(navigation image)
Home American Libraries | Canadian Libraries | Universal Library | Community Texts | Project Gutenberg | Children's Library | Biodiversity Heritage Library | Additional Collections
Search: Advanced Search
Anonymous User (login or join us)
Upload
See other formats

Full text of "The Great Painters' Gospel: Pictures Representing Scenes and Incidents in ..."

Google 



This is a digital copy of a book that was preserved for generations on Hbrary shelves before it was carefully scanned by Google as part of a project 

to make the world's books discoverable online. 

It has survived long enough for the copyright to expire and the book to enter the public domain. A public domain book is one that was never subject 

to copyright or whose legal copyright term has expired. Whether a book is in the public domain may vary country to country. Public domain books 

are our gateways to the past, representing a wealth of history, culture and knowledge that's often difficult to discover. 

Marks, notations and other maiginalia present in the original volume will appear in this file - a reminder of this book's long journey from the 

publisher to a library and finally to you. 

Usage guidelines 

Google is proud to partner with libraries to digitize public domain materials and make them widely accessible. Public domain books belong to the 
public and we are merely their custodians. Nevertheless, this work is expensive, so in order to keep providing this resource, we liave taken steps to 
prevent abuse by commercial parties, including placing technical restrictions on automated querying. 
We also ask that you: 

+ Make non-commercial use of the files We designed Google Book Search for use by individuals, and we request that you use these files for 
personal, non-commercial purposes. 

+ Refrain fivm automated querying Do not send automated queries of any sort to Google's system: If you are conducting research on machine 
translation, optical character recognition or other areas where access to a large amount of text is helpful, please contact us. We encourage the 
use of public domain materials for these purposes and may be able to help. 

+ Maintain attributionTht GoogXt "watermark" you see on each file is essential for informing people about this project and helping them find 
additional materials through Google Book Search. Please do not remove it. 

+ Keep it legal Whatever your use, remember that you are responsible for ensuring that what you are doing is legal. Do not assume that just 
because we believe a book is in the public domain for users in the United States, that the work is also in the public domain for users in other 
countries. Whether a book is still in copyright varies from country to country, and we can't offer guidance on whether any specific use of 
any specific book is allowed. Please do not assume that a book's appearance in Google Book Search means it can be used in any manner 
anywhere in the world. Copyright infringement liabili^ can be quite severe. 

About Google Book Search 

Google's mission is to organize the world's information and to make it universally accessible and useful. Google Book Search helps readers 
discover the world's books while helping authors and publishers reach new audiences. You can search through the full text of this book on the web 

at |http : //books . google . com/| 



THE 



Great Painters^ Gospel 



PICTURES 

representing scenes and 
incidents m the life of 
Our Lord Jesus Christ 



With scriptural quotations, references and 
suggestions for comparative study 



By HENRY TURNER BAILEY 



W 



W A WILDE COMPANY 

BOSTON MASS 

USA 



F fv ao5. A /-' 



HARVARD 

UNIVERSITY 

LIBRARY 

FEB 20 1957 



COPYRIGHT J900 BY 

W. A. WILDE COMPANY 

All rights reserved 



Holnun Hunt. 1S17- 



TABLE OF CONTENTS- 



IntrofeuctotB, 

^be Bnnundatfon. 

Hail Mary" Luke 1:28 

tmed art thou amoog women ^ Luke i : 28 

Thou hast found favor with God^ Luke i : 28 



«« 



«« 



Titian 

IU>FMANN 

Reni . . 



44 



«4 



PAUS 



How shall this be ? ** Luke 1:34 Baroccio .... 2 

The Holy Ghost shall come upon thee '' . . . Luke 1:35 Dosso 2 

Let it be unto me accofding to thy word ^ . • Luke 1:38 MOi.ler 2 



dbe Salutation. 

Mary saluting Elizabeth 

XLbc JSirtb of 5obn. 

Hb name is John 



Luke I: 40 Albertinelli . 



•« 



»» 



Luke 1:63 Fra Angelico 



•< 



«« 



44 



M 



4< 



Merson . . 
p lock 116 rst 
iiofmann 
Lerolle . . 



** No room for them in the inn ** Lu1(e 2:7 

** The angel of the Loid came upon them *' . . Luke 2:9 

^ Glory to God in the highest "^ Luke 2: 14 .... 

Found Mary and Joseph and the babe ^ . • . Luke 2: 16 .... 

"Vondered at those things ^ Luke 2: 18 Coi^reggio . 

BoiJGUEREAU 

MUller . . 

preeentation. 

Now lettest thou thy servant depart in peace ^ • Luke 2 229 Fattorino . . 

This child b set for the falling and rising up of 

many in Israel ** Luke 2 134 Ciiampaigne . 

A sword shall pierce thine own soul ^ .... Luke 2: 35 Horgognonr . 

Anna coming up at that instant Luke 2 : 38 Kol'rtxjn . . 

Hartolommeo . 



Bboration ot Aagi. 

The star stood over the child Matt. 2:9 

They came to the house Matt. 2:11 

And they worshipped the child Matt. 2:11 

And gave unto him gifts Matt. 2:11 



HOFMANN 

Maldini . 

LlIINI . . 
Bon I FAZIO 



5 

5 

5 

5 
6 

6 

7 



8 
8 
8 
8 



9 
9 
9 
9 



TABLE OF CONTENTS. 
yugbt into Boi^pt. 

An angel appeared to Joseph in a dream • . . Matt. 2:13 ... 

He arose and departed Matt. 2 : 14 ... 

"^ith the child and his mother Matt. 2 : 14 . . . 

Gttided by the angel 

Into Egypt Matt. 2:14 ... 

In Egypt 

Vas there till the death of Herod Matt. 2:15 ... 



PAGB 

Crespi 10 

FiJRST 10 

PLOCKHORST ... II 

HOFMANN .... II 

Benz II 

MeRSON 12 

Morris 12 



'Return to Da3aretb. 

Mother and child Murillo . 

" Grace of God was tspon him '' Luke 2 : 40 Murillo . 

Daily life at Nazareth Hofmann 



12 
13 



HHdtt to 5etu0alem. 

" They went op to Jerusalem 
In the midst of the doctors . 



Koutb. 



y* 



Luke 2 : 42 
Luke 2 : 46 



mcngelberc 
Hofmann 
Lafo.n . . 



tt 



When they saw him they were asmted ** 
*' Son, why hast thou thus dealt with us ? ^ 



Luke 2 : 48 Dobson 

Luke 2 148 Hunt . 



Silent Seats at Kome. 

The carpenter's son Hunt . . . 

''Breaking home ties ^ Plockhorst 

[The youthful John] Luke i : 80 Del Sarto . 

[The forerunner] Matt. 3:1-4 Titian . . 



14 
M 
15 
'5 
»5 

16 
16 
16 
17 



HDanboot). 

(Temptation. 

Worship the Lord thy God'' Matt. 4 : 10 

Left him and behold angels came'' Matt. 4:11 



«« 



«« 



JBeginnlng ot public Service. 

** Behold the Lamb of God " John i : 29 

*' Jesus as he walked " John i : 36 

A marriage in Cana John 2 : i 



Scheffer 
Hofmann 



17 
17 



BiDA 18 

Grtnewald ... 18 
Veronese .... 18 



J£six{^ ^u^ean Alnidtt)?. 

Qeansing the temple Kirchbuck .... 19 

'' He drove them all out " John 2: 15 IIofma.v.n .... 19 

Visit of Nicodemus John 3:1-21 Unknown .... 19 



Return tbrougb Samaria. 

'* Thou wouldst have asked of him " . 
Worship the Father in spirit and truth " 
God is a Spirit " 



M 



44 



John 4 : 10 BILIVERTI 

John 4 : 23 DoRE . . 

John 4 : 24 Hofmann 



20 
20 
21 



VI 



TABLE OF CONTENTS. 



Call ot tbe your. 

^I wifl makeyoofkhenof men^ . . 
Depart from me for I am a slnfal man 



u 



ff 



Matt. 4:19 
Luke 5:8. 



£arl^ (BalUean Afnidtri?. 

""He healed all that were sick'' 



Matt. 8 : 16 



Calling of Matthew Matt. 9 : 9 

" sating at the receipt of custom '* Matt. 919 



4< 



Follow 



Matt. 9:9 BiDA 



4t 



*4 



4t 





PAGB 


Zimmerman 


. . 21 


Raphael . . . 


. . 21 


SCH^NHERR . . 


. . 22 


HOFMANN 


. . 22 


Max .... 


. . 22 


Chimenti . . 


• • 23 


PURDENONE . . 


• • 23 


BiDA .... 


• • 23 


BiDA .... 


. . 21 



Bt 5etu0alem Bgafn. 

Jesus saith unto him, 'Rise''' John 5:8 

He took up his bed and walked '' John 5 19 Van Lint .... 23 

Afterward, Jesus findeth him'' John 5: 14 Van Dyck .... 25 

Discussioa in cornfield Matt. 12:1-8 Dore 25 

Sermon on tbe Aount. 

Christ preaching VioKk 24 

Giving beatitudes Matt. 5:1-12 Hofmann .... 24 

'' Consider the lilies of the field " Matt.6:28 Le Jeune .... 24 

Prayer in secret Matt. 6:6 Bida 26 



Second TTour ot (3aUIee. 

The Centurion's servant • . . 
Raising the widow's son . . . 
Jesus in the house of Simon . . 

"KiMdhisieet" 

*' Thy sins are forgiven " . . . 
''He entered into a boat" . . . 

Parable of the sower 

Stilling of the tempest . . . . 
Raising of Jairus^ daughter . . 
" Taking the chiU by the hand " 
Straightway she rose up " 



Matt. 8:5-13 
Luke 7 : 11- 17 



M 



... Veronese .... 26 

. . . Hofmann .... 26 

Veronese .... 27 

Luke 7: 38 Rubens 27 

Luke 7:48 Hofmann .... 27 

Mark 4:1 Hofmann .... 28 

Maik 4:3-9 Robert 28 

Mark 4:35-41 .... DoRE 28 

RiCHTER 29 

Mark 5:41 Hofmann .... 29 

Mark 5:42 Keller 29 



Deatb ot 5obn tbe JSaptiet. 

The damsel gave it to her mother 



41 



ff 



Mark 6 : 28 Reni 



30 



yeebing ot tbe yive tlboudanb. 

Blessing the food 



John 6:11 



MURILLO 30 



9e0Ud walfting on tbe TKlater. 

"Lord, save me" Matt. 14:30 

"Wherefore didst thou doubt?" Matt. 14:31 



. . SCHWAR'l-Z . . 

. . Plockiiorst 



3« 

31 



tlrip into pboenfcia. 

Gmaanitish woman 



Matt. 15 : 21-28 



. . Veccio 31 



VII 



TABLE OF CONTENTS. 



petet'0 Conte00ion 

'' I will give the keys of the Sdagdom of heaven 

^tanetifluratfon. 

Transfiguratfon 

Demooiac Boy 

'' H^ called to him a little child "" 



PAGB 



n 



Matt. i6: 19 . 



Malt. 17 : 1--8 . 
Malt. 17 : 14-20 
Matt. 18:2 . 



Reni 32 

Raphael 32 

Raphael 32 

Raphael 32 

Ballheim . . . . ^^ 



at tbe ycaat ot xrabernaclee. 

** Let him that is without sin cast the first stone ^ 

Jesus left alone with the woman 

''I am the light of the world'' 

^ I stand at the door and knock'' 

**! will give you rest" 

Perean Afntetrig. 

The good Samaritan 



John 8:7 IIofmann 

John 8:9 SiGNOL . , 

John 8:12 Hunt . . . 

Rev. 3 : 20 OvERBKCK 

Matt. 1 1 : 28 Plockhorst 



Jesus in the home of Lazarus 

Healing of the man bora blind 
The good Shepherd .... 
Finding the lost sheep • . • 



Luke 10:30-34 



Luke 10 : 40 . 



John 9 : 1-40 . . . 
John 10: 1-2 1 . . 
Luke 15:2 . . . 



Lost piece of money 

The prodigal son 

''Fell on his neck and kissed him" 



Luke 15:8 . . . 
Luke 15 : 11-33 . . 
Luke 15 : 20 . . . 



Rich man and Lazarus 
Raising of Lazarus 



Luke 16 : 19-31 . . 
John II : 1-46 . . 



Pharisee and Publican . . 
Christ blessing little chiklren 



Luke 18 : 9-14 . . . 
Mark 10 : 13-16 . . . 



Christ and the Young Ruler 
Ambition of James and John 



Matt. 9: 16-22 . . . 
Matt. 20 : 20-28 . . . 



Si EM en ROTH 

DoRi . . . 
IIofmann 
Allori . . 
Theotocopuli 
Plockhorst 
schonherr . 

MOLITOR . . 

MiLLAIS . . 

DUBUFE . . 

MOLITOR . . 

DOR^. . . . 

DOR^ . . . 

BONIFAZIO . 

PlOMBO . . 

Rubens . . 
Dorr . . . 

HOFMANN 

Plockhorst 

VOGEL . . . 
HoFMANN 
BONIFAZIO . 



3:i 

34 
34 
34 

35 
35 
35 
36 
36 
36 
36 
37 
36 
38 
38 
38 
38 
38 
39 

39 
40 

41 
41 
41 
41 
41 



M 



tt 



pa00fon TKneeft. 

Triumphal entry Luke 19: 29-44 .... Degrr 42 

Christ weeps over Jerusalem Luke 19:41 Easixake .... 42 

Tribute money Dore 43 

Whose image and superscription hath it ?^ . . Mark 20; 24 Titian 43 

Render to Caesar the things that are Caesar^s ^ . Matt. 22:21 .... 

The widow's two mites Mark 12:41-44 .... 

Parable of the virgins Matt. 25 ; 1-13 . . . , 

Conspiracy between Judas and Chief Priests . . Luke 22 : 3-6 . . . . 
The Last Supper 

• • • 

vin 



Van Dyck .... 43 

DoRE 43 

POLOTY 44 

BiDA 44 

Vinci 44 



TABLE OF CONTENTS. 



pa00ion TKAeeVt. 



n 



«< 



u 



'' When be had washed tlieir feet *" 

•'Thbfamybody'' 

** And he took a cup and (fave thanks' 

Thywfflbedone'' 

An angel from heaven strengthening him 

Kiss of Judas 

''Bound him and led him to Annas ^ . . 
Peter^s denial before the maid-servant . . 

Denial before soUiers 

Trial before Pilate 

"" Hail, King of the Jews I '^ 

''BehoUtheman'' 



John 13: 12 
Luke 22 : 19 
Matt. 26:27 
Matt. 26 : 42 
Luke 22 : 43 
Matt. 26 : 49 
John 18: 12 
John 18 : 17 
Mark 14 : 54 
Luke 23 : 1-7 . 
Matt. 27 : 29 
John 19:5. 



mate's wife^s dream Matt. 27 : 19 



^be CrucftMon. 



Brown 

HlHA . . 

HOFMANN 

HOFMANN 

DOLCJ . . 

SCHEFFER 

IIOFMANN 

We.st . . 

IlAflRACH 
MlJNKACSY 

Ren I . . 

HoFMANN 
ClSERI . . 

1>or6 . . 



** They led him away ^ 
Wieepnolfor me^ . 



M 



Luke 23 : 26 

Luke 23 : 28 

The people stood behokUng*^ Luke 23 : 35 

The group near the cross John 19:25 

"BehoW thy mother'' John 19: 27 

Descent from the cross Mark 1 5 : 46 

Golgotha 

The deserted cross .... 



M 



ITbc JSurtaL 



FAfiB 

45 

45 
46 
46 
46 

47 

47 

47 
48 

48 

49 
49 
49 



HOFMANN . . 






• 50 


Thiersch 






 50 


MUNKACSY . 






• 50 


MUNKASCY 






 50 


IIUFMANN 






S» 


Rubens . . 






5' 


Gerome . . 






52 


Morris . . 






52 



•«< 



u 



They took the body of Jesus '^ John 19:40 Ciseri. . 

Laid him in a tomb" Mark 15:46 Hofmann 

John with Mary Dyce . . 

DOBSON 

(Tbe 1{e0utTection. 



«« 



Mary was without weeping'' John 20: 11 

Tell me where thou hast laid him" John 20 : 15 

"Touch me not" John 20:17 

Returning from the tomb" Luke 24: 9 



M 



M 



HOFMANN 

1)1 Credi 

Plockhor.st 

scheffer 



52 

53 
54 
54 

55 
55 
55 
57 



Btter tbe 'Kcdurrection. 

** Jesus drew near and went with them " . . . . Luke 24 ; 1 5 

"Abide with us" Luke 24 : 29 

" And he went to abide with them " Luke 24 : 29 

"He took the bread and blessed it" Luke 24:30 

And break and gave to them" Luke 24:30 

And their eyes were opened" Luke 24: 31 

Reach hither thy hand" '• • John 20: 27 

The Ascension Luke 24: 51 



IX 



«« 



M 



tt 



PlockhoRst 










Hoffmann 








Fl'rst . . 










Miller . 










Diethe . 










. . . . . Rembrandt 










GUERCINO 








58 


Hofmann 








59 


Rembrandt. 








59 



SUGGESTIONS. 



SHi ot CapiriHiMm, 8« of Oallltt. 

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 illustra- 
tions. The picture at the head of this page is a view. It is reproduced from a photo- 
graph 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 imagina- 
tion, 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 



^SUGGESTIONS. 

seeing the picture the pupil 
had heard the words: "Jesus, 
kH>king upon him, loved him." 
Now with the picture he sees that 
Jesus loves him and is anxious to 
have him decide for life everlast- 
ing. Before " the poor " were ab- 
stract ; now they become a concrete 
reality. Before the pu^Hl had 
been told that the young man had 
" great possessions ; " now he sees 
that he had also health and beauty 
and intelligence, greater posses- 
sions than land and gold. The 

putiiii. (Mrj«t utf (*• fwiv ffu/ir. H. Hoinunn. iBn- Sunday-school teacher is fortunate 

who has at his command pictures 

which illustrate, which make luminous the text. Plates 1 1, 20, 34, 39, 47, 62, 70, lOi, 

106, 133, and 143 may be mentioned as notable examples of good illustrations to 

supplement the text. 

The picture itselt may be the object of study, and the text become a commen- 

tary 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 : i), and these 

are the people who loved 

to go about in long cloth- 
ing, 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 p,.,, „ „,rf,„^ ,/ chnu l» t** Umpl,. Holmm Hum. tb; - 

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, i : 18-25. The faces of 
these serious -linking 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 



SUGGESTIONS. 

in his hand. What is that for ? Another has a similar box u|)on 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 : i, 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 si.x 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 i.s shown in its historical setting. 
The picture is a supreme work of art. 

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 contrib- 
ute to the total con- 
tent of the picture? 
What does the pic- 
ture as a whole have 
to say ? Plates 8, g, 
18, 25, 29, 33, 40, 
81, 89, 93, no, 139, 
iS3> '59' ^"t^ '67, 
might be mentioned 
among those espe- 
cially worthy of this 
analytical and ex- 
haustive study. 

Occasionally pu- 
pils will find both 
interest and profit in 
the comparative 
study of a series of 
pictures. For exam- 
ple take the five *'*'™* D.Bn«,.Bouva«. 
plates of The Annun- 
ciation, pages 9 and 10. After the facts have been determined by a study of the te.\t, 
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 



SUGGESTIONS. 

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. 

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 con- 
templation 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." 



XIV 



THE GREAT PAINTERS' GOSPEL. 



THE GREAT PAINTERS' GOSPEL. 



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 i : 
26-28.) Mary is supposed to have been in a house of worship at the time (like Hannah, 
1 Sam. I :9-i8, and Zacharias, Luke i : 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 hly is 
introduced as a symbol of perfection and purity (Song 2:3; 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.). 

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 a, p. 10, 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,"' 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.) 

Mtiller, Plate 3, seems to have shown the moment when Mary said, "Let it be 
unto me according to thy word." (Luke i : 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 i : 35), for both the 
dove, symbol of the Holy Ghost, and the Highest himself, upon a cloud and accompa- 
nied 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 i : 36.) 

> Mm. Janieson, '' Sacred and Legendary Art." vl., p. 57. 



THE GREAT PAINTERS' GOSPEL. 



AnnincMiw M mart). Fraru Mull 



Anmmlatloi, ta Herg. H, I 



PLlej. Anntiatlatleii to Mart. P. Baiucda. tjiB-ifrii. Ptitg i. diminiefadoii to jHory. Ibwl ]i<»iu. 



THE GREAT PAINTERS' GOSPEL. 



PUte 6. Mary'i Vlilt to £IUai 



l'laK7' Birth of JoHa. Kra AogclkD. i};»-iis<>' 

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." (Euke i : 39-4S') 

Albertinelli, Plate 6, has depicted the 
two women at the moment of meeting, 

BIRTH OF JOHN THE BAPTIST. 

Zacharias had been dumb since the 
moment when he doubted the prophecy of 
the angel. (I-uke i : 20.) When the prom- 
ised son was born the neighbor.s and friends 
of the mother, Elisabeth, objected to the 
name John. (I.uke i : 57-61.) 

Fra Angclico, Plate 7 , has repre- 
sented the moment when they appeal to the 
dumb father, and he writes upon a tablet 
the words "His name is John." (Luke 
I : 63.) The child, eight days old, is 
present to be named preparatory to circum- 
cision. (Gen. 17 : 12.) 



THE GREAT PAINTERS' GOSPEL. 



I* Sliiplitnli. K. PI 



THE NATIVITY. 

Merson, Plate 8, has illustrated Luke 
2 : 4-7. "And Joseph went up from Gal- 
ilee into Judea unto the city of David, Beth- 
lehem, 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 peojjle who refused lodg- 
ing to such as Mary, but that night the glory 
of the Lord was revealed. (Is. 60 : 2.) 

Plockhorst, Plate 14, illustrates Luke 
2 : 8-1 1. 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.) 

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 I 

Lerolle, Plate 11, p. 6. shows the she])-'''"' 
herds who "came with haste and found Mary 
and Joseph and the babe lying in a manger." 



(Luke : 



15-16.) The shepherds 



THE GREAT PAINTERS' GOSPEL. 

saw, evidently from some little dis- 
tance; for we have no record of 
their speaking to Mary or Joseph, 
only to others outside, after the 
visit. (Luke 2 : 17-18.) 

Correggio, Plate 9, has ex- 
pressetl that surprise and wonder 
of the shepherds which they im- 
parted 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.) 

Bouguereau, Plate 10, adds 
PU.,,,. T*.-)"f<«fo/w,M=p*.frf.. H. Ltr»ii=. to the story a dramatic touch. 

There are ominous shadows in 
the background. Mary seems troubled by the presence of the lamb, symbol of sac- 
rifice. The angel had said " He shall save his people from their sins." (Matt, r : 21.) 
Does Mary seem already to behold the I^mb of God which taketh away the stn of 
the world ? (John i : 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 : 1 1), 
and the odd disk above the head of the older 
shepherd, catching the light from the child, 
may be prophetic of saintly glory. 



THE GREAT PAINTERS' GOSPEL. 

Miiller, Plate 12, gives us perha"-^ 
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 mas- 
ter'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 cf Israel 
know also, and the people consider. 
(Is. I : 3-) 

THE PRESENTATION. p'"* " n. mm.,u. cri m.ii„. ,8^^ 

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 GikI and said, "Lord, now lettest thou thy servant 
de|Kirt in pieace, 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 G<k1 and spake of 
him to all them that were looking for the re- 
demption of Jerusalem, {Luke 2 : 36-38.) 

Bartolommeo, Plate 18, depicts the 
moment when Simeon says " Now lettest thou 
thy .servant depart in peace" — the A'unc 
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 artisl-disciple 
piitd p««i./iiHoii at (*!1'7J'J.'X™" V^'.r.*."^''""' recorded in Mark 13 : I. 



THE GREAT PAINTERS' GOSPEL. 



Utiampaigne, flate 15, Has chosen pi^ie,, pnttniaiian <u tn* uinpit. f™ R.oni<iminco. 1469-1517. 
the moment when Simeon says to Marj', 
" This child is set for the falling and rising up of many in Israel." (Luke 3 : 34.) 

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.) 

Bourdon, Plate 17, represents the instant when Anna arrives (at the extreme 
left), "comintj up at that very hour." (Luke 2 : 38.) 

Bartolommeo, again, Plate ig, adds what he pleases to the original story. 



THE GREAT PAINTERS' GOSPEL. 
THE ADORATION OF THE MAGL 

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 sa4v Jesus and Mary his mother, and 
fell down and worshipped him ; and when 
they had opened their treasures they pre- 
sented unto him gifts; gold, frankincense 
and myrrh, (Matt. 2 : 9-1 1.) 
jt 

Hofmann, Plate 30, represents the 
arrival. The star stands above the head of 
the child. The tradition is that one wi.se man 
came fr(»m Europe, one from Asia and one 
from Africa (See Hin-Hur, Boolt I.) ; hence 
Hofmann has represented one with the ori- 
ental turban, one with a helmet having hang- p,,,^ ,„ ivor«wpo/(*» *o»f. h. Hciimmn .su- 
ing siiie pieces like an Egyptian head diess, 
and one with the simple band, the white hair and flowing bean! of the Druid. 

Luini, Plate ai, following the same tradition, gives tlie African a dark complexion. 



THE GREAT PAINTERS' GOSPEL. 

Maldini, Plate 23, 
p. 9, also makes one of 
the Magi very dark, and 
adds an earring as a bar- 
baric touch. Moreover 
he gives each a crown 
{as does Liiini) because 
the Magi were supposed 
to have been Kings, in 
fulfilment of Is. 60 : 3. 

Bonifazio, Plate 

23, like I.uini and Mal- 

pu«». Adoram-«ft>:iiaBi- Bonii,.i<, v«™™. uw-s6j. dini, represents a large 

company of servants to show the importance of the Magi, and perhaps because of 

Is. 60 : 4-6. 

THE FUGHT INTO EGYPT. 

Crespi, Plate 34, 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 Kgypt, for Herod will seek the young child to destroy him. (Matt. 2 : 13.) 

Fiirst, Plate 36, illustrates the words " And he arose and took the young child 
and his mother, and departed." (Matt. 2 ; 14.) 



THE GREAT PAINTERS' GOSPEL. 



MM.!,. f«,«/«iof„p(. B, piockhftr,.. ,8.,- Plockhorst, Plate 27, shows the 

holy family passing through southern 
Judea, accompanied by cherubs, but unconscious of their presence. 

Hofmann, Plate 35, shows them passing through the Wilderness of Shur, 
Josejih with his broad axe for protection, unconscio\is of the guardian angel who accom- 
panied them, to keep them in all their ways. (Ps. 91 : 1 1.) " That old serpent " is 
already in the wilderness, waiting ! His time has not yet come. 

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 Kgypt as 
thou comest into Zoar." 
(Gen. 13 : 10.) Joseph has 
a typical FIgyptian water-jar 
upon his arm. The little 
child is pleased with the 
flowers, after his lung jour- 
ney through the desert, and 
holds a bunch of them in his 
hand. The ]>lace of rest 
seems to be just at the edge 
of the desert, — a secluded, 
well -watered spot, out of 
Herod's reach. 

Pldtc iS. Rttmtt Ik iq^pt. S. Bent. 



THE GREAT PAINTERS' GOSPEL. 



Merson, Plate 39, 
is a poetic sccr as well 
as an artist. The sphinx 
riddle was "What is 
man ? " Merson has 
placed the answer be- 
fore 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 :42j. 



but the prophetic shadow of the coming event — crucifixion, 
towards the cactus and the [jalm, symbols of suffering and of 



Morris, Plate 30, 
gives US a glimpse of the 
life of the Holy Fam- 
ily during the sojourn in 
Egypt. Joseph is rest- 
ing in the tent after his 
daj's work, and Mary is 
teaching the child to 
walk. All are uncon- 
scious of the ominous 
shadow so evident now 
tons. The hatred which 
threatened the child, 
would not spare the man. 
The exile in Kgjpt is 
The child's hands extend 
victory. 



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 mirther with her divine 
child in this Nazareth home has ever been the favorite subject with painters. " Ma- 
dt)nna " 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., — repniductions of which are familiar to every- 
body. 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 



THE GREAT PAINTERS' GOSPEL. 



Father in heaven is visibly present, and the grace descends upon the child in the form 
of a dove, as suggtjsted by Luke 3 : 22. The 
action of all the accessory figures, the ar- 
rangement of the light, everything in the 
picture, is calculated to focus the attention 
upon the face of the child Christ. 

Hofmann, Plate 31, tells of the quiet 
days at Nazareth, when Joseph worked at his 
trade, and Mary sat near spinning and watch- 
ing the wondrous lad who in his child-waj' 
could help Joseph by fetching a needed t(K»l. 
It was a peaceful, happy life, like that of the 
chickens and the doves. The memories of those 
days furnished Jesus with the wonderful fig- 
ure of speech recorded in Matt. 23 : 37, 38, 
Hofmann, like other artists, is fond of symbol- 
ism, 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 
righteou,sness to the plummet (Is. 2% : 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 
<laily, as all his disciples must ever do (Matt. 
16 : 24). Such service is healthful and prof- 
ru„3,. mad^nu^ ^^d CMU. MuniJu. ■',.8-,68.. llablc ( Lukc 2 I 5 2). 



THE GREAT PAINTERS' GOSPEL. 



llcifmann is still living. 



THE GREAT PAINTERS' GOSPEL. 



L.afon, Plate 36, 

has idealized his subject. 
He has placed Jesus "in 
Moses' seat" (Matt, 33: 
2), conferring iipuii him a 
distinction amply justi- 
fied by subsequent events 
especially by the Sermon 
on tlie Mount. "It hath 
been said . . . but I say 
unto you . . ." these are 
the words which give 
Jesus auniquc position as 
a teacher. 



Flndlnq of Christ In 



Hunt, Plate 35, adds that 

truthfulness of detail, that litcral- 
ness of statement made possible by 
the antiquarian and the archaeolo- 
gist. It is the moment described 
in Luke 2 : 48, when his mother 
speaks to Jesus, " Son, why hast 
thou dealt thus with us.'" 

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.) 



THE GREAT PAINTERS' GOSPEL. 

THE SILENT YEARS AT HOME. 

Tradition sa)'s that Joseph soon died, 
and that Jcsiis siipiwrtcd the family by 
working at his trade. 

Hunt, Plate 40, has invented an occa- 
sion 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, "(xmdering all 
these things in her heart," is startled, at the 
close of the da)', by seeing the shadow of 
her son cast upon the wall, like the form of 
one upon a cross. 

Plockhorst, Plate 41, depicts the part- 
ing of Mother and Son, — another pang for 
D Hum. the saintly Mary. 



a/iadoa of Dtath. 



Plate 42 is Andrea del Sarto's famous 
painting of the youthful John the Baptist, in the days before he came preaching in the 
wilderness of Judea. (Luke 1 : 80.) 



THE GREAT PAINTERS' GOSPEL. 



Titian, Plate 43, shows John as he a|> 
peared 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, "Bch<ild 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 
])ainting his boy John. Compare the two 
faces, and the two arms and hands. Notice 
the two crosses also. 

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, " Wor- 
ship 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 : 
1 1.) The serpent b present because of 
Rev. 1 2 : g. 



THE GREAT PAINTERS' GOSPEL. 



THE BEGINNING OF PUBUC SERVICE. 

Bida, Plate 46, illustrates John 1 : 35. " liehold the Lamb cf God," said John 
to two of his disciples, who straightway left John and followed Jesus. Griinewald, 
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. 

Veronese, Plate 50, 

transforms the modest wed- 
ding 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.) Theymayall 
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 im- 
I'la,. ,„. ra, *Bf,/o« f«.<. p«i.. v««n.-.. ,5'a-.,M. P"rtance. 



THE GREAT PAINTERS' GOSPEL. 

EARLY JUDEAN 
MINISTRY. 

Kirchbuck, Plate 

51, presents a general 
view of the event re- 
corded in John 2 : 1 3-22. 
Jesus expels the dese- 
crators by his presence 
merely, as he overthrew 
his enemies in Gethse- 
mane. (John 18 :6.) 

Hofmann, Plate 

52, with his usual literal- 

ness, gives jesus the pine j-- c*f/»( mk/iv «« (*• •'whj-oao"**"- f. Kiichbucii. 

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.) 

Plate S3, 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 ? " 



THE GREAT PAINTERS' GOSPEL. 

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."* 

Biliverti, Plate 56, gives the woman 
a companion not mentioned in the text. 
The moment is that of John 4 : lO, " 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 
pi..= i4. j..«a™df». woM-ors-""''-. Gu«.«^r>of*. given you living water." 

Dore, Plate 54, has selected a later 
moment, "Trust me," Jesus replied, "a time is coming when it will not be on this moun- 
tain or in Jerusalem that you will worship God the Father." 



a. H, Hofmann. PLie j6. Jnut anmm Waman of San 

' Twemielh Century New Testament. 



THE GREA T PAINTERS' GOSPEL. 

Hofmann, Plate 55, may 
have chosen to illustrate the twen- 
ty-fourth verse, "God is Spirit ; 
and those who worship him must 
worship spiritually, with true in- 
sight." (John 4 : 24,) 

J- 
THE CALL OF THE FOUR. 
Walking by the sea of Galilee 
one morning, Jesus saw two breth- 
ren, Simon who is called Peter, and 
Andrew his brother, , . , and two 
other brethren, James, the son of 
m»t7. chrM an^ Via ntiitrmti.. 7.;n•^><^^nantl. iSji- Zebcdec, End 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 u|x>n the moment when Jesus makes that 
extraordinary statement. Peter and John are nearest Jesus, the other two in the back- 
ground, "Fishers of men;" the phrase is mysterious; they cannot understand it. 
Nevertheless, they leave all and follow Him. 

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 speak- 
ing 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 griat 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. 

J, 

Raphael, Plate 49, illustrates 
the moment, a little later, when 
Peter threw himself down at 
Jesus' knees, exclaiming : " De- 
part from me, for I am a sinful 
man, O Lord." (Luke 5: 8.) 
Raphael made this as a design 
for a tapestry for the Sistine 
Chapel, Rome. p,„„. m, *™b/o<,. D.a„p« ./ «.*„. H.pha.L ,48j-,s«.. 



THE GREAT PAINTERS' GOSPEL. 



Htaiint (*■ Sfcli. H. H 



EARLY GALILEAN MINISTRY. 



Schonherr, Plate 69, 'l give different inter- 

Hofmann, Plate 70, ^ pretations of Matt. 

Max, Plate 71, J 8:16-17. Aneven- 

ingat Capernaum, when the words of Isaiah (53 :4) 

began to be fulfilled, " Himself took our infirmities 

and bare our diseases." 



Callltiq «/ Matthtm. 



THE GREAT PAINTERS' GOSPEL. 



Plait S7. Cttillng ofMtiUum. Alnandre Bidi. 

■a.j ,«9j. 

The Call of Matthew has been repre- 
sented variously, (Matt. 9 : 9-10.) 

Pordenone, Plate S9. has Matthew „„, ^, CHf-, <./ «»«*.*. j«.p= chi»«ri. 

"sitting at the place of toll." 

Bida, Plate 57, shows Jesus "as he passed by," and Matthew leaving his place of 
business to follow him, 

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. 

AT JERUSALEM 
AGAIN. 

After these things 
Jesus went up to Jeru- 
salem 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 talk- 
ing with him Jesus cured 
him, although it was Sab- 
bath. (John 5 : t-8.) 

Van Lint, Plate 

61, shows the man aris- 

piatt 6,. Huiing oftK, in,,Ht.nt ita«. patr Van i.ini. '"g with his bed, verse 9. 



THE GREAT PAINTERS' GOSPEL. 



■liiuM and Hi! DItclpIn flo/H; THriHigk Uh CwnfUtl. 

p]ilc6o. A1ewii.<l.e Wdi. 

w«,i/n, D/ »,. imp«i.M Man. .8.j-.s,j, Bida, Platc 60, represents the 

instant when Jesus is giving the com- 
mand, 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 63, for "Afterward Jesu.s 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.) 



Dore, Plate 63, gives an in- 
terpretation of Matt. 12 : 1-8. 
The Pharisees are accusing the dis- 
ciples of breaking the Sabbath by 
plucking the heads of wheat, and 
Jesus is excusing them. The Mas- 
ter 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 con- 
demned the guiltless. The Son of 
man is lord of the Sabbath. The 
Sabbath was made for man, not 
man for t he Sabbath. ' ' {Mark 
2  27.) 



THE GREAT PAINTERS' GOSPEL. 



THE SERMON ON THE MOUNT. ^"'■*- «. a.™. .-». »«--(. ii.Hoi^nn. 

" 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 : i. 2.) 

Dore, Plate 65, has represented the scene as a whole. The instant might be 
almost any in the discourse. 

Hofmann, Plate 64, seems to have depictwl the giving of the beatitudes. The 
poor in spirit, the mourner, 
the meek, those who hun- 
ger for righteousness, the 
pure, and the persecuted, 
all seem to be repre- 
sented in the audience. 

Jeune, Plate 67, has 
selected the moment when 
Jesus says, " Consider the 
lilies how they grow, . , , 
I£ 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.) v\», „,. c<».,i^.r ik, uii... Ti«,r, i* j«,«. ,a,,. 



THE GREAT PAINTERS' GOSPEL. 



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. 

EVENTS DURING THE SECOND 
TOUR OF GALILEE. 

Veronese, Plate 68, represents the 
Centurion who came to Jesus at Capernaum, 
iKseeching 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.) 

Hofmann, Plate 73, has illustrated the 
raising of the widow of Nain's son, as graphi- 
cally as Luke has told it, in chapter 7, verses 
II to 16. "Every one was awe-struck and 
began praising God," 



Haltlnt tht Widow') San. 



THE GREAT PAINTERS' GOSPEL. 



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 I'har- 
isee, as recorded in Luke 
7 : 36-50. The woman, 
who bathed the Master's 
feet with tears, is in this 
case a beautiful and dec- 
orous person, a center of 
attraction. 

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. 

Hofmann, Plate 75, 
shows the self-righteous Phari- 
see, with his hypocritical 
friends, more graphically than 
either of the other artists. His 
keen insight into character is 
reflected from every face. Hof- 
mann, above many others, is 
true to the account, and true 
to human nature. "Thy sins 
are forgiven," Jesus is saying. 
(Verse 48.) 



THE GREAT PAINTERS' GOSPEL. 



Hofmann, Plate 

76, tells of Jesus preach- 
ing from the boat (Mark 
4: 1). Every face in 
the picture is worth 
studying. The world is 
present by representa- 
tion—infancy, childhood, 
youth, maturity, old age ; 
the healthy and the dis- 
eased, the workman and 
the scholar. " And he 
taughtthem manythings 
in parables," among oth- 
er things the truth about 
the Kingdom of God. 
(Luke 8 ig-io.) 



and there was a great calm." (Verse 26.) 



THE GREAT PAINTERS' GOSPEL. 



ChriMt Railing the Dauglilir of Jalrui. 
Plattn. OatigMir ef Jalrat. H. Hofnunn. iSit- PUti So. GuiUv Kkhtn. ■Bij-it«4. 

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. 

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.) 

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 

I,. RBl,lng th. DByghter of J«l,u.. A. Keller. Studying. 

29 



THE GREAT PAINTERS' GOSPEL. 



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.) 



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 but 
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 
gras.s," and the disciples are 
procuring the loaves and fishes 
from the lad. (John 6 : 9.) Jesus 
is taking the loaves prepara- 
tory to giving thanks and dis- 
tributing them. 



THE GREAT PAINTERS' GOSPEL. 



PImc S5. 



IMiVM cuirf H. Pttmr. 



The following night t»fmaM„t Kwu^. p^ur. 

Jesus came to the disci- 
ples, walking upon the 
water. The most complete 
account is given by Mat- 
thew {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.) 

Plockhorst, Plate 
84, gives the next instant 
when Jesus stretched forth 
his hand and took hold of '"""''■ n. cana<,.iti,i, w»m«,. p.i™vc«hio, u„-.s,s. 

him, saying, "O thou of little faith, wherefore didst thou doubt.'" (Matt. 14 : 31.) 

THE TRIP INTO PHOENICIA. 

And Jesus went away into the borders of Tyre and Sidon. There a Canaaniti.sh 
woman begged him to cure her daughter. The interesting dialogue which ensued i.s 
recorded by both Matthew and Mark. 

Vecchio, Plate 86, gives the beginning of the dialogue. " 1 was not sent but 
unto the lost sheep of the house of Israel." (Matt. 1 5 : 24.) 



THE GREAT PAINTERS' GOSPEL. 



PETER'S CONFESSION. 

The event recorded in 
Matt. i6: 13-20, and that 
recorded in John 21 : 15— 
23, have often been clusely 
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." 



Clirtift Cliatf it 



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.) 

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 



THE GREAT PAINTERS' GOSPEL. 

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. 

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. 

Pblt97. Jitut ami tht Child. H.Billhdin. 

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." 

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. 



Thl *dulttmii Worn 



THE GREAT PAINTERS' GOSPEL. 

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, " Hehold, I stand at the door 
and knock." The picture shows also, with- 
out doubt, the influence of the well-known 

hymn, by Mrs. Stowe, "Knocking, knocking, i 

who is there ? " Every detail of this picture 
is symbolical, and most exquisitely painted. 

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

Plockhorst, Plate 99, has attempted to 
put into a single picture the wealth of mean- 
ing suggested by the wondrous words, "Come 
unto me, all ye that labor and are heavy laden, 

and I will give you rest." (Matt, ii : 28.) 1 

Humanity is symbolized by the pilgrim who fiait w- Orabwk. iraj-iss?. 

needs comforting. "•^' '«"'■•»•">•■«• '"•'  



IT U« Hqht 0/ l«« WtrM." 



THE GREAT PAINTERS' GOSPEL. 



THE FEREAN MINISTRY. 

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

Siemenrote, Plate loi, il- 
lustrates the parable of the Good 
Samaritan. The Priest and the 
Levite have passed by; the Sa- 
maritan is pouring oil and wine 
upon the wounds preparatory to 
binding them up. (Luke lo: 
30-34-) 



t Sood SamBtHaii, 



K. Stcmenrolh. 



Dore, Plate lOO, shows the Samari- 
tan bringing the wounded man to the inn, 
as described in verse 34, In both pictures 
the plains of Jericho are shown in the dis- 
tance. It is interesting to note that one 
artist translates " beast " as an ass, and the 
other as a horse. 



M.vt I)oi;. iSjj-iM]. 



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

Hofmann, Plate 114, has most beau- 
tifully drawn the group in the home of 
Lazarus, — Martha, " cumbered with much 
serving," (Luke 10 : 40), Mary, "who has 
chosen the gcKxl part (verse 40), and for a 
reminder of l^azarus, who has not yet re- 
turned from work, his house-dog, asleep by 
the chair of Jesus. 



THE GREAT PAINTERS' GOSPEL. 



Allori, Plate 113, gives Martha a maid- 
servant drawing water, and a man-servant 
brineine in a sheep for dinner. Mary has 

, . T , , Plait lib. T*t Saod SUtpktnl. B. PlocVMnl. 

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.) 

Theotocopuli, Plate 115, represents Jesus performing the miracle, and the hypo- 
critical 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: 1-2.1,) 
Plockhorst, 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.) 

Schonherr, Plate 117, and 
Molitor, Plate 103, 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.) 

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 

'''"' '"■ ^«« Am,i^t, ». WM Mm: £^. "^t"^"^-' '"''"'"' sw^cp the house, and search care- 



THE GREAT PAINTERS' GOSPEL. 



fully until she finds it ? (Luke 15 : 8-10.) 
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. 

PbU ■>;. n* awtf ShtpXtrt. Carl Sch«nheiT. 

Molitor, Plate 105, has designed an 
almost abstract father and son — a prod- 
igal, perhaps, but not the prodigal — to 
match his panel of the lost sheep. The 
parable is but faintly echoed in this picture- 



THE GREAT PAINTERS' GOSPEL. 



The man who has 

painted the parable as 

a whole is Dubufe, 

Plate io6. The central 

panel in the triptych 

shows the young man 

wasting his substance in 

riotous living. "He 

squandered his property 

by his dissolute life," 

E. Dubuii. 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. 

Dore, Plate 104, is truer to the par- 
able 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.) 

Dorg, Plate 107, illustrates the par- 
able of the Rich Man and Lazarus, as re- 



corded in Luke 16: 19-31. He has added 
a dramatic touch by representing the ser- 
vants ordering the beggar away, even with 
violence — a part of the "evil things" 
which Lazarus received during his life. 
(Luke 16: 35.) 

Jesus was again called to visit liethany 
by the death of the brother of Mary and 
Martha. None of the pictures here repro- 
duced give an adequate representation of 
that which then occurred — the raising of 
Lazurus. I'erhaps the event is too august 
to be put upon canvas. 

Bonifazio, Plate 118, seems to take 
38 



THE GREAT PA INTERS' GOSPEL. 

an almost childish delight 
in depicting the varying 
effects of a disagreeable 
odor ! He has magnified 
the remark of Martha 
(John 1 1 : 39) into the 
motive for a picture ! 

Piombo, Plate 119, 
suggests the large com- 
pany who witnessed the 
miracle, but ignores the 
statement that Lazarus 
was buried in a cave, and 

that he came forth with- pla« „g. BaMng af lanrM. FmH..™ M. .♦M-.J6,. 

out 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. 

Rubens, Plate 120, has not included the crowd in his canvas; but his Lazarus 
eomes 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 for- 
gotten. Martha helps to remove the grave-clothes, while Mary, as usual, worships the 
Master. 



THE GREAT PAINTERS' GOSPEL. 



Dore, Plate io8, interjjrets the par- 

,, c .L T>i. - I .L T. Li- PlWe 139. Clitltl Bltulns unit Ctilmrtn. H. Hotiiann. 

able of the Pharisee and the Publican. ,sn- 

The Pharisee stands and prays "with himself" (Luke 18; ll), while the tax-gatherer 
will not so much as " lift up his eyes to heaven," but says, " God be merciful to me a 



B. PlockhSni. >>!>;- Pluie itt. 

mrnt Bl*t*lag UW* CmiHttn. Ckrilt BlnilBf Uttl* OMIirtii. 



THE GREAT PAINTERS' GOSPEL. 

sinner." (Verse 13.) Jesus is rep- 
resented as saying, "This man 
went down to his house justified. 
(Verse 14.) Dor^ makes it an 
actual event, not merely a par- 
able. 

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 1 He 
remembers that not only little 
_ „. children came; mothers brought 

PbUiii. e»rl>t BKi tU r»uiv Sultr. H.HofnnoB. . . , , , 

■*»- their babies. (Luke 18: 15.) 

Plockhbrst, Plate no, is equally true to the account and to nature. Here a 
little child is asking to take her flowers to Jesus, Plockhorst loves symbolism. Sheep 
are present (Is. 40 : 11), and a little boy is about to offer Jesus a palm-branch in uncon- 
scious anticipation of his triumphal entry to Jerusalem. (Matt. 21 : 8, 9 and 15.) 

Vogel, Plate in, has introduced one or two children old enough to have some 
consciousness of a real need of such love and forgi\'eness as the Master offers to all. 
Their attitude is not that of natve childhood. 

Hofmann, Plate 112, has excelled himself in the portrayal of Christ and the rich 
young ruler, who asked how to obtain eternal hfe. (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.) 

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 con- 
demnation. Pbw,... Chritt ana ZttmHtft CMMrtn. BoniFwio. u«-.(6j. 



THE GREAT PAINTERS' GOSPEL. 
AT JERUS/ 



Chritt Wttut Oiiti 



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 earth- 
works, 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 19 142— 44.) 
Eastlake, Plate, 124, has not followed the scriptural account closely, but has de- 
signed 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 ! " 

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 spread- 
ing 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.) Theartist 
has allowed the mother of 
Jesus to witness this short 
lived triumph of her son ; 
nor has he forgotten the 
pk..„3. niumphui Enirt. En>a.n.g«. .So^-rsss. children (Matt. 2 1 : I s). 



THE GREAT PAINTERS' GOSPEL. 






Dore, Plates 125 and 127, gives two incidents of the early part of the week : the 
Herotlians asking about tribute to C:csar (Matt. 22 : 16-22), and the poor widow giving 
her contribution to the temple treasury {Mark 1 2 : 41-44). 

Titian, Plate 126, in dealing with the incident of the tribute to Ctesar, has selected 
the moment Dor^ selected, when Jesus asks, " Whose image and superscription hath it ? " 
(Mark 20 : 24.) Van Dyck, Plate 96, has chosen the 

moment when Jesus says, " Render there- 
fore unto Caesar the things that are 
Caesar's, and unto God the things that are 
God's" (Matt. 22 : 21). 



THE GREA T PAINTERS' GOSPEL. 



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 discov- 
er that they are unpre- 
pared. (Verses 8 and 9.) 
Evidently the cry, "Be- 
hold the bridegroom Com- 
eth," was not heard, upon puk 
this occasion, "at mid- 
night " {Verse 6.) 



THE LAST SUPPER. 



LMiurdo tU Vinci. 



has portrayed the incident wonderfully well. 
(John 13 : 6-10.) 

DaVinci, Plate 131, has 
excelled all others in render- 
ing the effects of the an- 
nouncement Jesus made short- 
ly afterwards, when they were 
at table again, " One of you 
shall betray me." Some of 
the disciples wonder (John 
1 3 : 22), some ask, " Is it I ? " 
(Mark 14: 19.) Peter whis- 
pers to John to inquire who 
it is. (John 13 : 24.) The 
face of Judas alone is in shad- 
ow and inscrutable. Present- 
ly Judas will go out to the 
conspiring chief priests. (Johu 
13: 27-30.) p|,„„,. 



When the disciples 
entered the upper room 
all had neglected to as- 
sume the office of servant 
in preparation for the 
mei.1. They were disput- 
ing 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. 
The dialogue with Peter is just finished. 



THE GREAT PAINTERS' GOSPEL. 



When Judas had de- 
parted, Jesus said, "Now 
is the Son of man glori- 
fied," (John 13:31.) 
"And as they were eat- 
ing, Jesus took bread and 
blessed, and break it." 

Bida, Plate 13a, 
gives a graphic picture of 
the moment of blessing 
the bread. " This is my 
body which is given for 
you," he said (Luke 22 : 
1 9), " This do in remem- 
brance of me." 

Bida shows the bent 
figure of Judas retreating 
into the darkness. 



14:26.) 



THE GREAT PAINTERS' GOSPEL. 



Plilc IJ7. Kfu of ^lalot. ArjrSchtffs. i»if- 

"And they came unto a place which was 
named Gethesame; and he said unto his dis- 
ciples. Sit ye here, while 1 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 mo- 
ment is that when Jesus triumphs with the 
words, "Thy will be done." (Matt. 26:42,) 

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, 
13 : 9.) 

Jesus returnetl 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 ! 
46 



THE GREAT PAINTERS' GOSPEL. 



Harrach, Plate i39> 
gives the denial of I'eter be- 
fore the soldiers in the pres- 
ence of the maid-servant. 
(Mark 14: 54 and tj^ As 
Peter denies, the cock, above 
in tha branches of a vini;, 
crows as Jesus had predicted. 
Harrach has seized upon the 
moment recorded by Luke 
alone. "And the Lord turn- 
ed and looked upon Peter," 
(Luke 22: 61.) And Peter 
remembered, and went out 
and wept bitterly. (Verse 6.) 



THE GREAT PAINTERS' GOSPEL. 

I 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 be- 
sides a great study of 
character. The face of 
Christ is about the only 
inadequate piece of repre- 

„ sentation in the whole 

Plato nt. Trial Btfort Pllat: M'Haly MunVmy. iS,6- ,, , 

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 " be- 
come more urgent, saying, He stirreth up the people " (Luke 23 : 4, 5). 

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 ajjain and again on the head, they offered him mock reverence. 

Guido, Plate 14a, jwrtrays Jesus at this time (Matt. 27 : 27-30). 



THE GREAT PAINTERS' GOSPEL. 



Afterwards Pilate brings 
Jesus forth to the crowd and 
says, "Behold the Man." 
(John 19 : 5.) 

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 ig : 6.) 

Hofmann, Plate 144, 
shows "the man" to us, and 
says, Behold him I Hofmann 
too, suggeststhe angry crowd. 



fflott't mf*t Dnam. 



the welfare of her husband if he does not protect so august 
King, whose Kingdom is not of this world. 



and in the distance intro- 
duces the three Marys, 
Both these artists include 
Pilate's wife in the picture 
because of Matt. 27 : 19. 
Dore, Plate 145, 
with his love of the e.\- 
traordinary, has objectified 
such a dream as he sup- 
poses might have caused a 
Roman matron to ' suffer 
many things,' She sees 
the living and the dead, 
all heaven and hell attend- 
ant upon the Christ, and 
because of this fears for 
a person as this mysterious 



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, some- 
times with almost revolting realism, sometimes with fascinating power. 
49 



THE GREAT PAINTERS' GOSPEL, 



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. 

Thiersch, Plate 147, 
gives the tragic incident which 
occurred just outside the gate, 
Jesus has fallen. He is speak- 
ing to the women the words 
recorded in Luke 23: 28-31. 

Calvary is seen in the distance pi,„ ,„. Bwri»t «» c™i. Lodwig tWb**. 

where the crosses for the two 
thieves have ateady been placed. There they crucified him between the two thieves. 

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 comuig upon the earth. In Plate 150, John and 
the three Marys are at the foot of the cross. (John 19: 25.) 



B*arlng fA« Cm*. H, Hofma 



THE GREAT PAINTERS' GOSPEL. 

Hofmann, Plate 
148, has chosen a later 
moment. Jesus has com- 
mitted his mother to the 
care of John (John 19 : 
26-27), and with the 
word, " It b finbhed," has 
given up his spirit into 
his Father's hands. (Luke 
23 : 46.) Amid rend- 
ing rocks and opening 
tombs the Centurion is 
saying, " Truly thb was 
the Son of God." (Matt 

PUic 149. n* Craelfiilaa. M. Munkany. iSm- . 

2/ : 540 

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, bringinga mixture of myrrh 



C*r/K OH tut Onui i 



THE GREAT PAINTERS' GOSPEL. 



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.) 

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.) 



Morris, Plate 152, 
has drawn the deserted 
cross. An unknown wo- 
man 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.) 



THE BURIAL. 

Ciseri, Plate 156, por- 
trays, if not "The grand- 
est funeral that ever passed 
on earth," certainly the 
greatest. Joseph of Ari- 
mathrea, Nicodemus, and 



""' '%i,.,™ 



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, I : 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 gar- 
den, and in the garden a 
new tomb wherein was 
never man yet laid." (John 
19:41-) 



THE GREAT PAINTERS' GOSPEL. 



PUie i]6. eiirM Bent to (A« Tomb. Anunlo Ci«ri. 

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 ig : 42). 

Hofmann, Plate 154, adds a human touch not found in the records of the evangel- 
ists. The last to leave the body are John and the Lord's mother, Mary, 



THE GREAT PAINTERS' GOSPEL. 



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 gar- 
den, while Mary Magda- 
lene and another Mary 
watch at the tomb. (Mar'c 
15:4;-) 

Dobson, Plate 157, 
has attempted to express 
the sorrow of Mary and 
the solicitude of John as 
they continue the walk 
homeward. 



THE RESURRECTION. 



As it began to dawn towards the first day of the week, " there was a great earth- 
quake, for an angel of the Lord descended from heaven, and came and rolled away the 
stone and sat upon it." (Matt. 28 : 1-2.) 



W. C. T. DolHOn. 



THE GREAT PAINTERS' GOSPEL. 



1814- Piatt 161. B, FlockMnt. t%>y 

Ulna lard tnd Uarti Magtialiitt. 

Naack, Plate 159, has designed a panel 
which presents a synthesis of the various ac- 
counts of the resurrection, and adds the symbols 
of victory and triumph. Other artists have given 
more literal renderings of particular texts. For 
example : 

Hofmann, Plate 160, has Mary sitting upon 
the stone outside the tomb, weeping {John 20 : 
1 1 ), and the risen Christ approaching her from 
behind. 

Di Credi, Plate i6a, 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.) 

Plockhorst, Plate t6i, 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. 
SS 



THE GREAT PAINTERS' GOSPEL. 



WiUk ta Emmam. 



B, PlockhSral. 



THE GREAT PAINTERS' GOSPEL. 



AFTER THE RESURRECTION. 

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

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



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.) 



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

Ftirst, Plate 165, shows them 
inviting him into the house. (Verse 
29.} 

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

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

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 3S.) 



THE GREAT PAINTERS' GOSPEL. 

That very evening at Jerusa- 
lem, Jesus appeared to the dis- 
ciples 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 be- 
ing with them. Suddenly Jesus 
stood in the midst. (John 20 : 26.) 

Guercino, Plate 170, shows 
what followed. " Then said he 
10. uso-iWA. t^, 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. 



"Vnmat Iht Ooutftr." 



THE GREAT PAINTERS' GOSPEL. 

THE ASCENSION. 

At the end of forty days Jesus appeared to the disciples once more, and after giv- 
ing 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 xyx, 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 i : 9.) Luke 
says, "they worshipped him" (verse 52); but Hofmann has angels worshipping (the 
"two men" of Acts i : 10), for the disciples are too greatly astonished to worship 
just then. 

Rembrandt, Plate 172, emphasizes the glory of it all. The prayer of Christ (John 
17: s), 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. 

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 hisc name. 



59 



Write the visfon^ and make it plain upon tables* 
tliat he may run that teadeth it* 

HABAKKUK 2tZ 



60 



INDEX BY TITLES OF PICTURES. 



PAGB 

Adoration of tlie Kings — Maldini 9 

Adoration of the Magi — Luini 9 

Veronese 10 

Adtilterotts 'Voouui — Signol 33 

Agony in tfie Garden — Dolci 46 

Angela and tlie Shepherds — Plockhorst ... 5 

Annunciation — Titian 2 

Annunciation to Mary — Baroccio 3 

Dossu 3 

HOFMANN 3 

MULLER 3 

Reni 4 

Anointing Feet of Jesus — Hofmann .... 16 

Arrival of the Shepherds — Lrrollr 6 

Ascension — Hofmann 58 

Rembrandt 58 

Bearing the Cross — Hofmann 50 

Thiersch 50 

Behold* I stand at the Door and Knock — Over- 
beck 34 

Behold the Lamh of God— BiDA 18 

Bethany — Hofmann 35 

Bethlehem — Hofmann 5 

Birth of John — Angelico 4 

Calling of Mattliew — Bio A 23 

Chimenti 23 

pordenone 22 

Canaanitish Voman — Vecchio 31 

Centurion^s Servant — Veronese 21 

Christ among the Doctors — Lafon 15 

Christ and St* Peter — Plockhorsi^ 30 

Schwartz 31 

Christ and the Fishermen — Zimmermann ... 21 

Christ and the Sinner — Hofmann 23 

61 



PACK 

Christ and the Young Ruler — Hofmann ... 41 

Christ aiid Z^bedu^i CbHidten — Bonifazio . . 41 

Christ Appearing to Magdalene — Di Credi . . 55 

Christ Blessing Little Children — Hofmann . . 40 

Plockhorsi' . 40 

VOGEL .... 40 

Christ Borne to the Tomb — Ciseri 53 

Christ Casting out the Money-changers — Kirch- 
buck 19 

Christ Disputing in tbt Temple — Dobson ...15 

Christ Disputing with the Doctors — Hofmann . 14 

Christ Giving Keys to St. Peter— Reni . ... 31 
Christ in the House of Mary and Martha — A l~ 

LORI 36 

Christ on the Cross and the Three Marys — Mun- 

KAcsY 51 

Christ Raising the Daughter 6i Jairus — Richter, 29 

Christ's Charge to St* Peter — Raphaei 32 

Christ Taidng Leave of His Mother— Plock- 
horst 16 

Christ the Consoler — Plockhorst 34 

Christ "Veeps Over Jerusalem — Eastlake ... 42 

Consider the Lilies — Le Jeune 24 

Conspiracy against Jesus — Bida 44 

Crucifixion — Hofmann 50 

MuNKACSY 51 

Daughter of Jairus— Hofmann 29 

Demoniac Boy — Raphael 32 

Descent from the Cross — Rubens 51 

Easter Morning — Hofmann 55 

Ecco Homo — Ciseri 49 

Hofmann 48 

Reni 48 

Entombment — Hofmann 53 



INDEX BY TITLES OF PICTURES. 



PACK 

Fliufing of ChflK in fbe Temple — Hunt ... 15 

Flight into Eiiypt — Furst 10 

HOFMANN II 

PLOCKHORST II 

Golgotfia — Gbrome 52 

Good Samaritan — Dor£ 35 

SlEMENROTH 35 

Good Shepfaefd — Pix)ckhOrst 36 

SCHONHERR 37 

Headof John tfaeBaptirt ina Charger — Keni . 30 

Healing of the In^Kstent Man — Bida .... 25 

Van Lint . . 23 

Healing the Sick — Hofmann 22 

SchOnherr 22 

Healing the Sick Child — Max 22 

Holy Family — Murillo 13 

Holy Night — CORREGGIO 6 

I am the light of the World -—Hunt .... 34 

Infancy of Christ — Hofmann 13 

In the SqHflchre — Hofmann 53 

In the Temple — Hofmann 14 

Jesut and Hia Diiciples Going through Cornfield 
Dork 

JcMS and the Child — Ballheim , 

Jems and the Tribute Money — Dor^ ... 

Jesus and the "Woman of Samaria — Biliverti . 

Dor£ 
Hofmann . 

Jesus Anoints the Blind Man^s Eyes — Theo- 

tocopuli 36 

Jesus in Gethsemane — Hofmann 46 

Jesus in the House of Simon — Veronese ... 27 

Jesus on His Way to Jerusalem — Mengelberg . 14 

Jesus Preaches from a Boat — Hofmann ... 28 

Jesus Taken Captive — Hofmann 47 

Jesus Walking by the Sea — Grunewald ... 18 

Jesus Washes the Disciples^ Feet — Brown ... 45 

John and the Mother of Jesus — Dobson ... 54 

Dyce .... 54 

John the Baptist — Sarto 16 

John the Baptist Preaching — Titian .... 17 
Joseph and Mary \ Arrival at Bcthkhrm — Mer- 

SON 5 

Joseph's Dream — Crespi 10 



25 

43 
20 
20 
20 



PACB 

Kiss of Judas — Scheffer ....*... 46 

Last Supper — Bida 45 

Hofmann 45 

Vinci 44 

Lost Piece of Money — Millais 37 

Lost Sheep — Molitor 37 

Madonna and Child — Murillo 13 

Magdalen — Rubens 27 

Marriage Feast — Veronese 18 

Mary's Visit to Klitahrth — Albertinelli . . 4 

Miracle of the Loaves and Fishes — Murillo . 30 

Miraculous Draught of Fishes — Raphael. . . 21 

Nativity — Bouguereau 6 

Muller 7 

Nicodemus' Visit to Jesus — Unknown ... 19 

Parable of the Sower — Robert 28 

Parable of the Virgins — Poloty 44 

Peace, be still ~ DoR« 28 

Peter's Denial of Christ — Harrach 47 

West 47 



Pharisee and PulxUcan — Dor^ 

Pilate's Wife^s Dream — DoRt 

Prayer in Secret — Bida 

Presentation at the Temple — Bartolommeo . 

borgognone . 

Bourdon . . 

Champaigne . 

Fattorino . . 



Prodigal Son — Dor^ 



40 

49 
26 

8 

8 

8 

8 

7 

DUBUFE 38 

Molitor 37 

Purification of the Temple — Hofmann ... 19 

Raising of Lazarus — Bonifazio 39 

PlOMBO 39 

Rubens 39 

Raising the Daughter of Jahrus — Keller ... 29 

Raising the Widow^s Son — Hofmann .... 26 

Repose in Egypt — Benz 11 

Merson 12 

Resurrection — Naack 54 

Rich Man and Lazarus — Dor^ 38 

Risen Lord and Mary Magdalene — Plockhorst. 55 

Sermon on the BAbunt — Dor£ 24 

Hofmann 24 



62 



INDEX BY TITLES OF PICTURES. 



PAGB 



Shadow of Death — Hunt i6 

Shadow of the Gro» — Morris 12 

Sapper at Eounatis — Diethe 5 

MuLLER 5 

Rembrandt 5 

TalUng wHh Lame Man» Bethcsda — Van Dyck, 2 

Temptation — Hofmann 1 

Temptation of Chfiit — Scheffer i 

Thomas the Dottbter — GuERciNo 58 

ThceeMaiys — Scheffer 56 

Trans^ftifation — Raphael 32 



PAGE 

Trial fcefofe Pilate — Munkacsy 48 

Tribute Money — Van Dyck 43 

Tribute to Caesaf — Titian 43 

Triumphal Entry — Deger 42 

"Valk to Emmaui — FOrst 56 

Hofmann 56 

Plockhorst 56 

^Hiefeon they Gradfied Him — Morris ... 52 

"Vidow'sMlte—. DoR]& 43 

^Ofihip of the Magi — Hofmann 9 



NOTE.— The ''Wilde Bible Plctufes*'' from which are selected the pictures illustrating ''The Gteat 
Painters^ Gospelt'^ are two-and-ooe-half times as laqfe as the reduction herein used* A catalogfue of these 
penny pictures will be furnished on application to the publishers. 



63 



INDEX BY ARTISTS. 



•« 



PA(iK 



Albcrtiiieai. 

Mary's Visit to Klisabeth 4 

AUort 

Christ in the house of Mary and Martha . . 36 

Angclico» Fra* 

Birth of John 4 

BalUidm* 

Jesus and the Child ^^ 

Barocclo. 

Annunciation to Mary 3 

Bartdotnineo^ Fra* 

Presentation at the Temple 8 

BeiUtS. 

Repose in Egypt 11 

Bkbt» Akxandfc* 

Behold the Lamb of God 18 

Calling of Matthew 23 

Conspiracy against Jesus 44 

Healing of the Impotent Man 25 

Last Supper 45 

Prayer in Secret 26 

Bilhrerti. 

Jesus and the Woman of Samaria .... 20 

Bonifazio. 

Christ and Zebedee*s Children 41 

Raising of Lazarus 39 

BofSfo^nonc* 

Presentation at the Temple 8 

Bourdoa, Sebastien* 

Presentation at the Temple 8 

Boaguereatff "W* A« 

Nativity 6 

Brown, Ford Madooc 

Jesus Washes the Disciples* Feel .... 45 

Champaigne* 

Presentation at the Temple 8 

Chimcntif Jacopo* 

Calling of Matthew 23 

Qierl» Antonio* 

Christ borne to the tomb 53 

Ecce Homo 49 



PAGE 

CoffC£pO* 

Holy Night 6 

Crcspi* Dankk* 

Joseph's Dream 10 

UcgjUf EniciL 

Triumphal Entry 42 

Di Grcdlf Lofcnzo* 

Christ appearing to Magdalene 55 

DIethe, Alfred. 

Supper at Emmaus 57 

Dofaaon^ vr • C* l* 

Christ disputing in the Temple 15 

John and the Mother of Jesus 54 

Dold, Carlo. 

Agony In the Garden 46 

Dore* Gustave. 

Good Samaritan 35 

Jesus and His Disciples Going Through Corn- 
field 25 

Jesus and the Tribute Money 43 

Jesus and the Woman of Samaria .... 20 

Peace, Be Still 28 

Pharisee and Publican 40 

Pilate's Wife's Dream 49 

Prodigal Son 38 

Rich Man and Lazarus 38 

Sermon on the Mount 24 

Widow's Mite 43 

Annunciation to Mary 3 

Prodigal Son 38 

Dyce, William. 

John and the Mother of Jesus 54 

Eaitlake, Sir Charles 

Christ Weeps Over Jerusalem 42 

Fattorino^ Bartdommeo Del 

Presentation at the Temple 7 

Funt^M. 

Flight into Egypt 10 

Walk to Emmaus 56 



INDEX BY ARTISTS. 



GcramCf /• L» 

Golgotha 



PAGB 



PAGB 



52 



Gftsnewaldt B^ 

jesus Walking by the Sea 18 

Guefdoo. 

Thomas the Doubter 58 

Hamcfay Graf* 

Peter's Denial of Christ 47 

iTonnantu 

Anointing feet of Jesus 26 

Annunciation to Mary 3 

Ascension 58 

Bearing the Cross 50 

Bethany 35 

Bethlehem 5 

Christ and the Sinner ^^ 

Christ and the Young Ruler 40 

Christ Blessing little Children 40 

Christ Disputing with the Doctors .... 14 

Crucifixion 50 

Daughter of Jairus 29 

Easter Morning 55 

£cce Homo 48 

Entombment 53 

Flight into Egypt 11 

Healing the Sick 22 

Infancy of Christ 13 

In the Sepulchre 53 

In the Temple 14 

Jesus and the Woman of Samaria .... 20 

J esus in Gethsemane 46 

Jesus Preaches from a Boat 28 

Jesus taken Captive 47 

Last Supper 45 

Purification of the Temple 19 

Kidsing the Widow's Son 26 

Sermon on the Mount 24 

Temptation 17 

Walk to Emmaus 56 

Worship of the Magi 9 

Hunt* Holnuui* 

Finding of Christ in the Temple 15 

I am the Light of the World 34 

Shadow of Death 16 

Kclkf » A* 

Raising the Daughter of Jairus ..... 29 

Kifclibuch, F. 

Christ Casting out the Money-changers 19 

Laf oii» Emile* J* 

Christ among the Doctors 15 

Le Jeuncy Hcniy* 

Consider the Lilies 24 

Lerolle» Hcfuy* 

Arrival of the Shepherds 6 



Lfsini* 

Adoration of the Magi 9 

Maldioi, Battista. 

Adoration of the Kings 9 

Ma3(» Gabriel* 

Healing the Sick ChUd 22 

Menglebefg* 

Jesus, Twelve Years Old, on his Way to 
Jerusalem 14 

MeffMo, OQvcr'L. 

Joseph and Mary at Bethlehem 5 

Repose in Egypt 12 

MiUali^ Sir Jofm* 

Lost Piece of Money 37 

Molitor, Franz* 

Lost Sheep 37 

Prodigal Son 37 

Morriir P* R* 

Shadow of the Cross 12 

Whereon they Crucified Him 52 

Mulkr, CarL 

Nativity 7 

Supper at Emmaus 57 

MisOer, Fraoc* 

Annunciation to Mary 3 

Mttiikacs7* 

Christ on the Cross and the Three Marys . . 51 

Crucifixion 51 

Trial before Pilate 48 

MtsriOo. 

Holy Family 13 

Madonna and Child 13 

Miracle of the Loaves and Fishes .... 30 

Naack^A. 

Resurrection 54 



34 



Behold, I Stand at the Door and Knock 



I^oixibo» Sebastian del* 

Raising of Lazarus 39 

Plockhont* 

Angels and the Shepherds 5 

Christ and St. Peter 30 

Christ Blessing Little Children 40 

Christ Taking Leave of His Mother ... 16 

Christ the Consoler 34 

Flight into Egypt 11 

Good Shepherd 36 

Risen Lord and Mary Magdalene 55 

Walk to Elmmaus 56 

Polot7» Theodore von 

Parable of the Virgins 44 

Pordenone, Giovanni* 

Calling of Matthew 22 



INDEX BY ARTISTS. 



PAGB 



RaphacL 

Christ's Charge to St. Peter 32 

Demoniac Boy 32 

Miraculous Draught of Fishes 21 

Transfiguration 32 

Rembrandt. 

Ascension 38 

Supper at Emmaus . 57 

Renit Gtiido* 

Annunciation to Mary 4 

Christ Giving Keys to St. Peter 31 

£oce Homo 48 

Head of John the Baptist in a Charger . . 30 

Rkhter» GtnUv. 

Christ Raising the Daughter of Jairus ... 29 

Robert^ H* L« 

Parable of the Sower 28 

Rttbens* 

Descent from the Cross 51 

Magdalen 27 

Raising of Lazarus 39 

SartOt AiidfcadeL 

John the Baptist 16 

Scbcffefy Aff. 

Kiss of Judas 46 

Temptation of Christ 17 

Three Marys 56 

ocnommTy x^an* 

Good Shepherd 37 

Healing the Sick 22 

SchwarU* 

Christ and St. Peter 31 

Siciiiciifotli» Iw 

Good Samaritan 35 



PAGB 



SIgnoly Emile* 

Adulterous Woman -^-^ 

TheotooopuU. 

Jesus Anoints the Blind Man's Eyes ... 36 

TUcficb* Lodwlg* 

Bearing the Cross 50 

Tititaiu 

Annunciation 2 

John the Baptist Preaching 17 

Tribute to Caesar 43 

Unknown Aflbt* 

Nicodemus* Visit to Jesus 19 

VanD7ck. 

Talking with Lame Man, Bethesda .... 25 
Tribute Money 43 

Van Unt» Peter. 

Healing of the Impotent Man 23 

Veochioy Palma* 

Canaanitish Woman 31 

Veronese* Bontfadc 

Adoration of the Magi 10 

Veronese* Paolo. 

Centurion's Servant 27 

Marriage Feast 18 

Jesus in the House of Simon 27 

Vind* Leonardo Da. 

Last Supper 44 

Vosel Carlo. 

Christ Blessing Little Children 40 

West* Benjamin. 

Peter's Denial of Christ 47 

Zlmmermann* Ernst K. G. 

Christ and the Fishermen 21 



7 
% 

44 
40 
47 



21 






>