[Illustration: Conspiracy Against Jesus.]
Plate 129. _Conspiracy Against Jesus._ Alexandre Bida. 1813-1895.
When the disciples entered the upper room all had neglected to assume
the office of servant in preparation for the meal. They were
disputing as to who should be the greatest in the kingdom. (Luke
22:24.) Jesus therefore arose from the table and performed the act of
cleansing.
_Brown, Plate 133,_ has portrayed the incident wonderfully well. The
dialogue with Peter is just finished. (John 13:6-10.)
[Illustration: Jesus Washes the Disciples' Feet.]
Plate 133. _Jesus Washes the Disciples' Feet._ Ford Madox Brown.
1821-1893.
_Da Vinci, Plate 131,_ has excelled all others in rendering the
effects of the announcement Jesus made shortly afterwards, when they
were at table again, "One of you shall betray me." Some of the
disciples wonder (John 13:22), some ask, "Is it I?" (Mark 14:19.)
Peter whispers to John to inquire who it is. (John 13:24.) The face
of Judas alone is in shadow and inscrutable. Presently Judas will go
out to the conspiring chief priests. (John 13:27-30.)
[Illustration: The Last Supper.]
Plate 131. _The Last Supper._ Leonardo Da Vinci. 1452-1519.
When Judas had departed, Jesus said, "Now is the Son of man
glorified." (John 13:31.) "And as they were eating, Jesus took bread
and blessed, and break it."
_Bida, Plate 132,_ gives a graphic picture of the moment of blessing
the bread. "This is my body which is given for you," he said (Luke
22:19). "This do in remembrance of me."
[Illustration: The Last Supper.]
Plate 132. _The Last Supper._ Alexandra Bida. 1813-1895.
Bida shows the bent figure of Judas retreating into the darkness.
_Hofmann, Plate 130,_ continues the story. "And he took a cup, and
gave thanks, and gave it to them, saying, Drink ye all of it; for
this is my blood of the covenant, which is shed for many unto
remission of sins." (Matt. 26:27-28.)
[Illustration: The Last Supper.]
Plate 130. _The Last Supper._ H. Hofmann. 1824-
No one has portrayed more clearly the characteristic attitudes of the
disciples who heard these astonishing words. John is the only one who
seems to appreciate the meaning of the sacrament. John only seems to
have recalled distinctly what followed--the touching and comforting
farewell discourses.
Hofmann, as well as Bida, shows the retreating Judas, going out into
the night. "And when they had sung a hymn, they went out unto the
mount of Olives." (Mark 14:26.)
"And they came unto a place which was named Gethesame; and he said
unto his disciples, Sit ye here, while I go yonder and pray." (Mark
14:32, Matt. 26:36.)
_Hofmann, Plate 136,_ reveals to us the Master in prayer, with Peter,
James, and John in the distance. (Mark 14:33.) The moment is that
when Jesus triumphs with the words, "Thy will be done." (Matt.
26:42.)
[Illustration: Jesus in Gethsemane.]
Plate 136. _Jesus in Gethsemane._ H. Hofmann. 1824-
_Dolci, Plate 135,_ shows the angel which came and strengthened him.
(Luke 22:43.) The angel bears the cross and the cup as symbols, but
the cup brought that which was sufficient to the occasion. (Compare
II. Cor. 12:9.)
[Illustration: Agony in the Garden.]
Plate 135. _Agony in the Garden._ Carlo Dolci. 1616-1686.
Jesus returned to the sleeping disciples. "Look," he said, "my
betrayer is close at hand." He had hardly said the words when Judas
came in sight with a crowd of people with swords and staffs. Judas
came to Jesus and exclaimed, "I am glad to see you, Rabbi," and
kissed him. (Twentieth Century N. T., Matt. 26:46-50.)
_Scheffer, Plate 137,_ attempts to place the two characters, Jesus
and Judas, in strong contrast before our eyes; but he hardly touches
even the outside!
[Illustration: Kiss of Judas.]
Plate 137. _Kiss of Judas._ Ary Scheffer.
_Hofmann, Plate 138,_ represents the captive Christ. Judas, smitten
already with remorse, skulks along clutching his bag of silver. Mary
is watching from a distance. John is weeping upon Peter's neck. "So
the band and the chief captain and the officers of the Jews, seized
Jesus, and bound him, and led him to Annas." (John 18:12-13.) Simon
Peter and another disciple followed Jesus afar off, and managed to
gain admittance to the court of the high priest's house. There Peter
denied his Lord.
[Illustration: Jesus Taken Captive.]
Plate 138. _Jesus Taken Captive._ H. Hofmann. 1824-
_West, Plate 140,_ represents Peter denying before the maid-servant
(John 18:17), evidently the first time, for he was more violent the
second time the maid questioned him. (Mark 14:70-71.) The painter has
introduced the figure of Jesus to make the picture more intelligible.
The maid seems to be asking Jesus if Peter has told the truth.
[Illustration: Peter's Denial of Christ.]
Plate 140. _Peter's Denial of Christ._ Benjamin West. 1738-1820.
_Harrach, Plate 139,_ gives the denial of Peter before the soldiers
in the presence of the maid-servant. (Mark 14:54 and 67.) As Peter
denies, the cock, above in the branches of a vine, crows as Jesus had
predicted. Harrach has seized upon the moment recorded by Luke alone.
"And the Lord turned and looked upon Peter." (Luke 22:61.) And Peter
remembered, and went out and wept bitterly. (Verse 6.)
[Illustration: Peter's Denial of Christ.]
Plate 139. _Peter's Denial of Christ._ Graf Harrach.
In the morning the trial is continued before Pilate. Probably no one
has painted that scene so well as has _Munkacsy, Plate 141._ The
picture is true to the accounts of the evangelists, and is besides a
great study of character. The face of Christ is about the only
inadequate piece of representation in the whole picture. Munkacsy has
evidently followed Luke's account. "And they began to accuse him,
saying, We found this man perverting our nation, and forbidding to
give tribute to Caesar." The moment may be that after which Pilate
says, "I find no fault in this man," and the accusers "become more
urgent, saying, He stirreth up the people" (Luke 23:4, 5).
[Illustration: Trial Before Pilate.]
Plate 141. _Trial Before Pilate._ M'Haly Munkacsy. 1846-
Then the soldiers took Jesus into the Pretorium, and stripped him,
and scourged him, and plaited a crown of thorns, and gave him a
scarlet robe, and put a reed in his hand. Smiting him again and again
on the head, they offered him mock reverence.
_Guido, Plate 142,_ portrays Jesus at this time (Matt. 27:27-30).
Afterwards Pilate brings Jesus forth to the crowd and says, "Behold
the Man." (John 19:5.)
[Illustration: Ecce Homo.]
Plate 142. _Ecce Homo._ Guido Reni. 1575-1642.
_Ciseri, Plate 143,_ takes us upon the colonnade with Pilate and
Jesus, and gives us a sense of the mad crowd below--immense,
implacable--shouting "Crucify him! Crucify him!" (John 19:6.)
[Illustration: Ecce Homo.]
Plate 143. _Ecce Homo._ Antonio Ciseri. 1825-
_Hofmann, Plate 144,_ shows "the man" to us, and says, Behold him!
Hofmann too, suggests the angry crowd, and in the distance introduces
the three Marys. Both these artists include Pilate's wife in the
picture because of Matt. 27:19.
[Illustration: Ecce Homo.]
Plate 144. _Ecce Homo._ H. Hofmann. 1824-
_Dore, Plate 145,_ with his love of the extraordinary, has
objectified such a dream as he supposes might have caused a Roman
matron to 'suffer many things.' She sees the living and the dead, all
heaven and hell attendant upon the Christ, and because of this fears
for the welfare of her husband if he does not protect so august a
person as this mysterious King, whose Kingdom is not of this world.
[Illustration: Pilate's Wife's Dream.]
Plate 145. _Pilate's Wife's Dream._ Gustave Dore. 1833-1883.