THE PEREAN MINISTRY.
During this part of his life Jesus gave some of his most famous parables.
Siemenroth, Plate 101, illustrates the parable of the Good Samaritan. The Priest and the Levite have passed by; the Samaritan is pouring oil and wine upon the wounds preparatory to binding them up. (Luke 10:30-34.)
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 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.
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.)
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.)
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.)
Schönherr, 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.)
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.)
If the first parable of the group teaches the compassion of the Son, and the second the solicitude of the Spirit, the third teaches the enduring love of God the Father.
Molitor, Plate 105, has designed an almost abstract father and son—a prodigal, perhaps, but not the prodigal—to match his panel of the lost sheep. The parable is but faintly echoed in this picture.
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.
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.)
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.)
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!
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.
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.
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.
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.)
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.)
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.
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.)
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.
