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.)
Head of John the Baptist in a Charger.Plate 82.Head of John the Baptist in a Charger.Guido Reni. 1575-1642.
When Jesus heard of the death of John he withdrew into a desert place to rest. But the crowds followed him on foot from all the cities of Galilee. After a day spent in healing the sick and in teaching, the Master fed the multitude generously, with five loaves and two fishes. The account is given by Mark (6:30-46) and by all the other evangelists.
Murillo, Plate 83,has selected the moment when the multitude is being seated "by companies upon the green grass," and the disciples are procuring the loaves and fishes from the lad. (John 6:9.) Jesus is taking the loaves preparatory to giving thanks and distributing them.
Miracle of the Loaves and Fishes.Plate 83.Miracle of the Loaves and Fishes.Bartolome Esteran Murillo. 1618-1682.
The following night Jesus came to the disciples, walking upon the water. The most complete account is given by Matthew (14:24-36). Upon Peter's request Jesus gave him permission to come out upon the water.
Schwartz, Plate 85,shows the moment when Peter, sinking, cries out, "Lord, save me." (Matt. 14:30.)
Christ and St. Peter.Plate 85.Christ and St. Peter.A. Schwartz.
Plockhörst, Plate 84,gives the next instant when Jesus stretched forth his hand and took hold of him, saying, "O thou of little faith, wherefore didst thou doubt?" (Matt. 14:31.)
Christ and St. Peter.Plate 84.Christ and St. Peter.S. Plockhörst. 1825-
And Jesus went away into the borders of Tyre and Sidon. There a Canaanitish woman begged him to cure her daughter. The interesting dialogue which ensued is recorded by both Matthew and Mark.
Vecchio, Plate 86,gives the beginning of the dialogue. "I was not sent but unto the lost sheep of the house of Israel." (Matt. 15:24.)
The Canaanitish Woman.Plate 86.The Canaanitish Woman.Palma Vecchio. 1475-1528.
The event recorded in Matt. 16:13-20, and that recorded in John 21:15-23, have often been closely related in the minds of artists employed by the church during the middle ages.
Reni, Plate 87,gives a literal interpretation to Matt. 16:19. "I give unto thee the keys of the kingdom of heaven."
Christ Giving Keys to St. Peter.Plate 87.Christ Giving Keys to St. Peter.Guido Reni. 1575-1642.
Raphael, Plate 88,represents the later event, when Christ says, "Feed my sheep," but Peter has evidently just received the keys. The sheep are actually present, as symbols, to make clear the moment selected by the artist. (John 21:17.)
Christ's Charge to St. Peter.Plate 88.Christ's Charge to St. Peter.Raphael. 1483-1520.
Raphael, Plate 89,has given upon one canvas, and that one of the most famous in the world, the Transfiguration, and that which took place at the same time at the foot of the mountain. (Luke 9:28-36, and Mark 9:14-29.)Plate 90is 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.
The Transfiguration.Plate 89.The Transfiguration.Raphael. 1483-1520.
The Demoniac Boy.Plate 90.The Demoniac Boy.Raphael. 1483-1520.
Shortly after the Transfiguration Jesus talked with his disciples about true greatness. By way of illustration "He took a little child in his arms and said unto them, Whosoever shall humble himself as this little child, the same is the greatest in the kingdom of heaven." (Mark 9:36, Matt. 18:4.)
Ballheim, Plate 97,suggests this event.
Jesus and the Child.Plate 97.Jesus and the Child.H. Ballheim.
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."
Christ and the Sinner.Plate 91.Christ and the Sinner.H. Hofmann. 1824-
Signol, Plate 92,does not show the woman "in the midst" as did Hofmann, but after they had gone out one by one, when Jesus was left alone with the woman. The words, "Let him that is without sin," etc., are written upon the pavement because of verses 6 and 8, where it is said that Jesus wrote upon the ground.
The Adulterous Woman.Plate 92.The Adulterous Woman.Emile Signol.
At this feast Jesus spoke of himself as the Light of the world. (John 8:12-30.)
Hunt, Plate 93,has idealized the words of Jesus, and added the thought expressed in Rev. 3:20, "Behold, I stand at the door and knock." The picture shows also, without doubt, the influence of the well-known hymn, by Mrs. Stowe, "Knocking, knocking, who is there?" Every detail of this picture is symbolical, and most exquisitely painted.
"I am the Light of the World."Plate 93."I am the Light of the World."Holman Hunt. 1827-
Overbeck, Plate 94,emphasizes the thought in Rev. 3:20.
"Behold, I stand at the Door and Knock."Plate 94."Behold, I stand at the Door and Knock."Overbeck. 1789-1869.
Plockhörst, Plate 99,has attempted to put into a single picture the wealth of meaning suggested by the wondrous words, "Come unto me, all ye that labor and are heavy laden, and I will give you rest." (Matt, 11:28.) Humanity is symbolized by the pilgrim who needs comforting.
Christ the Consoler.Plate 99.Christ the Consoler.B. Plockhörst. 1825-
During this part of his life Jesus gave some of his most famous parables.
Siemenroth, Plate 101,illustrates the parable of the Good Samaritan. The Priest and the Levite have passed by; the Samaritan is pouring oil and wine upon the wounds preparatory to binding them up. (Luke 10:30-34.)
The Good Samaritan.Plate 101.The Good Samaritan.K. Siemenroth.
Doré, Plate 100,shows the Samaritan bringing the wounded man to the inn, as described in verse 34. In both pictures the plains of Jericho are shown in the distance. It is interesting to note that one artist translates "beast" as an ass, and the other as a horse.
The Good Samaritan.Plate 100.The Good Samaritan.Gustave Doré. 1833-1883.
The Perean ministry was interrupted by a visit to Bethany and Jerusalem.
Hofmann, Plate 114,has most beautifully drawn the group in the home of Lazarus,—Martha, "cumbered with much serving," (Luke 10:40), Mary, "who has chosen the good part," (verse 40), and for a reminder of Lazarus, who has not yet returned from work, his house-dog, asleep by the chair of Jesus.
Bethany.Plate 114.Bethany.H. Hofmann. 1824-
Allori, Plate 113,gives Martha a maidservant drawing water, and a man-servant bringing in a sheep for dinner. Mary has her alabaster box close at hand! (Compare John 12:1-3.) About the time of the visit Jesus opened the eyes of the man born blind. (John 9.)
Christ in the House of Mary and Martha.Plate 113.Christ in the House of Mary and Martha.A. Allori. 1544-1628.
Theotocopuli, Plate 115,represents Jesus performing the miracle, and the hypocritical Pharisees, shocked and offended that he should do such a thing on the Sabbath. Following this event was the discourse about "The Good Shepherd." (John 10:1-21.)
Jesus Anoints the Blind Man's Eyes with Clay.Plate 115.Jesus Anoints the Blind Man's Eyes with Clay.Theotocopuli. 1548-1625.
Plockhörst, Plate 116,has chosen to illustrate the phrase, "He goeth before them and the sheep follow him."
Upon returning into Perea Jesus gave the "Three Parables of Grace." (Luke 15.)
The Good Shepherd.Plate 116.The Good Shepherd.B. Plockhörst. 1825-
Schönherr, Plate 117,andMolitor, Plate 102,represent the good shepherd who leaves the ninety and nine on the moor and goes after the lost sheep until he finds it. (Luke 15:4.)
The Good Shepherd.Plate 117. The Good Shepherd. Carl Schönherr.
The Lost Sheep.Plate 102.The Lost Sheep.Franz Molitor.
Millais, Plate 103,illustrates the next parable, that of the lost coin. "If a woman lose a coin, does she not light a candle and search carefully until she finds it?" (Luke 15:8-10.)
The Lost Piece of Money.Plate 103.The Lost Piece of Money.Sir John Millais. 1829-1896.
If the first parable of the group teaches the compassion of the Son, and the second the solicitude of the Spirit, the third teaches the enduring love of God the Father.
Molitor, Plate 105,has designed an almost abstract father and son—aprodigal, perhaps, but nottheprodigal—to match his panel of the lost sheep. The parable is but faintly echoed in this picture.
Prodigal Son.Plate 105.Prodigal Son.Franz Molitor.
The man who has painted the parable as a whole isDubufe, Plate 106.The central panel in the triptych shows the young man wasting his substance in riotous living. "He squandered his property by his dissolute life," says one version. His feasts were such as that described by Isaiah 5:11, 12. The panel at the left shows the young man in want, feeding swine, when "no man gave unto him." (Luke 15:16.) In that at the right, he has returned to his father's house.
The Prodigal Son.Plate 106.The Prodigal Son.E. Dubufe.
Doré, Plate 104,is truer to the parable in the matter of the return, for "while he was yet a great way off his father saw him and ran, and fell on his neck and kissed him." (Luke 15:20.)
Prodigal Son.Plate 104.Prodigal Son.Gustave Doré. 1833-1883.
Doré, Plate 107,illustrates the parable of the Rich Man and Lazarus, as recorded in Luke 16:19-31. He has added a dramatic touch by representing the servants ordering the beggar away, even with violence—a part of the "evil things" which Lazarus received during his life. (Luke 16:25.)
The Rich Man and Lazarus.Plate 107.The Rich Man and Lazarus.Gustave Doré. 1833-1883.
Jesus was again called to visit Bethany by the death of the brother of Mary and Martha. None of the pictures here reproduced give an adequate representation of that which then occurred—the raising of Lazurus. Perhaps the event is too august to be put upon canvas.
Bonifazio, Plate 118,seems to take an almost childish delight in depicting the varying effects of a disagreeable odor! He has magnified the remark of Martha (John 11:39) into the motive for a picture!
Raising of Lazarus.Plate 118.Raising of Lazarus.Bonifazio II. 1494-1563.
Piombo, Plate 119,suggests the large company who witnessed the miracle, but ignores the statement that Lazarus was buried in a cave, and that he came forth without assistance. (Verses 38 and 44.) He has surpassed Bonifazio in one respect at least. Piombo's people are astonished and excited over what has occurred: they are not entirely witless because of Martha's suggestion.
Raising of Lazarus.Plate 119.Raising of Lazarus.Sebastian del Piombo. 1485-1547.
Rubens, Plate 120,has not included the crowd in his canvas; but his Lazarus comes forth vigorously and happily from his grave in the cave, to meet a master whose figure is charged with animation. The traditional characters of the sisters are not forgotten. Martha helps to remove the grave-clothes, while Mary, as usual, worships the Master.
Raising of Lazarus.Plate 120.Raising of Lazarus.Rubens. 1577-1640.
Doré, Plate 108,interprets the parable of the Pharisee and the Publican. The Pharisee stands and prays "with himself" (Luke 18:11), while the tax-gatherer will not so much as "lift up his eyes to heaven," but says, "God be merciful to me a sinner." (Verse 13.) Jesus is represented as saying, "This man went down to his house justified." (Verse 14.) Doré makes it an actual event, not merely a parable.
The Pharisee and Publican.Plate 108.The Pharisee and Publican.Gustave Doré. 1833-1883.
Christ blessing the children, has been a favorite subject with artists.
Hofmann, Plate 109,tells the story in his own charming way. How sweetly child-like is that offering of the little bouquet! He remembers that not only little children came; mothers brought their babies. (Luke 18:15.)
Christ Blessing Little Children.Plate 109.Christ Blessing Little Children.H. Hofmann. 1824-
Plockhörst, Plate 110,is equally true to the account and to nature. Here a little child is asking to take her flowers to Jesus. Plockhörst loves symbolism. Sheep are present (Is. 40:11), and a little boy is about to offer Jesus a palm-branch in unconscious anticipation of his triumphal entry to Jerusalem. (Matt. 21:8, 9 and 15.)
Christ Blessing Little Children.Plate 110.Christ Blessing Little Children.B. Plockhörst. 1825-
Vogel, Plate 111,has introduced one or two children old enough to have some consciousness of a real need of such love and forgiveness as the Master offers to all. Their attitude is not that of naïve childhood.
Christ Blessing Little Children.Plate 111.Christ Blessing Little Children.Carlo Vogel.
Hofmann, Plate 112,has excelled himself in the portrayal of Christ and the rich young ruler, who asked how to obtain eternal life. (Matt. 19:16.) Jesus is saying; "If thou wouldest be perfect go sell what thou hast and give to the poor, and thou shalt have treasure in heaven." The decision of the young man is already made. He will presently go away sorrowful, and keep his great possessions. (Matt. 19:21, 22.)
Christ and the Young Ruler.Plate 112.Christ and the Young Ruler.H. Hofmann. 1824-
Bonifazio, Plate 121,illustrates the account of Matthew relative to the ambitions of James and John.
Their mother comes worshiping, and asking that her two sons may receive special honor in Christ's Kingdom. Jesus is saying, "My cup indeed ye shall drink; but to sit on my right hand and on my left hand it is not mine to give." (Matt. 20:20-28.) Peter is ready to add his word of condemnation.
Christ and Zebedee's Children.Plate 121.Christ and Zebedee's Children.Bonifazio. 1494-1563.
Jesus went on his way towards Jerusalem, and when he came within sight of the city he wept over it and said, "Would that you had learned, while there was time—yes, even you—the things that make for peace! But as it is, they have been hidden from your sight. For a time is coming for you when your enemies will surround you with earthworks, and encircle you, and hem you in on every side; they will trample you down and your children within you, and they will not leave in you one stone upon another, because you did not see that God was visiting you." (Twentieth Century N. T., Luke 19:42-44.)
Eastlake, Plate, 124,has not followed the scriptural account closely, but has designed a panel, with the text in mind, possibly influenced also by Matt. 23:37, "How often would I have gathered thy children together as a hen gathers her chickens under her wings, and ye would not!"
Christ Weeps Over Jerusalem.Plate 124.Christ Weeps Over Jerusalem.Sir Charles Eastlake. 1793-1865.
Deger, Plate 123,represents the triumphal entry into Jerusalem as recorded in all the Gospels, but with most complete detail in Luke 19:29-44. The people threw their garments upon a colt, and set Jesus thereon, and accompanied him from Bethpage to Jerusalem, waving palm branches (John 12:13), and spreading garments and palms in the street (Matt. 21:8), and shouting "Hosanna, Blessed is he that cometh in the name of the Lord." (Matt. 21:9.) The artist has allowed the mother of Jesus to witness this short lived triumph of her son; nor has he forgotten the children (Matt. 21:15).
Triumphal Entry.Plate 123.Triumphal Entry.Ernest Deger. 1809-1885.
Doré, Plates 125 and 127,gives two incidents of the early part of the week: the Herodians asking about tribute to Cæsar (Matt. 22:16-22), and the poor widow giving her contribution to the temple treasury (Mark 12:41-44).
Jesus and the Tribute Money.Plate 125.Jesus and the Tribute Money.Gustave Doré. 1833-1883.
The Widow's Mite.Plate 127.The Widow's Mite.Gustave Doré. 1833-1883.
Titian, Plate 126,in dealing with the incident of the tribute to Cæsar, has selected the moment Doré selected, when Jesus asks, "Whose image and superscription hath it?" (Mark 20:24.)
Tribute to Cæsar.Plate 126.Tribute to Cæsar.Titian. 1477-1576.
Van Dyck, Plate 96,has chosen the moment when Jesus says, "Render therefore unto Cæsar the things that are Cæsar's, and unto God the things that are God's" (Matt. 22:21).
Tribute Money.Plate 96.Tribute Money.A. Van Dyck. 1599-1641.
Towards the close of his discourse about The Last Things, Jesus gave the parable of the Wise and Foolish Virgins. (Matt. 25:1-13.)
Poloty, Plate 128,has attempted to illustrate this parable, and has chosen the moment when the foolish virgins discover that they are unprepared. (Verses 8 and 9.) Evidently the cry, "Behold the bridegroom cometh," was not heard, upon this occasion, "at midnight" (Verse 6.)
Parable of the Virgins.Plate 128.Parable of the Virgins.Carl Theodor von Poloty. 1826-1886.
Conspiracy Against Jesus.Plate 129.Conspiracy Against Jesus.Alexandre Bida. 1813-1895.
When the disciples entered the upper room all had neglected to assume the office of servant in preparation for the meal. They were disputing as to who should be the greatest in the kingdom. (Luke 22:24.) Jesus therefore arose from the table and performed the act of cleansing.
Brown, Plate 133,has portrayed the incident wonderfully well. The dialogue with Peter is just finished. (John 13:6-10.)
Jesus Washes the Disciples' Feet.Plate 133.Jesus Washes the Disciples' Feet.Ford Madox Brown. 1821-1893.
Da Vinci, Plate 131,has excelled all others in rendering the effects of the announcement Jesus made shortly afterwards, when they were at table again, "One of you shall betray me." Some of the disciples wonder (John 13:22), some ask, "Is it I?" (Mark 14:19.) Peter whispers to John to inquire who it is. (John 13:24.) The face of Judas alone is in shadow and inscrutable. Presently Judas will go out to the conspiring chief priests. (John 13:27-30.)
The Last Supper.Plate 131.The Last Supper.Leonardo Da Vinci. 1452-1519.
When Judas had departed, Jesus said, "Now is the Son of man glorified." (John 13:31.) "And as they were eating, Jesus took bread and blessed, and break it."
Bida, Plate 132,gives a graphic picture of the moment of blessing the bread. "This is my body which is given for you," he said (Luke 22:19). "This do in remembrance of me."
The Last Supper.Plate 132.The Last Supper.Alexandra Bida. 1813-1895.
Bida shows the bent figure of Judas retreating into the darkness.
Hofmann, Plate 130,continues the story. "And he took a cup, and gave thanks, and gave it to them, saying, Drink ye all of it; for this is my blood of the covenant, which is shed for many unto remission of sins." (Matt. 26:27-28.)
The Last Supper.Plate 130.The Last Supper.H. Hofmann. 1824-
No one has portrayed more clearly the characteristic attitudes of the disciples who heard these astonishing words. John is the only one who seems to appreciate the meaning of the sacrament. John only seems to have recalled distinctly what followed—the touching and comforting farewell discourses.
Hofmann, as well as Bida, shows the retreating Judas, going out into the night. "And when they had sung a hymn, they went out unto the mount of Olives." (Mark 14:26.)
"And they came unto a place which was named Gethesame; and he said unto his disciples, Sit ye here, while I go yonder and pray." (Mark 14:32, Matt. 26:36.)
Hofmann, Plate 136,reveals to us the Master in prayer, with Peter, James, and John in the distance. (Mark 14:33.) The moment is that when Jesus triumphs with the words, "Thy will be done." (Matt. 26:42.)
Jesus in Gethsemane.Plate 136.Jesus in Gethsemane.H. Hofmann. 1824-
Dolci, Plate 135,shows the angel which came and strengthened him. (Luke 22:43.) The angel bears the cross and the cup as symbols, but the cup brought that which was sufficient to the occasion. (Compare II. Cor. 12:9.)
Agony in the Garden.Plate 135.Agony in the Garden.Carlo Dolci. 1616-1686.
Jesus returned to the sleeping disciples. "Look," he said, "my betrayer is close at hand." He had hardly said the words when Judas came in sight with a crowd of people with swords and staffs. Judas came to Jesus and exclaimed, "I am glad to see you, Rabbi," and kissed him. (Twentieth Century N. T., Matt. 26:46-50.)
Scheffer, Plate 137,attempts to place the two characters, Jesus and Judas, in strong contrast before our eyes; but he hardly touches even the outside!
Kiss of Judas.Plate 137.Kiss of Judas.Ary Scheffer.
Hofmann, Plate 138,represents the captive Christ. Judas, smitten already with remorse, skulks along clutching his bag of silver. Mary is watching from a distance. John is weeping upon Peter's neck. "So the band and the chief captain and the officers of the Jews, seized Jesus, and bound him, and led him to Annas." (John 18:12-13.) Simon Peter and another disciple followed Jesus afar off, and managed to gain admittance to the court of the high priest's house. There Peter denied his Lord.
Jesus Taken Captive.Plate 138.Jesus Taken Captive.H. Hofmann. 1824-
West, Plate 140,represents Peter denying before the maid-servant (John 18:17), evidently the first time, for he was more violent the second time the maid questioned him. (Mark 14:70-71.) The painter has introduced the figure of Jesus to make the picture more intelligible. The maid seems to be asking Jesus if Peter has told the truth.
Peter's Denial of Christ.Plate 140.Peter's Denial of Christ.Benjamin West. 1738-1820.
Harrach, Plate 139,gives the denial of Peter before the soldiers in the presence of the maid-servant. (Mark 14:54 and 67.) As Peter denies, the cock, above in the branches of a vine, crows as Jesus had predicted. Harrach has seized upon the moment recorded by Luke alone. "And the Lord turned and looked upon Peter." (Luke 22:61.) And Peter remembered, and went out and wept bitterly. (Verse 6.)
Peter's Denial of Christ.Plate 139.Peter's Denial of Christ.Graf Harrach.
In the morning the trial is continued before Pilate. Probably no one has painted that scene so well as hasMunkacsy, Plate 141.The picture is true to the accounts of the evangelists, and is besides a great study of character. The face of Christ is about the only inadequate piece of representation in the whole picture. Munkacsy has evidently followed Luke's account. "And they began to accuse him, saying, We found this man perverting our nation, and forbidding to give tribute to Cæsar." The moment may be that after which Pilate says, "I find no fault in this man," and the accusers "become more urgent, saying, He stirreth up the people" (Luke 23:4, 5).
Trial Before Pilate.Plate 141.Trial Before Pilate.M'Haly Munkacsy. 1846-
Then the soldiers took Jesus into the Pretorium, and stripped him, and scourged him, and plaited a crown of thorns, and gave him a scarlet robe, and put a reed in his hand. Smiting him again and again on the head, they offered him mock reverence.
Guido, Plate 142,portrays Jesus at this time (Matt. 27:27-30). Afterwards Pilate brings Jesus forth to the crowd and says, "Behold the Man." (John 19:5.)
Ecce Homo.Plate 142.Ecce Homo.Guido Reni. 1575-1642.
Ciseri, Plate 143,takes us upon the colonnade with Pilate and Jesus, and gives us a sense of the mad crowd below—immense, implacable—shouting "Crucify him! Crucify him!" (John 19:6.)
Ecce Homo.Plate 143.Ecce Homo.Antonio Ciseri. 1825-
Hofmann, Plate 144,shows "the man" to us, and says, Behold him! Hofmann too, suggests the angry crowd, and in the distance introduces the three Marys. Both these artists include Pilate's wife in the picture because of Matt. 27:19.
Ecce Homo.Plate 144.Ecce Homo.H. Hofmann. 1824-
Doré, Plate 145,with his love of the extraordinary, has objectified such a dream as he supposes might have caused a Roman matron to 'suffer many things.' She sees the living and the dead, all heaven and hell attendant upon the Christ, and because of this fears for the welfare of her husband if he does not protect so august a person as this mysterious King, whose Kingdom is not of this world.
Pilate's Wife's Dream.Plate 145.Pilate's Wife's Dream.Gustave Doré. 1833-1883.
Pilate at last delivered Jesus over to be crucified. "And he went out bearing the cross for himself." Through loss of sleep and loss of blood, worn out with the long agony, Jesus fainted, and fell beneath the load of the cross. They compelled a man whom they met coming in from the country, Simon the Cyrenean, to bear the cross for Jesus, and thus, accompanied by a crowd of people, they came at last to Calvary. The scene which followed has been painted hundreds of times, as a whole, and in detail, sometimes with almost revolting realism, sometimes with fascinating power.
Hofmann, Plate 146,represents Jesus carrying the cross to Calvary (John 19:17), and the women who bewailed and lamented him. (Luke 23:27.) The company is just going through the Damascus gate.
Bearing the Cross.Plate 146.Bearing the Cross.H. Hofmann. 1824-
Thiersch, Plate 147,gives the tragic incident which occurred just outside the gate. Jesus has fallen. He is speaking to the women the words recorded in Luke 23:28-31. Calvary is seen in the distance where the crosses for the two thieves have already been placed. There they crucified him between the two thieves.
Bearing the Cross.Plate 147.Bearing the Cross.Ludwig Thiersch.
Munkacsy, Plate 149,gives us a picture of the retreating soldiers after the awful deed has been done. "The people stood beholding . . . the rulers scoffed at him, the chief priests mocked, the scribes said, He saved others; himself he cannot save." (Luke 23:35, Mark 15:31.) Darkness is coming upon the earth. InPlate 150,John and the three Marys are at the foot of the cross. (John 19:25.)
The Crucifixion.Plate 149.The Crucifixion.M. Munkacsy. 1844-
Christ on the Cross and the Three Marys.Plate 150.Christ on the Cross and the Three Marys.M. Munkacsy. 1844-
Hofmann, Plate 148,has chosen a later moment. Jesus has committed his mother to the care of John (John 19:26-27), and with the word, "It is finished," has given up his spirit into his Father's hands. (Luke 23:46.) Amid rending rocks and opening tombs the Centurion is saying, "Truly this was the Son of God." (Matt. 27:54.)
The Crucifixion.Plate 148.The Crucifixion.H. Hofmann. 1824-
Rubens, Plate 151,illustrates most graphically Mark 15:42-47. Joseph of Arimathæa went boldly to Pilate and asked for the body of Jesus. His request being granted, "he brought a linen cloth, and taking him down, wound him in the linen cloth." (Mark 15:46.) "And there came also Nicodemus, bringing a mixture of myrrh and aloes." So they took the body of Jesus and bound it in linen cloths, with the spices, as the custom of the Jews is to bury. (John 19:39-40.)
Descent from the Cross.Plate 151.Descent from the Cross.Rubens. 1577-1640.
Gerome, Plate 153,has given the most weird and graphic representation of the deserted hill and the doomed city. The supernatural darkness is passing. A flood of lurid light pours upon Calvary, casting the ominous shadows of the crosses towards the retreating multitude. In the distance the livid temple marks the place of the rending veil. (Mark 15:38.)
Golgotha.Plate 153.Golgotha.J. L. Gerome. 1824-
Morris, Plate 152,has drawn the deserted cross. An unknown woman lifts her little boy that he may see that which was written above the head of Christ. "And there was written, Jesus of Nazareth, The King of the Jews . . . in Hebrew, in Latin, and in Greek." (John 19:19-22.)
Whereon They Crucified Him.Plate 152.Whereon They Crucified Him.P. R. Morris.
Ciseri, Plate 156,portrays, if not "The grandest funeral that ever passed on earth," certainly the greatest. Joseph of Arimathæa, Nicodemus, and John the beloved carry the dead Christ. His mother, Mary, the Wonderful, walks by his side. "Is it nothing to you, all ye that pass by? Behold, and see if there be any sorrow like unto my sorrow, which is done unto me, wherewith the Lord hath afflicted me." (Lam. 1:12.) Mary, the wife of Clopas, Mary Magdalene, and probably Mary of Bethany, are the other mourners. "Now in the place where he was crucified there was a garden, and in the garden a new tomb wherein was never man yet laid." (John 19:41.)
Christ Borne to the Tomb.Plate 156.Christ Borne to the Tomb.Antonio Ciseri.
Hofmann, Plate 155,represents the company entering the rock-hewn tomb. He composes his company differently. The four women are present in the background, but now two of Joseph's servants have arrived to assist the three men who had been carrying the body. There, in the tomb, the body of Jesus was laid (John 19:42).
Entombment.Plate 155.Entombment.H. Hofmann. 1824-
Hofmann, Plate 154,adds a human touch not found in the records of the evangelists. The last to leave the body are John and the Lord's mother, Mary.
In the Sepulchre.Plate 154.In the Sepulchre.H. Hofmann. 1824-
Dyce, Plate 158,shows John and Mary with the crown of thorns, on their way to John's own home. (John 19:27.) Joseph and Nicodemus are just leaving the garden, while Mary Magdalene and another Mary watch at the tomb. (Mark 15:47.)
John and the Mother of Jesus.Plate 158.John and the Mother of Jesus.Wm. Dyce.
Dobson, Plate 157,has attempted to express the sorrow of Mary and the solicitude of John as they continue the walk homeward.
John and the Mother of Jesus.Plate 157.John and the Mother of Jesus.W. C. T. Dobson.
As it began to dawn towards the first day of the week, "there was a great earthquake, for an angel of the Lord descended from heaven, and came and rolled away the stone and sat upon it." (Matt. 28:1-2.)
Naack, Plate 159,has designed a panel which presents a synthesis of the various accounts of the resurrection, and adds the symbols of victory and triumph. Other artists have given more literal renderings of particular texts. For example:
The Resurrection.Plate 159.The Resurrection.A. Naack.
Hofmann, Plate 160,has Mary sitting upon the stone outside the tomb, weeping (John 20:11), and the risen Christ approaching her from behind.
Easter Morning.Plate 160.Easter Morning.H. Hofmann. 1824-
Di Credi, Plate 162,has selected the instant when Mary, turning, appeals to "the gardener," as she supposes, to show her where the body of Jesus has been hidden. (John 20:14-15.)
Christ Appearing to Magdalene.Plate 162.Christ Appearing to Magdalene.Lorenzo Di Credi. 1459-1537.
Plockhörst, Plate 161,expresses the joyful surprise of Mary when she recognizes her Lord. Jesus is directing her to go to his brethren and say, "I ascend unto my Father and your Father, and my God and your God." (John 20:17.) One hand is held as a warning to Mary not to touch him, the other points upward towards heaven.
Risen Lord and Mary Magdalene.Plate 161.Risen Lord and Mary Magdalene.B. Plockhörst. 1825-
In the afternoon, after the resurrection, two disciples on the way to Emmaus found themselves accompanied by a stranger with wondrous power as an expositor of scripture. (Luke 24:13-27.)
Plockhörst, Plate 164,takes us along the road with the three. The speaker is asking, "Was not the Christ bound to undergo all this before entering upon his glory?" (Verse 26.)
Walk to Emmaus.Plate 164.Walk to Emmaus.B. Plockhörst. 1825-
Scheffer, Plate 163,shows Mary of Magdala, Mary the mother of James, and another woman who, after their vision at the sepulchre, are on their way to tell the disciples. (Luke 24:9-10.) These are the women whose words seemed to the disciples but idle tales unworthy of belief. (Verse 11.)
Three Marys.Plate 163.Three Marys.Ary Scheffer. 1795-1858.
Hofmann, Plate 166,shows the two urging the stranger to stop at Emmaus. (Verses 28, 29.)
Walk to Emmaus.Plate 166.Walk to Emmaus.H. Hofmann. 1824-
Fürst, Plate 165,shows them inviting him into the house. (Verse 29.)
Walk to Emmaus.Plate 165.Walk to Emmaus.M. Fürst.
Müller, Plate 167,illustrates verse 30, "he took the bread and blessed it."
Supper at Emmaus.Plate 167.Supper at Emmaus.Carl Müller. 1839-
Diethe, Plate 168,shows him in the act of breaking the bread.
Supper at Emmaus.Plate 168.Supper at Emmaus.Alfred Diethe. 1836-
In the picture ofRembrandt, Plate 169,the glory appears, and the disciples recognize the Master "in the breaking of the bread." (Verses 31 and 35.)
Supper at Emmaus.Plate 169.Supper at Emmaus.Rembrandt 1607-1669.
That very evening at Jerusalem, Jesus appeared to the disciples who were gathered in an upper room. Thomas, one of the twelve, was absent, and doubted when the others told him that they had seen the Lord. (John 20:24, 25.)
Eight days later the disciples were again together, Thomas being with them. Suddenly Jesus stood in the midst. (John 20:26.)
Guercino, Plate 170,shows what followed. "Then said he to Thomas, reach hither thy finger and see my hand, and reach hither thy hand and put it into my side; and be not faithless, but believing." (John 20:27.) The painter has given Jesus a banner as a symbol of victory, a Christian symbol as old as the catacombs.
"Thomas the Doubter."Plate 170."Thomas the Doubter."Guercino. 1590-1666.
At the end of forty days Jesus appeared to the disciples once more, and after giving final instructions as to their future work, "he led them out until they were over against Bethany: and he lifted up his hands and blessed them." (Luke 24:50.)
Hofmann, Plate 171,illustrates the next verse. "And it came to pass, while he blessed them, he parted from them, and was carried up into heaven." In Acts the added information is given that "a cloud received him out of their sight." (Acts 1:9.) Luke says, "they worshipped him" (verse 52); but Hofmann has angels worshipping (the "two men" of Acts 1:10), for the disciples are too greatly astonished to worship just then.
The Ascension.Plate 171.The Ascension.H. Hofmann. 1824-
Rembrandt, Plate 172,emphasizes the glory of it all. The prayer of Christ (John 17:5), is answered, the promise of God (John 12:28), is fulfilled. The Spirit which appeared at the baptism of Jesus in the form of a dove, descending upon him as he began his ministry, here descends again as he enters the heavens where he ever liveth to make intercession for us.
The Ascension.Plate 172.The Ascension.Rembrandt. 1607-1666.