The head of the Saviour is painted after the ideal portrait which has been handed down from generation to generation since the early days of Christianity. The oval face with classical features, the full beard, the long hair parted in the middle, such are the familiar features which we have all come to associate with the person of Jesus. Yet notwithstanding this general similarity in the many pictures of Christ, every great artist has brought out something different in the face.
It was Titian's peculiar glory to show the intellectual side of our Lord's character as no other Italian had done. Van Dyck, with characteristic admiration for the great Venetian, followed his example. If we compare our illustration with Titian's Christ of the Tribute Money[21] we shall see how closely the former imitates the latter. Yet, as no man of imagination can copy exactly another's work, Van Dyck's ideal of Christ is less ascetic than Titian's and somewhat more benign. In both pictures the pure countenance of the Saviour is sharply contrasted with the coarse face beside him.
[21] See Chapter VIII. of the volume on Titian in the Riverside Art Series.
We are interested to read on in St. John's narrative the sequel of the story illustrated in our picture. It happened to be the Sabbath day, and, as the restored paralytic passed through the city, the Jews said unto him: "It is not lawful for thee to carry thy bed."
"He answered them, He that made me whole, the same said unto me, Take up thy bed, and walk. Then asked they him, What man is that which said unto thee, Take up thy bed, and walk? And he that was healed wist not who it was: for Jesus had conveyed himself away, a multitude being in that place.
"Afterward Jesus findeth him in the temple and said unto him, Behold, thou art made whole: sin no more, lest a worse thing come unto thee. The man departed, and told the Jews that it was Jesus, which had made him whole."