pages 9 and 10. After the facts have been +determined by a study of the text, the investigation may proceed as +follows: What are the essential elements found in all the pictures +alike? Which artist has told the story most simply and directly? The +different artists have emphasized or given special attention to some +one phase or phrase. Which has embodied more perfectly the first, or +the second, or the third? Which has introduced elements of his own? +Why? Do they help? Which has, on the whole, told the story most +vividly? Which most beautifully? A study of this group of pictures in +the light of such notes as will be found printed therewith, will +enable any teacher to formulate for himself a plan for studying any +other group of pictures. + +In such study it is essential that each pupil be supplied with a +complete set of the pictures to be compared. + +[Illustration: Madonna of the Shop.] +_Madonna._ Dagnan-Bouveret. + +But the picture itself is sometimes not a thing to be consciously +analyzed and inventoried; it is simply a thing of beauty, "its own +excuse for being;" it is something to be received as a whole with +thankfulness, like the odor of wild grape vines, or the form of a +calla lily, or the color of a sunrise, or the music of wind in pine +trees. Such a picture is this Madonna of the Shop, by Dagnan-Bouveret. +One may think for a moment now and then of how well the picture is +composed, of how perfect a master of his art the man must be who +can make spots of paint suggest wood and metal, linen and wool, soft +flesh and softer light, but the mind returns again and again to the +contemplation of the wondrous sweet face of the Virgin, whose deep +eyes see unspeakable things. One comes to love such a picture as a +dear familiar friend, and to yield to its gentle influence as to +moonlight upon the sea. The contemplation of such pictures is one of +the purest pleasures of life, a foretaste of the sight of "the King +in his Beauty." + + + + +THE GREAT PAINTERS' GOSPEL. + + + +THE GREAT PAINTERS' GOSPEL. + +[Illustration: The Annunciation.] +_The Annunciation._ Titian. + +THE ANNUNCIATION. + +The angel Gabriel was sent from God to a virgin whose name was Mary. +The angel said "Hail, Mary, highly favored, blessed art thou among +women." (Luke 1:26-28.) Mary is supposed to have been in a house of +worship at the time (like Hannah, 1 Sam. 1:9-18, and Zacharias, Luke +1:8-13), hence the beautiful surroundings; and to have been at +prayer, as suggested by the kneeling posture and the book. The dove +is a symbol of the Holy Ghost (Luke 3:22). The beam of light +symbolizes the going forth of divine power (Hos. 6:5). The angel is +borne upon a cloud (Ps. 104:3), and carries a rod or scepter, symbols +of authority (Ex. 4:1-5, Esther 4:11). The lily is introduced as a +symbol of perfection and purity (Song 2:2; compare also Num. 17:8). +Titian has depicted the instant when the angel says "Hail, Mary." He +has introduced emblems of the ideal woman (Prov. 31:13, 14, 26, +etc.). + +[Transcriber's Note: As you may note, each plate is introduced with +the artist's name and the plate number. In the original source, this +text was bolded, not italicized.] + +_Hofmann, Plate 1,_ shows the moment when Gabriel says: "Blessed art +thou among women." (Luke 1:28.) In this picture only, the angel +approaches from behind. The picture recalls the experience of another +Mary (John 20:14). + +_Guido Reni, Plate 2,_, has chosen the instant when Gabriel says, +"Thou hast found favor with God." The infant angels represent, +perhaps, "the spirits of love, intelligence and innocence," [1] and +accompany the Divine Presence because of the words of Christ, when +speaking of children, "Their angels do always behold the face of my +Father which is in heaven." (Matt. 18:10.) + +_Müller, Plate 3,_ seems to have shown the moment when Mary said, +"Let it be unto me according to thy word." (Luke 1:38.) His figures +and faces express less animation than any of the others. + +_Dosso, Plate 4,_ represents Gabriel as saying, "The Holy Ghost shall +come upon thee and the power of the Highest shall overshadow thee" +(Luke 1:35), for both the dove, symbol of the Holy Ghost, and the +Highest himself, upon a cloud and accompanied with cherubs, are +present. (Compare 2 Sam. 22:10-12.) + +_Baroccio, Plate 5,_ seems to have seized upon the moment when Mary +has just asked "How shall this be?" (Luke 1:34). The angel is +encouraging her faith by reference to Elisabeth. (Luke 1:36.) + +[1] Mrs. Jameson, "Sacred and Legendary Art," vi., p. 57. + +[Illustration: Annunciation to Mary.] +Plate 1. _Annunciation to Mary._ H. Hofmann. 1824- + +[Illustration: Annunciation to Mary.] +Plate 2. _Annunciation to Mary._ Guido Reni 1575-1642. + +[Illustration: Annunciation to Mary.] +Plate 3. _Annunciation to Mary._ Franz Müller. + +[Illustration: Annunciation to Mary.] +Plate 4. _Annunciation to Mary._ Dossi Dosso. 1479-1542. + +[Illustration: Annunciation to Mary.] +Plate 5. _Annunciation to Mary._ F. Baroccio. 1528-1612. + +THE SALUTATION. + +"And in those days Mary arose and went into the hill country to a +city of Judah, and entered into the house of Zacharias and saluted +Elisabeth . . . and Elisabeth, filled with the Holy Ghost, said, +Blessed art thou among women." (Luke 1:39-45.) + +_Albertinelli, Plate 6,_ has depicted the two women at the moment of +meeting. + +[Illustration: Mary's Visit to Elisabeth.] +Plate 6. _Mary's Visit to Elisabeth._ Albertinelli. 1474-1515. + +BIRTH OF JOHN THE BAPTIST. + +Zacharias had been dumb since the moment when he doubted the prophecy +of the angel. (Luke 1:20.) When the promised son was born the +neighbors and friends of the mother, Elisabeth, objected to the name +John. (Luke 1:57-61.) + +_Fra Angelico, Plate 7,_ has represented the moment when they appeal +to the dumb father, and he writes upon a tablet the words "His name +is John." (Luke 1:63.) The child, eight days old, is present to be +named preparatory to circumcision. (Gen. 17:12.) + +[Illustration: Birth of John.] +Plate 7. _Birth of John._ Fra Angelico. 1370-1450. + +THE NATIVITY. + +_Merson, Plate 8,_ has illustrated Luke 2:4-7. "And Joseph went up +from Galilee into Judea unto the city of David, Bethlehem, to be +enrolled, with Mary his espoused wife. And there was no room for them +in the inn." Darkness covered the earth and gross darkness the people +who refused lodging to such as Mary, but that night the glory of the +Lord was revealed. (Is. 60:2.) + +[Illustration: Joseph and Mary, Arrival at Bethlehem.] +Plate 8. _Joseph and Mary, Arrival at Bethlehem._ Olivier L. Merson. + +_Plockhörst, Plate 14,_ illustrates Luke 2:8-11. And in the same +country were shepherds keeping watch over their flock by night. And +the angel of the Lord came and said unto them, "Fear not, I bring you +good tidings of great joy. Unto you is born this day in the city of +David a Savior which is Christ the Lord." The angel bears a palm +branch, symbol of triumph. (John 12:13.) + +[Illustration: The Angel and the Shepherds.] +Plate 14. _The Angel and the Shepherds._ B. Plockhörst, 1825- + +_Hofmann, Plate 13,_ shows a company of the heavenly host praising +God and saying, "Glory to God in the highest, and on earth peace, +good will toward men." (Luke 2:14.) They are the first to visit the +manger! + +[Illustration: Bethlehem.] +Plate 13. _Bethlehem._ H. Hofmann. 1824- + +_Lerolle, Plate 11,_ shows the shepherds who "came with haste and +found Mary and Joseph and the babe lying in a manger." (Luke +2:15-16.) The shepherds saw, evidently from some little distance; +for we have no record of their speaking to Mary or Joseph, only to +others outside, after the visit. (Luke 2:17-18.) + +[Illustration: The Arrival of the Shepherds.] +Plate 11. _The Arrival of the Shepherds._ H. Lerolle. + +_Correggio, Plate 9,_ has expressed that surprise and wonder of the +shepherds which they imparted to others when they told their story, +"for all that heard it wondered at those things which were told them +by the shepherds." (Luke 2:18.) + +[Illustration: Holy Night.] +Plate 9. _Holy Night._ Correggio. 1494-1534. + +_Bouguereau, Plate 10,_ adds to the story a dramatic touch. There are +ominous shadows in the background. Mary seems troubled by the +presence of the lamb, symbol of sacrifice. The angel had said "He +shall save his people from their sins." (Matt. 1:21.) Does Mary seem +already to behold the Lamb of God which taketh away the sin of the +world? (John 1:29.) One lamb is already slain, and lies in the +foreground. The shepherd with the lamb in his arms may unconsciously +illustrate the Christ (Is. 40:11), and the odd disk above the head of +the older shepherd, catching the light from the child, may be +prophetic of saintly glory. + +[Illustration: The Nativity.] +Plate 10. _The Nativity._ (William) Adolphe Bouguereau. 1825- + +_Müller, Plate 12,_ gives us perhaps the prettiest, most sweetly +human group of all. Some of the shepherds have arrived, others are +coming; one with a lamb in his arms, another with his dogs, who seem +to sympathize with their master's joyous haste. The rose of the +hills, and the violet of the meadows are there as symbols of the rose +of Sharon and the lily of the valley (Cant. 2:1); "The ox knoweth his +owner and the ass his master's crib," and in this case the humble +representatives of Israel know also, and the people consider. (Is. +1:3.) + +[Illustration: The Nativity.] +Plate 12._ The Nativity._ Carl Müller. 1839- + +THE PRESENTATION. + +His name was called Jesus, as the angel had commanded, and after +forty days they brought him to Jerusalem to present him to the Lord, +and to offer a sacrifice, according to the ancient law. And Simeon, +waiting for the consolation of Israel, came by the spirit into the +temple when the parents brought in the child Jesus; and he took him +up into his arms and blessed God and said, "Lord, now lettest thou +thy servant depart in peace, for mine eyes have seen thy salvation." +(Luke 2:25-35.) And Anna, a prophetess of great age, coming up at +that very hour, gave thanks to God and spake of him to all them that +were looking for the redemption of Jerusalem. (Luke 2:36-38.) + +_Bartolommeo, Plate 18,_ depicts the moment when Simeon says "Now +lettest thou thy servant depart in peace"--the _Nunc Dimittis_ of the +Latin Church (Luke 2:29). Joseph has the two doves for the offering +(Lev. 12:6 and 8). In the distance the priest may be seen at the +altar, his robe ornamented with the sacred fringe (Ex. 39:26) that +there may be no mistaking him. Anna is present, and is, evidently, +about to speak. The steps are of marble and the columns richly +carved, because of the words of the artist-disciple recorded in Mark +13:1. + +[Illustration: Presentation at the Temple.] +Plate 18. _Presentation at the Temple._ Bartolommeo Del Fattorino. +1475-1517. + +_Champaigne, Plate 15,_ has chosen the moment when Simeon says to +Mary, "This child is set for the falling and rising up of many in +Israel." (Luke 2:34.) + +[Illustration: Presentation at the Temple.] +Plate 15. _Presentation at the Temple._ Champaigne. 1602-1674. + +_Borgognone, Plate 16,_ selects for his picture the last moment, when +Simeon returns the child to the mother with the words "Yea, and a +sword shall pierce through thine own soul, also." (Luke 2:35.) + +[Illustration: Presentation at the Temple.] +Plate 16. _Presentation at the Temple._ Borgognone. 1445-1523. + +_Bourdon, Plate 17,_ represents the instant when Anna arrives (at the +extreme left), "coming up at that very hour." (Luke 2:38.) + +[Illustration: Presentation at the Temple.] +Plate 17. _Presentation at the Temple._ Sebastien Bourdon. 1616-1671. + +_Bartolommeo,_ again, _Plate 19,_ adds what he pleases to the +original story. + +[Illustration: Presentation at the Temple.] +Plate 19. _Presentation at the Temple._ Fra Bartolommeo. 1469-1517. + +THE ADORATION OF THE MAGI. + +Now when Jesus was born there came wise men from the east, guided by +a star, which went before them till it stood over the place where the +young child was. . . . And when they were come into the house they +saw Jesus and Mary his mother, and fell down and worshipped him; and +when they had opened their treasures they presented unto him gifts; +gold, frankincense and myrrh. (Matt. 2:9-11.) + +_Hofmann, Plate 20,_ represents the arrival. The star stands above +the head of the child. The tradition is that one wise man came from +Europe, one from Asia and one from Africa (See _Ben-Hur_, Book I.); +hence Hofmann has represented one with the oriental turban, one with +a helmet having hanging side pieces like an Egyptian head dress, and +one with the simple band, the white hair and flowing beard of the +Druid. + +[Illustration: Worship of the Magi.] +Plate 20. _Worship of the Magi._ H. Hofmann. 1824- + +_Luini, Plate 21,_ following the same tradition, gives the African a +dark complexion. + +[Illustration: Adoration of the Magi.] +Plate 21. _Adoration of the Magi._ Luini. 1460-1530. + +_Maldini, Plate 23,_ also makes one of the Magi very dark, and adds +an earring as a barbaric touch. Moreover he gives each a crown (as +does Luini) because the Magi were supposed to have been Kings, in +fulfilment of Is. 60:3. + +[Illustration: Adoration of the Kings.] +Plate 23. _Adoration of the Kings_. Battista Maldini. 1537-1590. + +_Bonifazio, Plate 22,_ like Luini and Maldini, represents a large +company of servants to show the importance of the Magi, and perhaps +because of Is. 60:4-6. + +[Illustration: Adoration of the Magi.] +Plate 22. _Adoration of the Magi._ Bonifazio Veronese. 1494-1563. + +THE FLIGHT INTO EGYPT. + +_Crespi, Plate 24,_ has pictured Joseph's dream. An angel of the Lord +appeared to Joseph in a dream, saying, Arise and take the young child +and his mother, and flee into Egypt, for Herod will seek the young +child to destroy him. (Matt. 2:13.) + +[Illustration: Joseph's Dream.] +Plate 24. _Joseph's Dream._ Daniele Crespi. + +_Fürst, Plate 26,_ illustrates the words "And he arose and took the +young child and his mother, and departed." (Matt. 2:14.) + +[Illustration: Flight into Egypt.] +Plate 26. _Flight into Egypt._ M. Fürst. + +_Plockhörst, Plate 27,_ shows the holy family passing through +southern Judea, accompanied by cherubs, but unconscious of their +presence. + +[Illustration: Flight into Egypt.] +Plate 27. _Flight into Egypt._ B. Plockhörst. 1825- + +_Hofmann, Plate 25,_ shows them passing through the Wilderness of +Shur, Joseph with his broad axe for protection, unconscious of the +guardian angel who accompanied them, to keep them in all their ways. +(Ps. 91:11.) "That old serpent" is already in the wilderness, +waiting! His time has not yet come. + +[Illustration: Flight into Egypt.] +Plate 25. _Flight into Egypt._ H. Hofmann. 1824- + +_Benz, Plate 28,_ has taken as his subject the first moment of rest +in a place "even as the garden of the Lord, like the land of Egypt as +thou comest into Zoar." (Gen. 13:10.) Joseph has a typical Egyptian +water-jar upon his arm. The little child is pleased with the flowers, +after his long journey through the desert, and holds a bunch of them +in his hand. The place of rest seems to be just at the edge of the +desert,--a secluded, well-watered spot, out of Herod's reach. + +[Illustration: Repose in Egypt.] +Plate 28. _Repose in Egypt._ S. Benz. + +_Merson, Plate 29,_ is a poetic seer as well as an artist. The sphinx +riddle was "What is man?" Merson has placed the answer before the +sphinx at last. He who was himself the answer to the world-old +question, propounded a new question which all must answer, "What +think ye of Christ" (Matt. 22:42). + +[Illustration: Repose in Egypt.] +Plate 29. _Repose in Egypt._ Olivier L. Merson. + +_Morris, Plate 30,_ gives us a glimpse of the life of the Holy Family +during the sojourn in Egypt. Joseph is resting in the tent after his +day's work, and Mary is teaching the child to walk. All are +unconscious of the ominous shadow so evident now to us. The hatred +which threatened the child, would not spare the man. The exile in +Egypt is but the prophetic shadow of the coming event--crucifixion. +The child's hands extend towards the cactus and the palm, symbols of +suffering and of victory. + +[Illustration: Shadow of the Cross.] +Plate 30. _Shadow of the Cross._ P. R. Morris. + +THE RETURN TO NAZARETH. + +When Herod was dead, Joseph, instructed by an angel, brought Mary and +Jesus into the land of Israel, and made them a home in Nazareth. The +mother with her divine child in this Nazareth home has ever been the +favorite subject with painters. "Madonna" pictures have been +multiplied into the thousands. The most famous are those which were +painted by Raphael,--the Sistine Madonna, Madonna of the Chair, +Madonna da Tempi, Madonna of the Goldfinch, etc.,--reproductions of +which are familiar to everybody. Among other famous painters of the +Madonna is _Murillo,_ who, in _Plate 32,_ represents the mother and +child as the neighbors might have seen them in their humble home. The +child is of course beautiful. (Luke 2:40.) In _Plate 33,_ the artist +has emphasized the last phrase of Luke 2:40, "The grace of God was +upon him." The Father in heaven is visibly present, and the grace +descends upon the child in the form of a dove, as suggested by Luke +3:22. The action of all the accessory figures, the arrangement of the +light, everything in the picture, is calculated to focus the +attention upon the face of the child Christ. + +[Illustration: Madonna and Child.] +Plate 32. _Madonna and Child._ Murillo. 1618-1682. + +[Illustration: Holy Family.] +Plate 33. Louvre. _Holy Family._ Murillo. 1618-1682. + +_Hofmann, Plate 31,_ tells of the quiet days at Nazareth, when Joseph +worked at his trade, and Mary sat near spinning and watching the +wondrous lad who in his child-way could help Joseph by fetching a +needed tool. It was a peaceful, happy life, like that of the chickens +and the doves. The memories of those days furnished Jesus with the +wonderful figure of speech recorded in Matt. 23:37, 38. Hofmann, like +other artists, is fond of symbolism, hence the square and the +measuring stick are upon the shoulder of the child (Is. 9:6) who was +to lay judgment to the line and righteousness to the plummet (Is. +28:17); and the tools take the form of the cross. Jesus was subject +unto his parents (Luke 2:51), and, in a sense, took up his cross +daily, as all his disciples must ever do (Matt. 16:24). Such service +is healthful and profitable (Luke 2:52). + +[Illustration: Infancy of Christ.] +Plate 31. _Infancy of Christ._ H. Hofmann. 1824- + +THE VISIT TO JERUSALEM. + +Joseph and Mary probably went every year to Jerusalem at the feast of +the passover. (Deut. 16:16.) And when Jesus was twelve years old they +went up as usual taking him with them. (Luke 2:41-42.) + +_Mengelberg, Plate 34,_ represents the holy family approaching the +city. The temple with its smoking altars is seen in the distance. The +artist has suggested the great company who went up every year to +worship, and with which, returning, Joseph and Mary supposed Jesus to +be. + +[Illustration: Jesus, Twelve Years Old, on his way to Jerusalem.] +Plate 34. _Jesus, Twelve Years Old, on his Way to Jerusalem._ O. +Mengelberg. + +_Hofmann, Plates 38 and 39,_ illustrates (Luke 2:46). Plate 38 is +from the drawing in the artist's Life of Christ. Plate 39, from the +famous painting in Dresden, is the more carefully finished. Hofmann +has shown the seal of Solomon upon the "chair of philosophy," he has +introduced the scroll of the prophets and suggested the rich stones +of the temple, but the interest of all is upon the Boy, who came to +fulfill the law and the prophets, and who was greater than the temple +and greater than Solomon. (Matt. 5:17, John 2:19-20, Matt. 12:42). +This picture has become a classic already, though Hofmann is still +living. + +[Illustration: Christ Disputing with the Doctors.] +Plate 38. _Christ Disputing with the Doctors._ H. Hofmann. 1824- + +[Illustration: In The Temple.] +Plate 39. _In The Temple._ H. Hofmann. 1824- + +_Lafon, Plate 36,_ has idealized his subject. He has placed Jesus "in +Moses' seat" (Matt. 23:2), conferring upon him a distinction amply +justified by subsequent events especially by the Sermon on the Mount. +"It hath been said . . . but I say unto you . . ." these are the +words which give Jesus a unique position as a teacher. + +[Illustration: Christ Among the Doctors.] +Plate 36. _Christ Among the Doctors._ Émile J. Lafon. + +_Hunt, Plate 35,_ adds that truthfulness of detail, that literalness +of statement made possible by the antiquarian and the archæologist. +It is the moment described in Luke 2:48, when his mother speaks to +Jesus, "Son, why hast thou dealt thus with us?" + +[Illustration: Finding of Christ in the Temple.] +Plate 35. _Finding of Christ in the Temple._ Holman Hunt. 1827- + +_Dobson, Plate 37,_ shows the moment of discovery, the moment just +before Mary speaks. Some of the kinsfolk and acquaintances have +evidently returned with Joseph and Mary. A rabbi is telling them +about this wondrous child. (Luke 2:47.) + +[Illustration: Christ Disputing in the Temple.] +Plate 37. _Christ Disputing in the Temple._ W. C. T. Dobson. + +THE SILENT YEARS AT HOME. + +Tradition says that Joseph soon died, and that Jesus supported the +family by working at his trade. + +_Hunt, Plate 40_, has invented an occasion to emphasize the prophetic +words often applied to Mary, "Is any sorrow like unto my sorrow?" +(Lam. 1:12.) Simeon had said "Yea and a sword shall pierce through +thine own soul," and Mary, "pondering all these things in her heart," +is startled, at the close of the day, by seeing the shadow of her son +cast upon the wall, like the form of one upon a cross. + +[Illustration: Shadow of Death.] +Plate 40. _Shadow of Death._ Holman Hunt. 1827- + +_Plockhörst, Plate 41,_ depicts the parting of Mother and Son,-- +another pang for the saintly Mary. + +[Illustration: Christ taking leave of his Mother.] +Plate 41. _Christ taking leave of his Mother._ B. Plockhörst. 1825- + +_Plate 42_ is Andrea del Sarto's famous the youthful John the +Baptist, in the days before he came preaching in the of Judea. (Luke +1:80.) + +[Illustration: John the Baptist.] +Plate 42. _John the Baptist._ Andrea del Sarto. 1488-1530. + +_Titian, Plate 43,_ shows John as he appeared a few years later upon +the banks of Jordan, "his raiment of camel's hair, and a leathern +girdle about his loins." (Matt. 3:1-4.) He seems to be saying, +"Behold the Lamb of God, which taketh away the sin of the world." +(John 1:29.) The river is introduced as a symbol (Luke 3:16), and the +lamb also (John 1:35). Del Sarto seems to have studied this figure +before painting his boy John. Compare the two faces, and the two arms +and hands. Notice the two crosses also. + +[Illustration: John the Baptist Preaching.] +Plate 43. _John the Baptist Preaching._ Titian. 1477-1576. + +THE TEMPTATION. + +_Scheffer, Plate 44,_ shows Jesus "upon an exceeding high mountain" +and Satan offering him the world for one act of worship. Jesus is +about to say, "Worship God." (Matt. 4:8-10.) _Hofmann, Plate 45,_ has +selected the next moment when Satan retreats and an angel comes to +minister to the famished man. (Matt. 4:11.) The serpent is present +because of Rev. 12:9. + +[Illustration: Temptation of Christ.] +Plate 44. _Temptation of Christ._ Ary Scheffer. 1795-1858. + +[Illustration: Temptation.] +Plate 45. _Temptation._ H. Hofmann. 1824- + +THE BEGINNING OF PUBLIC SERVICE. + +_Bida, Plate 46,_ illustrates John 1:35. "Behold the Lamb of God," +said John to two of his disciples, who straightway left John and +followed Jesus. _Grünewald, Plate 48,_ represents Jesus meditating as +he walks by the sea alone, possibly before he had chosen his +disciples, but more likely after the people threatened to make him a +King (John 6:15), for it is evening near the sea of Galilee. + +[Illustration: Behold the Lamb of God.] +Plate 46. _Behold the Lamb of God._ Alexandre Bida. 1813-1895. + +[Illustration: Jesus Walking by the Sea.] +Plate 48. _Jesus Walking by the Sea._ M. Grünewald (was painting +1518). + + + +_Veronese, Plate 50,_ transforms the modest wedding at Cana into a +gorgeous Venetian Feast, to which "Jesus also was bidden, and his +disciples," "and the Mother of Jesus was there." (John 2:1-2.) They +may all be discovered in the central part of the picture, but to the +mind of Veronese the miracle of the wine seems to be of but secondary +importance. + +[Illustration: The Marriage Feast.] +Plate 50. _The Marriage Feast._ Paolo Veronese. 1528-1588. + +EARLY JUDEAN MINISTRY. + +_Kirchbuck, Plate 51,_ presents a general view of the event recorded +in John 2:13-22. Jesus expels the desecrators by his presence merely, +as he overthrew his enemies in Gethsemane. (John 18:6.) + +[Illustration: Christ casting out the Money-changers.] +Plate 51. _Christ casting out the Money-changers._ F. Kirchbuck. + +_Hofmann, Plate 52,_ with his usual literalness, gives Jesus the whip +of small cords, and represents him as actively aggressive. "The zeal +of thine house shall eat me up," said the prophet, and as they +watched Jesus the disciples remembered those words. (John 2:17.) + +[Illustration: Purification of the Temple.] +Plate 52. _Purification of the Temple._ H. Hofmann. 1824- + +_Plate 53,_ by an unknown artist, is an attempt to portray the +discourse with Nicodemus. The incident is related in John 2:23-3:21. +The moment is that when Jesus says, "If I have told you earthly +things and ye believe not, how shall ye believe if I tell you +heavenly things?" + +[Illustration: Nicodemus' Visit to Jesus.] +Plate 53. _Nicodemus' Visit to Jesus._ Artist unknown. + +THE RETURN THROUGH SAMARIA. + +"He came to a town called Shechem, near the plot of land that Jacob +gave his son Joseph. Jacob's Spring was there, and Jesus, being tired +after his journey, sat down, just as he was, close to it. It was then +about mid-day. A woman of Samaria came to draw water; so Jesus asked +her to give him some to drink, his disciples having gone into the +town to buy provisions." [*] + +[*] Twentieth Century New Testament + +_Biliverti, Plate 56,_ gives the woman a companion not mentioned in +the text. The moment is that of John 4:10, "If you knew the gift of +God, and who it is that is asking you to give him some water, you +would have asked him, and he would have given you living water." + +[Illustration: Jesus and the Woman of Samaria.] +Plate 56. _Jesus and the Woman of Samaria._ Biliverti. + +_Doré, Plate 54,_ has selected a later moment, "Trust me," Jesus +replied, "a time is coming when it will not be on this mountain or in +Jerusalem that you will worship God the Father." + +[Illustration: Jesus and the Woman of Samaria.] +Plate 54. _Jesus and the Woman of Samaria._ Gustave Doré. 1833-1883. + +_Hofmann, Plate 55,_ may have chosen to illustrate the twenty-fourth +verse, "God is Spirit; and those who worship him must worship +spiritually, with true insight." (John 4:24.) + +[Illustration: Jesus and the Woman of Samaria.] +Plate 55. _Jesus and the Woman of Samaria._ H. Hofmann. 1824- + +THE CALL OF THE FOUR. + +Walking by the sea of Galilee one morning, Jesus saw two brethren, +Simon who is called Peter, and Andrew his brother, . . . and two +other brethren, James, the son of Zebedee, and John his brother, with +their nets, for they were fishermen. And he called them: "Come ye +after me and I will make you fishers of men." These four became his +first disciples. (Matt. 4:18-22.) + +_Zimmermann, Plate 47,_ has seized upon the moment when Jesus makes +that extraordinary statement. Peter and John are nearest Jesus, the +other two in the background. "Fishers of men;" the phrase is +mysterious; they cannot understand it. Nevertheless, they leave all +and follow Him. + +[Illustration: Christ and the Fishermen.] +Plate 47. _Christ and the Fishermen._ Zimmermann. 1832- + +Luke gives the account of a miracle between the morning sermon of +Jesus to the crowd upon the beach, and this call of the four +fishermen: "When he had finished speaking he said to Simon, Push off +into deep water, and then all throw out your nets for a haul." "We +have been hard at work all night, sir," Simon answered, "and have not +caught anything, but as you say so, I will throw the nets out." They +did so, and they enclosed such a great shoal of fish that their nets +began to break. So they signalled to their mates in the other boat to +come and help them; which they did, filling both the boats so full of +fish that they were almost sinking. + +_Raphael, Plate 49,_ illustrates the moment, a little later, when +Peter threw himself down at Jesus' knees, exclaiming: "Depart from +me, for I am a sinful man, O Lord." (Luke 5:8.) Raphael made this as +a design for a tapestry for the Sistine Chapel, Rome. + +[Illustration: The Miraculous Draught of Fishes.] +Plate 49. _The Miraculous Draught of Fishes._ Raphael. 1483-1520. + +EARLY GALILEAN MINISTRY. + +_Schönherr, Plate 69, Hofmann, Plate 70, Max, Plate 71,_ give +different interpretations of Matt. 8:16-17. An evening at Capernaum, +when the words of Isaiah (53:4) began to be fulfilled, "Himself took +our infirmities and bare our diseases." + +[Illustration: Healing the Sick.] +Plate 69. _Healing the Sick._ Karl Gottlieb Schönherr. 1824- + +[Illustration: Healing the Sick.] +Plate 70. _Healing the Sick._ H. Hofmann. 1824- + +[Illustration: Healing the Sick Child.] +Plate 71. _Healing the Sick Child._ Gabriel Max. 1840- + +The Call of Matthew has been represented variously. (Matt. 9:9-10.) + +_Pordenone, Plate 59,_ has Matthew "sitting at the place of toll." + +[Illustration: Calling of Matthew.] +Plate 59. _Calling of Matthew._ Giovanni Pordenone. 1483-1539. + +_Bida, Plate 57,_ shows Jesus "as he passed by," and Matthew leaving +his place of business to follow him. + +[Illustration: Calling of Matthew.] +Plate 57. _Calling of Matthew._ Alexandre Bida. 1813-1895. + +_Chimenti, Plate 58,_ would have us believe that Jesus entered the +great khan of the city where the customs were collected, and called +Matthew from thence. + +[Illustration: Calling of Matthew.] +Place 58. _Calling of Matthew._ Jacopo Chimenti. + +AT JERUSALEM AGAIN. + +After these things Jesus went up to Jerusalem to a Feast of the Jews, +and visited the Pool of Bethesda. There he saw a man who had been +infirm for thirty-eight years. After talking with him Jesus cured +him, although it was Sabbath. (John 5:1-8.) + +_Van Lint, Plate 61,_ shows the man arising with his bed, verse 9. + +[Illustration: Healing of the Impotent Man.] +Plate 61. _Healing of the Impotent Man._ Peter Van Lint. + +_Bida, Plate 60,_ represents the instant when Jesus is giving the +command, but before the man has grasped its meaning. Both artists +suggest the pool, with its colonnade, or porches. Perhaps a +subsequent event is illustrated by _Van Dyck, Plate 62,_ for +"Afterward Jesus findeth him in the temple, and said unto him, Behold +thou art made whole; sin no more lest a worse thing befall thee." +(John 5:14.) + +[Illustration: Healing of the Impotent Man.] +Plate 60. _Healing of the Impotent Man._ Alexandra Bida. 1813-1895. + +[Illustration: Talking with the Lame Man, Bethesda.] +Plate 62. _Talking with the Lame Man, Bethesda._ Van Dyck. 1599-1641. + +_Doré, Plate 63,_ gives an interpretation of Matt. 12:1-8. The +Pharisees are accusing the disciples of breaking the Sabbath by +plucking the heads of wheat, and Jesus is excusing them. The Master +seems to be saying, "Have ye not read what David did when he was an +hungered, and they that were with him? . . . If ye had known ye would +not have condemned the guiltless. The Son of man is lord of the +Sabbath. The Sabbath was made for man, not man for the Sabbath." +(Mark 2:27.) + +[Illustration: Jesus and His Disciples Going Through the Cornfield.] +Plate 63. _Jesus and His Disciples Going Through the Cornfield._ +Gustave Doré. 1833-1883. + +THE SERMON ON THE MOUNT + +"And seeing the multitudes, he went up into the mountain, and when he +had sat down, his disciples came unto him, and he opened his mouth +and taught them." (Matt. 5:1, 2.) + +_Doré, Plate 65,_ has represented the scene as a whole. The instant +might be almost any in the discourse. + +[Illustration: The Sermon on the Mount.] +Plate 65. _The Sermon on the Mount._ Gustave Doré. 1833-1883. + +_Hofmann, Plate 64,_ seems to have depicted the giving of the +beatitudes. The poor in spirit, the mourner, the meek, those who +hunger for righteousness, the pure, and the persecuted, all seem to +be represented in the audience. + +[Illustration: The Sermon on the Mount.] +Plate 64. _The Sermon on the Mount._ H. Hofmann. 1824- + +_Jeune, Plate 67,_ has selected the moment when Jesus says, "Consider +the lilies how they grow. . . . If God so clothe the grass of the +field, shall he not much more clothe you? . . . Seek first his +kingdom and his righteousness." (Matt. 6:28-33.) + +[Illustration: Consider the Lilies.] +Plate 67. _Consider the Lilies._ Henry Le Jeune. 1820. + +_Bida, Plate 66,_ illustrates one section of the Sermon on the Mount, +viz.: Matt. 6:5-15. Here is the man in his inner chamber, having shut +his door, praying to his Father who is in secret, and who will reward +him. + +[Illustration: Prayer in Secret.] +Plate 66. _Prayer in Secret._ Alexandra Bida. 1813-1895. + +EVENTS DURING THE SECOND TOUR OF GALILEE. + +_Veronese, Plate 68,_ represents the Centurion who came to Jesus at +Capernaum, beseeching him to cure his servant. "I am not worthy," the +Centurion is saying, "that thou shouldest come under my roof--only +say the word and my servant shall be healed." (Matt. 8:8.) + +[Illustration: The Centurion's Servant.] +Plate 68. _The Centurion's Servant._ Veronese. 1528-1588. + +_Hofmann, Plate 72,_ has illustrated the raising of the widow of +Nain's son, as graphically as Luke has told it, in chapter 7, verses +11 to 16. "Every one was awe-struck and began praising God." + +[Illustration: Raising the Widow's Son.] +Plate 72. _Raising the Widow's Son._ H. Hofmann. 1824- + +_Veronese, Plate 73,_ gives another grand feast to his friends +(compare plate 50). This time it is supposed to be in the house of +Simon the Pharisee, as recorded in Luke 7:36-50. The woman, who +bathed the Master's feet with tears, is in this case a beautiful and +decorous person, a center of attraction. + +[Illustration: Jesus in the House of Simon.] +Plate 73. _Jesus in the House of Simon._ Paolo Veronese. 1528-1588. + +_Rubens, Plate 74,_ has been more faithful to the story as recorded. +The woman kisses the Master's feet and wipes them with her hair, v. +38. There is great consternation among the guests. + +[Illustration: Magdalen.] +Plate 74. _Magdalen._ Rubens. 1577-1640. + +_Hofmann, Plate 75,_ shows the self-righteous Pharisee, with his +hypocritical friends, more graphically than either of the other +artists. His keen insight into character is reflected from every +face. Hofmann, above many others, is true to the account, and true to +human nature. "Thy sins are forgiven," Jesus is saying. (Verse 48.) + +[Illustration: Anointing Feet of Jesus.] +Plate 75. _Anointing Feet of Jesus._ H. Hofmann. 1824- + +_Hofmann, Plate 76,_ tells of Jesus preaching from the boat (Mark +4:1). Every face in the picture is worth studying. The world is +present by representation--infancy, childhood, youth, maturity, old +age; the healthy and the diseased, the workman and the scholar. "And +he taught them many things in parables," among other things the truth +about the Kingdom of God. (Luke 8:9-10.) + +[Illustration: Jesus Preaches from a Boat.] +Plate 76. _Jesus Preaches from a Boat._ H. Hofmann. 1824- + +_Robert, Plate 77,_ in four decorative panels, illustrates the +parable of the Sower, which Jesus gave at this time. In the first the +birds came and devoured the seed, in the second the stony ground +offered no good opportunity for a harvest, in the third thorns and +thistles and other worldly things, "the deceitfulness of riches and +the lusts of other things," symbolized by the short-lived mushrooms +and daisies, and by the moths, choke the good seed. In the last is +the abundant harvest. (Mark 4:1-34.) + +[Illustration: Parable of the Sower.] +Plate 77. _Parable of the Sower._ H. L. Robert + +And when Jesus had finished these parables he departed to the other +side of the lake. "And behold there arose a great tempest in the +sea." _Doré, Plate 78,_ shows the disciples in fear, crying out, +"Save, Lord; we perish." Jesus, awakened from a sound sleep, says +calmly, "Why are ye fearful, O ye of little faith?" (Matt. 8:25-26.) +"Then he arose and rebuked the winds and the sea, and there was a +great calm." (Verse 26.) + +[Illustration: "Peace, Be Still."] +Plate 78. _"Peace, Be Still."_ Gustave Doré. 1833-1883. + +By the time Jesus had re-crossed in the boat, a great number of +people had gathered to meet him. Here Jairus came and entreated Jesus +to cure his little daughter who was at the point of death. As they +were going to the house, servants came saying that the child was +dead: but they went on to the house of Jairus. Clearing the house of +the mourners, Jesus takes the child's father and mother, Peter, James +and John, and with them enters the room of death. (Mark 5:21, 24, +35-40.) + +_Richter, Plate 80,_ is true to the account in the number of +witnesses, but not in the action of the Master. + +[Illustration: Christ Raising the Daughter of Jairus.] +Plate 80. _Christ Raising the Daughter of Jairus._ Gustav Richter. +1823-1884. + +_Hofmann, Plate 79,_ is, as usual, more literal. "Taking the child by +the hand" Jesus said, "Little girl, I am speaking to you, get up." +(Mark 5:41.) + +[Illustration: Daughter of Jairus.] +Plate 79. _Daughter of Jairus._ H. Hofmann. 1824- + +_Keller, Plate 81,_ shows the next moment when the damsel arose and +the people were "utterly astounded." (Verse 43 in Twentieth Century +New Testament.) Keller is no doubt more accurate than either of the +others in the matters of costume and other accessories. The face of +the child is worth studying. + +[Illustration: Raising the Daughter of Jairus.] +Plate 81. _Raising the Daughter of Jairus._ A. Keller. + +DEATH OF JOHN THE BAPTIST. + +The account is given in Mark 6:14-29. + +_Reni, Plate 82,_ represents the daughter of Herodius bearing John's +head to her mother. At Herod's command a soldier had brought it in a +charger, and given it to the damsel. (Verse 28.) + +[Illustration: Head of John the Baptist in a Charger.] +Plate 82. _Head of John the Baptist in a Charger._ Guido Reni. 1575- +1642. + + +THE FEEDING OF THE FIVE THOUSAND. + +When Jesus heard of the death of John he withdrew into a desert place +to rest. But the crowds followed him on foot from all the cities of +Galilee. After a day spent in healing the sick and in teaching, the +Master fed the multitude generously, with five loaves and two fishes. +The account is given by Mark (6:30-46) and by all the other +evangelists. + +_Murillo, Plate 83,_ has selected the moment when the multitude is +being seated "by companies upon the green grass," and the disciples +are procuring the loaves and fishes from the lad. (John 6:9.) Jesus +is taking the loaves preparatory to giving thanks and distributing +them. + +[Illustration: Miracle of the Loaves and Fishes.] +Plate 83. _Miracle of the Loaves and Fishes._ Bartolome Esteran +Murillo. 1618-1682. + +The following night Jesus came to the disciples, walking upon the +water. The most complete account is given by Matthew (14:24-36). Upon +Peter's request Jesus gave him permission to come out upon the water. + +_Schwartz, Plate 85,_ shows the moment when Peter, sinking, cries +out, "Lord, save me." (Matt. 14:30.) + +[Illustration: Christ and St. Peter.] +Plate 85. _Christ and St. Peter._ A. Schwartz. + +_Plockhörst, Plate 84,_ gives the next instant when Jesus stretched +forth his hand and took hold of him, saying, "O thou of little faith, +wherefore didst thou doubt?" (Matt. 14:31.) + +[Illustration: Christ and St. Peter.] +Plate 84. _Christ and St. Peter._ S. Plockhörst. 1825- + +THE TRIP INTO PHOENICIA. + +And Jesus went away into the borders of Tyre and Sidon. There a +Canaanitish woman begged him to cure her daughter. The interesting +dialogue which ensued is recorded by both Matthew and Mark. + +_Vecchio, Plate 86,_ gives the beginning of the dialogue. "I was not +sent but unto the lost sheep of the house of Israel." (Matt. 15:24.) + +[Illustration: The Canaanitish Woman.] +Plate 86. _The Canaanitish Woman._ Palma Vecchio. 1475-1528. + +PETER'S CONFESSION. + +The event recorded in Matt. 16:13-20, and that recorded in John +21:15-23, have often been closely related in the minds of artists +employed by the church during the middle ages. + +_Reni, Plate 87,_ gives a literal interpretation to Matt. 16:19. "I +give unto thee the keys of the kingdom of heaven." + +[Illustration: Christ Giving Keys to St. Peter.] +Plate 87. _Christ Giving Keys to St. Peter._ Guido Reni. 1575-1642. + +_Raphael, Plate 88,_ represents the later event, when Christ says, +"Feed my sheep," but Peter has evidently just received the keys. The +sheep are actually present, as symbols, to make clear the moment +selected by the artist. (John 21:17.) + +[Illustration: Christ's Charge to St. Peter.] +Plate 88. _Christ's Charge to St. Peter._ Raphael. 1483-1520. + +THE TRANSFIGURATION. + +_Raphael, Plate 89,_ has given upon one canvas, and that one of the +most famous in the world, the Transfiguration, and that which took +place at the same time at the foot of the mountain. (Luke 9:28-36, +and Mark 9:14-29.) _Plate 90_ is a part of the same picture. Compare +the details of both of these plates with the scriptural account! No +artist ever packed more literal and spiritual truth into a single +canvas. + +[Illustration: The Transfiguration.] +Plate 89. _The Transfiguration._ Raphael. 1483-1520. + +[Illustration: The Demoniac Boy.] +Plate 90. _The Demoniac Boy._ Raphael. 1483-1520. + +Shortly after the Transfiguration Jesus talked with his disciples +about true greatness. By way of illustration "He took a little child +in his arms and said unto them, Whosoever shall humble himself as +this little child, the same is the greatest in the kingdom of +heaven." (Mark 9:36, Matt. 18:4.) + +_Ballheim, Plate 97,_ suggests this event. + +[Illustration: Jesus and the Child.] +Plate 97. _Jesus and the Child._ H. Ballheim. + +AT THE FEAST OF TABERNACLES. + +The Scribes and the Pharisees brought to Jesus a woman taken in +adultery. + +_Hofmann, Plate 91,_ depicts the scene most graphically, at the +moment when Jesus says, "Let him that is without sin cast the first +stone." + +[Illustration: Christ and the Sinner.] +Plate 91. _Christ and the Sinner._ H. Hofmann. 1824- + +_Signol, Plate 92,_ does not show the woman "in the midst" as did +Hofmann, but after they had gone out one by one, when Jesus was left +alone with the woman. The words, "Let him that is without sin," etc., +are written upon the pavement because of verses 6 and 8, where it is +said that Jesus wrote upon the ground. + +[Illustration: The Adulterous Woman.] +Plate 92. _The Adulterous Woman._ Emile Signol. + +At this feast Jesus spoke of himself as the Light of the world. (John +8:12-30.) + +_Hunt, Plate 93,_ has idealized the words of Jesus, and added the +thought expressed in Rev. 3:20, "Behold, I stand at the door and +knock." The picture shows also, without doubt, the influence of the +well-known hymn, by Mrs. Stowe, "Knocking, knocking, who is there?" +Every detail of this picture is symbolical, and most exquisitely +painted. + +[Illustration: "I am the Light of the World."] +Plate 93. _"I am the Light of the World."_ Holman Hunt. 1827- + +_Overbeck, Plate 94,_ emphasizes the thought in Rev. 3:20. + +[Illustration: "Behold, I stand at the Door and Knock."] +Plate 94. _"Behold, I stand at the Door and Knock."_ Overbeck. 1789- +1869. + +_Plockhörst, Plate 99,_ has attempted to put into a single picture +the wealth of meaning suggested by the wondrous words, "Come unto me, +all ye that labor and are heavy laden, and I will give you rest." +(Matt, 11:28.) Humanity is symbolized by the pilgrim who needs +comforting. + +[Illustration: Christ the Consoler.] +Plate 99. _Christ the Consoler._ B. Plockhörst. 1825- + +THE PEREAN MINISTRY. + +During this part of his life Jesus gave some of his most famous +parables. + +_Siemenroth, Plate 101,_ illustrates the parable of the Good +Samaritan. The Priest and the Levite have passed by; the Samaritan is +pouring oil and wine upon the wounds preparatory to binding them up. +(Luke 10:30-34.) + +[Illustration: The Good Samaritan.] +Plate 101. _The Good Samaritan._ K. Siemenroth. + +_Doré, Plate 100,_ shows the Samaritan bringing the wounded man to +the inn, as described in verse 34. In both pictures the plains of +Jericho are shown in the distance. It is interesting to note that one +artist translates "beast" as an ass, and the other as a horse. + +[Illustration: The Good Samaritan.] +Plate 100. _The Good Samaritan._ Gustave Doré. 1833-1883. + +The Perean ministry was interrupted by a visit to Bethany and +Jerusalem. + +_Hofmann, Plate 114,_ has most beautifully drawn the group in the +home of Lazarus,--Martha, "cumbered with much serving," (Luke 10:40), +Mary, "who has chosen the good part," (verse 40), and for a reminder +of Lazarus, who has not yet returned from work, his house-dog, asleep +by the chair of Jesus. + +[Illustration: Bethany.] +Plate 114. _Bethany._ H. Hofmann. 1824- + +_Allori, Plate 113,_ gives Martha a maidservant drawing water, and a +man-servant bringing in a sheep for dinner. Mary has her alabaster +box close at hand! (Compare John 12:1-3.) About the time of the visit +Jesus opened the eyes of the man born blind. (John 9.) + +[Illustration: Christ in the House of Mary and Martha.] +Plate 113. _Christ in the House of Mary and Martha._ A. Allori. 1544- +1628. + +_Theotocopuli, Plate 115,_ represents Jesus performing the miracle, +and the hypocritical Pharisees, shocked and offended that he should +do such a thing on the Sabbath. Following this event was the +discourse about "The Good Shepherd." (John 10:1-21.) + +[Illustration: Jesus Anoints the Blind Man's Eyes with Clay.] +Plate 115. _Jesus Anoints the Blind Man's Eyes with Clay._ +Theotocopuli. 1548-1625. + +_Plockhörst, Plate 116,_ has chosen to illustrate the phrase, "He +goeth before them and the sheep follow him." + +Upon returning into Perea Jesus gave the "Three Parables of Grace." +(Luke 15.) + +[Illustration: The Good Shepherd.] +Plate 116. _The Good Shepherd._ B. Plockhörst. 1825- + +_Schönherr, Plate 117,_ and _Molitor, Plate 102,_ represent the good +shepherd who leaves the ninety and nine on the moor and goes after +the lost sheep until he finds it. (Luke 15:4.) + +[Illustration: The Good Shepherd.] +Plate 117. The Good Shepherd. Carl Schönherr. + +[Illustration: The Lost Sheep.] +Plate 102. _The Lost Sheep._ Franz Molitor. + +_Millais, Plate 103,_ illustrates the next parable, that of the lost +coin. "If a woman lose a coin, does she not light a candle and search +carefully until she finds it?" (Luke 15:8-10.) + +[Illustration: The Lost Piece of Money.] +Plate 103. _The Lost Piece of Money._ Sir John Millais. 1829-1896. + +If the first parable of the group teaches the compassion of the Son, +and the second the solicitude of the Spirit, the third teaches the +enduring love of God the Father. + +_Molitor, Plate 105,_ has designed an almost abstract father and +son--_a_ prodigal, perhaps, but not _the_ prodigal--to match his panel +of the lost sheep. The parable is but faintly echoed in this picture. + +[Illustration: Prodigal Son.] +Plate 105. _Prodigal Son._ Franz Molitor. + +The man who has painted the parable as a whole is _Dubufe, Plate +106._ The central panel in the triptych shows the young man wasting +his substance in riotous living. "He squandered his property by his +dissolute life," says one version. His feasts were such as that +described by Isaiah 5:11, 12. The panel at the left shows the young +man in want, feeding swine, when "no man gave unto him." (Luke +15:16.) In that at the right, he has returned to his father's house. + +[Illustration: The Prodigal Son.] +Plate 106. _The Prodigal Son._ E. Dubufe. + +_Doré, Plate 104,_ is truer to the parable in the matter of the +return, for "while he was yet a great way off his father saw him and +ran, and fell on his neck and kissed him." (Luke 15:20.) + +[Illustration: Prodigal Son.] +Plate 104. _Prodigal Son._ Gustave Doré. 1833-1883. + +_Doré, Plate 107,_ illustrates the parable of the Rich Man and +Lazarus, as recorded in Luke 16:19-31. He has added a dramatic touch +by representing the servants ordering the beggar away, even with +violence--a part of the "evil things" which Lazarus received during +his life. (Luke 16:25.) + +[Illustration: The Rich Man and Lazarus.] +Plate 107. _The Rich Man and Lazarus._ Gustave Doré. 1833-1883. + +Jesus was again called to visit Bethany by the death of the brother +of Mary and Martha. None of the pictures here reproduced give an +adequate representation of that which then occurred--the raising of +Lazurus. Perhaps the event is too august to be put upon canvas. + +_Bonifazio, Plate 118,_ seems to take an almost childish delight in +depicting the varying effects of a disagreeable odor! He has +magnified the remark of Martha (John 11:39) into the motive for a +picture! + +[Illustration: Raising of Lazarus.] +Plate 118. _Raising of Lazarus._ Bonifazio II. 1494-1563. + +_Piombo, Plate 119,_ suggests the large company who witnessed +the miracle, but ignores the statement that Lazarus was buried in a +cave, and that he came forth without assistance. (Verses 38 and 44.) +He has surpassed Bonifazio in one respect at least. Piombo's people +are astonished and excited over what has occurred: they are not +entirely witless because of Martha's suggestion. + +[Illustration: Raising of Lazarus.] +Plate 119. _Raising of Lazarus._ Sebastian del Piombo. 1485-1547. + +_Rubens, Plate 120,_ has not included the crowd in his canvas; but +his Lazarus comes forth vigorously and happily from his grave in the +cave, to meet a master whose figure is charged with animation. The +traditional characters of the sisters are not forgotten. Martha helps +to remove the grave-clothes, while Mary, as usual, worships the +Master. + +[Illustration: Raising of Lazarus.] +Plate 120. _Raising of Lazarus._ Rubens. 1577-1640. + +_Doré, Plate 108,_ interprets the parable of the Pharisee and the +Publican. The Pharisee stands and prays "with himself" (Luke 18:11), +while the tax-gatherer will not so much as "lift up his eyes to +heaven," but says, "God be merciful to me a sinner." (Verse 13.) +Jesus is represented as saying, "This man went down to his house +justified." (Verse 14.) Doré makes it an actual event, not merely a +parable. + +[Illustration: The Pharisee and Publican.] +Plate 108. _The Pharisee and Publican._ Gustave Doré. 1833-1883. + +Christ blessing the children, has been a favorite subject with +artists. + +_Hofmann, Plate 109,_ tells the story in his own charming way. How +sweetly child-like is that offering of the little bouquet! He +remembers that not only little children came; mothers brought their +babies. (Luke 18:15.) + +[Illustration: Christ Blessing Little Children.] +Plate 109. _Christ Blessing Little Children._ H. Hofmann. 1824- + +_Plockhörst, Plate 110,_ is equally true to the account and to +nature. Here a little child is asking to take her flowers to Jesus. +Plockhörst loves symbolism. Sheep are present (Is. 40:11), and a +little boy is about to offer Jesus a palm-branch in unconscious +anticipation of his triumphal entry to Jerusalem. (Matt. 21:8, 9 and +15.) + +[Illustration: Christ Blessing Little Children.] +Plate 110. _Christ Blessing Little Children._ B. Plockhörst. 1825- + +_Vogel, Plate 111,_ has introduced one or two children old enough to +have some consciousness of a real need of such love and forgiveness +as the Master offers to all. Their attitude is not that of naïve +childhood. + +[Illustration: Christ Blessing Little Children.] +Plate 111. _Christ Blessing Little Children._ Carlo Vogel. + +_Hofmann, Plate 112,_ has excelled himself in the portrayal of Christ +and the rich young ruler, who asked how to obtain eternal life. +(Matt. 19:16.) Jesus is saying; "If thou wouldest be perfect go sell +what thou hast and give to the poor, and thou shalt have treasure in +heaven." The decision of the young man is already made. He will +presently go away sorrowful, and keep his great possessions. (Matt. +19:21, 22.) + +[Illustration: Christ and the Young Ruler.] +Plate 112. _Christ and the Young Ruler._ H. Hofmann. 1824- + +_Bonifazio, Plate 121,_ illustrates the account of Matthew relative +to the ambitions of James and John. + +Their mother comes worshiping, and asking that her two sons may +receive special honor in Christ's Kingdom. Jesus is saying, "My cup +indeed ye shall drink; but to sit on my right hand and on my left +hand it is not mine to give." (Matt. 20:20-28.) Peter is ready to add +his word of condemnation. + +[Illustration: Christ and Zebedee's Children.] +Plate 121. _Christ and Zebedee's Children._ Bonifazio. 1494-1563. + +AT JERUSALEM. + +PASSION WEEK. + +Jesus went on his way towards Jerusalem, and when he came within +sight of the city he wept over it and said, "Would that you had +learned, while there was time--yes, even you--the things that make +for peace! But as it is, they have been hidden from your sight. For a +time is coming for you when your enemies will surround you with +earthworks, and encircle you, and hem you in on every side; they will +trample you down and your children within you, and they will not +leave in you one stone upon another, because you did not see that God +was visiting you." (Twentieth Century N. T., Luke 19:42-44.) + +_Eastlake, Plate, 124,_ has not followed the scriptural account +closely, but has designed a panel, with the text in mind, possibly +influenced also by Matt. 23:37, "How often would I have gathered thy +children together as a hen gathers her chickens under her wings, and +ye would not!" + +[Illustration: Christ Weeps Over Jerusalem.] +Plate 124. _Christ Weeps Over Jerusalem._ Sir Charles Eastlake. 1793- +1865. + +_Deger, Plate 123,_ represents the triumphal entry into Jerusalem as +recorded in all the Gospels, but with most complete detail in Luke +19:29-44. The people threw their garments upon a colt, and set Jesus +thereon, and accompanied him from Bethpage to Jerusalem, waving palm +branches (John 12:13), and spreading garments and palms in the street +(Matt. 21:8), and shouting "Hosanna, Blessed is he that cometh in the +name of the Lord." (Matt. 21:9.) The artist has allowed the mother of +Jesus to witness this short lived triumph of her son; nor has he +forgotten the children (Matt. 21:15). + +[Illustration: Triumphal Entry.] +Plate 123. _Triumphal Entry._ Ernest Deger. 1809-1885. + +_Doré, Plates 125 and 127,_ gives two incidents of the early part of +the week: the Herodians asking about tribute to Cæsar (Matt. 22:16- +22), and the poor widow giving her contribution to the temple +treasury (Mark 12:41-44). + +[Illustration: Jesus and the Tribute Money.] +Plate 125. _Jesus and the Tribute Money._ Gustave Doré. 1833-1883. + +[Illustration: The Widow's Mite.] +Plate 127. _The Widow's Mite._ Gustave Doré. 1833-1883. + +_Titian, Plate 126,_ in dealing with the incident of the tribute to +Cæsar, has selected the moment Doré selected, when Jesus asks, "Whose +image and superscription hath it?" (Mark 20:24.) + +[Illustration: Tribute to Cæsar.] +Plate 126. _Tribute to Cæsar._ Titian. 1477-1576. + +_Van Dyck, Plate 96,_ has chosen the moment when Jesus says, "Render +therefore unto Cæsar the things that are Cæsar's, and unto God the +things that are God's" (Matt. 22:21). + +[Illustration: Tribute Money.] +Plate 96. _Tribute Money._ A. Van Dyck. 1599-1641. + +Towards the close of his discourse about The Last Things, Jesus gave +the parable of the Wise and Foolish Virgins. (Matt. 25:1-13.) + +_Poloty, Plate 128,_ has attempted to illustrate this parable, and +has chosen the moment when the foolish virgins discover that they are +unprepared. (Verses 8 and 9.) Evidently the cry, "Behold the +bridegroom cometh," was not heard, upon this occasion, "at midnight" +(Verse 6.) + +[Illustration: Parable of the Virgins.] +Plate 128. _Parable of the Virgins._ Carl Theodor von Poloty. 1826- +1886. + +THE LAST SUPPER. + +[Illustration: Conspiracy Against Jesus.] +Plate 129. _Conspiracy Against Jesus._ Alexandre Bida. 1813-1895. + +When the disciples entered the upper room all had neglected to assume +the office of servant in preparation for the meal. They were +disputing as to who should be the greatest in the kingdom. (Luke +22:24.) Jesus therefore arose from the table and performed the act of +cleansing. + +_Brown, Plate 133,_ has portrayed the incident wonderfully well. The +dialogue with Peter is just finished. (John 13:6-10.) + +[Illustration: Jesus Washes the Disciples' Feet.] +Plate 133. _Jesus Washes the Disciples' Feet._ Ford Madox Brown. +1821-1893. + +_Da Vinci, Plate 131,_ has excelled all others in rendering the +effects of the announcement Jesus made shortly afterwards, when they +were at table again, "One of you shall betray me." Some of the +disciples wonder (John 13:22), some ask, "Is it I?" (Mark 14:19.) +Peter whispers to John to inquire who it is. (John 13:24.) The face +of Judas alone is in shadow and inscrutable. Presently Judas will go +out to the conspiring chief priests. (John 13:27-30.) + +[Illustration: The Last Supper.] +Plate 131. _The Last Supper._ Leonardo Da Vinci. 1452-1519. + +When Judas had departed, Jesus said, "Now is the Son of man +glorified." (John 13:31.) "And as they were eating, Jesus took bread +and blessed, and break it." + +_Bida, Plate 132,_ gives a graphic picture of the moment of blessing +the bread. "This is my body which is given for you," he said (Luke +22:19). "This do in remembrance of me." + +[Illustration: The Last Supper.] +Plate 132. _The Last Supper._ Alexandra Bida. 1813-1895. + +Bida shows the bent figure of Judas retreating into the darkness. + +_Hofmann, Plate 130,_ continues the story. "And he took a cup, and +gave thanks, and gave it to them, saying, Drink ye all of it; for +this is my blood of the covenant, which is shed for many unto +remission of sins." (Matt. 26:27-28.) + +[Illustration: The Last Supper.] +Plate 130. _The Last Supper._ H. Hofmann. 1824- + +No one has portrayed more clearly the characteristic attitudes of the +disciples who heard these astonishing words. John is the only one who +seems to appreciate the meaning of the sacrament. John only seems to +have recalled distinctly what followed--the touching and comforting +farewell discourses. + +Hofmann, as well as Bida, shows the retreating Judas, going out into +the night. "And when they had sung a hymn, they went out unto the +mount of Olives." (Mark 14:26.) + +"And they came unto a place which was named Gethesame; and he said +unto his disciples, Sit ye here, while I go yonder and pray." (Mark +14:32, Matt. 26:36.) + +_Hofmann, Plate 136,_ reveals to us the Master in prayer, with Peter, +James, and John in the distance. (Mark 14:33.) The moment is that +when Jesus triumphs with the words, "Thy will be done." (Matt. +26:42.) + +[Illustration: Jesus in Gethsemane.] +Plate 136. _Jesus in Gethsemane._ H. Hofmann. 1824- + +_Dolci, Plate 135,_ shows the angel which came and strengthened him. +(Luke 22:43.) The angel bears the cross and the cup as symbols, but +the cup brought that which was sufficient to the occasion. (Compare +II. Cor. 12:9.) + +[Illustration: Agony in the Garden.] +Plate 135. _Agony in the Garden._ Carlo Dolci. 1616-1686. + +Jesus returned to the sleeping disciples. "Look," he said, "my +betrayer is close at hand." He had hardly said the words when Judas +came in sight with a crowd of people with swords and staffs. Judas +came to Jesus and exclaimed, "I am glad to see you, Rabbi," and +kissed him. (Twentieth Century N. T., Matt. 26:46-50.) + +_Scheffer, Plate 137,_ attempts to place the two characters, Jesus +and Judas, in strong contrast before our eyes; but he hardly touches +even the outside! + +[Illustration: Kiss of Judas.] +Plate 137. _Kiss of Judas._ Ary Scheffer. + +_Hofmann, Plate 138,_ represents the captive Christ. Judas, smitten +already with remorse, skulks along clutching his bag of silver. Mary +is watching from a distance. John is weeping upon Peter's neck. "So +the band and the chief captain and the officers of the Jews, seized +Jesus, and bound him, and led him to Annas." (John 18:12-13.) Simon +Peter and another disciple followed Jesus afar off, and managed to +gain admittance to the court of the high priest's house. There Peter +denied his Lord. + +[Illustration: Jesus Taken Captive.] +Plate 138. _Jesus Taken Captive._ H. Hofmann. 1824- + +_West, Plate 140,_ represents Peter denying before the maid-servant +(John 18:17), evidently the first time, for he was more violent the +second time the maid questioned him. (Mark 14:70-71.) The painter has +introduced the figure of Jesus to make the picture more intelligible. +The maid seems to be asking Jesus if Peter has told the truth. + +[Illustration: Peter's Denial of Christ.] +Plate 140. _Peter's Denial of Christ._ Benjamin West. 1738-1820. + +_Harrach, Plate 139,_ gives the denial of Peter before the soldiers +in the presence of the maid-servant. (Mark 14:54 and 67.) As Peter +denies, the cock, above in the branches of a vine, crows as Jesus had +predicted. Harrach has seized upon the moment recorded by Luke alone. +"And the Lord turned and looked upon Peter." (Luke 22:61.) And Peter +remembered, and went out and wept bitterly. (Verse 6.) + +[Illustration: Peter's Denial of Christ.] +Plate 139. _Peter's Denial of Christ._ Graf Harrach. + +In the morning the trial is continued before Pilate. Probably no one +has painted that scene so well as has _Munkacsy, Plate 141._ The +picture is true to the accounts of the evangelists, and is besides a +great study of character. The face of Christ is about the only +inadequate piece of representation in the whole picture. Munkacsy has +evidently followed Luke's account. "And they began to accuse him, +saying, We found this man perverting our nation, and forbidding to +give tribute to Cæsar." The moment may be that after which Pilate +says, "I find no fault in this man," and the accusers "become more +urgent, saying, He stirreth up the people" (Luke 23:4, 5). + +[Illustration: Trial Before Pilate.] +Plate 141. _Trial Before Pilate._ M'Haly Munkacsy. 1846- + +Then the soldiers took Jesus into the Pretorium, and stripped him, +and scourged him, and plaited a crown of thorns, and gave him a +scarlet robe, and put a reed in his hand. Smiting him again and again +on the head, they offered him mock reverence. + +_Guido, Plate 142,_ portrays Jesus at this time (Matt. 27:27-30). +Afterwards Pilate brings Jesus forth to the crowd and says, "Behold +the Man." (John 19:5.) + +[Illustration: Ecce Homo.] +Plate 142. _Ecce Homo._ Guido Reni. 1575-1642. + +_Ciseri, Plate 143,_ takes us upon the colonnade with Pilate and +Jesus, and gives us a sense of the mad crowd below--immense, +implacable--shouting "Crucify him! Crucify him!" (John 19:6.) + +[Illustration: Ecce Homo.] +Plate 143. _Ecce Homo._ Antonio Ciseri. 1825- + +_Hofmann, Plate 144,_ shows "the man" to us, and says, Behold him! +Hofmann too, suggests the angry crowd, and in the distance introduces +the three Marys. Both these artists include Pilate's wife in the +picture because of Matt. 27:19. + +[Illustration: Ecce Homo.] +Plate 144. _Ecce Homo._ H. Hofmann. 1824- + +_Doré, Plate 145,_ with his love of the extraordinary, has +objectified such a dream as he supposes might have caused a Roman +matron to 'suffer many things.' She sees the living and the dead, all +heaven and hell attendant upon the Christ, and because of this fears +for the welfare of her husband if he does not protect so august a +person as this mysterious King, whose Kingdom is not of this world. + +[Illustration: Pilate's Wife's Dream.] +Plate 145. _Pilate's Wife's Dream._ Gustave Doré. 1833-1883. + +THE CRUCIFIXION. + +Pilate at last delivered Jesus over to be crucified. "And he went out +bearing the cross for himself." Through loss of sleep and loss of +blood, worn out with the long agony, Jesus fainted, and fell beneath +the load of the cross. They compelled a man whom they met coming in +from the country, Simon the Cyrenean, to bear the cross for Jesus, +and thus, accompanied by a crowd of people, they came at last to +Calvary. The scene which followed has been painted hundreds of times, +as a whole, and in detail, sometimes with almost revolting realism, +sometimes with fascinating power. + +_Hofmann, Plate 146,_ represents Jesus carrying the cross to Calvary +(John 19:17), and the women who bewailed and lamented him. (Luke +23:27.) The company is just going through the Damascus gate. + +[Illustration: Bearing the Cross.] +Plate 146. _Bearing the Cross._ H. Hofmann. 1824- + +_Thiersch, Plate 147,_ gives the tragic incident which occurred just +outside the gate. Jesus has fallen. He is speaking to the women the +words recorded in Luke 23:28-31. Calvary is seen in the distance +where the crosses for the two thieves have already been placed. There +they crucified him between the two thieves. + +[Illustration: Bearing the Cross.] +Plate 147. _Bearing the Cross._ Ludwig Thiersch. + +_Munkacsy, Plate 149,_ gives us a picture of the retreating soldiers +after the awful deed has been done. "The people stood beholding . . . +the rulers scoffed at him, the chief priests mocked, the scribes +said, He saved others; himself he cannot save." (Luke 23:35, Mark +15:31.) Darkness is coming upon the earth. In _Plate 150,_ John and +the three Marys are at the foot of the cross. (John 19:25.) + +[Illustration: The Crucifixion.] +Plate 149. _The Crucifixion._ M. Munkacsy. 1844- + +[Illustration: Christ on the Cross and the Three Marys.] +Plate 150. _Christ on the Cross and the Three Marys._ M. Munkacsy. +1844- + +_Hofmann, Plate 148,_ has chosen a later moment. Jesus has committed +his mother to the care of John (John 19:26-27), and with the word, +"It is finished," has given up his spirit into his Father's hands. +(Luke 23:46.) Amid rending rocks and opening tombs the Centurion is +saying, "Truly this was the Son of God." (Matt. 27:54.) + +[Illustration: The Crucifixion.] +Plate 148. _The Crucifixion._ H. Hofmann. 1824- + +_Rubens, Plate 151,_ illustrates most graphically Mark 15:42-47. +Joseph of Arimathæa went boldly to Pilate and asked for the body of +Jesus. His request being granted, "he brought a linen cloth, and +taking him down, wound him in the linen cloth." (Mark 15:46.) "And +there came also Nicodemus, bringing a mixture of myrrh and aloes." So +they took the body of Jesus and bound it in linen cloths, with the +spices, as the custom of the Jews is to bury. (John 19:39-40.) + +[Illustration: Descent from the Cross.] +Plate 151. _Descent from the Cross._ Rubens. 1577-1640. + +_Gerome, Plate 153,_ has given the most weird and graphic +representation of the deserted hill and the doomed city. The +supernatural darkness is passing. A flood of lurid light pours upon +Calvary, casting the ominous shadows of the crosses towards the +retreating multitude. In the distance the livid temple marks the +place of the rending veil. (Mark 15:38.) + +[Illustration: Golgotha.] +Plate 153. _Golgotha._ J. L. Gerome. 1824- + +_Morris, Plate 152,_ has drawn the deserted cross. An unknown woman +lifts her little boy that he may see that which was written above the +head of Christ. "And there was written, Jesus of Nazareth, The King +of the Jews . . . in Hebrew, in Latin, and in Greek." (John +19:19-22.) + +[Illustration: Whereon They Crucified Him.] +Plate 152. _Whereon They Crucified Him._ P. R. Morris. + +THE BURIAL. + +_Ciseri, Plate 156,_ portrays, if not "The grandest funeral that ever +passed on earth," certainly the greatest. Joseph of Arimathæa, +Nicodemus, and John the beloved carry the dead Christ. His mother, +Mary, the Wonderful, walks by his side. "Is it nothing to you, all ye +that pass by? Behold, and see if there be any sorrow like unto my +sorrow, which is done unto me, wherewith the Lord hath afflicted me." +(Lam. 1:12.) Mary, the wife of Clopas, Mary Magdalene, and probably +Mary of Bethany, are the other mourners. "Now in the place where he +was crucified there was a garden, and in the garden a new tomb +wherein was never man yet laid." (John 19:41.) + +[Illustration: Christ Borne to the Tomb.] +Plate 156. _Christ Borne to the Tomb._ Antonio Ciseri. + +_Hofmann, Plate 155,_ represents the company entering the rock-hewn +tomb. He composes his company differently. The four women are present +in the background, but now two of Joseph's servants have arrived to +assist the three men who had been carrying the body. There, in the +tomb, the body of Jesus was laid (John 19:42). + +[Illustration: Entombment.] +Plate 155. _Entombment._ H. Hofmann. 1824- + +_Hofmann, Plate 154,_ adds a human touch not found in the records of +the evangelists. The last to leave the body are John and the Lord's +mother, Mary. + +[Illustration: In the Sepulchre.] +Plate 154. _In the Sepulchre._ H. Hofmann. 1824- + +_Dyce, Plate 158,_ shows John and Mary with the crown of thorns, on +their way to John's own home. (John 19:27.) Joseph and Nicodemus are +just leaving the garden, while Mary Magdalene and another Mary watch +at the tomb. (Mark 15:47.) + +[Illustration: John and the Mother of Jesus.] +Plate 158. _John and the Mother of Jesus._ Wm. Dyce. + +_Dobson, Plate 157,_ has attempted to express the sorrow of Mary and +the solicitude of John as they continue the walk homeward. + +[Illustration: John and the Mother of Jesus.] +Plate 157. _John and the Mother of Jesus._ W. C. T. Dobson. + +THE RESURRECTION. + +As it began to dawn towards the first day of the week, "there was a +great earthquake, for an angel of the Lord descended from heaven, and +came and rolled away the stone and sat upon it." (Matt. 28:1-2.) + +_Naack, Plate 159,_ has designed a panel which presents a synthesis +of the various accounts of the resurrection, and adds the symbols of +victory and triumph. Other artists have given more literal renderings +of particular texts. For example: + +[Illustration: The Resurrection.] +Plate 159. _The Resurrection._ A. Naack. + +_Hofmann, Plate 160,_ has Mary sitting upon the stone outside the +tomb, weeping (John 20:11), and the risen Christ approaching her from +behind. + +[Illustration: Easter Morning.] +Plate 160. _Easter Morning._ H. Hofmann. 1824- + +_Di Credi, Plate 162,_ has selected the instant when Mary, turning, +appeals to "the gardener," as she supposes, to show her where the +body of Jesus has been hidden. (John 20:14-15.) + +[Illustration: Christ Appearing to Magdalene.] +Plate 162. _Christ Appearing to Magdalene._ Lorenzo Di Credi. 1459- +1537. + +_Plockhörst, Plate 161,_ expresses the joyful surprise of Mary when +she recognizes her Lord. Jesus is directing her to go to his brethren +and say, "I ascend unto my Father and your Father, and my God and +your God." (John 20:17.) One hand is held as a warning to Mary not to +touch him, the other points upward towards heaven. + +[Illustration: Risen Lord and Mary Magdalene.] +Plate 161. _Risen Lord and Mary Magdalene._ B. Plockhörst. 1825- + +AFTER THE RESURRECTION. + +In the afternoon, after the resurrection, two disciples on the way to +Emmaus found themselves accompanied by a stranger with wondrous power +as an expositor of scripture. (Luke 24:13-27.) + +_Plockhörst, Plate 164,_ takes us along the road with the three. The +speaker is asking, "Was not the Christ bound to undergo all this +before entering upon his glory?" (Verse 26.) + +[Illustration: Walk to Emmaus.] +Plate 164. _Walk to Emmaus._ B. Plockhörst. 1825- + +_Scheffer, Plate 163,_ shows Mary of Magdala, Mary the mother of +James, and another woman who, after their vision at the sepulchre, +are on their way to tell the disciples. (Luke 24:9-10.) These are the +women whose words seemed to the disciples but idle tales unworthy of +belief. (Verse 11.) + +[Illustration: Three Marys.] +Plate 163. _Three Marys._ Ary Scheffer. 1795-1858. + +_Hofmann, Plate 166,_ shows the two urging the stranger to stop at +Emmaus. (Verses 28, 29.) + +[Illustration: Walk to Emmaus.] +Plate 166. _Walk to Emmaus._ H. Hofmann. 1824- + +_Fürst, Plate 165,_ shows them inviting him into the house. (Verse +29.) + +[Illustration: Walk to Emmaus.] +Plate 165. _Walk to Emmaus._ M. Fürst. + +_Müller, Plate 167,_ illustrates verse 30, "he took the bread and +blessed it." + +[Illustration: Supper at Emmaus.] +Plate 167. _Supper at Emmaus._ Carl Müller. 1839- + +_Diethe, Plate 168,_ shows him in the act of breaking the bread. + +[Illustration: Supper at Emmaus.] +Plate 168. _Supper at Emmaus._ Alfred Diethe. 1836- + +In the picture of _Rembrandt, Plate 169,_ the glory appears, and the +disciples recognize the Master "in the breaking of the bread." +(Verses 31 and 35.) + +[Illustration: Supper at Emmaus.] +Plate 169. _Supper at Emmaus._ Rembrandt 1607-1669. + +That very evening at Jerusalem, Jesus appeared to the disciples who +were gathered in an upper room. Thomas, one of the twelve, was +absent, and doubted when the others told him that they had seen the +Lord. (John 20:24, 25.) + +Eight days later the disciples were again together, Thomas being with +them. Suddenly Jesus stood in the midst. (John 20:26.) + +_Guercino, Plate 170,_ shows what followed. "Then said he to Thomas, +reach hither thy finger and see my hand, and reach hither thy hand +and put it into my side; and be not faithless, but believing." (John +20:27.) The painter has given Jesus a banner as a symbol of victory, +a Christian symbol as old as the catacombs. + +[Illustration: "Thomas the Doubter."] +Plate 170. _"Thomas the Doubter."_ Guercino. 1590-1666. + +THE ASCENSION. + +At the end of forty days Jesus appeared to the disciples once more, +and after giving final instructions as to their future work, "he led +them out until they were over against Bethany: and he lifted up his +hands and blessed them." (Luke 24:50.) + +_Hofmann, Plate 171,_ illustrates the next verse. "And it came to +pass, while he blessed them, he parted from them, and was carried up +into heaven." In Acts the added information is given that "a cloud +received him out of their sight." (Acts 1:9.) Luke says, "they +worshipped him" (verse 52); but Hofmann has angels worshipping (the +"two men" of Acts 1:10), for the disciples are too greatly astonished +to worship just then. + +[Illustration: The Ascension.] +Plate 171. _The Ascension._ H. Hofmann. 1824- + +_Rembrandt, Plate 172,_ emphasizes the glory of it all. The prayer of +Christ (John 17:5), is answered, the promise of God (John 12:28), is +fulfilled. The Spirit which appeared at the baptism of Jesus in the +form of a dove, descending upon him as he began his ministry, here +descends again as he enters the heavens where he ever liveth to make +intercession for us. + +[Illustration: The Ascension.] +Plate 172. _The Ascension._ Rembrandt. 1607-1666. + + +And many other such pictures have been painted, which are not given +in this book; but these are given that ye may be helped to see Jesus +the Christ, the Son of God, and that seeing ye may believe and have +life in his name. + + +Write the vision, and make it plain upon tables, that he may run that +readeth it. + +HABAKKUK 2:2. + + + +INDEX BY TITLES OF PICTURES. + +Adoration of the Kings--MALDINI +Adoration of the Magi--LUINI + VERONESE +Adulterous Woman--SIGNOL +Agony in the Garden--DOLCI +Angels and the Shepherds--PLOCKHÖRST +Annunciation--TITIAN +Annunciation to Mary--BAROCCIO + DOSSO + HOFMANN + MÜLLER + RENI +Anointing Feet of Jesus--HOFMANN +Arrival of the Shepherds--LEROLLE +Ascension--HOFMANN + REMBRANDT +Bearing the Cross--HOFMANN + THIERSCH +Behold, I stand at the Door and Knock--OVERBECK +Behold the Lamb of God--BIDA +Bethany--HOFMANN +Bethlehem--HOFMANN +Birth of John--ANGELICO +Calling of Matthew--BIDA + CHIMENTI + PORDENONE +Canaanitish Woman--VECCHIO +Centurion's Servant--VERONESE +Christ among the Doctors--LAFON +Christ and St. Peter--PLOCKHÖRST + SCHWARTZ +Christ and the Fishermen--ZIMMERMANN +Christ and the Sinner--HOFMANN +Christ and the Young Ruler--HOFMANN +Christ and Zebedee's Children--BONIFAZIO +Christ Appearing to Magdalene--DI CREDI +Christ Blessing Little Children--HOFMANN + PLOCKHÖRST + VOGEL +Christ Borne to the Tomb--CISERI +Christ Casting out the Money-changers--KIRCHBUCK +Christ Disputing in the Temple--DOBSON +Christ Disputing with the Doctors--HOFMANN +Christ Giving Keys to St. Peter--RENI +Christ in the House of Mary and Martha--ALLORI +Christ on the Cross and the Three Marys--MUNKACSY +Christ Raising the Daughter of Jairus--RICHTER +Christ's Charge to St. Peter--RAPHAEL +Christ Taking Leave of His Mother--PLOCKHÖRST +Christ the Consoler--PLOCKHÖRST +Christ Weeps Over Jerusalem--EASTLAKE +Consider the Lilies--LE JEUNE +Conspiracy against Jesus--BIDA +Crucifixion--HOFMANN + MUNKACSY +Daughter of Jairus--HOFMANN +Demoniac Boy--RAPHAEL +Descent from the Cross--RUBENS +Easter Morning--HOFMANN +Ecce Homo--CISERI + HOFMANN + RENI +Entombment--HOFMANN +Finding of Christ in the Temple--HUNT +Flight into Egypt--FÜRST + HOFMANN + PLOCKHÖRST +Golgotha--GEROME +Good Samaritan--DORÉ + SIEMENROTH +Good Shepherd--PLOCKHÖRST + SCHÖNHERR +Head of John the Baptist in a Charger--RENI +Healing of the Impotent Man--BIDA + VAN LINT +Healing the Sick--HOFMANN + SCHÖNHERR +Healing the Sick Child--MAX +Holy Family--MURILLO +Holy Night--CORREGGIO +I am the Light of the World--HUNT +Infancy of Christ--HOFMANN +In the Sepulchre--HOFMANN +In the Temple--HOFMANN +Jesus and His Disciples Going through Cornfield--DORÉ +Jesus and the Child--BALLHEIM +Jesus and the Tribute Money--DORÉ +Jesus and the Woman of Samaria--BILIVERTI + DORÉ + HOFMANN +Jesus Anoints the Blind Man's Eyes--THEOTOCOPULI +Jesus in Gethsemane--HOFMANN +Jesus in the House of Simon--VERONESE +Jesus on His Way to Jerusalem--MENGELBERG +Jesus Preaches from a Boat--HOFMANN +Jesus Taken Captive--HOFMANN +Jesus Walking by the Sea--GRUNEWALD +Jesus Washes the Disciples' Feet--BROWN +John and the Mother of Jesus--DOBSON + DYCE +John the Baptist--SARTO +John the Baptist Preaching--TITIAN +Joseph and Mary; Arrival at Bethlehem--MERSON +Joseph's Dream--CRESPI +Kiss of Judas--SCHEFFER +Last Supper--BIDA + HOFMANN + VINCI +Lost Piece of Money--MILLAIS +Lost Sheep--MOLITOR +Madonna and Child--MURILLO +Magdalen--RUBENS +Marriage Feast--VERONESE +Mary's Visit to Elizabeth--ALBERTINELLI +Miracle of the Loaves and Fishes--MURILLO +Miraculous Draught of Fishes--RAPHAEL +Nativity--BOUGUEREAU + MÜLLER +Nicodemus' Visit to Jesus--UNKNOWN +Parable of the Sower--ROBERT +Parable of the Virgins--POLOTY +Peace, be still--DORÉ +Peter's Denial of Christ--HARRACH + WEST +Pharisee and Publican--DORÉ +Pilate's Wife's Dream--DORÉ +Prayer in Secret--BIDA +Presentation at the Temple--BARTOLOMMEO + BORGOGNONE + BOURDON + CHAMPAIGNE + FATTORINO +Prodigal Son--DORÉ + DUBUFE + MOLITOR +Purification of the Temple--HOFMANN +Raising of Lazarus--BONIFAZIO + PIOMBO + RUBENS +Raising the Daughter of Jairus--KELLER +Raising the Widow's Son--HOFMANN +Repose in Egypt--BENZ + MERSON +Resurrection--NAACK +Rich Man and Lazarus--DORÉ +Risen Lord and Mary Magdalene--PLOCKHÖRST +Sermon on the Mount--DORÉ + HOFMANN +Shadow of Death--HUNT +Shadow of the Cross--MORRIS +Supper at Emmaus--DIETHE + MÜLLER + REMBRANDT +Talking with Lame Man, Bethesda--VAN DYCK +Temptation--HOFMANN +Temptation of Christ--SCHEFFER +Thomas the Doubter--GUERCINO +Three Marys--SCHEFFER +Transfiguration--RAPHAEL +Trial before Pilate--MUNKACSY +Tribute Money--VAN DYCK +Tribute to Caesar--TITIAN +Triumphal Entry--DEGER +Walk to Emmaus--FÜRST + HOFMANN + PLOCKHÖRST +Whereon they Crucified Him--MORRIS +Widow's Mite--DORÉ +Worship of the Magi--HOFMANN + +--- + +NOTE.--The "Wilde Bible Pictures," from which are selected the +pictures illustrating "The Great Painters' Gospel," are +two-and-one-half times as large as the reduction herein used. +A catalogue of these penny pictures will be furnished on +application to the publishers. + + +INDEX BY ARTISTS. + +Albertinelli. + Mary's Visit to Elisabeth +Allori. + Christ in the house of Mary and Martha +Angelico, Fra. + Birth of John +Ballheim. + Jesus and the Child +Baroccio. + Annunciation to Mary +Bartolommeo, Fra. + Presentation at the Temple +Benz, S. + Repose in Egypt +Bida, Alexandre. + Behold the Lamb of God + Calling of Matthew + Conspiracy against Jesus + Healing of the Impotent Man + Last Supper + Prayer in Secret +Biliverti. + Jesus and the Woman of Samaria +Bonifazio. + Christ and Zebedee's Children + Raising of Lazarus +Borgognone. + Presentation at the Temple +Bourdon, Sebastien. + Presentation at the Temple +Bouguereau, W. A. + Nativity +Brown, Ford Madox. + Jesus Washes the Disciples' Feet +Champaigne. + Presentation at the Temple +Chimenti, Jacopo. + Calling of Matthew +Ciseri, Antonio. + Christ borne to the tomb + Ecce Homo +Correggio. + Holy Night +Crespi, Daniele. + Joseph's Dream +Deger, Ernest. + Triumphal Entry +Di Credi, Lorenzo. + Christ appearing to Magdalene +Diethe, Alfred. + Supper at Emmaus +Dobson, W. C. T. + Christ disputing in the Temple + John and the Mother of Jesus +Dolci, Carlo. + Agony in the Garden +Doré, Gustave. + Good Samaritan + Jesus and His Disciples Going Through Cornfield + Jesus and the Tribute Money + Jesus and the Woman of Samaria + Peace, Be Still + Pharisee and Publican + Pilate's Wife's Dream + Prodigal Son + Rich Man and Lazarus + Sermon on the Mount + Widow's Mite +Dosso, Dossi. + Annunciation to Mary +Dubufe, E. + Prodigal Son +Dyce, William. + John and the Mother of Jesus +Eastlake, Sir Charles. + Christ Weeps Over Jerusalem +Fattorino, Bartolommeo Del. + Presentation at the Temple +Fürst, M. + Flight into Egypt + Walk to Emmaus +Gerome, J. L. + Golgotha +Grünewald, M. + Jesus Walking by the Sea +Guercino. + Thomas the Doubter +Harrach, Graf. + Peter's Denial of Christ +Hofmann + Anointing feet of Jesus + Annunciation to Mary + Ascension + Bearing the Cross + Bethany + Bethlehem + Christ and the Sinner + Christ and the Young Ruler + Christ Blessing Little Children + Christ Disputing with the Doctors + Crucifixion + Daughter of Jairus + Easter Morning + Ecce Homo + Entombment + Flight into Egypt + Healing the Sick + Infancy of Christ + In the Sepulchre + In the Temple + Jesus and the Woman of Samaria + Jesus in Gethsemane + Jesus Preaches from a Boat + Jesus taken Captive + Last Supper + Purification of the Temple + Raising the Widow's Son + Sermon on the Mount + Temptation + Walk to Emmaus + Worship of the Magi +Hunt, Holman. + Finding of Christ in the Temple + I am the Light of the World + Shadow of Death +Keller, A. + Raising the Daughter of Jairus +Kirchbuch, F + Christ Casting out the Money-changers +Lafon, Émile, J. + Christ among the Doctors +Le Jeune, Henry. + Consider the Lilies +Lerolle, Henry. + Arrival of the Shepherds +Luini. + Adoration of the Magi +Maldini, Battista. + Adoration of the Kings +Max, Gabriel. + Healing the Sick Child +Mengleberg. + Jesus, Twelve Years Old, on his Way to Jerusalem +Merson, Oliver L. + Joseph and Mary at Bethlehem + Repose in Egypt +Millais, Sir John. + Lost Piece of Money +Molitor, Franz. + Lost Sheep + Prodigal Son +Morris, P. R. + Shadow of the Cross + Whereon they Crucified Him +Müller, Carl. + Nativity + Supper at Emmaus +Müller, Franz. + Annunciation to Mary +Munkacsy. + Christ on the Cross and the Three Marys + Crucifixion + Trial before Pilate +Murillo. + Holy Family + Madonna and Child + Miracle of the Loaves and Fishes +Naack, A. + Resurrection +Overbeck. + Behold, I Stand at the Door and Knock +Piombo, Sebastian del. + Raising of Lazarus +Plockhörst. + Angels and the Shepherds + Christ and St. Peter + Christ Blessing Little Children + Christ Taking Leave of His Mother + Christ the Consoler + Flight into Egypt + Good Shepherd + Risen Lord and Mary Magdalene + Walk to Emmaus +Poloty, Theodore von + Parable of the Virgins +Pordenone, Giovanni. + Calling of Matthew +Raphael. + Christ's Charge to St. Peter + Demoniac Boy + Miraculous Draught of Fishes + Transfiguration +Rembrandt. + Ascension + Supper at Emmaus +Reni, Guido. + Annunciation to Mary + Christ Giving Keys to St. Peter + Ecce Homo + Head of John the Baptist in a Charger +Richter, Gustav. + Christ Raising the Daughter of Jairus +Robert, H. L. + Parable of the Sower +Rubens. + Descent from the Cross + Magdalen + Raising of Lazarus +Sarto, Andrea del. + John the Baptist +Scheffer, Ary. + Kiss of Judas + Temptation of Christ + Three Marys +Schönherr, Karl. + Good Shepherd + Healing the Sick +Schwartz. + Christ and St. Peter +Siemenroth, K. + Good Samaritan +Signol, Emile. + Adulterous Woman +Theotocopuli. + Jesus Anoints the Blind Man's Eyes +Thiersch, Ludwig. + Bearing the Cross +Titian. + Annunciation + John the Baptist Preaching + Tribute to Caesar +Unknown Artist. + Nicodemus' Visit to Jesus +Van Dyck. + Talking with Lame Man, Bethesda + Tribute Money +Van Lint, Peter. + Healing of the Impotent Man +Vecchio, Palma. + Canaanitish Woman +Veronese, Bonifazio. + Adoration of the Magi +Veronese, Paolo. + Centurion's Servant + Marriage Feast + Jesus in the House of Simon +Vinci, Leonardo Da. + Last Supper +Vogel, Carlo. + Christ Blessing Little Children +West, Benjamin. + Peter's Denial of Christ +Zimmermann, Ernst K.G. + Christ and the Fishermen + + + + + + + + +End of Project Gutenberg's The Great Painters' Gospel, by Henry Turner Bailey + +*** END OF THIS PROJECT GUTENBERG EBOOK THE GREAT PAINTERS' GOSPEL *** + +***** This file should be named 38500-8.txt or 38500-8.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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