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Title: The Great Painters' Gospel - Pictures Representing Scenes and Incidents in the Life of - Our Lord Jesus Christ
Author: Bailey, Henry Turner
Language: English
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*** Start of this LibraryBlog Digital Book "The Great Painters' Gospel - Pictures Representing Scenes and Incidents in the Life of - Our Lord Jesus Christ" ***
[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 this LibraryBlog Digital Book "The Great Painters' Gospel - Pictures Representing Scenes and Incidents in the Life of - Our Lord Jesus Christ" ***
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