Chapter II: Part 2

_Overbeck, Plate 94,_ emphasizes the thought in Rev. 3:20.

Plate 94. _"Behold, I stand at the Door and Knock."_ Overbeck. 1789- 1869.

_Plockhoerst, Plate 99,_ has attempted to put into a single picture the wealth of meaning suggested by the wondrous words, "Come unto me, all ye that labor and are heavy laden, and I will give you rest." (Matt, 11:28.) Humanity is symbolized by the pilgrim who needs comforting.

Plate 99. _Christ the Consoler._ B. Plockhoerst. 1825-

THE PEREAN MINISTRY.

During this part of his life Jesus gave some of his most famous parables.

_Siemenroth, Plate 101,_ illustrates the parable of the Good Samaritan. The Priest and the Levite have passed by; the Samaritan is pouring oil and wine upon the wounds preparatory to binding them up. (Luke 10:30-34.)

Plate 101. _The Good Samaritan._ K. Siemenroth.

_Dore, Plate 100,_ shows the Samaritan bringing the wounded man to the inn, as described in verse 34. In both pictures the plains of Jericho are shown in the distance. It is interesting to note that one artist translates "beast" as an ass, and the other as a horse.

Plate 100. _The Good Samaritan._ Gustave Dore. 1833-1883.

The Perean ministry was interrupted by a visit to Bethany and Jerusalem.

_Hofmann, Plate 114,_ has most beautifully drawn the group in the home of Lazarus,--Martha, "cumbered with much serving," (Luke 10:40), Mary, "who has chosen the good part," (verse 40), and for a reminder of Lazarus, who has not yet returned from work, his house-dog, asleep by the chair of Jesus.

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.)

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.)

Plate 115. _Jesus Anoints the Blind Man's Eyes with Clay._ Theotocopuli. 1548-1625.

_Plockhoerst, Plate 116,_ has chosen to illustrate the phrase, "He goeth before them and the sheep follow him."

Upon returning into Perea Jesus gave the "Three Parables of Grace." (Luke 15.)

Plate 116. _The Good Shepherd._ B. Plockhoerst. 1825-

_Schoenherr, Plate 117,_ and _Molitor, Plate 102,_ represent the good shepherd who leaves the ninety and nine on the moor and goes after the lost sheep until he finds it. (Luke 15:4.)

Plate 117. The Good Shepherd. Carl Schoenherr.

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.)

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.

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.

Plate 106. _The Prodigal Son._ E. Dubufe.

_Dore, Plate 104,_ is truer to the parable in the matter of the return, for "while he was yet a great way off his father saw him and ran, and fell on his neck and kissed him." (Luke 15:20.)

Plate 104. _Prodigal Son._ Gustave Dore. 1833-1883.

_Dore, Plate 107,_ illustrates the parable of the Rich Man and Lazarus, as recorded in Luke 16:19-31. He has added a dramatic touch by representing the servants ordering the beggar away, even with violence--a part of the "evil things" which Lazarus received during his life. (Luke 16:25.)

Plate 107. _The Rich Man and Lazarus._ Gustave Dore. 1833-1883.

Jesus was again called to visit Bethany by the death of the brother of Mary and Martha. None of the pictures here reproduced give an adequate representation of that which then occurred--the raising of Lazurus. Perhaps the event is too august to be put upon canvas.

_Bonifazio, Plate 118,_ seems to take an almost childish delight in depicting the varying effects of a disagreeable odor! He has magnified the remark of Martha (John 11:39) into the motive for a picture!

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.

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.

Plate 120. _Raising of Lazarus._ Rubens. 1577-1640.

_Dore, Plate 108,_ interprets the parable of the Pharisee and the Publican. The Pharisee stands and prays "with himself" (Luke 18:11), while the tax-gatherer will not so much as "lift up his eyes to heaven," but says, "God be merciful to me a sinner." (Verse 13.) Jesus is represented as saying, "This man went down to his house justified." (Verse 14.) Dore makes it an actual event, not merely a parable.

Plate 108. _The Pharisee and Publican._ Gustave Dore. 1833-1883.

Christ blessing the children, has been a favorite subject with artists.

_Hofmann, Plate 109,_ tells the story in his own charming way. How sweetly child-like is that offering of the little bouquet! He remembers that not only little children came; mothers brought their babies. (Luke 18:15.)

Plate 109. _Christ Blessing Little Children._ H. Hofmann. 1824-

_Plockhoerst, Plate 110,_ is equally true to the account and to nature. Here a little child is asking to take her flowers to Jesus. Plockhoerst loves symbolism. Sheep are present (Is. 40:11), and a little boy is about to offer Jesus a palm-branch in unconscious anticipation of his triumphal entry to Jerusalem. (Matt. 21:8, 9 and 15.)

Plate 110. _Christ Blessing Little Children._ B. Plockhoerst. 1825-

_Vogel, Plate 111,_ has introduced one or two children old enough to have some consciousness of a real need of such love and forgiveness as the Master offers to all. Their attitude is not that of naive childhood.

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.)

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.

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!"

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).

Plate 123. _Triumphal Entry._ Ernest Deger. 1809-1885.

_Dore, Plates 125 and 127,_ gives two incidents of the early part of the week: the Herodians asking about tribute to Caesar (Matt. 22:16- 22), and the poor widow giving her contribution to the temple treasury (Mark 12:41-44).

Plate 125. _Jesus and the Tribute Money._ Gustave Dore. 1833-1883.

Plate 127. _The Widow's Mite._ Gustave Dore. 1833-1883.

_Titian, Plate 126,_ in dealing with the incident of the tribute to Caesar, has selected the moment Dore selected, when Jesus asks, "Whose image and superscription hath it?" (Mark 20:24.)

Plate 126. _Tribute to Caesar._ Titian. 1477-1576.

_Van Dyck, Plate 96,_ has chosen the moment when Jesus says, "Render therefore unto Caesar the things that are Caesar's, and unto God the things that are God's" (Matt. 22:21).

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.)

Plate 128. _Parable of the Virgins._ Carl Theodor von Poloty. 1826- 1886.

THE LAST SUPPER.

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.)

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.)

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."

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.)

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.)

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.)

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!

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.

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.

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.)

Plate 139. _Peter's Denial of Christ._ Graf Harrach.

In the morning the trial is continued before Pilate. Probably no one has painted that scene so well as has _Munkacsy, Plate 141._ The picture is true to the accounts of the evangelists, and is besides a great study of character. The face of Christ is about the only inadequate piece of representation in the whole picture. Munkacsy has evidently followed Luke's account. "And they began to accuse him, saying, We found this man perverting our nation, and forbidding to give tribute to Caesar." The moment may be that after which Pilate says, "I find no fault in this man," and the accusers "become more urgent, saying, He stirreth up the people" (Luke 23:4, 5).

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.)

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.)

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.

Plate 144. _Ecce Homo._ H. Hofmann. 1824-

_Dore, Plate 145,_ with his love of the extraordinary, has objectified such a dream as he supposes might have caused a Roman matron to 'suffer many things.' She sees the living and the dead, all heaven and hell attendant upon the Christ, and because of this fears for the welfare of her husband if he does not protect so august a person as this mysterious King, whose Kingdom is not of this world.

Plate 145. _Pilate's Wife's Dream._ Gustave Dore. 1833-1883.

THE CRUCIFIXION.

Pilate at last delivered Jesus over to be crucified. "And he went out bearing the cross for himself." Through loss of sleep and loss of blood, worn out with the long agony, Jesus fainted, and fell beneath the load of the cross. They compelled a man whom they met coming in from the country, Simon the Cyrenean, to bear the cross for Jesus, and thus, accompanied by a crowd of people, they came at last to Calvary. The scene which followed has been painted hundreds of times, as a whole, and in detail, sometimes with almost revolting realism, sometimes with fascinating power.

_Hofmann, Plate 146,_ represents Jesus carrying the cross to Calvary (John 19:17), and the women who bewailed and lamented him. (Luke 23:27.) The company is just going through the Damascus gate.

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.

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.)

Plate 149. _The Crucifixion._ M. Munkacsy. 1844-

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.)

Plate 148. _The Crucifixion._ H. Hofmann. 1824-

_Rubens, Plate 151,_ illustrates most graphically Mark 15:42-47. Joseph of Arimathaea went boldly to Pilate and asked for the body of Jesus. His request being granted, "he brought a linen cloth, and taking him down, wound him in the linen cloth." (Mark 15:46.) "And there came also Nicodemus, bringing a mixture of myrrh and aloes." So they took the body of Jesus and bound it in linen cloths, with the spices, as the custom of the Jews is to bury. (John 19:39-40.)

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.)

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.)

Plate 152. _Whereon They Crucified Him._ P. R. Morris.

THE BURIAL.

_Ciseri, Plate 156,_ portrays, if not "The grandest funeral that ever passed on earth," certainly the greatest. Joseph of Arimathaea, Nicodemus, and John the beloved carry the dead Christ. His mother, Mary, the Wonderful, walks by his side. "Is it nothing to you, all ye that pass by? Behold, and see if there be any sorrow like unto my sorrow, which is done unto me, wherewith the Lord hath afflicted me." (Lam. 1:12.) Mary, the wife of Clopas, Mary Magdalene, and probably Mary of Bethany, are the other mourners. "Now in the place where he was crucified there was a garden, and in the garden a new tomb wherein was never man yet laid." (John 19:41.)

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).

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.

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.)

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.

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:

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.

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.)

Plate 162. _Christ Appearing to Magdalene._ Lorenzo Di Credi. 1459- 1537.

_Plockhoerst, Plate 161,_ expresses the joyful surprise of Mary when she recognizes her Lord. Jesus is directing her to go to his brethren and say, "I ascend unto my Father and your Father, and my God and your God." (John 20:17.) One hand is held as a warning to Mary not to touch him, the other points upward towards heaven.

Plate 161. _Risen Lord and Mary Magdalene._ B. Plockhoerst. 1825-

AFTER THE RESURRECTION.

In the afternoon, after the resurrection, two disciples on the way to Emmaus found themselves accompanied by a stranger with wondrous power as an expositor of scripture. (Luke 24:13-27.)

_Plockhoerst, Plate 164,_ takes us along the road with the three. The speaker is asking, "Was not the Christ bound to undergo all this before entering upon his glory?" (Verse 26.)

Plate 164. _Walk to Emmaus._ B. Plockhoerst. 1825-

_Scheffer, Plate 163,_ shows Mary of Magdala, Mary the mother of James, and another woman who, after their vision at the sepulchre, are on their way to tell the disciples. (Luke 24:9-10.) These are the women whose words seemed to the disciples but idle tales unworthy of belief. (Verse 11.)

Plate 163. _Three Marys._ Ary Scheffer. 1795-1858.

_Hofmann, Plate 166,_ shows the two urging the stranger to stop at Emmaus. (Verses 28, 29.)

Plate 166. _Walk to Emmaus._ H. Hofmann. 1824-

_Fuerst, Plate 165,_ shows them inviting him into the house. (Verse 29.)

Plate 165. _Walk to Emmaus._ M. Fuerst.

_Mueller, Plate 167,_ illustrates verse 30, "he took the bread and blessed it."

Plate 167. _Supper at Emmaus._ Carl Mueller. 1839-

_Diethe, Plate 168,_ shows him in the act of breaking the bread.

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.)

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.

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.

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.

Plate 172. _The Ascension._ Rembrandt. 1607-1666.

And many other such pictures have been painted, which are not given in this book; but these are given that ye may be helped to see Jesus the Christ, the Son of God, and that seeing ye may believe and have life in his name.

Write the vision, and make it plain upon tables, that he may run that readeth it.

HABAKKUK 2:2.

INDEX BY TITLES OF PICTURES.

Adoration of the Kings--MALDINI Adoration of the Magi--LUINI VERONESE Adulterous Woman--SIGNOL Agony in the Garden--DOLCI Angels and the Shepherds--PLOCKHOeRST Annunciation--TITIAN Annunciation to Mary--BAROCCIO DOSSO HOFMANN MUeLLER RENI Anointing Feet of Jesus--HOFMANN Arrival of the Shepherds--LEROLLE Ascension--HOFMANN REMBRANDT Bearing the Cross--HOFMANN THIERSCH Behold, I stand at the Door and Knock--OVERBECK Behold the Lamb of God--BIDA Bethany--HOFMANN Bethlehem--HOFMANN Birth of John--ANGELICO Calling of Matthew--BIDA CHIMENTI PORDENONE Canaanitish Woman--VECCHIO Centurion's Servant--VERONESE Christ among the Doctors--LAFON Christ and St. Peter--PLOCKHOeRST SCHWARTZ Christ and the Fishermen--ZIMMERMANN Christ and the Sinner--HOFMANN Christ and the Young Ruler--HOFMANN Christ and Zebedee's Children--BONIFAZIO Christ Appearing to Magdalene--DI CREDI Christ Blessing Little Children--HOFMANN PLOCKHOeRST VOGEL Christ Borne to the Tomb--CISERI Christ Casting out the Money-changers--KIRCHBUCK Christ Disputing in the Temple--DOBSON Christ Disputing with the Doctors--HOFMANN Christ Giving Keys to St. Peter--RENI Christ in the House of Mary and Martha--ALLORI Christ on the Cross and the Three Marys--MUNKACSY Christ Raising the Daughter of Jairus--RICHTER Christ's Charge to St. Peter--RAPHAEL Christ Taking Leave of His Mother--PLOCKHOeRST Christ the Consoler--PLOCKHOeRST Christ Weeps Over Jerusalem--EASTLAKE Consider the Lilies--LE JEUNE Conspiracy against Jesus--BIDA Crucifixion--HOFMANN MUNKACSY Daughter of Jairus--HOFMANN Demoniac Boy--RAPHAEL Descent from the Cross--RUBENS Easter Morning--HOFMANN Ecce Homo--CISERI HOFMANN RENI Entombment--HOFMANN Finding of Christ in the Temple--HUNT Flight into Egypt--FUeRST HOFMANN PLOCKHOeRST Golgotha--GEROME Good Samaritan--DORE SIEMENROTH Good Shepherd--PLOCKHOeRST SCHOeNHERR Head of John the Baptist in a Charger--RENI Healing of the Impotent Man--BIDA VAN LINT Healing the Sick--HOFMANN SCHOeNHERR Healing the Sick Child--MAX Holy Family--MURILLO Holy Night--CORREGGIO I am the Light of the World--HUNT Infancy of Christ--HOFMANN In the Sepulchre--HOFMANN In the Temple--HOFMANN Jesus and His Disciples Going through Cornfield--DORE Jesus and the Child--BALLHEIM Jesus and the Tribute Money--DORE Jesus and the Woman of Samaria--BILIVERTI DORE HOFMANN Jesus Anoints the Blind Man's Eyes--THEOTOCOPULI Jesus in Gethsemane--HOFMANN Jesus in the House of Simon--VERONESE Jesus on His Way to Jerusalem--MENGELBERG Jesus Preaches from a Boat--HOFMANN Jesus Taken Captive--HOFMANN Jesus Walking by the Sea--GRUNEWALD Jesus Washes the Disciples' Feet--BROWN John and the Mother of Jesus--DOBSON DYCE John the Baptist--SARTO John the Baptist Preaching--TITIAN Joseph and Mary; Arrival at Bethlehem--MERSON Joseph's Dream--CRESPI Kiss of Judas--SCHEFFER Last Supper--BIDA HOFMANN VINCI Lost Piece of Money--MILLAIS Lost Sheep--MOLITOR Madonna and Child--MURILLO Magdalen--RUBENS Marriage Feast--VERONESE Mary's Visit to Elizabeth--ALBERTINELLI Miracle of the Loaves and Fishes--MURILLO Miraculous Draught of Fishes--RAPHAEL Nativity--BOUGUEREAU MUeLLER Nicodemus' Visit to Jesus--UNKNOWN Parable of the Sower--ROBERT Parable of the Virgins--POLOTY Peace, be still--DORE Peter's Denial of Christ--HARRACH WEST Pharisee and Publican--DORE Pilate's Wife's Dream--DORE Prayer in Secret--BIDA Presentation at the Temple--BARTOLOMMEO BORGOGNONE BOURDON CHAMPAIGNE FATTORINO Prodigal Son--DORE DUBUFE MOLITOR Purification of the Temple--HOFMANN Raising of Lazarus--BONIFAZIO PIOMBO RUBENS Raising the Daughter of Jairus--KELLER Raising the Widow's Son--HOFMANN Repose in Egypt--BENZ MERSON Resurrection--NAACK Rich Man and Lazarus--DORE Risen Lord and Mary Magdalene--PLOCKHOeRST Sermon on the Mount--DORE HOFMANN Shadow of Death--HUNT Shadow of the Cross--MORRIS Supper at Emmaus--DIETHE MUeLLER REMBRANDT Talking with Lame Man, Bethesda--VAN DYCK Temptation--HOFMANN Temptation of Christ--SCHEFFER Thomas the Doubter--GUERCINO Three Marys--SCHEFFER Transfiguration--RAPHAEL Trial before Pilate--MUNKACSY Tribute Money--VAN DYCK Tribute to Caesar--TITIAN Triumphal Entry--DEGER Walk to Emmaus--FUeRST HOFMANN PLOCKHOeRST Whereon they Crucified Him--MORRIS Widow's Mite--DORE Worship of the Magi--HOFMANN

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NOTE.--The "Wilde Bible Pictures," from which are selected the pictures illustrating "The Great Painters' Gospel," are two-and-one-half times as large as the reduction herein used. A catalogue of these penny pictures will be furnished on application to the publishers.

INDEX BY ARTISTS.

Albertinelli.
Mary's Visit to Elisabeth
Allori.
Christ in the house of Mary and Martha
Angelico, Fra.
Birth of John
Ballheim.
Jesus and the Child
Baroccio.
Annunciation to Mary
Bartolommeo, Fra.
Presentation at the Temple
Benz, S.
Repose in Egypt
Bida, Alexandre.
Behold the Lamb of God
Calling of Matthew
Conspiracy against Jesus
Healing of the Impotent Man
Last Supper
Prayer in Secret
Biliverti.
Jesus and the Woman of Samaria
Bonifazio.
Christ and Zebedee's Children
Raising of Lazarus
Borgognone.
Presentation at the Temple
Bourdon, Sebastien.
Presentation at the Temple
Bouguereau, W. A.
Nativity
Brown, Ford Madox.
Jesus Washes the Disciples' Feet
Champaigne.
Presentation at the Temple
Chimenti, Jacopo.
Calling of Matthew
Ciseri, Antonio.
Christ borne to the tomb
Ecce Homo
Correggio.
Holy Night
Crespi, Daniele.
Joseph's Dream
Deger, Ernest.
Triumphal Entry
Di Credi, Lorenzo.
Christ appearing to Magdalene
Diethe, Alfred.
Supper at Emmaus
Dobson, W. C. T.
Christ disputing in the Temple
John and the Mother of Jesus
Dolci, Carlo.
Agony in the Garden
Dore, Gustave.
Good Samaritan
Jesus and His Disciples Going Through Cornfield
Jesus and the Tribute Money
Jesus and the Woman of Samaria
Peace, Be Still
Pharisee and Publican
Pilate's Wife's Dream
Prodigal Son
Rich Man and Lazarus
Sermon on the Mount
Widow's Mite
Dosso, Dossi.
Annunciation to Mary
Dubufe, E.
Prodigal Son
Dyce, William.
John and the Mother of Jesus
Eastlake, Sir Charles.
Christ Weeps Over Jerusalem
Fattorino, Bartolommeo Del.
Presentation at the Temple
Fuerst, M.
Flight into Egypt
Walk to Emmaus
Gerome, J. L.
Golgotha
Gruenewald, M.
Jesus Walking by the Sea
Guercino.
Thomas the Doubter
Harrach, Graf.
Peter's Denial of Christ
Hofmann
Anointing feet of Jesus
Annunciation to Mary
Ascension
Bearing the Cross
Bethany
Bethlehem
Christ and the Sinner
Christ and the Young Ruler
Christ Blessing Little Children
Christ Disputing with the Doctors
Crucifixion
Daughter of Jairus
Easter Morning
Ecce Homo
Entombment
Flight into Egypt
Healing the Sick
Infancy of Christ
In the Sepulchre
In the Temple
Jesus and the Woman of Samaria
Jesus in Gethsemane
Jesus Preaches from a Boat
Jesus taken Captive
Last Supper
Purification of the Temple
Raising the Widow's Son
Sermon on the Mount
Temptation
Walk to Emmaus
Worship of the Magi
Hunt, Holman.
Finding of Christ in the Temple
I am the Light of the World
Shadow of Death
Keller, A.
Raising the Daughter of Jairus
Kirchbuch, F
Christ Casting out the Money-changers
Lafon, Emile, J.
Christ among the Doctors
Le Jeune, Henry.
Consider the Lilies
Lerolle, Henry.
Arrival of the Shepherds
Luini.
Adoration of the Magi
Maldini, Battista.
Adoration of the Kings
Max, Gabriel.
Healing the Sick Child
Mengleberg.
Jesus, Twelve Years Old, on his Way to Jerusalem
Merson, Oliver L.
Joseph and Mary at Bethlehem
Repose in Egypt
Millais, Sir John.
Lost Piece of Money
Molitor, Franz.
Lost Sheep
Prodigal Son
Morris, P. R.
Shadow of the Cross
Whereon they Crucified Him
Mueller, Carl.
Nativity
Supper at Emmaus
Mueller, Franz.
Annunciation to Mary
Munkacsy.
Christ on the Cross and the Three Marys
Crucifixion
Trial before Pilate
Murillo.
Holy Family
Madonna and Child
Miracle of the Loaves and Fishes
Naack, A.
Resurrection
Overbeck.
Behold, I Stand at the Door and Knock
Piombo, Sebastian del.
Raising of Lazarus
Plockhoerst.
Angels and the Shepherds
Christ and St. Peter
Christ Blessing Little Children
Christ Taking Leave of His Mother
Christ the Consoler
Flight into Egypt
Good Shepherd
Risen Lord and Mary Magdalene
Walk to Emmaus
Poloty, Theodore von
Parable of the Virgins
Pordenone, Giovanni.
Calling of Matthew
Raphael.
Christ's Charge to St. Peter
Demoniac Boy
Miraculous Draught of Fishes
Transfiguration
Rembrandt.
Ascension
Supper at Emmaus
Reni, Guido.
Annunciation to Mary
Christ Giving Keys to St. Peter
Ecce Homo
Head of John the Baptist in a Charger
Richter, Gustav.
Christ Raising the Daughter of Jairus
Robert, H. L.
Parable of the Sower
Rubens.
Descent from the Cross
Magdalen
Raising of Lazarus
Sarto, Andrea del.
John the Baptist
Scheffer, Ary.
Kiss of Judas
Temptation of Christ
Three Marys
Schoenherr, Karl.
Good Shepherd
Healing the Sick
Schwartz.
Christ and St. Peter
Siemenroth, K.
Good Samaritan
Signol, Emile.
Adulterous Woman
Theotocopuli.
Jesus Anoints the Blind Man's Eyes
Thiersch, Ludwig.
Bearing the Cross
Titian.
Annunciation
John the Baptist Preaching
Tribute to Caesar
Unknown Artist.
Nicodemus' Visit to Jesus
Van Dyck.
Talking with Lame Man, Bethesda
Tribute Money
Van Lint, Peter.
Healing of the Impotent Man
Vecchio, Palma.
Canaanitish Woman
Veronese, Bonifazio.
Adoration of the Magi
Veronese, Paolo.
Centurion's Servant
Marriage Feast
Jesus in the House of Simon
Vinci, Leonardo Da.
Last Supper
Vogel, Carlo.
Christ Blessing Little Children
West, Benjamin.
Peter's Denial of Christ
Zimmermann, Ernst K.G.
Christ and the Fishermen

End of Project Gutenberg's The Great Painters' Gospel, by Henry Turner Bailey