The Great Painters' Gospel Part 6

THE TRANSFIGURATION.

_Raphael, Plate 89,_ has given upon one canvas, and that one of the most famous in the world, the Transfiguration, and that which took place at the same time at the foot of the mountain. (Luke 9:28-36, and Mark 9:14-29.) _Plate 90_ is a part of the same picture. Compare the details of both of these plates with the scriptural account! No artist ever packed more literal and spiritual truth into a single canvas.

[Ill.u.s.tration: The Transfiguration.]

Plate 89. _The Transfiguration._ Raphael. 1483-1520.

[Ill.u.s.tration: 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 ill.u.s.tration "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.

[Ill.u.s.tration: Jesus and the Child.]

Plate 97. _Jesus and the Child._ H. Ballheim.

AT THE FEAST OF TABERNACLES.

The Scribes and the Pharisees brought to Jesus a woman taken in adultery.

_Hofmann, Plate 91,_ depicts the scene most graphically, at the moment when Jesus says, "Let him that is without sin cast the first stone."

[Ill.u.s.tration: 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.

[Ill.u.s.tration: 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.

[Ill.u.s.tration: "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.

[Ill.u.s.tration: "Behold, I stand at the Door and Knock."]

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

_Plockhorst, 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.

[Ill.u.s.tration: Christ the Consoler.]

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

THE PEREAN MINISTRY.

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

_Siemenroth, Plate 101,_ ill.u.s.trates the parable of the Good Samaritan. The Priest and the Levite have pa.s.sed by; the Samaritan is pouring oil and wine upon the wounds preparatory to binding them up.

(Luke 10:30-34.)

[Ill.u.s.tration: The Good Samaritan.]

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

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

[Ill.u.s.tration: The Good Samaritan.]

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

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

_Hofmann, Plate 114,_ has most beautifully drawn the group in the home of Lazarus,--Martha, "c.u.mbered 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.

[Ill.u.s.tration: 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.)

[Ill.u.s.tration: 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.)

[Ill.u.s.tration: Jesus Anoints the Blind Man's Eyes with Clay.]

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

_Plockhorst, Plate 116,_ has chosen to ill.u.s.trate the phrase, "He goeth before them and the sheep follow him."

Upon returning into Perea Jesus gave the "Three Parables of Grace."

(Luke 15.)

[Ill.u.s.tration: The Good Shepherd.]

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

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

[Ill.u.s.tration: The Good Shepherd.]

Plate 117. The Good Shepherd. Carl Schonherr.

[Ill.u.s.tration: The Lost Sheep.]

Plate 102. _The Lost Sheep._ Franz Molitor.

_Millais, Plate 103,_ ill.u.s.trates 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.)