The Great Painters' Gospel Part 7

[Ill.u.s.tration: 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 compa.s.sion of the Son, and the second the solicitude of the Spirit, the third teaches the enduring love of G.o.d the Father.

_Molitor, Plate 105,_ has designed an almost abstract father and son--_a_ prodigal, perhaps, but not _the_ prodigal--to match his panel of the lost sheep. The parable is but faintly echoed in this picture.

[Ill.u.s.tration: Prodigal Son.]

Plate 105. _Prodigal Son._ Franz Molitor.

The man who has painted the parable as a whole is _Dubufe, Plate 106._ The central panel in the triptych shows the young man wasting his substance in riotous living. "He squandered his property by his dissolute life," says one version. His feasts were such as that described by Isaiah 5:11, 12. The panel at the left shows the young man in want, feeding swine, when "no man gave unto him." (Luke 15:16.) In that at the right, he has returned to his father's house.

[Ill.u.s.tration: The Prodigal Son.]

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

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

[Ill.u.s.tration: Prodigal Son.]

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

_Dore, Plate 107,_ ill.u.s.trates 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.)

[Ill.u.s.tration: The Rich Man and Lazarus.]

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

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

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

[Ill.u.s.tration: 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 a.s.sistance. (Verses 38 and 44.) He has surpa.s.sed 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.

[Ill.u.s.tration: 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.

[Ill.u.s.tration: Raising of Lazarus.]

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

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

[Ill.u.s.tration: The Pharisee and Publican.]

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

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

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

[Ill.u.s.tration: Christ Blessing Little Children.]

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

_Plockhorst, Plate 110,_ 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 unconscious antic.i.p.ation of his triumphal entry to Jerusalem. (Matt. 21:8, 9 and 15.)

[Ill.u.s.tration: Christ Blessing Little Children.]

Plate 110. _Christ Blessing Little Children._ B. Plockhorst. 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 att.i.tude is not that of nave childhood.

[Ill.u.s.tration: 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.)

[Ill.u.s.tration: Christ and the Young Ruler.]

Plate 112. _Christ and the Young Ruler._ H. Hofmann. 1824-

_Bonifazio, Plate 121,_ ill.u.s.trates 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.

[Ill.u.s.tration: Christ and Zebedee's Children.]

Plate 121. _Christ and Zebedee's Children._ Bonifazio. 1494-1563.

AT JERUSALEM.

Pa.s.sION WEEK.

Jesus went on his way towards Jerusalem, and when he came within sight of the city he wept over it and said, "Would that you had learned, while there was time--yes, even you--the things that make for peace! But as it is, they have been hidden from your sight. For a time is coming for you when your enemies will surround you with earthworks, and encircle you, and hem you in on every side; they will trample you down and your children within you, and they will not leave in you one stone upon another, because you did not see that G.o.d 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!"

[Ill.u.s.tration: 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).

[Ill.u.s.tration: Triumphal Entry.]

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

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

[Ill.u.s.tration: Jesus and the Tribute Money.]

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