CHRIST THE LIGHT
In the life story of Helen Keller, a picture of the governess and her famous pupil is shown with the blind girl leaning her head on her teacher’s shoulder. This is a fair representation of the way in which life with its deeper and hidden meaning unfolded itself to the child. She drew so near to her teacher that her hand could touch eye, ear and lip. Before her teacher came to her, existence seemed like a dense fog and a great darkness, while her very soul cried out, Light, light! But when her education began, the way grew clearer and the truth plain as the “light of the teacher’s love shone upon her.”
There are men who are spiritually blind. They are shipwrecked mariners at sea in a dense fog. They are without compass and have nothing stable from which they can take their bearings. But when Christ comes into their lives their heart-cry for light is answered. (Text.)
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CHRIST, THE REJECTED
At the exhibition of the Royal Academy, in London, the great canvas by Sigismund Goetze, entitled “Despised and Rejected of Men,” has created an artistic sensation. It is declared to be a “powerful and terribly realistic presentment of Christ” in a modern setting, and is described by a writer in The Christian Commonwealth (London), as follows:
In the center of the canvas is the Christ, standing on a pedestal, bound with ropes, while on either side passes the heedless crowd. A prominent figure is a richly vested priest, proudly conscious of the perfection of the ritual with which he is starving his higher life. Over the shoulder of the priest looks a stern-faced divine of a very different type. Bible in hand, he turns to look at the divine figure, but the onlooker is conscious that this stern preacher of the letter of the gospel has missed its spirit, and is as far astray as the priest whose ceremonial is to him anathema. The startled look on the face of the hospital nurse in the foreground is very realistic; so is the absorption of the man of science, so intent on the contents of his test-tube that he had not a glance for the Christ at his side. One of the most striking figures is that of the thoughtless beauty hurrying from one scene of pleasure to another; and spurning the sweet-faced little ragged child who is offering a bunch of violets. In rejecting the plea of the child we know that the proud woman is rejecting the Christ who has identified himself forever with the least of these little ones. The only person in the whole picture who has found time to pause is the mother seated on the steps of the pedestal with her baby in her arms, and we can not but feel that when she has ministered to the wants of her child she will spare a moment for the lover of little children who is so close to her. In the background stands an angel with bowed head, holding the cup which the world He loved to the death is still compelling the Christ to drink, while a cloud of angel faces look down upon the scene with wonder. As the visitor turns away he is haunted with the music of Stainer’s “Crucifixion,” “Is it nothing to you, all ye that pass by?” (Text.)
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CHRIST, THE SEARCHING
A pastor tells of a talk he once had with an artist over the unsatisfactoriness of the pictured faces of Christ. In reply, the artist took up a crayon and rapidly sketched the picture of a woman with a broom in one hand and a lighted candle in the other, and a look of intense anxiety on her face.