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.)
[Illustration: 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 ass, and the other as a horse.
[Illustration: 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, "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.
[Illustration: 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.)
[Illustration: 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.)
[Illustration: Jesus Anoints the Blind Man's Eyes with Clay.]
Plate 115. _Jesus Anoints the Blind Man's Eyes with Clay._
Theotocopuli. 1548-1625.
_Plockhoerst, 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.)
[Illustration: The Good Shepherd.]
Plate 116. _The Good Shepherd._ B. Plockhoerst. 1825-
_Schoenherr, 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.)
[Illustration: The Good Shepherd.]
Plate 117. The Good Shepherd. Carl Schoenherr.
[Illustration: The Lost Sheep.]
Plate 102. _The Lost Sheep._ Franz Molitor.
_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.)
[Illustration: 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 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.
[Illustration: 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.
[Illustration: 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.)
[Illustration: Prodigal Son.]
Plate 104. _Prodigal Son._ Gustave Dore. 1833-1883.
_Dore, 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.)
[Illustration: 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!
[Illustration: 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 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.
[Illustration: 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.
[Illustration: 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, "God 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.
[Illustration: 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.)
[Illustration: Christ Blessing Little Children.]
Plate 109. _Christ Blessing Little Children._ H. Hofmann. 1824-
_Plockhoerst, Plate 110,_ is equally true to the account and to
nature. Here a little child is asking to take her flowers to Jesus.
Plockhoerst 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.)
[Illustration: Christ Blessing Little Children.]
Plate 110. _Christ Blessing Little Children._ B. Plockhoerst. 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 attitude is not that of naive
childhood.
[Illustration: 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.)
[Illustration: Christ and the Young Ruler.]
Plate 112. _Christ and the Young Ruler._ H. Hofmann. 1824-
_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.
[Illustration: Christ and Zebedee's Children.]
Plate 121. _Christ and Zebedee's Children._ Bonifazio. 1494-1563.