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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..6833f05 --- /dev/null +++ b/.gitattributes @@ -0,0 +1,3 @@ +* text=auto +*.txt text +*.md text diff --git a/30220-8.txt b/30220-8.txt new file mode 100644 index 0000000..079a939 --- /dev/null +++ b/30220-8.txt @@ -0,0 +1,1617 @@ +The Project Gutenberg EBook of Evangelists of Art, by James Patrick + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Evangelists of Art + Picture-Sermons for Children + +Author: James Patrick + +Release Date: December 2, 2009 [EBook #30220] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK EVANGELISTS OF ART *** + + + + +Produced by Al Haines + + + + + + + + + + +[Illustration: Cover art] + + + + + + "Here, when Art was still religion, with a simple, reverent heart, + Lived and laboured Albrecht Dürer, the Evangelist of Art; + + Hence in silence and in sorrow, toiling still with busy hand, + Like an emigrant he wandered, seeking for the Better Land." + + LONGFELLOW, _Nuremberg_. + + + + +EVANGELISTS OF ART + +_PICTURE-SERMONS FOR CHILDREN_ + + + +BY + + +REV. JAMES PATRICK, B.D., B.Sc. + +COUPER UNITED FREE CHURCH, BURNTISLAND + + + + "Could I have traced one form that should express + The sacred mystery that underlies + All Beauty, and through man's enraptured eyes + Teach him how beautiful is Holiness..." + Sir J. NOËL PATON + + + + +CINCINNATI + +JENNINGS & GRAHAM + +1903 + + + + +_Printed by MORRISON & GIBB LIMITED, Edinburgh_ + + + + +CONTENTS + + + I. CHRIST IN THE TEMPLE . . . . . . . . . _W. Holman Hunt_ + + II. LUTHER AT ERFÜRT . . . . . . . . . . . _Sir J. Noël Paton, R.S.A._ + + III. HERCULES WRESTLING WITH DEATH FOR + THE BODY OF ALCESTIS . . . . . . . . . _Lord Leighton, P.R.A._ + + IV. ORPHEUS AND EURYDICE . . . . . . . . . _G. F. Watts, S.A._ + + V. THE LAST SLEEP OF ARGYLL . . . . . . . _E. M. Ward, R.A._ + + VI. WISHART DISPENSING THE SACRAMENT + BEFORE HIS MARTYRDOM . . . . . . . . . _W. Q. Orchardson, R.A._ + + VII. THE RIDER ON THE WHITE HORSE . . . . . _G. F. Watts, R.A._ + + VIII. THE MAN WITH THE MUCK-RAKE . . . . . . _Sir J. Noël Paton, R.S.A._ + + + + +CHRIST IN THE TEMPLE + +BY W. HOLMAN HUNT + + +[Illustration: CHRIST IN THE TEMPLE. By permission of Mr. Holman Hunt, +and of Mrs. Holt, Liverpool] + + +CHRIST IN THE TEMPLE + +_How is it that ye sought Me? Wist ye not that I must be in My +Father's house?_--LUKE ii. 49 (Revised Version). + + +The Bible story from which the text is taken has been illustrated by a +famous picture. The artist is Mr. Holman Hunt, who has painted many +pictures on Bible subjects, and has spent many years in Palestine in +connection with his work. His painting of "The Finding of Christ in +the Temple" is well worth seeing for the rich beauty of its colouring +and the delicate fineness of its workmanship, and every one who loves +the Bible must feel that it is still more worth seeing for the sake of +the scene which it represents. + +As you look at the picture you have before you the interior of a +spacious portico in the Temple at Jerusalem. The roof is supported on +graceful pillars, and from it there hang many lamps of beautiful +metal-work. The farther end is closed by an ornamental lattice-screen. +At the right hand side a wide doorway opens on the steps which lead +down to one of the Temple courts. A beggar sits on the steps just +outside the opening, and beyond him there are workmen busy at the +building of the Temple, which, as you know, was not finished for many +years after the boyhood of Jesus. You remember that when He had grown +to manhood, the Jews said to Him, _Forty and six years was this Temple +in building_,[1] and even then we know that it was not completed. In +our picture we see the scaffolding of the masons, and one of the cranes +by which they raised the stones into position. The workmen themselves +are engaged with a large marble block which is lying on the ground, and +for which there is a vacant space in the wall above. Beyond the +unfinished building there is a grove of trees, and in the further +distance we get a glimpse of the roofs of the city and of the hills +behind. Coming back to the interior of the portico we see an +interesting group of figures at the farther end. A father and mother +have come to present their child in the Temple, and they have bought a +lamb to offer in sacrifice. The father, with the lamb on his shoulder, +and the mother, with the little one in her arms, are following a priest +and another attendant who are leading the way further into the Temple, +while the man who has sold them the lamb is holding back the +mother-sheep. Doves are flying in by the doorway or hovering about +inside. They are among the + + "Happy birds that sing and fly + Round Thine altars, O Most High." + +A boy near one of the pillars is waving a long streamer in the air to +frighten them away. But our attention is principally drawn to the +foreground of the picture. This part of the portico is richly +carpeted, and here a number of Jewish Rabbis--the doctors or teachers +of the Law--are sitting in a half-circle, facing the doorway. They are +grave men, with long beards and flowing robes. Many of them are old +and grey. The Rabbi nearest us has a specially withered face, and eyes +that have become sightless with age. The one next him holds in his +hand a little metal box with leather thongs hanging down from it. This +is a phylactery, containing texts of Scripture written on parchment, +and the thongs are for fastening it on the forehead. Another of the +group wears his phylactery in its proper position. The blind Rabbi +clasps in his arms a great roll of the Law, richly mounted and +carefully wrapped up. A little boy, with a brush to drive away the +flies, kneels beside him, and another boy behind him is reverently +kissing the covering of the roll, which he has raised to his lips. One +of the younger Rabbis holds a smaller roll spread out before him. An +attendant is pouring out wine from a jar under his arm, for one of the +older men to drink. The Temple musicians, with youthful faces, and +with various instruments in their hands, stand behind the Rabbis and +watch the scene with much interest. But the central figure in the +picture is the boy Jesus, who has risen from the place where He has +been sitting, and is preparing to go away with Joseph and Mary. He +stands just inside the doorway, tightening His girdle with one hand, +while the other hand clasps His mother's arm. His bright, earnest face +is turned a little away from her, and His eyes glance towards the +Rabbis as if He were eager to hear the last of their words. Mary is +smiling with gladness because she has found Him, and is drawing Him +gently and lovingly away. Behind her, Joseph, a powerful and +noble-looking man, holds with one hand the broad strap by which his +wallet is slung over his shoulder, while his other hand rests beside +Mary's on the shoulder of Jesus. Just above his head there is a large +sun-shaped design on the side of the doorway, around which run the +words, both in Latin and in Hebrew, _The Lord whom ye seek shall +suddenly come to His Temple_.[2] + +Now there are at least two lessons which the story and the picture +teach us. There are two things in which the boy Jesus sets an example +to the boys and girls of to-day. + + +I + +First of all, there is _Love of heavenly wisdom_. You can well +understand that there must have been many places and many things in the +great and ancient city of Jerusalem which would be full of interest for +a boy of twelve, who had just come for the first time from His distant +village home. But there was no place so attractive to Jesus as the +Temple of God. There was nothing that pleased Him so much as to hear +what the wise men of the Temple had to say about God's truth and God's +service. He had thought a great deal about these matters Himself +though He was only a boy. He had a great many questions to ask. Three +days had not been long enough for Him to find out all that He wanted to +know. He thought that Joseph and Mary would have understood what He +liked best, that they would have known exactly where to find Him, that +they would never have thought of looking for Him in any other place +than His Father's house. + +You see that the love of heavenly wisdom is as natural and as beautiful +in a young mind as in an older one. The picture that I have been +describing shows Jesus with a real, bright, boyish face, which is +earnest and thoughtful at the same time. And you boys and girls who +read these pages will be able to make the best of the happy days of +your youth if you love your Heavenly Father and His house, if you are +eager to know and to obey His will. + + +II + +Secondly, there is _Obedience to earthly parents_. It was not with any +intention of disobeying Joseph and Mary that Jesus stayed behind in the +Temple. He did not think of their losing Him, or of their being +anxious about Him. He did not mean to grieve or vex them. He was so +carried away by His interest in the teaching of the wise Rabbis that He +thought about nothing else. This was just like a boy, and Jesus was a +real boy. But as soon as Joseph and Mary found Him and called Him, He +obeyed them. He rose from His seat among the doctors and went with His +parents towards the doorway. He would have liked to stay longer, and +He could not help looking back and listening to the last. But He never +once dreamed of remaining against Mary's or Joseph's will. He never +thought of making His love for God's wisdom and truth an excuse for +disobeying them. _He went down with them, and came to Nazareth: and He +was subject unto them_.[3] + +And so the boys and girls who are the most earnest and thoughtful, +those who love God's house and God's Word most deeply, ought to be the +most obedient boys and girls at home. God does not want to take your +mind and heart away from your parents and from what you owe to them. +He wants you to serve Him by your loving obedience to them. When you +honour your father and your mother you are honouring God's commandment, +and so honouring God Himself in the very best way. + + + +[1] John ii. 20. + +[2] Mal. iii. 1. + +[3] Luke ii. 51 (Revised Version). + + + + +LUTHER AT ERFÜRT + +By THE LATE SIR J. NOËL PATON, R.S.A. + + +[Illustration: LUTHER AT ERFÜRT. By permission of the executors of Sir +Noël Paton, and Mr. R. H. Brechin, Glasgow] + + +LUTHER AT ERFÜRT + +_I rejoice at Thy word, as one that findeth great spoil_.--Ps. cxix. +162. + + +I wish to connect this text with a picture which is thought by many +judges to be among the greatest of the late Sir Noël Paton's works. +Its title is "Dawn," and its subject is a well-known incident in the +life of the famous German Reformer, Martin Luther. + +As we see Luther in this picture he is a young man between twenty and +thirty years of age. He has had a brilliant career at the University +of Erfürt, and has taken his degree with the highest honours, but he +has disappointed all his friends by refusing to become a lawyer, and by +choosing to become a monk instead. He has already entered the +Augustinian monastery at Erfürt. Luther's reason for taking this +unexpected step has been anxiety about his soul. He has begun to do +his best to gain salvation by performing all the duties of a monk. He +has fasted, and scourged himself, and done without sleep. He has once +spent three whole days without eating or drinking. He has been found +fainting on the floor of his cell. But with all this he does not feel +that God has forgiven his sins. In this monastery, however, he has +found something which he has never seen before, and that is a Bible. +You would think it strange nowadays if a man were over twenty years +old, and a Master of Arts, and yet had never seen a Bible; but that was +quite common in Luther's time. Well, in this monastery there is a +Bible, a great Latin book bound in red leather. The other monks have +shown it to Luther, though they have not cared much about it +themselves. He has begun to read it eagerly. The first thing he has +read in it has been the story of Hannah and the little Samuel, and this +has made him think of his own mother Margarethe and himself. Night and +day he studies this precious book, but at first it only makes him more +anxious. It seems to speak to him only of the righteous and jealous +God, who hates and punishes sin. But he gets some advice from a wise +friend, and begins to read the Epistle to the Romans over again. And +at length the glad meaning of the gospel dawns upon him. His own +account of it is, _Straightway I felt as if I were born anew. It was +as if I had found the door of Paradise thrown wide open. Now I saw the +Scriptures altogether in a new light. That passage of Paul was to me +the true door of Paradise_. + +Sir Noël Paton's picture represents Luther reading the Bible and +finding his restlessness and anxiety giving place to gladness and peace +of heart. He is sitting at a reading-table with the great +leather-covered book open before him. He wears his monk's dark robe +and cowl. His hands are thin and wasted. His cheeks are pale and +hollow with fasting. His eyes are bloodshot and fevered with anxiety +and sleeplessness. Near his left hand a richly carved crucifix stands +on the table, and beside it are an hour-glass and a skull. An ink-pot +with pens is at the other side. A lamp hangs from the roof above his +head, but it is giving no light. Only a thin blue trail of smoke rises +from the wick, showing that the oil has been burnt out. The fresh +morning air is coming in at a half-opened window above the crucifix. +The bright morning sun shines through the richly stained glass, and +makes a strange blur of coloured light on the wooden shutter behind. +The front of the reading-table is adorned by a picture of the Garden of +Gethsemane, with Christ praying, and the disciples sleeping. On the +wall behind Luther is a portrait of Pope Alexander VI., who died not +long before this time, and was one of the worst of men. In a recess +beyond a curtain we see on another stained-glass window, the figure of +Augustine, one of the great teachers of the early Church, after whom +the monastery at Erfürt was named. A number of old parchment-covered +books are visible, and it is interesting to notice the titles of some +of them, and the places where they lie. Away on a shelf are the works +of Aristotle, a great philosopher of ancient heathen Greece. On the +floor beside the reading-table is a book by a man called Thomas +Aquinas, a famous Roman Catholic teacher of the thirteenth century. +And on the table is a book by Augustine about the City of God. A +rosary, that is, a string of black beads with a cross at the end, has +been thrust between the leaves of this last book, as if to mark the +page. We seem to see that Luther has come from the heathen philosopher +to the Roman Catholic doctor, and then to the earlier Christian +teacher, and last of all to the Bible itself. For the Bible is the +only open book; and the pale, worn, young monk, who has been reading it +all night, is still bending over it in the early morning, with a +wonderful earnestness in his look. The sunrise outside is an emblem of +the light that is beginning to dawn upon his soul. + +Now what can this picture teach you? Two things, I think, at least. + + +I + +The first is _to prize the Bible and study it earnestly_. You can +understand what a surprising and precious discovery the Bible was to +Luther, how glad he was to read it, how he _rejoiced_ in God's Word _as +one that findeth great spoil_. And one of the first things he did when +he had an opportunity was to translate the Bible into the common speech +of the German people, that every one might be able to have it, and that +no one might grow to manhood or womanhood without having seen it or +read it. + +Bibles are common and cheap in these days, but I am afraid that there +are still some people who are as old as Luther in our picture, and yet +do not know very much about the truths which the Scriptures contain. +Be sure that you do not despise the Bible because it is so familiar. +It is still the best of all books. Try to take as much interest in it +as if it were a book you had never seen before, and you will always +find something new and fresh in it to reward you. + + +II + +The second is _to discover in the Bible God's message of love and peace +to your own heart_. Luther's case shows that you cannot win God's +forgiveness by punishing yourself, by fasting, and scourging, and +sleeplessness, and things like these, while you can get forgiveness for +nothing just by taking it from God. Jesus Christ has won it for you. +He has loved you and given Himself for you. You simply need to believe +that God pardons you and saves you freely for Jesus Christ's sake. +This was what Luther found in his Bible. It is the best thing you can +find in yours. And when you do find it I am sure that you also will +_rejoice as one that findeth great spoil_. + + + + +HERCULES WRESTLING WITH DEATH FOR THE BODY OF ALCESTIS + +BY THE LATE LORD LEIGHTON, P.R.A. + + +[Illustration: HERCULES WRESTLING WITH DEATH FOR THE BODY OF ALCESTIS. +By permission of the Fine Art Society, 748 New Bond Street, London, the +owners of the copyright] + + +HERCULES WRESTLING WITH DEATH FOR THE BODY OF ALCESTIS + +_That through death He might bring to nought him that had the power of +death_.--HEB. ii. 14 (Revised Version). + + +We come now to a picture which represents a scene in one of the most +beautiful stories of ancient Greece. There was a king of Thessaly +called Admetus, with whom the god Apollo served for a time as herdsman. +Apollo had offended Zeus, the Father of the gods, by killing the +forgers of the thunderbolts with which Zeus had slain Apollo's son +Asclepius-- + + "And so, for punishment, must needs go slave, + God as he was, with a mere mortal lord." + +He found Admetus to be a kind master, and when his term of service was +over he showed his gratitude by obtaining from the Fates a promise +that, whenever Admetus should be about to die, his life would be +spared, if only some one of his friends should be found willing to die +instead of him. The promise was very soon put to the test. Admetus +was struck down with a deadly disease. His father Pheres and his +mother were each asked if they would die for their son, but though they +were old, and had not many years of life to hope for at the best, +neither of them was willing to make the sacrifice. When they refused, +Alcestis, the wife of Admetus, offered herself to Death in the flower +of her youth and beauty. She was taken, and her husband was spared. +Hercules was the greatest hero of the Greeks--their strong man, like +Samson in the Bible. And when Alcestis died Hercules came to the +rescue. He wrestled with Death, overcame him, and gave Alcestis back +to her husband again. This beautiful tale was taken by the Greek poet +Euripides as the subject of one of his plays, the _Alcestis_, which +some of you may read when you are older. The story is also found in +English in Browning's _Balaustion's Adventure_, which is just a +translation and explanation of the poem of Euripides. + +The fight of Hercules with Death for the body of Alcestis has been +painted as well as sung. Lord Leighton's large and masterly picture +brings the whole scene before us. In the centre you see the body of +Alcestis, which has been brought out of doors, and laid on a bier under +the shadow of some ancient trees. Beyond it, in the background, is the +dark blue sea, flecked with white spots of foam. The dead body is +covered with pure white drapery. The beautiful face is pale as marble, +and the brow is crowned with a garland of myrtle leaves. Roses are +strewn on the white coverlet, and on the ground. Beside the bier are +the offerings of food and drink which the Greeks used to burn along +with their dead on the funeral pyre. In the left hand corner lies a +shovel for digging the grave that is to receive the ashes. Several men +and women are gathered round the bier, mostly in a group near the head +of Alcestis. They are her friends, and the servants attending her dead +body. At the right hand side of the picture we see a terrible conflict +going on. Death has come in bodily form to meet the funeral +procession, and to take Alcestis away. His limbs are of a ghastly +ashen colour. His wings are black as night. He is wrapped in a dark +mantle, which hides almost the whole of his face, and shows only the +fearful gleam of his eyes. But Hercules is also there, strong and +ruddy, and wearing the skin of a lion which he has slain in one of his +adventures. He has grasped Death by both wrists, and is forcing him +downwards and backwards over his knee. He is plainly overcoming his +adversary. One of the women present is swooning away in fear. Some of +the others are hiding their faces from the dreadful struggle. The rest +are gazing on it with awestruck looks, hardly daring to hope that +Hercules will be victorious. + +Browning's poem, which was published in the same year[1] in which Lord +Leighton's painting appeared, contains at the end a description of the +picture, which you will be glad to read here. + + "There lies Alkestis dead, beneath the sun, + She longed to look her last upon, beside + The sea, which somehow tempts the life in us + To come trip over its white waste of waves, + And try escape from earth, and fleet as free. + Behind the body, I suppose there bends + Old Pheres in his hoary impotence; + And women-wailers in a corner crouch + * * * * * + Close, each to other, agonising all, + As fastened, in fear's rhythmic sympathy, + To two contending opposite. There strains + The might o' the hero 'gainst his more than match, + --Death, dreadful not in thew and bone, but like + The envenomed substance that exudes some dew + Whereby the merely honest flesh and blood + Will fester up and run to ruin straight, + Ere they can close with, clasp and overcome + The poisonous impalpability + That simulates a form beneath the flow + Of those grey garments." + + +Now, of course, the story of Admetus and Alcestis is a fable, but for +all that it is not worthless as some fables are. Though the god Apollo +never existed, and never lived among men as a servant, yet the old tale +reminds us of Him who was truly the Son of God; who came to this world +and lived a human life like our own--a life of lowly service; who did +this not because of any crime He had committed, since He was perfectly +holy; and not because any one forced Him to do it, but of His own free +and loving choice. And further, the story shows us how sorrow and +death came to these old Greeks, and awakened in their hearts great +dreams and longings. These desires seemed vain enough then, because +there was no one who could fulfil them. But they were the very desires +which Jesus Christ came to fulfil in due time. The Greeks thought of a +love which was strong enough to make one lay down one's life for a +friend, and they put that idea into the sacrifice of Alcestis. They +thought, too, of a power which was strong enough to conquer Death, and +to bring lost ones back to life, and they put that idea into the +victory of Hercules. + +In Jesus Christ you actually find both such a love and such a power. +He laid down His life for His friends--yes, and for His enemies. He +loved us, and gave Himself for us. And, though He died, yet He +conquered Death. He rose again in victory and glory. He gives eternal +life to all His disciples. He has abolished death, and has brought +life and immortality to light. Must not this picture, and this +old-world story, make us think reverently and lovingly of Him, and of +the verse which tells how He came _that through death He might bring to +nought him that had the power of death_? + + + +[1] 1871. + + + + +ORPHEUS AND EURYDICE + +BY G. F. WATTS, R.A. + + +[Illustration: ORPHEUS AND EURYDICE By permission from a photograph by +Mr. Frederick Hollyer] + + +ORPHEUS AND EURYDICE + +_He that goeth down to the grave shall come up no more_.--Job vii. 9. + + +Our last picture showed us a struggle in which Death was conquered. +This one illustrates another old Greek story--the story of a fight with +Death that failed. It is by Mr. G. F. Watts, one of the most famous of +living painters, and it is called "Orpheus and Eurydice." + +According to the old fable Orpheus was a great musician, so skilful +that he could tame wild beasts, and even make the trees and rocks move +by the sweet melodies which he played. Eurydice was his wife, and one +day she trod on a snake, which bit her, so that she died, and went down +into the world of ghosts. Orpheus loved her so much that he followed +her into that gloomy place, taking his lyre with him. He played such +entrancing music that all the ghosts were spellbound. Even Persephone, +the stern Queen of the Dead, was so touched that she gave him leave to +take Eurydice back with him to the land of the living. But she warned +him that he must not look back till they were both safely out in the +upper world. Orpheus was glad beyond measure, and meant to obey the +warning. But he was so anxious about Eurydice, that just before they +had passed the gate of the under world he looked round, to make sure +that she was near him. In an instant she was whirled away back, to +dwell for ever among the dead. Orpheus came forth alone, twice +bereaved, and more than doubly sad. + +Mr. Watts has painted several pictures of Orpheus and Eurydice. Some +of them show the figures at full length, but the one in our +illustration is less complete. Still it contains the principal points +that are to be seen in the other companion paintings. The scene is the +gloomy gateway of the world of the dead. It is all rough and rocky and +dark. Through its opening you catch a glimpse of the bright upper +world, and of the blue sky with its white clouds. Orpheus stands in +the shadow. His body has the glow of life and health. He wears his +minstrel's garland on his brow. But his face is full of anguish. For +he has looked backwards, and he sees that Eurydice, who is close behind +him, is a pale corpse again. Her arms, that have just been stretched +out to clasp his neck, have lost their power and are falling down +lifelessly. Her head is drooping upon her shoulder. Her eyes are +closed, and her fair face is turned towards the under world. One of +the pictures shows a lily which has dropped from her hand, and lies +trailing and broken among the stones at her feet. Her long golden hair +is blowing backwards into the dark. The right arm of Orpheus is +stretched out in a vain attempt to grasp her, and to hold her back from +being carried away by the resistless power that draws her. His left +hand holds his lyre, and all its strings save one are broken. His eye +is fixed on Eurydice's face in a gaze of hopeless pain. The picture is +terrible rather than beautiful to look upon. It tells us how, in the +sad, dark heathen world, before Christ came, men thought that though +Love might sometimes seem stronger than Death, Death was really +stronger than Love. + +Now the story of Orpheus has an interest for us in more ways than one. +The early Christians liked to think of the resemblance between Orpheus +and Christ. They saw in the minstrel, who tamed the wild beasts with +his music, a type of the gracious and gentle Saviour who came to subdue +the evil passions of men's hearts, and to change confusion and strife +into harmony and peace. In the pictures which they have left in the +Roman Catacombs Christ is very frequently represented under the figure +of the fabled musician. He appears as a young man sitting beneath a +tree, wearing a country cloak and cap, and with a harp on His knee. +The lion, the wolf, the leopard, the horse, the sheep, the serpent, and +the tortoise are gathered round Him, and peacocks and other birds are +perched upon the branches of the tree. + +But our picture leads us rather to think of the difference between +Orpheus and Christ. Christ's love, unlike the love of Orpheus, is +stronger than death. It brought back to life the little daughter of +Jairus, who had died just before He came to her father's house. It +brought back the widow's son at Nain, when his body was being carried +to the grave. It brought back Lazarus of Bethany, after he had been +dead four days. The love of Christ took Him into the world of the dead +Himself, that He might return as a Conqueror. It sets free all His +disciples from the power of death. It brings them all back, not to +this world of sin and sorrow, where they would have to die again, but +into the better world of heaven, where they have everlasting life and +gladness. What the old heathen Greeks dreamed of hopelessly has come +to pass. What Orpheus could not do for Eurydice because of his +weakness and forgetfulness, Jesus Christ in His strength and wisdom can +do for you and me. He will do it if we trust Him. His disciples need +never be troubled by the old despairing thought, _He that goeth down to +the grave shall come up no more_. + + + + +THE LAST SLEEP OF ARGYLL + +BY THE LATE E. M. WARD, R.A. + + +[Illustration: THE LAST SLEEP OF ARGYLL. By permission of Messrs. +Thomas Agnew & Sons.] + + +THE LAST SLEEP OF ARGYLL + +_Thou wilt keep him in perfect peace whose mind is stayed on Thee, +because he trusteth in Thee_.--ISA. xxvi. 3. + + +This is a painting which takes us back, not to any legend of pagan +times, nor to any Bible story, nor to any incident of the Reformation +in other lands, but to a scene in the history of our own country, and +it is well worthy of its place among the other historical pictures in +the Commons' Corridor of the Houses of Parliament. + +The nobleman who is the subject of the picture is not the great and +famous Marquis of Argyll, but his son, the ninth Earl of Argyll. The +Marquis was put to death in the year 1661, as one of the first victims +of the cruel government of King Charles II. after the Restoration. He +was the man who had placed the crown on the head of Charles at Scone, +when the Scottish people were loyal to him, though the English would +not own him as their king. When Charles came to the throne of both +countries, after ten years of exile, he showed his gratitude to his +faithful servant by sending him to the scaffold. The first words of +the Marquis, after he received the sentence of death, were, _I had the +honour to set the crown upon the king's head, and now he hastens me to +a better crown than his own_. And when he was leaving the prison to go +to the place of execution, he said to his friends, I could die like a +Roman, but choose rather to die as a Christian. + +The Earl, his son, who appears in our picture, was executed in 1685, +the first year of Charles' successor, James II. It was the same year +in which John Brown, the carrier of Priesthill, was shot by Claverhouse +in front of his own house, and before his wife's eyes; the year also in +which Margaret Maclachlan and Margaret Wilson--the latter a maiden of +eighteen--were tied to stakes fixed in the sand, and drowned for +Christ's sake in the Solway tide. The Earl of Argyll was a man who +worthily followed the noble example of his father. He was condemned to +death on a charge of treason, because he would not swear a certain oath +called the _Test_. This oath was directed against the Scottish +Covenanters, and all the king's officers and servants were required to +take it. Argyll did not approve of all that was in the oath, and said +that he could only swear it in so far as it agreed with the Bible and +with itself. For this he was tried, and sentenced to die, a few years +before the end of the reign of Charles II. But he escaped from prison, +and fled to Holland, where he remained for a time in safety. When +James II. came to the throne on the death of Charles, the Earl took +part in a rebellion against him, and came back to Scotland at the head +of an army. The rebellion failed, and Argyll was taken prisoner at +Inchinnan, near Renfrew. He was brought to Edinburgh, and though he +might have been tried for his rebellion, he was just treated as a man +already sentenced to death. On the morning of his execution, he said, +_I have more joy and comfort this day than the day after I escaped out +of the Castle_. He then wrote some letters, and took his dinner as +cheerfully as usual. After dinner, as his custom was, he lay down to +rest for a little, and slept for a quarter of an hour as sweetly and +pleasantly as he had ever done. While he was asleep, an officer of +state, who had been one of his chief enemies, came to the Castle to see +him, with a message from the Council. He was told that Argyll was +asleep, and was not to be disturbed. When he refused to believe this +the gaoler softly opened the door and allowed him to look into the +cell. As soon as he saw the Earl sleeping he turned without a word, +and ran out of the Castle into a friend's house near by. He was so +agitated that the lady of the house thought he was ill and offered him +wine. But he declined it, with these words, _I have been in at Argyll, +and saw him sleeping as pleasantly as ever a man did, within an hour of +eternity: but as for me_--and then he could say no more. + +Argyll's place of imprisonment may still be seen in Edinburgh Castle. +In Mr. Ward's picture his bed-chamber is before you. Its thick walls, +its bare floor, and its heavy vaulted roof are all of stone. Through +an open door you look into another room where you see the table at +which he has just dined. It is covered with a white cloth, on which +are the remains of the dinner, and you notice that the wine-glass that +stands beside the flagon has not been emptied. In the nearer room the +Earl is lying on the prison bed in his ordinary clothes. He wears a +suit of black velvet, with a collar of lace at the neck, and full cuffs +of white linen at the wrists. His boots have not been removed, and he +is stretched out only as comfortably as his fetters will allow. His +head rests on a great white pillow, and his brown hair falls smoothly +from beneath his black velvet cap. A newly written letter has fallen +from his hand to the floor. You can read the signature, _Argyll_, and +the date, _1685_. On a chair at the head of the bed there is a large +Bible, and beside it lies an old-fashioned watch, with its hand moving +slowly round to the hour of execution. The light from a little window +falls on the sleeping prisoner's face, which is fresh coloured and full +of peace, with no trace of paleness or fear. Near the foot of the bed +the thick outer door, studded with iron, and with a heavy lock, and +many bolts, stands open. In the background there is a rough gaoler, +holding the door by the key in the lock, while the rest of the bunch of +prison keys hangs from his hand. In front of him is the officer of +state, fashionably dressed in a rich red cloak, with a tasselled +waist-band. His cuffs are of fine lace, he wears a jewelled ring, and +his long hair curls down upon his shoulders. He has let his hat fall +to the floor in his astonishment, and is staring at the sleeping Earl +with remorse and confusion in his face. + +Such a picture suggests many thoughts. It reminds us of the cruel +sufferings our forefathers had to endure for conscience' sake, and of +the great debt we owe to those who were ready to lay down their lives +in the cause of truth and freedom. + +It shows also what a terrible thing it is to have a guilty conscience, +as the officer who visited Argyll plainly had. It teaches that a bad +man's life of remorse and shame is a thing far more miserable, and far +more to be feared, than a good man's undeserved death. + +Above all, it tells us that the secret of courage and calmness, both +for living and for dying, is faith in God our Father, and in the Lord +Jesus Christ our Saviour. It proves how true are the words, _Thou wilt +keep him in perfect peace whose mind is stayed on Thee, because he +trusteth in Thee_. + + + + +WISHART DISPENSING THE SACRAMENT BEFORE HIS MARTYRDOM + +BY W. Q. ORCHARDSON, R.A. + + +[Illustration: WISHART DISPENSING THE SACRAMENT BEFORE HIS MARTYRDOM. +From a photograph by J. & R. Annan, Glasgow, by permission of Mr. J. C. +Buist.] + + +WISHART DISPENSING THE SACRAMENT BEFORE HIS MARTYRDOM + +_With desire I have desired to eat this passover with you before I +suffer_.--LUKE xxii. 15. + + +Here we have a picture which represents a Communion service, yet a +service which is different in some ways from those which you have been +accustomed to see. The company is a small one, for there are only +about a dozen people present. They are met, not in a church, but in a +rather bare and plainly furnished room. In the centre of the picture +there is a table covered with a white cloth, on which is set a salver +with some bread and three wine cups upon it. Behind the table a man is +standing and speaking, with his hands stretched out over the bread and +the wine before him. He is tall and bearded, and wears a simple dress +of dark colour. His face is pale, and his whole look is full of an +earnest gladness. Beside him sits a richly dressed lady, with a +countenance of rare beauty and goodness. Her eyes are fixed on the +speaker, and she is drinking in eagerly every word that he utters. +Beyond her, at one end of the table, sits a gentleman with a refined +and thoughtful face. He also is leaning forward and listening with the +deepest interest. Opposite him, at the other end of the table, an old +man is sitting very erect, with one hand resting on a staff, and the +other grasping the arm of his chair. He too is gazing steadfastly at +the man who speaks. Beside the old man is a woman, and on her knee is +a little child who is playing with one of the pieces of bread on the +table. At the side of the table next us there is a chair with a +soldier's round shield set against it and a sword lying upon it. A +sweet-faced little girl is leaning over the chair and clasping her arms +round the hilt of the sword. She is another eager listener, and she +seems to understand all that is being said. Behind her stands the man +to whom the sword and the shield belong. Beyond them is another man +whose head is bowed down upon the back of the gentleman's chair, and +who appears to be hiding his face in sorrow. At the further side of +the table are two or three men. Above them a curtain hangs from the +roof. The only other bit of ornament in the room is a tall vase which +stands on the floor in front of the table. Behind the speaker there is +an open doorway, guarded by a soldier with a steel cap on his head. + +You will ask when and where this Communion service took place, and who +the people in the picture are. + +Well, the time is the year 1546--nearly 360 years ago. The place is +the Castle of Saint Andrews. The speaker is George Wishart, one of the +early martyrs of the Scottish Reformation. The scene took place on the +morning of the day--the 28th of March--when he was burned to death at +the stake in front of the Castle. The gentleman at the end of the +table is the Governor of the Castle. The beautiful lady is his wife. +The little girl and the baby boy are their children. The others +present are their guests, or their servants, or friends of the +prisoner. And the soldier at the door is there to see that the +condemned man does not escape. + +Let me tell you a little more about George Wishart, and about what took +place that March morning. Wishart was a learned Scottish gentleman, +who had come to believe in the gospel as Luther and the other Reformers +preached it. He had been banished from his native land by the bishops +for teaching the Greek New Testament at Montrose. After spending some +years at the University of Cambridge in England he had returned to +Scotland in 1544, and had preached the Reformed doctrines with great +earnestness and success in Montrose, Dundee, Ayrshire, and Haddington. +In the last-named place he had among his followers John Knox, who was +then a young man, and who afterwards became the great leader of the +Scottish Reformation. Before going to Haddington he had paid a second +visit to Dundee, where the plague was raging at the time, and had +ministered with great fearlessness and tenderness to those who were +suffering from this dreadful disease. There is still standing in +Dundee one of the old city gates--the Cowgate Port, where Wishart +preached to the healthy on one side, and to the plague-stricken on the +other. When in Dundee at this time, he narrowly escaped being murdered +by the enemies of the truth; and after he left Haddington he fell into +the hands of Cardinal Beaton, who was the leader of the Roman Catholic +party in Scotland. He was taken to Saint Andrews, tried for heresy, +sentenced to death, and condemned to be executed the next day. + +After spending the night in prayer, he was visited next morning by a +good man called John Winram, who was then the Sub-Prior of the Abbey of +Saint Andrews, and who afterwards joined the Reformed Church. Winram +had a long talk with him in his prison cell, and asked him if he was +willing to receive the Sacrament of the Lord's Supper. Wishart +answered, _Most willingly, so I may have it ministered according to +Christ's institution, under both heads, of bread and wine_. Winram +then went to Cardinal Beaton and the other bishops, and asked that this +might be granted to the prisoner. But they refused, answering that it +was not reasonable to grant any spiritual benefit to an obstinate +heretic, condemned by the Church. + +After Wishart heard this he was invited to breakfast by the Governor of +the Castle, and he accepted readily, saying, _I perceive, you to be a +good Christian, and a man fearing God_. When they were at breakfast, +Wishart said to his host, _I beseech you in the name of God, and for +the love you bear to our Saviour Jesus Christ, to be silent a little +while, till I have made a short exhortation, and blessed this bread +which we are to eat, so that I may bid you farewell_. Then he spoke to +the company for about half an hour on the institution of the Lord's +Supper, and the death of Christ, and exhorted them to love one another +and to live holy lives. Afterwards he blessed and broke the bread, and +gave a portion to every one present. And in the same way, after +tasting the wine, he passed the cup round them all, bidding them to +remember with thankfulness the death of the Lord Jesus Christ. _As to +myself_, he said, _there is a more bitter portion prepared for me, only +because I have preached the true doctrine of Christ, which bringeth +salvation. But pray you the Lord with me that I may take it patiently, +as out of His hand_. Then he concluded with another thanksgiving, and +went back to his own chamber to wait for the hour of his martyrdom, +which came very soon. + +The stake at which he was to be burned was fixed in the ground in front +of the Castle, and the Cardinal and his friends sat on cushions at the +windows, to enjoy the sight of his martyrdom. Wishart was led to the +place with his hands bound behind his back, a rope round his neck, and +an iron chain about his waist. He knelt down and prayed thrice, _Oh, +thou Saviour of the world, have mercy on me! Father of heaven, I +commend my spirit into Thy holy hands_. The executioner knelt down +before him and asked his forgiveness for what he was about to do. +Wishart said, _Come hither_; and then kissed his cheek, with the words, +_Lo, here is a token that I forgive thee. My heart, do thine office_. +When the flames leaped up around him, he cried to the Governor of the +Castle, _This fire torments my body, but no way abates my spirit_. +Last of all he warned the Cardinal that his own doom was near at hand, +and then he was strangled by the rope being pulled tightly about his +neck, and his body was burned to ashes. + +Now, if we come back to the picture of Wishart's last Communion, we +shall find in it many deep and beautiful lessons, which even boys and +girls can understand and learn. + +You see that in the days of the Reformation there were good men and +women, like John Winram, and the Governor of the Castle, and his wife, +who sympathised with the Reformers, even though at first they did not +come out boldly on their side. And there are still people, in the most +unlikely places, who really love truth and goodness, and show their +secret feeling at times in unexpected and surprising ways. + +You see that we do not need bishops and priests to give us the Lord's +Supper, but that this Sacrament can be enjoyed in the simplest way +wherever two or three followers of the Lord Jesus are gathered together +in His name. George Wishart's last Communion was strangely like the +first Communion of all, which Jesus observed at Jerusalem with His +disciples. Wishart, like his Master, was about to die for the truth. +He desired to hold this farewell feast with his friends. And in doing +so he made use just of the food and drink of an ordinary meal. + +And you see, lastly, that the Communion in the picture was like our own +Communions in this, that children were present, looking on, and +listening, and understanding something of what was said and done. I am +sure the Governor's little girl would never forget that Communion, nor +the good man who took such a touching farewell of his friends in the +name of the Lord Jesus. I think that surely she would always remember +not only George Wishart, but George Wishart's Master and Lord, of whom +he spoke so earnestly, and for whom he was so willing to die. And I +hope that you boys and girls who look on at the Communion services in +your own church, and see the disciples of Jesus Christ eating the bread +and drinking the wine in remembrance of Him, will understand something +of what all this means, and will learn to love Him and serve Him and +remember Him yourselves, and all your lives long. + + + + +THE RIDER ON THE WHITE HORSE + +BY G. F. WATTS, R.A. + + +[Illustration: THE RIDER ON THE WHITE HORSE. By permission, from a +photograph by Mr. Frederick Hollyer.] + + +THE RIDER ON THE WHITE HORSE + +_And I saw, and behold, a white horse: and he that sat on him had a +bow; and a crown was given unto him: and he went forth conquering, and +to conquer_.--REV. vi. 2. + + +The Book of Revelation is full of word-pictures of the wonderful things +which its writer saw in vision. And it is natural that great artists +should try to turn some of these word-pictures into real pictures for +the eye. Mr. Watts has done this for the first part of the sixth +chapter, which tells us about the four different horses, white, red, +black, and pale, and about their four riders. He has made these horses +and riders the subjects of four different paintings, and it is the +first of them--the Rider on the White Horse--which is before us now. +As we look at the picture we are helped to imagine what the vision was +like, and helped perhaps also to understand the truth it was meant to +teach. + +The Horse and the Rider are, of course, the principal figures. The +Horse is a splendid milk-white charger. Its breast is broad and +powerful. Its neck is arched proudly. It has a small but graceful +head, beautiful eyes, widely opened nostrils, and a mouth that seems to +be impatiently champing the bit. The front portion of its mane is +parted on its brow and streams back round the ears on either side. The +rest of the mane is erect on its neck. The Rider is a towering and +terrible figure. He wears a loose flowing cloak which swells around +and behind him in the wind. His left arm, strong and bare, is firmly +stretched out, and his left hand holds a thick bow in its iron grasp. +His right arm is out of sight, and only the right hand is seen, drawing +back the bowstring to his breast. At his left side there hangs a +quiver, full of arrows with feathered shafts. On his head he wears a +stately winged helmet, and above it a crown. His face wears a look of +commanding strength, and in the eyes beneath the shadow of the helmet +there is an awful gleam of fixed and pitiless resolve. + +These two principal figures are closely surrounded by others. Three of +these on the left of the Horse first attract our attention. The +foremost, a dusky form, with head bent forward, and breast and +shoulders bare, leads the Horse with his right hand by the bridle rein. +Behind him, the fair face of a woman appears, framed in the folds of +the mantle that is gathered closely around her neck; and behind this +still another face is seen in the background. These three are all +marching alongside of the Horse and his Rider. Just in front of the +figure who leads the Horse there is a figure lying backwards with +closed eyes, as if in death; and on the further side of the Horse two +other lifeless faces come into view. In the lower left hand corner of +the picture, just in front of the Horse we see the bowed head and +stooping shoulders of one more dark form. All these figures, the dead +as well as the living, have bright stars on their foreheads, though the +star on the brow of the one furthest back is partly hidden by the bow. +The Rider and his companions move forward under a gloomy sky, with +angry streaks of light showing here and there between the clouds. A +wind seems to be blowing in their faces. And high up behind them great +eagles, with spreading wings, are hovering in the air. + +Now, what shall we say is the meaning of the Bible vision which this +picture brings afresh before our eyes? The four Horses with their +Riders represent four kinds of judgment which God sends at times upon +the world. They are Conquest, Slaughter, Famine, and Death. The Rider +on the White Horse stands for the first of these. The picture shows us +the way in which strong nations and their rulers subdue the world, and +build up great Empires by force. The Rider's stately figure, and +resolute face, and stern, unpitying eyes remind us of famous conquerors +like Alexander the Great and Napoleon. The bow and quiver make it +clear that it is by the weapons of war that their successes have been +won. The proud war-horse, forcing its way among the thronging forms +around it, suggests the resistless power with which Conquest goes on +its triumphant way. The crown on the Rider's head is an emblem of the +glory and dominion which conquerors win. In the other figures with the +starry brows we may see the different nations, or the kings and queens, +who have been touched and influenced by the spirit of War for Empire's +sake. The leader of the Horse, and the other two forms behind him, may +represent nations that are marching along on the path of Conquest. The +prostrate, lifeless figures may be nations that have perished in the +strife. And the bowed head in front of the Horse's breast may stand +for one of the nations that are subdued, and brought under the power of +those that are stronger than themselves. The dark, angry sky makes us +feel that the Conqueror's progress is full of dread; and the eagles +give us a hint of the horrors that he leaves behind him, of the dead +bodies that lie in the track of the White Horse and his terrible Rider, +of the other three Riders, more terrible still, who follow in his train. + +As we look at this picture we learn that War and Conquest have two +sides. At first sight we are attracted by the power and majesty of the +Horse and his Rider, and we cannot help admiring them. There is +something grand and noble in the might of a great nation, in the strong +will and fearless courage of a great conqueror. We are stirred and +thrilled when we see the march of great armies, and hear the tidings of +great victories. There is a feeling of pride in belonging to a great +Empire which has proved itself able to subdue the world. It seems a +glorious thing to lead, or even to take part, in such a conquest. But +the more closely we look at the picture, the more we feel that it is +not altogether a pleasant and satisfying sight. The kind of conquest +which the Rider on the White Horse represents is, after all, not a +blessing, but a judgment which God sends on the world. It is the +victory of strength over weakness. If it brings glory to some nations, +it brings destruction to others, and humiliation to others still. It +means the loss of countless lives, and the wrecking of numberless +homes. It is followed by unspeakable sufferings and bitter sorrows. +It knows nothing of pity or mercy. Its garlands of triumph are stained +with blood and tears. + +And so we gladly turn away from this picture to think of another +Conqueror of whom the Bible tells us, and who is described in these +words: _Behold, thy King cometh unto thee: He is just, and having +salvation; lowly, and riding upon an ass.... And the battle-bow shall +be cut off: and He shall speak peace unto the nations: and His dominion +shall be from sea to sea, and from the river to the ends of the +earth_.[1] This conquering King is the Lord Jesus Christ. He took +these words of the prophet to Himself when He rode into Jerusalem to +die. His conquest is of a far nobler kind than that of war and force. +It is the victory of right over wrong. Its motive is not ambition, but +love. He is not stern and pitiless, but tender and gracious. He rides +in majesty _because of truth, and meekness, and righteousness_.[2] He +is the Prince of Peace. His triumphs bring no sorrow or hurt or death +in their train. He blesses those whom He overcomes. His Empire is the +only one that we can be truly proud to belong to, the only one that +will conquer the whole world and last for ever. + + + Jesus shall reign where'er the sun + Does his successive journeys run; + His kingdom stretch from shore to shore, + Till moons shall wax and wane no more. + + Blessings abound where'er He reigns: + The prisoner leaps to lose his chains; + The weary find eternal rest; + And all the sons of want are blest. + + + +[1] Zech. ix. 9, 10. + +[2] Ps. xlv. 4. + + + + +THE MAN WITH THE MUCK-RAKE + +BY THE LATE SIR J. NOËL PATON, R.S.A. + + +[Illustration: THE MAN WITH THE MUCK-RAKE. By permission of Mr. Haydon +Hare.] + + +THE MAN WITH THE MUCK-RAKE + +_Set your affection on things above, not on things on the earth_.--COL. +iii. 2. + + +In the second part of the _Pilgrim's Progress_, Bunyan tells us how +Christiana and her children came to the Interpreter's House, and were +taken by the master of it into one of his Significant Rooms. In one of +these there was _a man that could look no way but downwards, with a +muck-rake in his hand; there stood also one over his head, with a +celestial crown in his hand, and proffered him that crown for his +muck-rake; but the man did neither look up nor regard, but raked to +himself the straws, the small sticks, and dust of the floor_. + +The late Sir Noël Paton has taken this as the subject of one of his +most famous pictures. The canvas is a large one, and the figures in it +are of life-size. That of the man with the muck-rake himself first +arrests your eye, and chiefly draws your attention. He is an old man +with a grey beard. His face is a handsome one, and you see that he has +gifts and powers which might have made him wise and venerable in his +old age, if only he had made a good use of them. But instead of the +noble gravity which you might expect to find on such a face, there is +nothing but an eager gleam and a senseless smile of perfectly childish +and foolish delight. He wears on his head an old broad-rimmed hat, +adorned with a gold chain and a peacock's feather. At his belt he has +several bags full of gold, and also a dagger with which he is ready to +defend his possessions. One of the bags has burst, and the coins are +dropping on the ground. On his back he carries a wallet, crammed with +old law-papers and straw. He kneels on one knee, and his whole body is +bent downward. With his left hand he grasps the handle of a rake which +has three long prongs. He is using the rake to draw towards him a lot +of varied stuff that is littered about in front of him--more straw and +papers, a broken necklace of beads, and a heart-shaped brooch, besides +coins and feathers, and other such things. A large black beetle creeps +near his feet. A little further in front of him more rubbish lies in a +heap--a book of fashions, a fan, still more straw, some artificial +roses and withered leaves, an old lamp, a skull, and a king's crown, +all battered and bent and blood-stained. There is a toad crouching +under the fan. Among the other things a snake is crawling, and blowing +out of its mouth beautifully coloured bubbles, airy and unsubstantial. +You can see one of them breaking as it touches a stone. It is on these +bubbles that the eager, delighted gaze of the old man is fixed, and to +grasp them he is stretching out his thin and trembling right hand. His +left ankle is bound by a strong fetter of gold. When you have looked +at the picture for a little while, you see that he is in a prison cell. +A faint light glimmers through a grated window at the back, where steps +come down into the cell by the side of a pillar. Beside the old man a +lantern stands on the ground. Its glass sides are shaped like church +windows, but the flame of the candle inside is guttering and going out. +The straw on the floor is bursting into red flames and wreaths of +smoke, and the whole pile of rubbish is on the point of being burned up. + +Behind the man with the muck-rake is another Figure, tall and straight, +yet bending down in pity. It is the Figure of Christ. He stands +motionless, with a look of sorrowful patience on His face. One of His +hands is laid on the old man's shoulder, and with the other He holds up +a bright crown. It is a crown of thorns, the same which He wore +Himself, but on the thorns are seven bright stars. They turn it into a +crown of glory, and shed a radiance over all the picture. You can see +that the Saviour's hands have been pierced, and that the thorns have +left bleeding marks upon His brow. + +Away in the dim background, hovering on many-tinted pinions, and with +hands clasped in prayer, is an angel--the guardian angel of the old +man's soul. This angel has a face of unspeakable sadness, and eyes in +which you can almost see the trembling of big tears, ready to fall. + +These are some of the things that the genius and the exquisite skill of +the painter have put into the picture for our eyes to see. What did he +mean our minds and hearts to understand by them all? Perhaps I may +begin to answer that question by reminding you of what John Banyan +meant by the man in his story. + +_Then said Christiana_ (to the Interpreter), _I persuade myself that I +know somewhat the meaning of this; for this is a figure of a man of +this world: is it not, good Sir?_ + +_Thou hast said the right, said he; and his muck-rake doth show his +carnal mind. And whereas thou seest him rather give heed to rake up +straws and sticks, and the dust of the floor, than to do what he says +that calls to him from above, with the celestial crown in his hand, it +is to show that Heaven is but as a fable to some, and that things here +are counted the only things substantial. Now, whereas it was also +shewed thee that the man could look no way but downwards, it is to let +thee know, that earthly things, when they are with power upon men's +minds, quite carry their hearts away from God._ + +_Then said Christiana, O deliver me from this muck-rake!_ + +I think I am not wrong in saying that the story and the picture set +before us two kinds of life--a poor and worthless one which many people +choose, and a high and glorious one from which many people turn away. + + +I + +The man with the muck-rake represents _The worldly life_--the life of +selfishness, of grasping and striving after the good things of this +earth alone. + +This is a childish kind of life for any one to spend. A look at the +old man's face shows us that. God has given us natures that we can put +to the noblest uses; but if we prize and pursue nothing save the +pleasures and the riches of this world, we shall carry into our old age +the foolishness and senselessness of the youngest children. + +Such a life, besides, is a life of bondage and care. We make the world +into a prison, and we fetter ourselves with chains, when we make its +good things our chief aim and reward. The battered and blood-stained +crown shows that the highest earthly ambitions have their pains and +miseries even when they are most successful. + +Then this kind of life does not satisfy, and does not last. The varied +rubbish shows that this world's possessions are not worth much after +all. The bursting bubbles show that their attraction is hollow and +delusive. The coins escaping from the bags show that we cannot keep +our riches for ever, no matter how hard we try. The rising flames +remind us that nothing on the earth will endure. + +Lastly, a worldly life is an unworthy life. The toad and beetle and +snake show that there are often vile things hidden among the treasures +of earth. The bent, crouching form of the old man shows how +selfishness and greed degrade and bow down our nature. The expiring +flame of the lantern warns us that worldly grasping puts out the light +of love and goodness in the soul. + + +II + +The shining crown which Christ holds out calls us to _The unworldly +life_. This is a life of love, of giving, of sacrifice like His own. + +Such a life is the only one that is truly happy, though it may not seem +so pleasant as the other. It is far more blessed to give than to +receive. + +It is the only life that is truly noble. There never was such a grand +life as the life of the Lord Jesus on earth, and the more our life is +like His, the nearer will it come to its highest and best. + +It is the life, too, that leads to the richest reward. The thorns are +turned into stars. The emblem of pain and sacrifice is changed into a +crown of light and glory. + +But it is the life of likeness to Christ. It is a share of His own +crown and of His own glory that He offers to us, and we cannot get +these except by being like Him. We can only win them by following Him. +He has suffered for us, and given Himself for us. We need to learn of +Him, and to be filled with His Spirit of self-forgetting, self-denying, +self-sacrificing love. + +Some of you may be old enough to feel that your life has already been +too much like that of the man with the muck-rake. It has been too +selfish and too worldly: it has been a life beneath you; a life of +chains and bondage; a life perhaps touched with vileness; a life spent +in pursuit of worthless trifles; a life degrading and darkened and +foolish and vain. Well, this patient Saviour stands beside you. He +bends over you in pity. He touches you with His pierced hand. He asks +you to yield to His love, and to be loving like Him. He offers you the +crown of glory, instead of the rubbish that you have coveted so long. +If you will look up to Him, and meet His look, and take His gift, and +follow Him, you will find true light, true freedom, true riches, true +nobility. His suffering will be rewarded. His patience will be +satisfied. There will be joy in the presence of the angels of God. + + + + + + + + + + + +End of the Project Gutenberg EBook of Evangelists of Art, by James Patrick + +*** END OF THIS PROJECT GUTENBERG EBOOK EVANGELISTS OF ART *** + +***** This file should be named 30220-8.txt or 30220-8.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/3/0/2/2/30220/ + +Produced by Al Haines + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. 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You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Evangelists of Art + Picture-Sermons for Children + +Author: James Patrick + +Release Date: December 2, 2009 [EBook #30220] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK EVANGELISTS OF ART *** + + + + +Produced by Al Haines + + + + + +</pre> + + +<BR><BR> + +<A NAME="img-cover"></A> +<CENTER> +<IMG CLASS="imgcenter" SRC="images/img-cover.jpg" ALT="Cover art" BORDER="2" WIDTH="576" HEIGHT="747"> +</CENTER> + +<BR><BR><BR> + +<P CLASS="poem"> +"Here, when Art was still religion, with a simple, reverent heart,<BR> +Lived and laboured Albrecht Dürer, the Evangelist of Art;<BR> +<BR> +Hence in silence and in sorrow, toiling still with busy hand,<BR> +Like an emigrant he wandered, seeking for the Better Land."<BR> +<BR> +LONGFELLOW, <I>Nuremberg</I>.<BR> +</P> + +<BR><BR><BR> + +<H1 ALIGN="center"> +EVANGELISTS OF ART +</H1> + +<H2 ALIGN="center"> +<I>PICTURE-SERMONS FOR CHILDREN</I> +</H2> + +<BR><BR> + +<H4 ALIGN="center"> +BY +</H4> + +<BR> + +<H3 ALIGN="center"> +REV. JAMES PATRICK, B.D., B.Sc. +</H3> + +<H5 ALIGN="center"> +COUPER UNITED FREE CHURCH, BURNTISLAND +</H5> + +<BR><BR> + +<P CLASS="poem"> +"Could I have traced one form that should express<BR> +<SPAN STYLE="margin-left: 1em">The sacred mystery that underlies</SPAN><BR> +<SPAN STYLE="margin-left: 1em">All Beauty, and through man's enraptured eyes</SPAN><BR> +Teach him how beautiful is Holiness..."<BR> +<SPAN STYLE="margin-left: 4em">Sir J. NOËL PATON</SPAN><BR> +</P> + +<BR><BR><BR> + +<H3 ALIGN="center"> +CINCINNATI +<BR> +JENNINGS & GRAHAM +<BR> +1903 +</H3> + +<BR><BR><BR> + +<H5 ALIGN="center"> +<I>Printed by MORRISON & GIBB LIMITED, Edinburgh</I> +</H5> + +<BR><BR><BR> + +<H2 ALIGN="center"> +CONTENTS +</H2> + +<TABLE ALIGN="center" WIDTH="100%"> +<TR> +<TD ALIGN="right" VALIGN="top" WIDTH="10%"> + I. +</TD> +<TD ALIGN="left" VALIGN="top" WIDTH="60%"> +<A HREF="#chap01">CHRIST IN THE TEMPLE </A> +</TD> +<TD ALIGN="left" VALIGN="top" WIDTH="30%"> + W. Holman Hunt +</TD> +</TR> + +<TR> +<TD ALIGN="right" VALIGN="top"> + II. +</TD> +<TD ALIGN="left" VALIGN="top"> +<A HREF="#chap02">LUTHER AT ERFÜRT </A> +</TD> +<TD ALIGN="left" VALIGN="top"> +Sir J. Noël Paton, R.S.A. +</TD> +</TR> + +<TR> +<TD ALIGN="right" VALIGN="top"> + III. +</TD> +<TD ALIGN="left" VALIGN="top"> +<A HREF="#chap03">HERCULES WRESTLING WITH DEATH FOR THE BODY OF ALCESTIS </A> +</TD> +<TD ALIGN="left" VALIGN="bottom"> + Lord Leighton, P.R.A. +</TD> +</TR> + +<TR> +<TD ALIGN="right" VALIGN="top"> + IV. +</TD> +<TD ALIGN="left" VALIGN="top"> +<A HREF="#chap04">ORPHEUS AND EURYDICE </A> +</TD> +<TD ALIGN="left" VALIGN="top"> + G. F. Watts, S.A. +</TD> +</TR> + +<TR> +<TD ALIGN="right" VALIGN="top"> + V. +</TD> +<TD ALIGN="left" VALIGN="top"> +<A HREF="#chap05">THE LAST SLEEP OF ARGYLL </A> +</TD> +<TD ALIGN="left" VALIGN="top"> + E. M. Ward, R.A. +</TD> +</TR> + +<TR> +<TD ALIGN="right" VALIGN="top"> + VI. +</TD> +<TD ALIGN="left" VALIGN="top"> +<A HREF="#chap06">WISHART DISPENSING THE SACRAMENT BEFORE HIS MARTYRDOM </A> +</TD> +<TD ALIGN="left" VALIGN="bottom"> + W. Q. Orchardson, R.A. +</TD> +</TR> + +<TR> +<TD ALIGN="right" VALIGN="top"> + VII. +</TD> +<TD ALIGN="left" VALIGN="top"> +<A HREF="#chap07">THE RIDER ON THE WHITE HORSE </A> +</TD> +<TD ALIGN="left" VALIGN="top"> + G. F. Watts, R.A. +</TD> +</TR> + +<TR> +<TD ALIGN="right" VALIGN="top"> + VIII. +</TD> +<TD ALIGN="left" VALIGN="top"> +<A HREF="#chap08">THE MAN WITH THE MUCK-RAKE </A> +</TD> +<TD ALIGN="left" VALIGN="top"> + Sir J. Noël Paton, R.S.A. +</TD> +</TR> + +</TABLE> + +<BR><BR><BR> + +<A NAME="chap01"></A> + +<H3 ALIGN="center"> +CHRIST IN THE TEMPLE +</H3> + +<H4 ALIGN="center"> +BY W. HOLMAN HUNT +</H4> + +<BR><BR> + +<A NAME="img-011t"></A> +<CENTER> +<A HREF="images/img-011.jpg"> +<IMG CLASS="imgcenter" SRC="images/img-011t.jpg" ALT="CHRIST IN THE TEMPLE. By permission of Mr. Holman Hunt, and of Mrs. Holt, Liverpool" BORDER="2" WIDTH="599" HEIGHT="426"> +</A> +<H4 CLASS="h4center" STYLE="width: 599px"> +CHRIST IN THE TEMPLE. <BR> +By permission of Mr. Holman Hunt, and of Mrs. Holt, Liverpool +</H4> +</CENTER> + +<BR><BR> + +<H3 ALIGN="center"> +CHRIST IN THE TEMPLE +</H3> + +<P CLASS="intro"> +<I>How is it that ye sought Me? Wist ye not that I must be in My +Father's house?</I>—LUKE ii. 49 (Revised Version). +</P> + +<BR> + +<P> +The Bible story from which the text is taken has been illustrated by a +famous picture. The artist is Mr. Holman Hunt, who has painted many +pictures on Bible subjects, and has spent many years in Palestine in +connection with his work. His painting of "The Finding of Christ in +the Temple" is well worth seeing for the rich beauty of its colouring +and the delicate fineness of its workmanship, and every one who loves +the Bible must feel that it is still more worth seeing for the sake of +the scene which it represents. +</P> + +<P> +As you look at the picture you have before you the interior of a +spacious portico in the Temple at Jerusalem. The roof is supported on +graceful pillars, and from it there hang many lamps of beautiful +metal-work. The farther end is closed by an ornamental lattice-screen. +At the right hand side a wide doorway opens on the steps which lead +down to one of the Temple courts. A beggar sits on the steps just +outside the opening, and beyond him there are workmen busy at the +building of the Temple, which, as you know, was not finished for many +years after the boyhood of Jesus. You remember that when He had grown +to manhood, the Jews said to Him, <I>Forty and six years was this Temple +in building</I>,[<A NAME="chap01fn1text"></A><A HREF="#chap01fn1">1</A>] and even then we know that it was not completed. In +our picture we see the scaffolding of the masons, and one of the cranes +by which they raised the stones into position. The workmen themselves +are engaged with a large marble block which is lying on the ground, and +for which there is a vacant space in the wall above. Beyond the +unfinished building there is a grove of trees, and in the further +distance we get a glimpse of the roofs of the city and of the hills +behind. Coming back to the interior of the portico we see an +interesting group of figures at the farther end. A father and mother +have come to present their child in the Temple, and they have bought a +lamb to offer in sacrifice. The father, with the lamb on his shoulder, +and the mother, with the little one in her arms, are following a priest +and another attendant who are leading the way further into the Temple, +while the man who has sold them the lamb is holding back the +mother-sheep. Doves are flying in by the doorway or hovering about +inside. They are among the +</P> + +<P CLASS="poem"> +"Happy birds that sing and fly<BR> +Round Thine altars, O Most High."<BR> +</P> + +<P CLASS="noindent"> +A boy near one of the pillars is waving a long streamer in the air to +frighten them away. But our attention is principally drawn to the +foreground of the picture. This part of the portico is richly +carpeted, and here a number of Jewish Rabbis—the doctors or teachers +of the Law—are sitting in a half-circle, facing the doorway. They are +grave men, with long beards and flowing robes. Many of them are old +and grey. The Rabbi nearest us has a specially withered face, and eyes +that have become sightless with age. The one next him holds in his +hand a little metal box with leather thongs hanging down from it. This +is a phylactery, containing texts of Scripture written on parchment, +and the thongs are for fastening it on the forehead. Another of the +group wears his phylactery in its proper position. The blind Rabbi +clasps in his arms a great roll of the Law, richly mounted and +carefully wrapped up. A little boy, with a brush to drive away the +flies, kneels beside him, and another boy behind him is reverently +kissing the covering of the roll, which he has raised to his lips. One +of the younger Rabbis holds a smaller roll spread out before him. An +attendant is pouring out wine from a jar under his arm, for one of the +older men to drink. The Temple musicians, with youthful faces, and +with various instruments in their hands, stand behind the Rabbis and +watch the scene with much interest. But the central figure in the +picture is the boy Jesus, who has risen from the place where He has +been sitting, and is preparing to go away with Joseph and Mary. He +stands just inside the doorway, tightening His girdle with one hand, +while the other hand clasps His mother's arm. His bright, earnest face +is turned a little away from her, and His eyes glance towards the +Rabbis as if He were eager to hear the last of their words. Mary is +smiling with gladness because she has found Him, and is drawing Him +gently and lovingly away. Behind her, Joseph, a powerful and +noble-looking man, holds with one hand the broad strap by which his +wallet is slung over his shoulder, while his other hand rests beside +Mary's on the shoulder of Jesus. Just above his head there is a large +sun-shaped design on the side of the doorway, around which run the +words, both in Latin and in Hebrew, <I>The Lord whom ye seek shall +suddenly come to His Temple</I>.[<A NAME="chap01fn2text"></A><A HREF="#chap01fn2">2</A>] +</P> + +<P> +Now there are at least two lessons which the story and the picture +teach us. There are two things in which the boy Jesus sets an example +to the boys and girls of to-day. +</P> + +<BR> + +<H4 ALIGN="center"> +I +</H4> + +<P> +First of all, there is <I>Love of heavenly wisdom</I>. You can well +understand that there must have been many places and many things in the +great and ancient city of Jerusalem which would be full of interest for +a boy of twelve, who had just come for the first time from His distant +village home. But there was no place so attractive to Jesus as the +Temple of God. There was nothing that pleased Him so much as to hear +what the wise men of the Temple had to say about God's truth and God's +service. He had thought a great deal about these matters Himself +though He was only a boy. He had a great many questions to ask. Three +days had not been long enough for Him to find out all that He wanted to +know. He thought that Joseph and Mary would have understood what He +liked best, that they would have known exactly where to find Him, that +they would never have thought of looking for Him in any other place +than His Father's house. +</P> + +<P> +You see that the love of heavenly wisdom is as natural and as beautiful +in a young mind as in an older one. The picture that I have been +describing shows Jesus with a real, bright, boyish face, which is +earnest and thoughtful at the same time. And you boys and girls who +read these pages will be able to make the best of the happy days of +your youth if you love your Heavenly Father and His house, if you are +eager to know and to obey His will. +</P> + +<BR> + +<H4 ALIGN="center"> +II +</H4> + +<P> +Secondly, there is <I>Obedience to earthly parents</I>. It was not with any +intention of disobeying Joseph and Mary that Jesus stayed behind in the +Temple. He did not think of their losing Him, or of their being +anxious about Him. He did not mean to grieve or vex them. He was so +carried away by His interest in the teaching of the wise Rabbis that He +thought about nothing else. This was just like a boy, and Jesus was a +real boy. But as soon as Joseph and Mary found Him and called Him, He +obeyed them. He rose from His seat among the doctors and went with His +parents towards the doorway. He would have liked to stay longer, and +He could not help looking back and listening to the last. But He never +once dreamed of remaining against Mary's or Joseph's will. He never +thought of making His love for God's wisdom and truth an excuse for +disobeying them. <I>He went down with them, and came to Nazareth: and He +was subject unto them</I>.[<A NAME="chap01fn3text"></A><A HREF="#chap01fn3">3</A>] +</P> + +<P> +And so the boys and girls who are the most earnest and thoughtful, +those who love God's house and God's Word most deeply, ought to be the +most obedient boys and girls at home. God does not want to take your +mind and heart away from your parents and from what you owe to them. +He wants you to serve Him by your loving obedience to them. When you +honour your father and your mother you are honouring God's commandment, +and so honouring God Himself in the very best way. +</P> + +<BR><BR> + +<A NAME="chap01fn1"></A> +<A NAME="chap01fn2"></A> +<A NAME="chap01fn3"></A> + +<P CLASS="footnote"> +[<A HREF="#chap01fn1text">1</A>] John ii. 20. +</P> + +<P CLASS="footnote"> +[<A HREF="#chap01fn2text">2</A>] Mal. iii. 1. +</P> + +<P CLASS="footnote"> +[<A HREF="#chap01fn3text">3</A>] Luke ii. 51 (Revised Version). +</P> + +<BR><BR><BR> + +<A NAME="chap02"></A> + +<H3 ALIGN="center"> +LUTHER AT ERFÜRT +</H3> + +<H4 ALIGN="center"> +By THE LATE SIR J. NOËL PATON, R.S.A. +</H4> + +<BR><BR> + +<A NAME="img-021t"></A> +<CENTER> +<A HREF="images/img-021.jpg"> +<IMG CLASS="imgcenter" SRC="images/img-021t.jpg" ALT="LUTHER AT ERFÜRT. By permission of the executors of Sir Noël Paton, and Mr. R. H. Brechin, Glasgow" BORDER="2" WIDTH="461" HEIGHT="614"> +</A> +<H4 CLASS="h4center" STYLE="width: 461px"> +LUTHER AT ERFÜRT. <BR> +By permission of the executors of Sir Noël Paton, and Mr. R. H. Brechin, Glasgow +</H4> +</CENTER> + +<BR><BR> + +<H3 ALIGN="center"> +LUTHER AT ERFÜRT +</H3> + +<P CLASS="intro"> +<I>I rejoice at Thy word, as one that findeth great spoil</I>.—Ps. cxix. +162. +</P> + +<BR> + +<P> +I wish to connect this text with a picture which is thought by many +judges to be among the greatest of the late Sir Noël Paton's works. +Its title is "Dawn," and its subject is a well-known incident in the +life of the famous German Reformer, Martin Luther. +</P> + +<P> +As we see Luther in this picture he is a young man between twenty and +thirty years of age. He has had a brilliant career at the University +of Erfürt, and has taken his degree with the highest honours, but he +has disappointed all his friends by refusing to become a lawyer, and by +choosing to become a monk instead. He has already entered the +Augustinian monastery at Erfürt. Luther's reason for taking this +unexpected step has been anxiety about his soul. He has begun to do +his best to gain salvation by performing all the duties of a monk. He +has fasted, and scourged himself, and done without sleep. He has once +spent three whole days without eating or drinking. He has been found +fainting on the floor of his cell. But with all this he does not feel +that God has forgiven his sins. In this monastery, however, he has +found something which he has never seen before, and that is a Bible. +You would think it strange nowadays if a man were over twenty years +old, and a Master of Arts, and yet had never seen a Bible; but that was +quite common in Luther's time. Well, in this monastery there is a +Bible, a great Latin book bound in red leather. The other monks have +shown it to Luther, though they have not cared much about it +themselves. He has begun to read it eagerly. The first thing he has +read in it has been the story of Hannah and the little Samuel, and this +has made him think of his own mother Margarethe and himself. Night and +day he studies this precious book, but at first it only makes him more +anxious. It seems to speak to him only of the righteous and jealous +God, who hates and punishes sin. But he gets some advice from a wise +friend, and begins to read the Epistle to the Romans over again. And +at length the glad meaning of the gospel dawns upon him. His own +account of it is, <I>Straightway I felt as if I were born anew. It was +as if I had found the door of Paradise thrown wide open. Now I saw the +Scriptures altogether in a new light. That passage of Paul was to me +the true door of Paradise</I>. +</P> + +<P> +Sir Noël Paton's picture represents Luther reading the Bible and +finding his restlessness and anxiety giving place to gladness and peace +of heart. He is sitting at a reading-table with the great +leather-covered book open before him. He wears his monk's dark robe +and cowl. His hands are thin and wasted. His cheeks are pale and +hollow with fasting. His eyes are bloodshot and fevered with anxiety +and sleeplessness. Near his left hand a richly carved crucifix stands +on the table, and beside it are an hour-glass and a skull. An ink-pot +with pens is at the other side. A lamp hangs from the roof above his +head, but it is giving no light. Only a thin blue trail of smoke rises +from the wick, showing that the oil has been burnt out. The fresh +morning air is coming in at a half-opened window above the crucifix. +The bright morning sun shines through the richly stained glass, and +makes a strange blur of coloured light on the wooden shutter behind. +The front of the reading-table is adorned by a picture of the Garden of +Gethsemane, with Christ praying, and the disciples sleeping. On the +wall behind Luther is a portrait of Pope Alexander VI., who died not +long before this time, and was one of the worst of men. In a recess +beyond a curtain we see on another stained-glass window, the figure of +Augustine, one of the great teachers of the early Church, after whom +the monastery at Erfürt was named. A number of old parchment-covered +books are visible, and it is interesting to notice the titles of some +of them, and the places where they lie. Away on a shelf are the works +of Aristotle, a great philosopher of ancient heathen Greece. On the +floor beside the reading-table is a book by a man called Thomas +Aquinas, a famous Roman Catholic teacher of the thirteenth century. +And on the table is a book by Augustine about the City of God. A +rosary, that is, a string of black beads with a cross at the end, has +been thrust between the leaves of this last book, as if to mark the +page. We seem to see that Luther has come from the heathen philosopher +to the Roman Catholic doctor, and then to the earlier Christian +teacher, and last of all to the Bible itself. For the Bible is the +only open book; and the pale, worn, young monk, who has been reading it +all night, is still bending over it in the early morning, with a +wonderful earnestness in his look. The sunrise outside is an emblem of +the light that is beginning to dawn upon his soul. +</P> + +<P> +Now what can this picture teach you? Two things, I think, at least. +</P> + +<BR> + +<H4 ALIGN="center"> +I +</H4> + +<P> +The first is <I>to prize the Bible and study it earnestly</I>. You can +understand what a surprising and precious discovery the Bible was to +Luther, how glad he was to read it, how he <I>rejoiced</I> in God's Word <I>as +one that findeth great spoil</I>. And one of the first things he did when +he had an opportunity was to translate the Bible into the common speech +of the German people, that every one might be able to have it, and that +no one might grow to manhood or womanhood without having seen it or +read it. +</P> + +<P> +Bibles are common and cheap in these days, but I am afraid that there +are still some people who are as old as Luther in our picture, and yet +do not know very much about the truths which the Scriptures contain. +Be sure that you do not despise the Bible because it is so familiar. +It is still the best of all books. Try to take as much interest in it +as if it were a book you had never seen before, and you will always +find something new and fresh in it to reward you. +</P> + +<BR> + +<H4 ALIGN="center"> +II +</H4> + +<P> +The second is <I>to discover in the Bible God's message of love and peace +to your own heart</I>. Luther's case shows that you cannot win God's +forgiveness by punishing yourself, by fasting, and scourging, and +sleeplessness, and things like these, while you can get forgiveness for +nothing just by taking it from God. Jesus Christ has won it for you. +He has loved you and given Himself for you. You simply need to believe +that God pardons you and saves you freely for Jesus Christ's sake. +This was what Luther found in his Bible. It is the best thing you can +find in yours. And when you do find it I am sure that you also will +<I>rejoice as one that findeth great spoil</I>. +</P> + +<BR><BR><BR> + +<A NAME="chap03"></A> + +<H3 ALIGN="center"> +HERCULES WRESTLING WITH DEATH <BR> +FOR THE BODY OF ALCESTIS +</H3> + +<H4 ALIGN="center"> +BY THE LATE LORD LEIGHTON, P.R.A. +</H4> + +<BR><BR> + +<A NAME="img-029t"></A> +<CENTER> +<A HREF="images/img-029.jpg"> +<IMG CLASS="imgcenter" SRC="images/img-029t.jpg" ALT="HERCULES WRESTLING WITH DEATH FOR THE BODY OF ALCESTIS. By permission of the Fine Art Society, 748 New Bond Street, London, the owners of the copyright" BORDER="2" WIDTH="593" HEIGHT="342"> +</A> +<H4 CLASS="h4center" STYLE="width: 593px"> +HERCULES WRESTLING WITH DEATH FOR THE BODY OF ALCESTIS. <BR> +By permission of the Fine Art Society, 748 New Bond Street, London, the owners of the copyright +</H4> +</CENTER> + +<BR> + +<H3 ALIGN="center"> +HERCULES WRESTLING WITH DEATH <BR> +FOR THE BODY OF ALCESTIS +</H3> + +<P CLASS="intro"> +<I>That through death He might bring to nought him that had the power of +death</I>.—HEB. ii. 14 (Revised Version). +</P> + +<BR> + +<P> +We come now to a picture which represents a scene in one of the most +beautiful stories of ancient Greece. There was a king of Thessaly +called Admetus, with whom the god Apollo served for a time as herdsman. +Apollo had offended Zeus, the Father of the gods, by killing the +forgers of the thunderbolts with which Zeus had slain Apollo's son +Asclepius— +</P> + +<P CLASS="poem"> +"And so, for punishment, must needs go slave,<BR> +God as he was, with a mere mortal lord."<BR> +</P> + +<P CLASS="noindent"> +He found Admetus to be a kind master, and when his term of service was +over he showed his gratitude by obtaining from the Fates a promise +that, whenever Admetus should be about to die, his life would be +spared, if only some one of his friends should be found willing to die +instead of him. The promise was very soon put to the test. Admetus +was struck down with a deadly disease. His father Pheres and his +mother were each asked if they would die for their son, but though they +were old, and had not many years of life to hope for at the best, +neither of them was willing to make the sacrifice. When they refused, +Alcestis, the wife of Admetus, offered herself to Death in the flower +of her youth and beauty. She was taken, and her husband was spared. +Hercules was the greatest hero of the Greeks—their strong man, like +Samson in the Bible. And when Alcestis died Hercules came to the +rescue. He wrestled with Death, overcame him, and gave Alcestis back +to her husband again. This beautiful tale was taken by the Greek poet +Euripides as the subject of one of his plays, the <I>Alcestis</I>, which +some of you may read when you are older. The story is also found in +English in Browning's <I>Balaustion's Adventure</I>, which is just a +translation and explanation of the poem of Euripides. +</P> + +<P> +The fight of Hercules with Death for the body of Alcestis has been +painted as well as sung. Lord Leighton's large and masterly picture +brings the whole scene before us. In the centre you see the body of +Alcestis, which has been brought out of doors, and laid on a bier under +the shadow of some ancient trees. Beyond it, in the background, is the +dark blue sea, flecked with white spots of foam. The dead body is +covered with pure white drapery. The beautiful face is pale as marble, +and the brow is crowned with a garland of myrtle leaves. Roses are +strewn on the white coverlet, and on the ground. Beside the bier are +the offerings of food and drink which the Greeks used to burn along +with their dead on the funeral pyre. In the left hand corner lies a +shovel for digging the grave that is to receive the ashes. Several men +and women are gathered round the bier, mostly in a group near the head +of Alcestis. They are her friends, and the servants attending her dead +body. At the right hand side of the picture we see a terrible conflict +going on. Death has come in bodily form to meet the funeral +procession, and to take Alcestis away. His limbs are of a ghastly +ashen colour. His wings are black as night. He is wrapped in a dark +mantle, which hides almost the whole of his face, and shows only the +fearful gleam of his eyes. But Hercules is also there, strong and +ruddy, and wearing the skin of a lion which he has slain in one of his +adventures. He has grasped Death by both wrists, and is forcing him +downwards and backwards over his knee. He is plainly overcoming his +adversary. One of the women present is swooning away in fear. Some of +the others are hiding their faces from the dreadful struggle. The rest +are gazing on it with awestruck looks, hardly daring to hope that +Hercules will be victorious. +</P> + +<P> +Browning's poem, which was published in the same year[<A NAME="chap03fn1text"></A><A HREF="#chap03fn1">1</A>] in which Lord +Leighton's painting appeared, contains at the end a description of the +picture, which you will be glad to read here. +</P> + +<P CLASS="poem"> +"There lies Alkestis dead, beneath the sun,<BR> +She longed to look her last upon, beside<BR> +The sea, which somehow tempts the life in us<BR> +To come trip over its white waste of waves,<BR> +And try escape from earth, and fleet as free.<BR> +Behind the body, I suppose there bends<BR> +Old Pheres in his hoary impotence;<BR> +And women-wailers in a corner crouch<BR> +<SPAN STYLE="letter-spacing: 2em">*****</SPAN><BR> +Close, each to other, agonising all,<BR> +As fastened, in fear's rhythmic sympathy,<BR> +To two contending opposite. There strains<BR> +The might o' the hero 'gainst his more than match,<BR> +—Death, dreadful not in thew and bone, but like<BR> +The envenomed substance that exudes some dew<BR> +Whereby the merely honest flesh and blood<BR> +Will fester up and run to ruin straight,<BR> +Ere they can close with, clasp and overcome<BR> +The poisonous impalpability<BR> +That simulates a form beneath the flow<BR> +Of those grey garments."<BR> +</P> + +<BR> + +<P> +Now, of course, the story of Admetus and Alcestis is a fable, but for +all that it is not worthless as some fables are. Though the god Apollo +never existed, and never lived among men as a servant, yet the old tale +reminds us of Him who was truly the Son of God; who came to this world +and lived a human life like our own—a life of lowly service; who did +this not because of any crime He had committed, since He was perfectly +holy; and not because any one forced Him to do it, but of His own free +and loving choice. And further, the story shows us how sorrow and +death came to these old Greeks, and awakened in their hearts great +dreams and longings. These desires seemed vain enough then, because +there was no one who could fulfil them. But they were the very desires +which Jesus Christ came to fulfil in due time. The Greeks thought of a +love which was strong enough to make one lay down one's life for a +friend, and they put that idea into the sacrifice of Alcestis. They +thought, too, of a power which was strong enough to conquer Death, and +to bring lost ones back to life, and they put that idea into the +victory of Hercules. +</P> + +<P> +In Jesus Christ you actually find both such a love and such a power. +He laid down His life for His friends—yes, and for His enemies. He +loved us, and gave Himself for us. And, though He died, yet He +conquered Death. He rose again in victory and glory. He gives eternal +life to all His disciples. He has abolished death, and has brought +life and immortality to light. Must not this picture, and this +old-world story, make us think reverently and lovingly of Him, and of +the verse which tells how He came <I>that through death He might bring to +nought him that had the power of death</I>? +</P> + +<BR><BR> + +<A NAME="chap03fn1"></A> + +<P CLASS="footnote"> +[<A HREF="#chap03fn1text">1</A>] 1871. +</P> + +<BR><BR><BR> + +<A NAME="chap04"></A> + +<H3 ALIGN="center"> +ORPHEUS AND EURYDICE +</H3> + +<H4 ALIGN="center"> +BY G. F. WATTS, R.A. +</H4> + +<BR><BR> + +<A NAME="img-037t"></A> +<CENTER> +<A HREF="images/img-037.jpg"> +<IMG CLASS="imgcenter" SRC="images/img-037t.jpg" ALT="ORPHEUS AND EURYDICE By permission from a photograph by Mr. Frederick Hollyer" BORDER="2" WIDTH="599" HEIGHT="406"> +</A> +<H4 CLASS="h4center" STYLE="width: 599px"> +ORPHEUS AND EURYDICE <BR> +By permission from a photograph by Mr. Frederick Hollyer +</H4> +</CENTER> + +<BR><BR> + +<H3 ALIGN="center"> +ORPHEUS AND EURYDICE +</H3> + +<P CLASS="intro"> +<I>He that goeth down to the grave shall come up no more</I>.—Job vii. 9. +</P> + +<BR> + +<P> +Our last picture showed us a struggle in which Death was conquered. +This one illustrates another old Greek story—the story of a fight with +Death that failed. It is by Mr. G. F. Watts, one of the most famous of +living painters, and it is called "Orpheus and Eurydice." +</P> + +<P> +According to the old fable Orpheus was a great musician, so skilful +that he could tame wild beasts, and even make the trees and rocks move +by the sweet melodies which he played. Eurydice was his wife, and one +day she trod on a snake, which bit her, so that she died, and went down +into the world of ghosts. Orpheus loved her so much that he followed +her into that gloomy place, taking his lyre with him. He played such +entrancing music that all the ghosts were spellbound. Even Persephone, +the stern Queen of the Dead, was so touched that she gave him leave to +take Eurydice back with him to the land of the living. But she warned +him that he must not look back till they were both safely out in the +upper world. Orpheus was glad beyond measure, and meant to obey the +warning. But he was so anxious about Eurydice, that just before they +had passed the gate of the under world he looked round, to make sure +that she was near him. In an instant she was whirled away back, to +dwell for ever among the dead. Orpheus came forth alone, twice +bereaved, and more than doubly sad. +</P> + +<P> +Mr. Watts has painted several pictures of Orpheus and Eurydice. Some +of them show the figures at full length, but the one in our +illustration is less complete. Still it contains the principal points +that are to be seen in the other companion paintings. The scene is the +gloomy gateway of the world of the dead. It is all rough and rocky and +dark. Through its opening you catch a glimpse of the bright upper +world, and of the blue sky with its white clouds. Orpheus stands in +the shadow. His body has the glow of life and health. He wears his +minstrel's garland on his brow. But his face is full of anguish. For +he has looked backwards, and he sees that Eurydice, who is close behind +him, is a pale corpse again. Her arms, that have just been stretched +out to clasp his neck, have lost their power and are falling down +lifelessly. Her head is drooping upon her shoulder. Her eyes are +closed, and her fair face is turned towards the under world. One of +the pictures shows a lily which has dropped from her hand, and lies +trailing and broken among the stones at her feet. Her long golden hair +is blowing backwards into the dark. The right arm of Orpheus is +stretched out in a vain attempt to grasp her, and to hold her back from +being carried away by the resistless power that draws her. His left +hand holds his lyre, and all its strings save one are broken. His eye +is fixed on Eurydice's face in a gaze of hopeless pain. The picture is +terrible rather than beautiful to look upon. It tells us how, in the +sad, dark heathen world, before Christ came, men thought that though +Love might sometimes seem stronger than Death, Death was really +stronger than Love. +</P> + +<P> +Now the story of Orpheus has an interest for us in more ways than one. +The early Christians liked to think of the resemblance between Orpheus +and Christ. They saw in the minstrel, who tamed the wild beasts with +his music, a type of the gracious and gentle Saviour who came to subdue +the evil passions of men's hearts, and to change confusion and strife +into harmony and peace. In the pictures which they have left in the +Roman Catacombs Christ is very frequently represented under the figure +of the fabled musician. He appears as a young man sitting beneath a +tree, wearing a country cloak and cap, and with a harp on His knee. +The lion, the wolf, the leopard, the horse, the sheep, the serpent, and +the tortoise are gathered round Him, and peacocks and other birds are +perched upon the branches of the tree. +</P> + +<P> +But our picture leads us rather to think of the difference between +Orpheus and Christ. Christ's love, unlike the love of Orpheus, is +stronger than death. It brought back to life the little daughter of +Jairus, who had died just before He came to her father's house. It +brought back the widow's son at Nain, when his body was being carried +to the grave. It brought back Lazarus of Bethany, after he had been +dead four days. The love of Christ took Him into the world of the dead +Himself, that He might return as a Conqueror. It sets free all His +disciples from the power of death. It brings them all back, not to +this world of sin and sorrow, where they would have to die again, but +into the better world of heaven, where they have everlasting life and +gladness. What the old heathen Greeks dreamed of hopelessly has come +to pass. What Orpheus could not do for Eurydice because of his +weakness and forgetfulness, Jesus Christ in His strength and wisdom can +do for you and me. He will do it if we trust Him. His disciples need +never be troubled by the old despairing thought, <I>He that goeth down to +the grave shall come up no more</I>. +</P> + +<BR><BR><BR> + +<A NAME="chap05"></A> + +<H3 ALIGN="center"> +THE LAST SLEEP OF ARGYLL +</H3> + +<H4 ALIGN="center"> +BY THE LATE E. M. WARD, R.A. +</H4> + +<BR><BR> + +<A NAME="img-043t"></A> +<CENTER> +<A HREF="images/img-043.jpg"> +<IMG CLASS="imgcenter" SRC="images/img-043t.jpg" ALT="THE LAST SLEEP OF ARGYLL. By permission of Messrs. Thomas Agnew & Sons." BORDER="2" WIDTH="594" HEIGHT="523"> +</A> +<H4 CLASS="h4center" STYLE="width: 594px"> +THE LAST SLEEP OF ARGYLL. <BR> +By permission of Messrs. Thomas Agnew & Sons. +</H4> +</CENTER> + +<BR><BR> + +<H3 ALIGN="center"> +THE LAST SLEEP OF ARGYLL +</H3> + +<P CLASS="intro"> +<I>Thou wilt keep him in perfect peace whose mind is stayed on Thee, +because he trusteth in Thee</I>.—ISA. xxvi. 3. +</P> + +<BR> + +<P> +This is a painting which takes us back, not to any legend of pagan +times, nor to any Bible story, nor to any incident of the Reformation +in other lands, but to a scene in the history of our own country, and +it is well worthy of its place among the other historical pictures in +the Commons' Corridor of the Houses of Parliament. +</P> + +<P> +The nobleman who is the subject of the picture is not the great and +famous Marquis of Argyll, but his son, the ninth Earl of Argyll. The +Marquis was put to death in the year 1661, as one of the first victims +of the cruel government of King Charles II. after the Restoration. He +was the man who had placed the crown on the head of Charles at Scone, +when the Scottish people were loyal to him, though the English would +not own him as their king. When Charles came to the throne of both +countries, after ten years of exile, he showed his gratitude to his +faithful servant by sending him to the scaffold. The first words of +the Marquis, after he received the sentence of death, were, <I>I had the +honour to set the crown upon the king's head, and now he hastens me to +a better crown than his own</I>. And when he was leaving the prison to go +to the place of execution, he said to his friends, I could die like a +Roman, but choose rather to die as a Christian. +</P> + +<P> +The Earl, his son, who appears in our picture, was executed in 1685, +the first year of Charles' successor, James II. It was the same year +in which John Brown, the carrier of Priesthill, was shot by Claverhouse +in front of his own house, and before his wife's eyes; the year also in +which Margaret Maclachlan and Margaret Wilson—the latter a maiden of +eighteen—were tied to stakes fixed in the sand, and drowned for +Christ's sake in the Solway tide. The Earl of Argyll was a man who +worthily followed the noble example of his father. He was condemned to +death on a charge of treason, because he would not swear a certain oath +called the <I>Test</I>. This oath was directed against the Scottish +Covenanters, and all the king's officers and servants were required to +take it. Argyll did not approve of all that was in the oath, and said +that he could only swear it in so far as it agreed with the Bible and +with itself. For this he was tried, and sentenced to die, a few years +before the end of the reign of Charles II. But he escaped from prison, +and fled to Holland, where he remained for a time in safety. When +James II. came to the throne on the death of Charles, the Earl took +part in a rebellion against him, and came back to Scotland at the head +of an army. The rebellion failed, and Argyll was taken prisoner at +Inchinnan, near Renfrew. He was brought to Edinburgh, and though he +might have been tried for his rebellion, he was just treated as a man +already sentenced to death. On the morning of his execution, he said, +<I>I have more joy and comfort this day than the day after I escaped out +of the Castle</I>. He then wrote some letters, and took his dinner as +cheerfully as usual. After dinner, as his custom was, he lay down to +rest for a little, and slept for a quarter of an hour as sweetly and +pleasantly as he had ever done. While he was asleep, an officer of +state, who had been one of his chief enemies, came to the Castle to see +him, with a message from the Council. He was told that Argyll was +asleep, and was not to be disturbed. When he refused to believe this +the gaoler softly opened the door and allowed him to look into the +cell. As soon as he saw the Earl sleeping he turned without a word, +and ran out of the Castle into a friend's house near by. He was so +agitated that the lady of the house thought he was ill and offered him +wine. But he declined it, with these words, <I>I have been in at Argyll, +and saw him sleeping as pleasantly as ever a man did, within an hour of +eternity: but as for me</I>—and then he could say no more. +</P> + +<P> +Argyll's place of imprisonment may still be seen in Edinburgh Castle. +In Mr. Ward's picture his bed-chamber is before you. Its thick walls, +its bare floor, and its heavy vaulted roof are all of stone. Through +an open door you look into another room where you see the table at +which he has just dined. It is covered with a white cloth, on which +are the remains of the dinner, and you notice that the wine-glass that +stands beside the flagon has not been emptied. In the nearer room the +Earl is lying on the prison bed in his ordinary clothes. He wears a +suit of black velvet, with a collar of lace at the neck, and full cuffs +of white linen at the wrists. His boots have not been removed, and he +is stretched out only as comfortably as his fetters will allow. His +head rests on a great white pillow, and his brown hair falls smoothly +from beneath his black velvet cap. A newly written letter has fallen +from his hand to the floor. You can read the signature, <I>Argyll</I>, and +the date, <I>1685</I>. On a chair at the head of the bed there is a large +Bible, and beside it lies an old-fashioned watch, with its hand moving +slowly round to the hour of execution. The light from a little window +falls on the sleeping prisoner's face, which is fresh coloured and full +of peace, with no trace of paleness or fear. Near the foot of the bed +the thick outer door, studded with iron, and with a heavy lock, and +many bolts, stands open. In the background there is a rough gaoler, +holding the door by the key in the lock, while the rest of the bunch of +prison keys hangs from his hand. In front of him is the officer of +state, fashionably dressed in a rich red cloak, with a tasselled +waist-band. His cuffs are of fine lace, he wears a jewelled ring, and +his long hair curls down upon his shoulders. He has let his hat fall +to the floor in his astonishment, and is staring at the sleeping Earl +with remorse and confusion in his face. +</P> + +<P> +Such a picture suggests many thoughts. It reminds us of the cruel +sufferings our forefathers had to endure for conscience' sake, and of +the great debt we owe to those who were ready to lay down their lives +in the cause of truth and freedom. +</P> + +<P> +It shows also what a terrible thing it is to have a guilty conscience, +as the officer who visited Argyll plainly had. It teaches that a bad +man's life of remorse and shame is a thing far more miserable, and far +more to be feared, than a good man's undeserved death. +</P> + +<P> +Above all, it tells us that the secret of courage and calmness, both +for living and for dying, is faith in God our Father, and in the Lord +Jesus Christ our Saviour. It proves how true are the words, <I>Thou wilt +keep him in perfect peace whose mind is stayed on Thee, because he +trusteth in Thee</I>. +</P> + +<BR><BR><BR> + +<A NAME="chap06"></A> + +<H3 ALIGN="center"> +WISHART DISPENSING THE SACRAMENT BEFORE HIS MARTYRDOM +</H3> + +<H4 ALIGN="center"> +BY W. Q. ORCHARDSON, R.A. +</H4> + +<BR><BR> + +<A NAME="img-051t"></A> +<CENTER> +<A HREF="images/img-051.jpg"> +<IMG CLASS="imgcenter" SRC="images/img-051t.jpg" ALT="WISHART DISPENSING THE SACRAMENT BEFORE HIS MARTYRDOM. From a photograph by J. & R. Annan, Glasgow, by permission of Mr. J. C. Buist." BORDER="2" WIDTH="597" HEIGHT="516"> +</A> +<H4 CLASS="h4center" STYLE="width: 597px"> +WISHART DISPENSING THE SACRAMENT BEFORE HIS MARTYRDOM. <BR> +From a photograph by J. & R. Annan, Glasgow, by permission of Mr. J. C. Buist. +</H4> +</CENTER> + +<BR><BR> + +<H3 ALIGN="center"> +WISHART DISPENSING THE SACRAMENT BEFORE HIS MARTYRDOM +</H3> + +<P CLASS="noindent"> +<I>With desire I have desired to eat this passover with you before I +suffer</I>.—LUKE xxii. 15. +</P> + +<BR> + +<P> +Here we have a picture which represents a Communion service, yet a +service which is different in some ways from those which you have been +accustomed to see. The company is a small one, for there are only +about a dozen people present. They are met, not in a church, but in a +rather bare and plainly furnished room. In the centre of the picture +there is a table covered with a white cloth, on which is set a salver +with some bread and three wine cups upon it. Behind the table a man is +standing and speaking, with his hands stretched out over the bread and +the wine before him. He is tall and bearded, and wears a simple dress +of dark colour. His face is pale, and his whole look is full of an +earnest gladness. Beside him sits a richly dressed lady, with a +countenance of rare beauty and goodness. Her eyes are fixed on the +speaker, and she is drinking in eagerly every word that he utters. +Beyond her, at one end of the table, sits a gentleman with a refined +and thoughtful face. He also is leaning forward and listening with the +deepest interest. Opposite him, at the other end of the table, an old +man is sitting very erect, with one hand resting on a staff, and the +other grasping the arm of his chair. He too is gazing steadfastly at +the man who speaks. Beside the old man is a woman, and on her knee is +a little child who is playing with one of the pieces of bread on the +table. At the side of the table next us there is a chair with a +soldier's round shield set against it and a sword lying upon it. A +sweet-faced little girl is leaning over the chair and clasping her arms +round the hilt of the sword. She is another eager listener, and she +seems to understand all that is being said. Behind her stands the man +to whom the sword and the shield belong. Beyond them is another man +whose head is bowed down upon the back of the gentleman's chair, and +who appears to be hiding his face in sorrow. At the further side of +the table are two or three men. Above them a curtain hangs from the +roof. The only other bit of ornament in the room is a tall vase which +stands on the floor in front of the table. Behind the speaker there is +an open doorway, guarded by a soldier with a steel cap on his head. +</P> + +<P> +You will ask when and where this Communion service took place, and who +the people in the picture are. +</P> + +<P> +Well, the time is the year 1546—nearly 360 years ago. The place is +the Castle of Saint Andrews. The speaker is George Wishart, one of the +early martyrs of the Scottish Reformation. The scene took place on the +morning of the day—the 28th of March—when he was burned to death at +the stake in front of the Castle. The gentleman at the end of the +table is the Governor of the Castle. The beautiful lady is his wife. +The little girl and the baby boy are their children. The others +present are their guests, or their servants, or friends of the +prisoner. And the soldier at the door is there to see that the +condemned man does not escape. +</P> + +<P> +Let me tell you a little more about George Wishart, and about what took +place that March morning. Wishart was a learned Scottish gentleman, +who had come to believe in the gospel as Luther and the other Reformers +preached it. He had been banished from his native land by the bishops +for teaching the Greek New Testament at Montrose. After spending some +years at the University of Cambridge in England he had returned to +Scotland in 1544, and had preached the Reformed doctrines with great +earnestness and success in Montrose, Dundee, Ayrshire, and Haddington. +In the last-named place he had among his followers John Knox, who was +then a young man, and who afterwards became the great leader of the +Scottish Reformation. Before going to Haddington he had paid a second +visit to Dundee, where the plague was raging at the time, and had +ministered with great fearlessness and tenderness to those who were +suffering from this dreadful disease. There is still standing in +Dundee one of the old city gates—the Cowgate Port, where Wishart +preached to the healthy on one side, and to the plague-stricken on the +other. When in Dundee at this time, he narrowly escaped being murdered +by the enemies of the truth; and after he left Haddington he fell into +the hands of Cardinal Beaton, who was the leader of the Roman Catholic +party in Scotland. He was taken to Saint Andrews, tried for heresy, +sentenced to death, and condemned to be executed the next day. +</P> + +<P> +After spending the night in prayer, he was visited next morning by a +good man called John Winram, who was then the Sub-Prior of the Abbey of +Saint Andrews, and who afterwards joined the Reformed Church. Winram +had a long talk with him in his prison cell, and asked him if he was +willing to receive the Sacrament of the Lord's Supper. Wishart +answered, <I>Most willingly, so I may have it ministered according to +Christ's institution, under both heads, of bread and wine</I>. Winram +then went to Cardinal Beaton and the other bishops, and asked that this +might be granted to the prisoner. But they refused, answering that it +was not reasonable to grant any spiritual benefit to an obstinate +heretic, condemned by the Church. +</P> + +<P> +After Wishart heard this he was invited to breakfast by the Governor of +the Castle, and he accepted readily, saying, <I>I perceive, you to be a +good Christian, and a man fearing God</I>. When they were at breakfast, +Wishart said to his host, <I>I beseech you in the name of God, and for +the love you bear to our Saviour Jesus Christ, to be silent a little +while, till I have made a short exhortation, and blessed this bread +which we are to eat, so that I may bid you farewell</I>. Then he spoke to +the company for about half an hour on the institution of the Lord's +Supper, and the death of Christ, and exhorted them to love one another +and to live holy lives. Afterwards he blessed and broke the bread, and +gave a portion to every one present. And in the same way, after +tasting the wine, he passed the cup round them all, bidding them to +remember with thankfulness the death of the Lord Jesus Christ. <I>As to +myself</I>, he said, <I>there is a more bitter portion prepared for me, only +because I have preached the true doctrine of Christ, which bringeth +salvation. But pray you the Lord with me that I may take it patiently, +as out of His hand</I>. Then he concluded with another thanksgiving, and +went back to his own chamber to wait for the hour of his martyrdom, +which came very soon. +</P> + +<P> +The stake at which he was to be burned was fixed in the ground in front +of the Castle, and the Cardinal and his friends sat on cushions at the +windows, to enjoy the sight of his martyrdom. Wishart was led to the +place with his hands bound behind his back, a rope round his neck, and +an iron chain about his waist. He knelt down and prayed thrice, <I>Oh, +thou Saviour of the world, have mercy on me! Father of heaven, I +commend my spirit into Thy holy hands</I>. The executioner knelt down +before him and asked his forgiveness for what he was about to do. +Wishart said, <I>Come hither</I>; and then kissed his cheek, with the words, +<I>Lo, here is a token that I forgive thee. My heart, do thine office</I>. +When the flames leaped up around him, he cried to the Governor of the +Castle, <I>This fire torments my body, but no way abates my spirit</I>. +Last of all he warned the Cardinal that his own doom was near at hand, +and then he was strangled by the rope being pulled tightly about his +neck, and his body was burned to ashes. +</P> + +<P> +Now, if we come back to the picture of Wishart's last Communion, we +shall find in it many deep and beautiful lessons, which even boys and +girls can understand and learn. +</P> + +<P> +You see that in the days of the Reformation there were good men and +women, like John Winram, and the Governor of the Castle, and his wife, +who sympathised with the Reformers, even though at first they did not +come out boldly on their side. And there are still people, in the most +unlikely places, who really love truth and goodness, and show their +secret feeling at times in unexpected and surprising ways. +</P> + +<P> +You see that we do not need bishops and priests to give us the Lord's +Supper, but that this Sacrament can be enjoyed in the simplest way +wherever two or three followers of the Lord Jesus are gathered together +in His name. George Wishart's last Communion was strangely like the +first Communion of all, which Jesus observed at Jerusalem with His +disciples. Wishart, like his Master, was about to die for the truth. +He desired to hold this farewell feast with his friends. And in doing +so he made use just of the food and drink of an ordinary meal. +</P> + +<P> +And you see, lastly, that the Communion in the picture was like our own +Communions in this, that children were present, looking on, and +listening, and understanding something of what was said and done. I am +sure the Governor's little girl would never forget that Communion, nor +the good man who took such a touching farewell of his friends in the +name of the Lord Jesus. I think that surely she would always remember +not only George Wishart, but George Wishart's Master and Lord, of whom +he spoke so earnestly, and for whom he was so willing to die. And I +hope that you boys and girls who look on at the Communion services in +your own church, and see the disciples of Jesus Christ eating the bread +and drinking the wine in remembrance of Him, will understand something +of what all this means, and will learn to love Him and serve Him and +remember Him yourselves, and all your lives long. +</P> + +<BR><BR><BR> + +<A NAME="chap07"></A> + +<H3 ALIGN="center"> +THE RIDER ON THE WHITE HORSE +</H3> + +<H4 ALIGN="center"> +BY G. F. WATTS, R.A. +</H4> + +<BR><BR> + +<A NAME="img-061t"></A> +<CENTER> +<A HREF="images/img-061.jpg"> +<IMG CLASS="imgcenter" SRC="images/img-061t.jpg" ALT="THE RIDER ON THE WHITE HORSE. By permission, from a photograph by Mr. Frederick Hollyer." BORDER="2" WIDTH="487" HEIGHT="628"> +</A> +<H4 CLASS="h4center" STYLE="width: 487px"> +THE RIDER ON THE WHITE HORSE. <BR> +By permission, from a photograph by Mr. Frederick Hollyer. +</H4> +</CENTER> + +<BR><BR> + +<H3 ALIGN="center"> +THE RIDER ON THE WHITE HORSE +</H3> + +<P CLASS="intro"> +<I>And I saw, and behold, a white horse: and he that sat on him had a +bow; and a crown was given unto him: and he went forth conquering, and +to conquer</I>.—REV. vi. 2. +</P> + +<BR> + +<P> +The Book of Revelation is full of word-pictures of the wonderful things +which its writer saw in vision. And it is natural that great artists +should try to turn some of these word-pictures into real pictures for +the eye. Mr. Watts has done this for the first part of the sixth +chapter, which tells us about the four different horses, white, red, +black, and pale, and about their four riders. He has made these horses +and riders the subjects of four different paintings, and it is the +first of them—the Rider on the White Horse—which is before us now. +As we look at the picture we are helped to imagine what the vision was +like, and helped perhaps also to understand the truth it was meant to +teach. +</P> + +<P> +The Horse and the Rider are, of course, the principal figures. The +Horse is a splendid milk-white charger. Its breast is broad and +powerful. Its neck is arched proudly. It has a small but graceful +head, beautiful eyes, widely opened nostrils, and a mouth that seems to +be impatiently champing the bit. The front portion of its mane is +parted on its brow and streams back round the ears on either side. The +rest of the mane is erect on its neck. The Rider is a towering and +terrible figure. He wears a loose flowing cloak which swells around +and behind him in the wind. His left arm, strong and bare, is firmly +stretched out, and his left hand holds a thick bow in its iron grasp. +His right arm is out of sight, and only the right hand is seen, drawing +back the bowstring to his breast. At his left side there hangs a +quiver, full of arrows with feathered shafts. On his head he wears a +stately winged helmet, and above it a crown. His face wears a look of +commanding strength, and in the eyes beneath the shadow of the helmet +there is an awful gleam of fixed and pitiless resolve. +</P> + +<P> +These two principal figures are closely surrounded by others. Three of +these on the left of the Horse first attract our attention. The +foremost, a dusky form, with head bent forward, and breast and +shoulders bare, leads the Horse with his right hand by the bridle rein. +Behind him, the fair face of a woman appears, framed in the folds of +the mantle that is gathered closely around her neck; and behind this +still another face is seen in the background. These three are all +marching alongside of the Horse and his Rider. Just in front of the +figure who leads the Horse there is a figure lying backwards with +closed eyes, as if in death; and on the further side of the Horse two +other lifeless faces come into view. In the lower left hand corner of +the picture, just in front of the Horse we see the bowed head and +stooping shoulders of one more dark form. All these figures, the dead +as well as the living, have bright stars on their foreheads, though the +star on the brow of the one furthest back is partly hidden by the bow. +The Rider and his companions move forward under a gloomy sky, with +angry streaks of light showing here and there between the clouds. A +wind seems to be blowing in their faces. And high up behind them great +eagles, with spreading wings, are hovering in the air. +</P> + +<P> +Now, what shall we say is the meaning of the Bible vision which this +picture brings afresh before our eyes? The four Horses with their +Riders represent four kinds of judgment which God sends at times upon +the world. They are Conquest, Slaughter, Famine, and Death. The Rider +on the White Horse stands for the first of these. The picture shows us +the way in which strong nations and their rulers subdue the world, and +build up great Empires by force. The Rider's stately figure, and +resolute face, and stern, unpitying eyes remind us of famous conquerors +like Alexander the Great and Napoleon. The bow and quiver make it +clear that it is by the weapons of war that their successes have been +won. The proud war-horse, forcing its way among the thronging forms +around it, suggests the resistless power with which Conquest goes on +its triumphant way. The crown on the Rider's head is an emblem of the +glory and dominion which conquerors win. In the other figures with the +starry brows we may see the different nations, or the kings and queens, +who have been touched and influenced by the spirit of War for Empire's +sake. The leader of the Horse, and the other two forms behind him, may +represent nations that are marching along on the path of Conquest. The +prostrate, lifeless figures may be nations that have perished in the +strife. And the bowed head in front of the Horse's breast may stand +for one of the nations that are subdued, and brought under the power of +those that are stronger than themselves. The dark, angry sky makes us +feel that the Conqueror's progress is full of dread; and the eagles +give us a hint of the horrors that he leaves behind him, of the dead +bodies that lie in the track of the White Horse and his terrible Rider, +of the other three Riders, more terrible still, who follow in his train. +</P> + +<P> +As we look at this picture we learn that War and Conquest have two +sides. At first sight we are attracted by the power and majesty of the +Horse and his Rider, and we cannot help admiring them. There is +something grand and noble in the might of a great nation, in the strong +will and fearless courage of a great conqueror. We are stirred and +thrilled when we see the march of great armies, and hear the tidings of +great victories. There is a feeling of pride in belonging to a great +Empire which has proved itself able to subdue the world. It seems a +glorious thing to lead, or even to take part, in such a conquest. But +the more closely we look at the picture, the more we feel that it is +not altogether a pleasant and satisfying sight. The kind of conquest +which the Rider on the White Horse represents is, after all, not a +blessing, but a judgment which God sends on the world. It is the +victory of strength over weakness. If it brings glory to some nations, +it brings destruction to others, and humiliation to others still. It +means the loss of countless lives, and the wrecking of numberless +homes. It is followed by unspeakable sufferings and bitter sorrows. +It knows nothing of pity or mercy. Its garlands of triumph are stained +with blood and tears. +</P> + +<P> +And so we gladly turn away from this picture to think of another +Conqueror of whom the Bible tells us, and who is described in these +words: <I>Behold, thy King cometh unto thee: He is just, and having +salvation; lowly, and riding upon an ass.... And the battle-bow shall +be cut off: and He shall speak peace unto the nations: and His dominion +shall be from sea to sea, and from the river to the ends of the +earth</I>.[<A NAME="chap07fn1text"></A><A HREF="#chap07fn1">1</A>] This conquering King is the Lord Jesus Christ. He took +these words of the prophet to Himself when He rode into Jerusalem to +die. His conquest is of a far nobler kind than that of war and force. +It is the victory of right over wrong. Its motive is not ambition, but +love. He is not stern and pitiless, but tender and gracious. He rides +in majesty <I>because of truth, and meekness, and righteousness</I>.[<A NAME="chap07fn2text"></A><A HREF="#chap07fn2">2</A>] He +is the Prince of Peace. His triumphs bring no sorrow or hurt or death +in their train. He blesses those whom He overcomes. His Empire is the +only one that we can be truly proud to belong to, the only one that +will conquer the whole world and last for ever. +</P> + +<BR> + +<P CLASS="poem"> +Jesus shall reign where'er the sun<BR> +Does his successive journeys run;<BR> +His kingdom stretch from shore to shore,<BR> +Till moons shall wax and wane no more.<BR> +</P> + +<P CLASS="poem"> +Blessings abound where'er He reigns:<BR> +The prisoner leaps to lose his chains;<BR> +The weary find eternal rest;<BR> +And all the sons of want are blest.<BR> +</P> + +<BR><BR> + +<A NAME="chap07fn1"></A> +<A NAME="chap07fn2"></A> + +<P CLASS="footnote"> +[<A HREF="#chap07fn1text">1</A>] Zech. ix. 9, 10. +</P> + +<P CLASS="footnote"> +[<A HREF="#chap07fn2text">2</A>] Ps. xlv. 4. +</P> + +<BR><BR><BR> + +<A NAME="chap08"></A> + +<H3 ALIGN="center"> +THE MAN WITH THE MUCK-RAKE +</H3> + +<H4 ALIGN="center"> +BY THE LATE SIR J. NOËL PATON, R.S.A. +</H4> + +<BR><BR> + +<A NAME="img-069t"></A> +<CENTER> +<A HREF="images/img-069.jpg"> +<IMG CLASS="imgcenter" SRC="images/img-069t.jpg" ALT="THE MAN WITH THE MUCK-RAKE. By permission of Mr. Haydon Hare." BORDER="2" WIDTH="397" HEIGHT="616"> +</A> +<H4 CLASS="h4center" STYLE="width: 397px"> +THE MAN WITH THE MUCK-RAKE. <BR> +By permission of Mr. Haydon Hare. +</H4> +</CENTER> + +<BR><BR> + +<H3 ALIGN="center"> +THE MAN WITH THE MUCK-RAKE +</H3> + +<P CLASS="intro"> +<I>Set your affection on things above, not on things on the earth</I>.—COL. +iii. 2. +</P> + +<BR> + +<P> +In the second part of the <I>Pilgrim's Progress</I>, Bunyan tells us how +Christiana and her children came to the Interpreter's House, and were +taken by the master of it into one of his Significant Rooms. In one of +these there was <I>a man that could look no way but downwards, with a +muck-rake in his hand; there stood also one over his head, with a +celestial crown in his hand, and proffered him that crown for his +muck-rake; but the man did neither look up nor regard, but raked to +himself the straws, the small sticks, and dust of the floor</I>. +</P> + +<P> +The late Sir Noël Paton has taken this as the subject of one of his +most famous pictures. The canvas is a large one, and the figures in it +are of life-size. That of the man with the muck-rake himself first +arrests your eye, and chiefly draws your attention. He is an old man +with a grey beard. His face is a handsome one, and you see that he has +gifts and powers which might have made him wise and venerable in his +old age, if only he had made a good use of them. But instead of the +noble gravity which you might expect to find on such a face, there is +nothing but an eager gleam and a senseless smile of perfectly childish +and foolish delight. He wears on his head an old broad-rimmed hat, +adorned with a gold chain and a peacock's feather. At his belt he has +several bags full of gold, and also a dagger with which he is ready to +defend his possessions. One of the bags has burst, and the coins are +dropping on the ground. On his back he carries a wallet, crammed with +old law-papers and straw. He kneels on one knee, and his whole body is +bent downward. With his left hand he grasps the handle of a rake which +has three long prongs. He is using the rake to draw towards him a lot +of varied stuff that is littered about in front of him—more straw and +papers, a broken necklace of beads, and a heart-shaped brooch, besides +coins and feathers, and other such things. A large black beetle creeps +near his feet. A little further in front of him more rubbish lies in a +heap—a book of fashions, a fan, still more straw, some artificial +roses and withered leaves, an old lamp, a skull, and a king's crown, +all battered and bent and blood-stained. There is a toad crouching +under the fan. Among the other things a snake is crawling, and blowing +out of its mouth beautifully coloured bubbles, airy and unsubstantial. +You can see one of them breaking as it touches a stone. It is on these +bubbles that the eager, delighted gaze of the old man is fixed, and to +grasp them he is stretching out his thin and trembling right hand. His +left ankle is bound by a strong fetter of gold. When you have looked +at the picture for a little while, you see that he is in a prison cell. +A faint light glimmers through a grated window at the back, where steps +come down into the cell by the side of a pillar. Beside the old man a +lantern stands on the ground. Its glass sides are shaped like church +windows, but the flame of the candle inside is guttering and going out. +The straw on the floor is bursting into red flames and wreaths of +smoke, and the whole pile of rubbish is on the point of being burned up. +</P> + +<P> +Behind the man with the muck-rake is another Figure, tall and straight, +yet bending down in pity. It is the Figure of Christ. He stands +motionless, with a look of sorrowful patience on His face. One of His +hands is laid on the old man's shoulder, and with the other He holds up +a bright crown. It is a crown of thorns, the same which He wore +Himself, but on the thorns are seven bright stars. They turn it into a +crown of glory, and shed a radiance over all the picture. You can see +that the Saviour's hands have been pierced, and that the thorns have +left bleeding marks upon His brow. +</P> + +<P> +Away in the dim background, hovering on many-tinted pinions, and with +hands clasped in prayer, is an angel—the guardian angel of the old +man's soul. This angel has a face of unspeakable sadness, and eyes in +which you can almost see the trembling of big tears, ready to fall. +</P> + +<P> +These are some of the things that the genius and the exquisite skill of +the painter have put into the picture for our eyes to see. What did he +mean our minds and hearts to understand by them all? Perhaps I may +begin to answer that question by reminding you of what John Banyan +meant by the man in his story. +</P> + +<P> +<I>Then said Christiana</I> (to the Interpreter), <I>I persuade myself that I +know somewhat the meaning of this; for this is a figure of a man of +this world: is it not, good Sir?</I> +</P> + +<P> +<I>Thou hast said the right, said he; and his muck-rake doth show his +carnal mind. And whereas thou seest him rather give heed to rake up +straws and sticks, and the dust of the floor, than to do what he says +that calls to him from above, with the celestial crown in his hand, it +is to show that Heaven is but as a fable to some, and that things here +are counted the only things substantial. Now, whereas it was also +shewed thee that the man could look no way but downwards, it is to let +thee know, that earthly things, when they are with power upon men's +minds, quite carry their hearts away from God.</I> +</P> + +<P> +<I>Then said Christiana, O deliver me from this muck-rake!</I> +</P> + +<P> +I think I am not wrong in saying that the story and the picture set +before us two kinds of life—a poor and worthless one which many people +choose, and a high and glorious one from which many people turn away. +</P> + +<BR> + +<H4 ALIGN="center"> +I +</H4> + +<P> +The man with the muck-rake represents <I>The worldly life</I>—the life of +selfishness, of grasping and striving after the good things of this +earth alone. +</P> + +<P> +This is a childish kind of life for any one to spend. A look at the +old man's face shows us that. God has given us natures that we can put +to the noblest uses; but if we prize and pursue nothing save the +pleasures and the riches of this world, we shall carry into our old age +the foolishness and senselessness of the youngest children. +</P> + +<P> +Such a life, besides, is a life of bondage and care. We make the world +into a prison, and we fetter ourselves with chains, when we make its +good things our chief aim and reward. The battered and blood-stained +crown shows that the highest earthly ambitions have their pains and +miseries even when they are most successful. +</P> + +<P> +Then this kind of life does not satisfy, and does not last. The varied +rubbish shows that this world's possessions are not worth much after +all. The bursting bubbles show that their attraction is hollow and +delusive. The coins escaping from the bags show that we cannot keep +our riches for ever, no matter how hard we try. The rising flames +remind us that nothing on the earth will endure. +</P> + +<P> +Lastly, a worldly life is an unworthy life. The toad and beetle and +snake show that there are often vile things hidden among the treasures +of earth. The bent, crouching form of the old man shows how +selfishness and greed degrade and bow down our nature. The expiring +flame of the lantern warns us that worldly grasping puts out the light +of love and goodness in the soul. +</P> + +<BR> + +<H4 ALIGN="center"> +II +</H4> + +<P> +The shining crown which Christ holds out calls us to <I>The unworldly +life</I>. This is a life of love, of giving, of sacrifice like His own. +</P> + +<P> +Such a life is the only one that is truly happy, though it may not seem +so pleasant as the other. It is far more blessed to give than to +receive. +</P> + +<P> +It is the only life that is truly noble. There never was such a grand +life as the life of the Lord Jesus on earth, and the more our life is +like His, the nearer will it come to its highest and best. +</P> + +<P> +It is the life, too, that leads to the richest reward. The thorns are +turned into stars. The emblem of pain and sacrifice is changed into a +crown of light and glory. +</P> + +<P> +But it is the life of likeness to Christ. It is a share of His own +crown and of His own glory that He offers to us, and we cannot get +these except by being like Him. We can only win them by following Him. +He has suffered for us, and given Himself for us. We need to learn of +Him, and to be filled with His Spirit of self-forgetting, self-denying, +self-sacrificing love. +</P> + +<P> +Some of you may be old enough to feel that your life has already been +too much like that of the man with the muck-rake. It has been too +selfish and too worldly: it has been a life beneath you; a life of +chains and bondage; a life perhaps touched with vileness; a life spent +in pursuit of worthless trifles; a life degrading and darkened and +foolish and vain. Well, this patient Saviour stands beside you. He +bends over you in pity. He touches you with His pierced hand. He asks +you to yield to His love, and to be loving like Him. He offers you the +crown of glory, instead of the rubbish that you have coveted so long. +If you will look up to Him, and meet His look, and take His gift, and +follow Him, you will find true light, true freedom, true riches, true +nobility. His suffering will be rewarded. His patience will be +satisfied. There will be joy in the presence of the angels of God. +</P> + +<BR><BR><BR><BR> + + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of Evangelists of Art, by James Patrick + +*** END OF THIS PROJECT GUTENBERG EBOOK EVANGELISTS OF ART *** + +***** This file should be named 30220-h.htm or 30220-h.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/3/0/2/2/30220/ + +Produced by Al Haines + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Evangelists of Art + Picture-Sermons for Children + +Author: James Patrick + +Release Date: December 2, 2009 [EBook #30220] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK EVANGELISTS OF ART *** + + + + +Produced by Al Haines + + + + + + + + + + +[Illustration: Cover art] + + + + + + "Here, when Art was still religion, with a simple, reverent heart, + Lived and laboured Albrecht Duerer, the Evangelist of Art; + + Hence in silence and in sorrow, toiling still with busy hand, + Like an emigrant he wandered, seeking for the Better Land." + + LONGFELLOW, _Nuremberg_. + + + + +EVANGELISTS OF ART + +_PICTURE-SERMONS FOR CHILDREN_ + + + +BY + + +REV. JAMES PATRICK, B.D., B.Sc. + +COUPER UNITED FREE CHURCH, BURNTISLAND + + + + "Could I have traced one form that should express + The sacred mystery that underlies + All Beauty, and through man's enraptured eyes + Teach him how beautiful is Holiness..." + Sir J. NOEL PATON + + + + +CINCINNATI + +JENNINGS & GRAHAM + +1903 + + + + +_Printed by MORRISON & GIBB LIMITED, Edinburgh_ + + + + +CONTENTS + + + I. CHRIST IN THE TEMPLE . . . . . . . . . _W. Holman Hunt_ + + II. LUTHER AT ERFUeRT . . . . . . . . . . . _Sir J. Noel Paton, R.S.A._ + + III. HERCULES WRESTLING WITH DEATH FOR + THE BODY OF ALCESTIS . . . . . . . . . _Lord Leighton, P.R.A._ + + IV. ORPHEUS AND EURYDICE . . . . . . . . . _G. F. Watts, S.A._ + + V. THE LAST SLEEP OF ARGYLL . . . . . . . _E. M. Ward, R.A._ + + VI. WISHART DISPENSING THE SACRAMENT + BEFORE HIS MARTYRDOM . . . . . . . . . _W. Q. Orchardson, R.A._ + + VII. THE RIDER ON THE WHITE HORSE . . . . . _G. F. Watts, R.A._ + + VIII. THE MAN WITH THE MUCK-RAKE . . . . . . _Sir J. Noel Paton, R.S.A._ + + + + +CHRIST IN THE TEMPLE + +BY W. HOLMAN HUNT + + +[Illustration: CHRIST IN THE TEMPLE. By permission of Mr. Holman Hunt, +and of Mrs. Holt, Liverpool] + + +CHRIST IN THE TEMPLE + +_How is it that ye sought Me? Wist ye not that I must be in My +Father's house?_--LUKE ii. 49 (Revised Version). + + +The Bible story from which the text is taken has been illustrated by a +famous picture. The artist is Mr. Holman Hunt, who has painted many +pictures on Bible subjects, and has spent many years in Palestine in +connection with his work. His painting of "The Finding of Christ in +the Temple" is well worth seeing for the rich beauty of its colouring +and the delicate fineness of its workmanship, and every one who loves +the Bible must feel that it is still more worth seeing for the sake of +the scene which it represents. + +As you look at the picture you have before you the interior of a +spacious portico in the Temple at Jerusalem. The roof is supported on +graceful pillars, and from it there hang many lamps of beautiful +metal-work. The farther end is closed by an ornamental lattice-screen. +At the right hand side a wide doorway opens on the steps which lead +down to one of the Temple courts. A beggar sits on the steps just +outside the opening, and beyond him there are workmen busy at the +building of the Temple, which, as you know, was not finished for many +years after the boyhood of Jesus. You remember that when He had grown +to manhood, the Jews said to Him, _Forty and six years was this Temple +in building_,[1] and even then we know that it was not completed. In +our picture we see the scaffolding of the masons, and one of the cranes +by which they raised the stones into position. The workmen themselves +are engaged with a large marble block which is lying on the ground, and +for which there is a vacant space in the wall above. Beyond the +unfinished building there is a grove of trees, and in the further +distance we get a glimpse of the roofs of the city and of the hills +behind. Coming back to the interior of the portico we see an +interesting group of figures at the farther end. A father and mother +have come to present their child in the Temple, and they have bought a +lamb to offer in sacrifice. The father, with the lamb on his shoulder, +and the mother, with the little one in her arms, are following a priest +and another attendant who are leading the way further into the Temple, +while the man who has sold them the lamb is holding back the +mother-sheep. Doves are flying in by the doorway or hovering about +inside. They are among the + + "Happy birds that sing and fly + Round Thine altars, O Most High." + +A boy near one of the pillars is waving a long streamer in the air to +frighten them away. But our attention is principally drawn to the +foreground of the picture. This part of the portico is richly +carpeted, and here a number of Jewish Rabbis--the doctors or teachers +of the Law--are sitting in a half-circle, facing the doorway. They are +grave men, with long beards and flowing robes. Many of them are old +and grey. The Rabbi nearest us has a specially withered face, and eyes +that have become sightless with age. The one next him holds in his +hand a little metal box with leather thongs hanging down from it. This +is a phylactery, containing texts of Scripture written on parchment, +and the thongs are for fastening it on the forehead. Another of the +group wears his phylactery in its proper position. The blind Rabbi +clasps in his arms a great roll of the Law, richly mounted and +carefully wrapped up. A little boy, with a brush to drive away the +flies, kneels beside him, and another boy behind him is reverently +kissing the covering of the roll, which he has raised to his lips. One +of the younger Rabbis holds a smaller roll spread out before him. An +attendant is pouring out wine from a jar under his arm, for one of the +older men to drink. The Temple musicians, with youthful faces, and +with various instruments in their hands, stand behind the Rabbis and +watch the scene with much interest. But the central figure in the +picture is the boy Jesus, who has risen from the place where He has +been sitting, and is preparing to go away with Joseph and Mary. He +stands just inside the doorway, tightening His girdle with one hand, +while the other hand clasps His mother's arm. His bright, earnest face +is turned a little away from her, and His eyes glance towards the +Rabbis as if He were eager to hear the last of their words. Mary is +smiling with gladness because she has found Him, and is drawing Him +gently and lovingly away. Behind her, Joseph, a powerful and +noble-looking man, holds with one hand the broad strap by which his +wallet is slung over his shoulder, while his other hand rests beside +Mary's on the shoulder of Jesus. Just above his head there is a large +sun-shaped design on the side of the doorway, around which run the +words, both in Latin and in Hebrew, _The Lord whom ye seek shall +suddenly come to His Temple_.[2] + +Now there are at least two lessons which the story and the picture +teach us. There are two things in which the boy Jesus sets an example +to the boys and girls of to-day. + + +I + +First of all, there is _Love of heavenly wisdom_. You can well +understand that there must have been many places and many things in the +great and ancient city of Jerusalem which would be full of interest for +a boy of twelve, who had just come for the first time from His distant +village home. But there was no place so attractive to Jesus as the +Temple of God. There was nothing that pleased Him so much as to hear +what the wise men of the Temple had to say about God's truth and God's +service. He had thought a great deal about these matters Himself +though He was only a boy. He had a great many questions to ask. Three +days had not been long enough for Him to find out all that He wanted to +know. He thought that Joseph and Mary would have understood what He +liked best, that they would have known exactly where to find Him, that +they would never have thought of looking for Him in any other place +than His Father's house. + +You see that the love of heavenly wisdom is as natural and as beautiful +in a young mind as in an older one. The picture that I have been +describing shows Jesus with a real, bright, boyish face, which is +earnest and thoughtful at the same time. And you boys and girls who +read these pages will be able to make the best of the happy days of +your youth if you love your Heavenly Father and His house, if you are +eager to know and to obey His will. + + +II + +Secondly, there is _Obedience to earthly parents_. It was not with any +intention of disobeying Joseph and Mary that Jesus stayed behind in the +Temple. He did not think of their losing Him, or of their being +anxious about Him. He did not mean to grieve or vex them. He was so +carried away by His interest in the teaching of the wise Rabbis that He +thought about nothing else. This was just like a boy, and Jesus was a +real boy. But as soon as Joseph and Mary found Him and called Him, He +obeyed them. He rose from His seat among the doctors and went with His +parents towards the doorway. He would have liked to stay longer, and +He could not help looking back and listening to the last. But He never +once dreamed of remaining against Mary's or Joseph's will. He never +thought of making His love for God's wisdom and truth an excuse for +disobeying them. _He went down with them, and came to Nazareth: and He +was subject unto them_.[3] + +And so the boys and girls who are the most earnest and thoughtful, +those who love God's house and God's Word most deeply, ought to be the +most obedient boys and girls at home. God does not want to take your +mind and heart away from your parents and from what you owe to them. +He wants you to serve Him by your loving obedience to them. When you +honour your father and your mother you are honouring God's commandment, +and so honouring God Himself in the very best way. + + + +[1] John ii. 20. + +[2] Mal. iii. 1. + +[3] Luke ii. 51 (Revised Version). + + + + +LUTHER AT ERFUeRT + +By THE LATE SIR J. NOEL PATON, R.S.A. + + +[Illustration: LUTHER AT ERFUeRT. By permission of the executors of Sir +Noel Paton, and Mr. R. H. Brechin, Glasgow] + + +LUTHER AT ERFUeRT + +_I rejoice at Thy word, as one that findeth great spoil_.--Ps. cxix. +162. + + +I wish to connect this text with a picture which is thought by many +judges to be among the greatest of the late Sir Noel Paton's works. +Its title is "Dawn," and its subject is a well-known incident in the +life of the famous German Reformer, Martin Luther. + +As we see Luther in this picture he is a young man between twenty and +thirty years of age. He has had a brilliant career at the University +of Erfuert, and has taken his degree with the highest honours, but he +has disappointed all his friends by refusing to become a lawyer, and by +choosing to become a monk instead. He has already entered the +Augustinian monastery at Erfuert. Luther's reason for taking this +unexpected step has been anxiety about his soul. He has begun to do +his best to gain salvation by performing all the duties of a monk. He +has fasted, and scourged himself, and done without sleep. He has once +spent three whole days without eating or drinking. He has been found +fainting on the floor of his cell. But with all this he does not feel +that God has forgiven his sins. In this monastery, however, he has +found something which he has never seen before, and that is a Bible. +You would think it strange nowadays if a man were over twenty years +old, and a Master of Arts, and yet had never seen a Bible; but that was +quite common in Luther's time. Well, in this monastery there is a +Bible, a great Latin book bound in red leather. The other monks have +shown it to Luther, though they have not cared much about it +themselves. He has begun to read it eagerly. The first thing he has +read in it has been the story of Hannah and the little Samuel, and this +has made him think of his own mother Margarethe and himself. Night and +day he studies this precious book, but at first it only makes him more +anxious. It seems to speak to him only of the righteous and jealous +God, who hates and punishes sin. But he gets some advice from a wise +friend, and begins to read the Epistle to the Romans over again. And +at length the glad meaning of the gospel dawns upon him. His own +account of it is, _Straightway I felt as if I were born anew. It was +as if I had found the door of Paradise thrown wide open. Now I saw the +Scriptures altogether in a new light. That passage of Paul was to me +the true door of Paradise_. + +Sir Noel Paton's picture represents Luther reading the Bible and +finding his restlessness and anxiety giving place to gladness and peace +of heart. He is sitting at a reading-table with the great +leather-covered book open before him. He wears his monk's dark robe +and cowl. His hands are thin and wasted. His cheeks are pale and +hollow with fasting. His eyes are bloodshot and fevered with anxiety +and sleeplessness. Near his left hand a richly carved crucifix stands +on the table, and beside it are an hour-glass and a skull. An ink-pot +with pens is at the other side. A lamp hangs from the roof above his +head, but it is giving no light. Only a thin blue trail of smoke rises +from the wick, showing that the oil has been burnt out. The fresh +morning air is coming in at a half-opened window above the crucifix. +The bright morning sun shines through the richly stained glass, and +makes a strange blur of coloured light on the wooden shutter behind. +The front of the reading-table is adorned by a picture of the Garden of +Gethsemane, with Christ praying, and the disciples sleeping. On the +wall behind Luther is a portrait of Pope Alexander VI., who died not +long before this time, and was one of the worst of men. In a recess +beyond a curtain we see on another stained-glass window, the figure of +Augustine, one of the great teachers of the early Church, after whom +the monastery at Erfuert was named. A number of old parchment-covered +books are visible, and it is interesting to notice the titles of some +of them, and the places where they lie. Away on a shelf are the works +of Aristotle, a great philosopher of ancient heathen Greece. On the +floor beside the reading-table is a book by a man called Thomas +Aquinas, a famous Roman Catholic teacher of the thirteenth century. +And on the table is a book by Augustine about the City of God. A +rosary, that is, a string of black beads with a cross at the end, has +been thrust between the leaves of this last book, as if to mark the +page. We seem to see that Luther has come from the heathen philosopher +to the Roman Catholic doctor, and then to the earlier Christian +teacher, and last of all to the Bible itself. For the Bible is the +only open book; and the pale, worn, young monk, who has been reading it +all night, is still bending over it in the early morning, with a +wonderful earnestness in his look. The sunrise outside is an emblem of +the light that is beginning to dawn upon his soul. + +Now what can this picture teach you? Two things, I think, at least. + + +I + +The first is _to prize the Bible and study it earnestly_. You can +understand what a surprising and precious discovery the Bible was to +Luther, how glad he was to read it, how he _rejoiced_ in God's Word _as +one that findeth great spoil_. And one of the first things he did when +he had an opportunity was to translate the Bible into the common speech +of the German people, that every one might be able to have it, and that +no one might grow to manhood or womanhood without having seen it or +read it. + +Bibles are common and cheap in these days, but I am afraid that there +are still some people who are as old as Luther in our picture, and yet +do not know very much about the truths which the Scriptures contain. +Be sure that you do not despise the Bible because it is so familiar. +It is still the best of all books. Try to take as much interest in it +as if it were a book you had never seen before, and you will always +find something new and fresh in it to reward you. + + +II + +The second is _to discover in the Bible God's message of love and peace +to your own heart_. Luther's case shows that you cannot win God's +forgiveness by punishing yourself, by fasting, and scourging, and +sleeplessness, and things like these, while you can get forgiveness for +nothing just by taking it from God. Jesus Christ has won it for you. +He has loved you and given Himself for you. You simply need to believe +that God pardons you and saves you freely for Jesus Christ's sake. +This was what Luther found in his Bible. It is the best thing you can +find in yours. And when you do find it I am sure that you also will +_rejoice as one that findeth great spoil_. + + + + +HERCULES WRESTLING WITH DEATH FOR THE BODY OF ALCESTIS + +BY THE LATE LORD LEIGHTON, P.R.A. + + +[Illustration: HERCULES WRESTLING WITH DEATH FOR THE BODY OF ALCESTIS. +By permission of the Fine Art Society, 748 New Bond Street, London, the +owners of the copyright] + + +HERCULES WRESTLING WITH DEATH FOR THE BODY OF ALCESTIS + +_That through death He might bring to nought him that had the power of +death_.--HEB. ii. 14 (Revised Version). + + +We come now to a picture which represents a scene in one of the most +beautiful stories of ancient Greece. There was a king of Thessaly +called Admetus, with whom the god Apollo served for a time as herdsman. +Apollo had offended Zeus, the Father of the gods, by killing the +forgers of the thunderbolts with which Zeus had slain Apollo's son +Asclepius-- + + "And so, for punishment, must needs go slave, + God as he was, with a mere mortal lord." + +He found Admetus to be a kind master, and when his term of service was +over he showed his gratitude by obtaining from the Fates a promise +that, whenever Admetus should be about to die, his life would be +spared, if only some one of his friends should be found willing to die +instead of him. The promise was very soon put to the test. Admetus +was struck down with a deadly disease. His father Pheres and his +mother were each asked if they would die for their son, but though they +were old, and had not many years of life to hope for at the best, +neither of them was willing to make the sacrifice. When they refused, +Alcestis, the wife of Admetus, offered herself to Death in the flower +of her youth and beauty. She was taken, and her husband was spared. +Hercules was the greatest hero of the Greeks--their strong man, like +Samson in the Bible. And when Alcestis died Hercules came to the +rescue. He wrestled with Death, overcame him, and gave Alcestis back +to her husband again. This beautiful tale was taken by the Greek poet +Euripides as the subject of one of his plays, the _Alcestis_, which +some of you may read when you are older. The story is also found in +English in Browning's _Balaustion's Adventure_, which is just a +translation and explanation of the poem of Euripides. + +The fight of Hercules with Death for the body of Alcestis has been +painted as well as sung. Lord Leighton's large and masterly picture +brings the whole scene before us. In the centre you see the body of +Alcestis, which has been brought out of doors, and laid on a bier under +the shadow of some ancient trees. Beyond it, in the background, is the +dark blue sea, flecked with white spots of foam. The dead body is +covered with pure white drapery. The beautiful face is pale as marble, +and the brow is crowned with a garland of myrtle leaves. Roses are +strewn on the white coverlet, and on the ground. Beside the bier are +the offerings of food and drink which the Greeks used to burn along +with their dead on the funeral pyre. In the left hand corner lies a +shovel for digging the grave that is to receive the ashes. Several men +and women are gathered round the bier, mostly in a group near the head +of Alcestis. They are her friends, and the servants attending her dead +body. At the right hand side of the picture we see a terrible conflict +going on. Death has come in bodily form to meet the funeral +procession, and to take Alcestis away. His limbs are of a ghastly +ashen colour. His wings are black as night. He is wrapped in a dark +mantle, which hides almost the whole of his face, and shows only the +fearful gleam of his eyes. But Hercules is also there, strong and +ruddy, and wearing the skin of a lion which he has slain in one of his +adventures. He has grasped Death by both wrists, and is forcing him +downwards and backwards over his knee. He is plainly overcoming his +adversary. One of the women present is swooning away in fear. Some of +the others are hiding their faces from the dreadful struggle. The rest +are gazing on it with awestruck looks, hardly daring to hope that +Hercules will be victorious. + +Browning's poem, which was published in the same year[1] in which Lord +Leighton's painting appeared, contains at the end a description of the +picture, which you will be glad to read here. + + "There lies Alkestis dead, beneath the sun, + She longed to look her last upon, beside + The sea, which somehow tempts the life in us + To come trip over its white waste of waves, + And try escape from earth, and fleet as free. + Behind the body, I suppose there bends + Old Pheres in his hoary impotence; + And women-wailers in a corner crouch + * * * * * + Close, each to other, agonising all, + As fastened, in fear's rhythmic sympathy, + To two contending opposite. There strains + The might o' the hero 'gainst his more than match, + --Death, dreadful not in thew and bone, but like + The envenomed substance that exudes some dew + Whereby the merely honest flesh and blood + Will fester up and run to ruin straight, + Ere they can close with, clasp and overcome + The poisonous impalpability + That simulates a form beneath the flow + Of those grey garments." + + +Now, of course, the story of Admetus and Alcestis is a fable, but for +all that it is not worthless as some fables are. Though the god Apollo +never existed, and never lived among men as a servant, yet the old tale +reminds us of Him who was truly the Son of God; who came to this world +and lived a human life like our own--a life of lowly service; who did +this not because of any crime He had committed, since He was perfectly +holy; and not because any one forced Him to do it, but of His own free +and loving choice. And further, the story shows us how sorrow and +death came to these old Greeks, and awakened in their hearts great +dreams and longings. These desires seemed vain enough then, because +there was no one who could fulfil them. But they were the very desires +which Jesus Christ came to fulfil in due time. The Greeks thought of a +love which was strong enough to make one lay down one's life for a +friend, and they put that idea into the sacrifice of Alcestis. They +thought, too, of a power which was strong enough to conquer Death, and +to bring lost ones back to life, and they put that idea into the +victory of Hercules. + +In Jesus Christ you actually find both such a love and such a power. +He laid down His life for His friends--yes, and for His enemies. He +loved us, and gave Himself for us. And, though He died, yet He +conquered Death. He rose again in victory and glory. He gives eternal +life to all His disciples. He has abolished death, and has brought +life and immortality to light. Must not this picture, and this +old-world story, make us think reverently and lovingly of Him, and of +the verse which tells how He came _that through death He might bring to +nought him that had the power of death_? + + + +[1] 1871. + + + + +ORPHEUS AND EURYDICE + +BY G. F. WATTS, R.A. + + +[Illustration: ORPHEUS AND EURYDICE By permission from a photograph by +Mr. Frederick Hollyer] + + +ORPHEUS AND EURYDICE + +_He that goeth down to the grave shall come up no more_.--Job vii. 9. + + +Our last picture showed us a struggle in which Death was conquered. +This one illustrates another old Greek story--the story of a fight with +Death that failed. It is by Mr. G. F. Watts, one of the most famous of +living painters, and it is called "Orpheus and Eurydice." + +According to the old fable Orpheus was a great musician, so skilful +that he could tame wild beasts, and even make the trees and rocks move +by the sweet melodies which he played. Eurydice was his wife, and one +day she trod on a snake, which bit her, so that she died, and went down +into the world of ghosts. Orpheus loved her so much that he followed +her into that gloomy place, taking his lyre with him. He played such +entrancing music that all the ghosts were spellbound. Even Persephone, +the stern Queen of the Dead, was so touched that she gave him leave to +take Eurydice back with him to the land of the living. But she warned +him that he must not look back till they were both safely out in the +upper world. Orpheus was glad beyond measure, and meant to obey the +warning. But he was so anxious about Eurydice, that just before they +had passed the gate of the under world he looked round, to make sure +that she was near him. In an instant she was whirled away back, to +dwell for ever among the dead. Orpheus came forth alone, twice +bereaved, and more than doubly sad. + +Mr. Watts has painted several pictures of Orpheus and Eurydice. Some +of them show the figures at full length, but the one in our +illustration is less complete. Still it contains the principal points +that are to be seen in the other companion paintings. The scene is the +gloomy gateway of the world of the dead. It is all rough and rocky and +dark. Through its opening you catch a glimpse of the bright upper +world, and of the blue sky with its white clouds. Orpheus stands in +the shadow. His body has the glow of life and health. He wears his +minstrel's garland on his brow. But his face is full of anguish. For +he has looked backwards, and he sees that Eurydice, who is close behind +him, is a pale corpse again. Her arms, that have just been stretched +out to clasp his neck, have lost their power and are falling down +lifelessly. Her head is drooping upon her shoulder. Her eyes are +closed, and her fair face is turned towards the under world. One of +the pictures shows a lily which has dropped from her hand, and lies +trailing and broken among the stones at her feet. Her long golden hair +is blowing backwards into the dark. The right arm of Orpheus is +stretched out in a vain attempt to grasp her, and to hold her back from +being carried away by the resistless power that draws her. His left +hand holds his lyre, and all its strings save one are broken. His eye +is fixed on Eurydice's face in a gaze of hopeless pain. The picture is +terrible rather than beautiful to look upon. It tells us how, in the +sad, dark heathen world, before Christ came, men thought that though +Love might sometimes seem stronger than Death, Death was really +stronger than Love. + +Now the story of Orpheus has an interest for us in more ways than one. +The early Christians liked to think of the resemblance between Orpheus +and Christ. They saw in the minstrel, who tamed the wild beasts with +his music, a type of the gracious and gentle Saviour who came to subdue +the evil passions of men's hearts, and to change confusion and strife +into harmony and peace. In the pictures which they have left in the +Roman Catacombs Christ is very frequently represented under the figure +of the fabled musician. He appears as a young man sitting beneath a +tree, wearing a country cloak and cap, and with a harp on His knee. +The lion, the wolf, the leopard, the horse, the sheep, the serpent, and +the tortoise are gathered round Him, and peacocks and other birds are +perched upon the branches of the tree. + +But our picture leads us rather to think of the difference between +Orpheus and Christ. Christ's love, unlike the love of Orpheus, is +stronger than death. It brought back to life the little daughter of +Jairus, who had died just before He came to her father's house. It +brought back the widow's son at Nain, when his body was being carried +to the grave. It brought back Lazarus of Bethany, after he had been +dead four days. The love of Christ took Him into the world of the dead +Himself, that He might return as a Conqueror. It sets free all His +disciples from the power of death. It brings them all back, not to +this world of sin and sorrow, where they would have to die again, but +into the better world of heaven, where they have everlasting life and +gladness. What the old heathen Greeks dreamed of hopelessly has come +to pass. What Orpheus could not do for Eurydice because of his +weakness and forgetfulness, Jesus Christ in His strength and wisdom can +do for you and me. He will do it if we trust Him. His disciples need +never be troubled by the old despairing thought, _He that goeth down to +the grave shall come up no more_. + + + + +THE LAST SLEEP OF ARGYLL + +BY THE LATE E. M. WARD, R.A. + + +[Illustration: THE LAST SLEEP OF ARGYLL. By permission of Messrs. +Thomas Agnew & Sons.] + + +THE LAST SLEEP OF ARGYLL + +_Thou wilt keep him in perfect peace whose mind is stayed on Thee, +because he trusteth in Thee_.--ISA. xxvi. 3. + + +This is a painting which takes us back, not to any legend of pagan +times, nor to any Bible story, nor to any incident of the Reformation +in other lands, but to a scene in the history of our own country, and +it is well worthy of its place among the other historical pictures in +the Commons' Corridor of the Houses of Parliament. + +The nobleman who is the subject of the picture is not the great and +famous Marquis of Argyll, but his son, the ninth Earl of Argyll. The +Marquis was put to death in the year 1661, as one of the first victims +of the cruel government of King Charles II. after the Restoration. He +was the man who had placed the crown on the head of Charles at Scone, +when the Scottish people were loyal to him, though the English would +not own him as their king. When Charles came to the throne of both +countries, after ten years of exile, he showed his gratitude to his +faithful servant by sending him to the scaffold. The first words of +the Marquis, after he received the sentence of death, were, _I had the +honour to set the crown upon the king's head, and now he hastens me to +a better crown than his own_. And when he was leaving the prison to go +to the place of execution, he said to his friends, I could die like a +Roman, but choose rather to die as a Christian. + +The Earl, his son, who appears in our picture, was executed in 1685, +the first year of Charles' successor, James II. It was the same year +in which John Brown, the carrier of Priesthill, was shot by Claverhouse +in front of his own house, and before his wife's eyes; the year also in +which Margaret Maclachlan and Margaret Wilson--the latter a maiden of +eighteen--were tied to stakes fixed in the sand, and drowned for +Christ's sake in the Solway tide. The Earl of Argyll was a man who +worthily followed the noble example of his father. He was condemned to +death on a charge of treason, because he would not swear a certain oath +called the _Test_. This oath was directed against the Scottish +Covenanters, and all the king's officers and servants were required to +take it. Argyll did not approve of all that was in the oath, and said +that he could only swear it in so far as it agreed with the Bible and +with itself. For this he was tried, and sentenced to die, a few years +before the end of the reign of Charles II. But he escaped from prison, +and fled to Holland, where he remained for a time in safety. When +James II. came to the throne on the death of Charles, the Earl took +part in a rebellion against him, and came back to Scotland at the head +of an army. The rebellion failed, and Argyll was taken prisoner at +Inchinnan, near Renfrew. He was brought to Edinburgh, and though he +might have been tried for his rebellion, he was just treated as a man +already sentenced to death. On the morning of his execution, he said, +_I have more joy and comfort this day than the day after I escaped out +of the Castle_. He then wrote some letters, and took his dinner as +cheerfully as usual. After dinner, as his custom was, he lay down to +rest for a little, and slept for a quarter of an hour as sweetly and +pleasantly as he had ever done. While he was asleep, an officer of +state, who had been one of his chief enemies, came to the Castle to see +him, with a message from the Council. He was told that Argyll was +asleep, and was not to be disturbed. When he refused to believe this +the gaoler softly opened the door and allowed him to look into the +cell. As soon as he saw the Earl sleeping he turned without a word, +and ran out of the Castle into a friend's house near by. He was so +agitated that the lady of the house thought he was ill and offered him +wine. But he declined it, with these words, _I have been in at Argyll, +and saw him sleeping as pleasantly as ever a man did, within an hour of +eternity: but as for me_--and then he could say no more. + +Argyll's place of imprisonment may still be seen in Edinburgh Castle. +In Mr. Ward's picture his bed-chamber is before you. Its thick walls, +its bare floor, and its heavy vaulted roof are all of stone. Through +an open door you look into another room where you see the table at +which he has just dined. It is covered with a white cloth, on which +are the remains of the dinner, and you notice that the wine-glass that +stands beside the flagon has not been emptied. In the nearer room the +Earl is lying on the prison bed in his ordinary clothes. He wears a +suit of black velvet, with a collar of lace at the neck, and full cuffs +of white linen at the wrists. His boots have not been removed, and he +is stretched out only as comfortably as his fetters will allow. His +head rests on a great white pillow, and his brown hair falls smoothly +from beneath his black velvet cap. A newly written letter has fallen +from his hand to the floor. You can read the signature, _Argyll_, and +the date, _1685_. On a chair at the head of the bed there is a large +Bible, and beside it lies an old-fashioned watch, with its hand moving +slowly round to the hour of execution. The light from a little window +falls on the sleeping prisoner's face, which is fresh coloured and full +of peace, with no trace of paleness or fear. Near the foot of the bed +the thick outer door, studded with iron, and with a heavy lock, and +many bolts, stands open. In the background there is a rough gaoler, +holding the door by the key in the lock, while the rest of the bunch of +prison keys hangs from his hand. In front of him is the officer of +state, fashionably dressed in a rich red cloak, with a tasselled +waist-band. His cuffs are of fine lace, he wears a jewelled ring, and +his long hair curls down upon his shoulders. He has let his hat fall +to the floor in his astonishment, and is staring at the sleeping Earl +with remorse and confusion in his face. + +Such a picture suggests many thoughts. It reminds us of the cruel +sufferings our forefathers had to endure for conscience' sake, and of +the great debt we owe to those who were ready to lay down their lives +in the cause of truth and freedom. + +It shows also what a terrible thing it is to have a guilty conscience, +as the officer who visited Argyll plainly had. It teaches that a bad +man's life of remorse and shame is a thing far more miserable, and far +more to be feared, than a good man's undeserved death. + +Above all, it tells us that the secret of courage and calmness, both +for living and for dying, is faith in God our Father, and in the Lord +Jesus Christ our Saviour. It proves how true are the words, _Thou wilt +keep him in perfect peace whose mind is stayed on Thee, because he +trusteth in Thee_. + + + + +WISHART DISPENSING THE SACRAMENT BEFORE HIS MARTYRDOM + +BY W. Q. ORCHARDSON, R.A. + + +[Illustration: WISHART DISPENSING THE SACRAMENT BEFORE HIS MARTYRDOM. +From a photograph by J. & R. Annan, Glasgow, by permission of Mr. J. C. +Buist.] + + +WISHART DISPENSING THE SACRAMENT BEFORE HIS MARTYRDOM + +_With desire I have desired to eat this passover with you before I +suffer_.--LUKE xxii. 15. + + +Here we have a picture which represents a Communion service, yet a +service which is different in some ways from those which you have been +accustomed to see. The company is a small one, for there are only +about a dozen people present. They are met, not in a church, but in a +rather bare and plainly furnished room. In the centre of the picture +there is a table covered with a white cloth, on which is set a salver +with some bread and three wine cups upon it. Behind the table a man is +standing and speaking, with his hands stretched out over the bread and +the wine before him. He is tall and bearded, and wears a simple dress +of dark colour. His face is pale, and his whole look is full of an +earnest gladness. Beside him sits a richly dressed lady, with a +countenance of rare beauty and goodness. Her eyes are fixed on the +speaker, and she is drinking in eagerly every word that he utters. +Beyond her, at one end of the table, sits a gentleman with a refined +and thoughtful face. He also is leaning forward and listening with the +deepest interest. Opposite him, at the other end of the table, an old +man is sitting very erect, with one hand resting on a staff, and the +other grasping the arm of his chair. He too is gazing steadfastly at +the man who speaks. Beside the old man is a woman, and on her knee is +a little child who is playing with one of the pieces of bread on the +table. At the side of the table next us there is a chair with a +soldier's round shield set against it and a sword lying upon it. A +sweet-faced little girl is leaning over the chair and clasping her arms +round the hilt of the sword. She is another eager listener, and she +seems to understand all that is being said. Behind her stands the man +to whom the sword and the shield belong. Beyond them is another man +whose head is bowed down upon the back of the gentleman's chair, and +who appears to be hiding his face in sorrow. At the further side of +the table are two or three men. Above them a curtain hangs from the +roof. The only other bit of ornament in the room is a tall vase which +stands on the floor in front of the table. Behind the speaker there is +an open doorway, guarded by a soldier with a steel cap on his head. + +You will ask when and where this Communion service took place, and who +the people in the picture are. + +Well, the time is the year 1546--nearly 360 years ago. The place is +the Castle of Saint Andrews. The speaker is George Wishart, one of the +early martyrs of the Scottish Reformation. The scene took place on the +morning of the day--the 28th of March--when he was burned to death at +the stake in front of the Castle. The gentleman at the end of the +table is the Governor of the Castle. The beautiful lady is his wife. +The little girl and the baby boy are their children. The others +present are their guests, or their servants, or friends of the +prisoner. And the soldier at the door is there to see that the +condemned man does not escape. + +Let me tell you a little more about George Wishart, and about what took +place that March morning. Wishart was a learned Scottish gentleman, +who had come to believe in the gospel as Luther and the other Reformers +preached it. He had been banished from his native land by the bishops +for teaching the Greek New Testament at Montrose. After spending some +years at the University of Cambridge in England he had returned to +Scotland in 1544, and had preached the Reformed doctrines with great +earnestness and success in Montrose, Dundee, Ayrshire, and Haddington. +In the last-named place he had among his followers John Knox, who was +then a young man, and who afterwards became the great leader of the +Scottish Reformation. Before going to Haddington he had paid a second +visit to Dundee, where the plague was raging at the time, and had +ministered with great fearlessness and tenderness to those who were +suffering from this dreadful disease. There is still standing in +Dundee one of the old city gates--the Cowgate Port, where Wishart +preached to the healthy on one side, and to the plague-stricken on the +other. When in Dundee at this time, he narrowly escaped being murdered +by the enemies of the truth; and after he left Haddington he fell into +the hands of Cardinal Beaton, who was the leader of the Roman Catholic +party in Scotland. He was taken to Saint Andrews, tried for heresy, +sentenced to death, and condemned to be executed the next day. + +After spending the night in prayer, he was visited next morning by a +good man called John Winram, who was then the Sub-Prior of the Abbey of +Saint Andrews, and who afterwards joined the Reformed Church. Winram +had a long talk with him in his prison cell, and asked him if he was +willing to receive the Sacrament of the Lord's Supper. Wishart +answered, _Most willingly, so I may have it ministered according to +Christ's institution, under both heads, of bread and wine_. Winram +then went to Cardinal Beaton and the other bishops, and asked that this +might be granted to the prisoner. But they refused, answering that it +was not reasonable to grant any spiritual benefit to an obstinate +heretic, condemned by the Church. + +After Wishart heard this he was invited to breakfast by the Governor of +the Castle, and he accepted readily, saying, _I perceive, you to be a +good Christian, and a man fearing God_. When they were at breakfast, +Wishart said to his host, _I beseech you in the name of God, and for +the love you bear to our Saviour Jesus Christ, to be silent a little +while, till I have made a short exhortation, and blessed this bread +which we are to eat, so that I may bid you farewell_. Then he spoke to +the company for about half an hour on the institution of the Lord's +Supper, and the death of Christ, and exhorted them to love one another +and to live holy lives. Afterwards he blessed and broke the bread, and +gave a portion to every one present. And in the same way, after +tasting the wine, he passed the cup round them all, bidding them to +remember with thankfulness the death of the Lord Jesus Christ. _As to +myself_, he said, _there is a more bitter portion prepared for me, only +because I have preached the true doctrine of Christ, which bringeth +salvation. But pray you the Lord with me that I may take it patiently, +as out of His hand_. Then he concluded with another thanksgiving, and +went back to his own chamber to wait for the hour of his martyrdom, +which came very soon. + +The stake at which he was to be burned was fixed in the ground in front +of the Castle, and the Cardinal and his friends sat on cushions at the +windows, to enjoy the sight of his martyrdom. Wishart was led to the +place with his hands bound behind his back, a rope round his neck, and +an iron chain about his waist. He knelt down and prayed thrice, _Oh, +thou Saviour of the world, have mercy on me! Father of heaven, I +commend my spirit into Thy holy hands_. The executioner knelt down +before him and asked his forgiveness for what he was about to do. +Wishart said, _Come hither_; and then kissed his cheek, with the words, +_Lo, here is a token that I forgive thee. My heart, do thine office_. +When the flames leaped up around him, he cried to the Governor of the +Castle, _This fire torments my body, but no way abates my spirit_. +Last of all he warned the Cardinal that his own doom was near at hand, +and then he was strangled by the rope being pulled tightly about his +neck, and his body was burned to ashes. + +Now, if we come back to the picture of Wishart's last Communion, we +shall find in it many deep and beautiful lessons, which even boys and +girls can understand and learn. + +You see that in the days of the Reformation there were good men and +women, like John Winram, and the Governor of the Castle, and his wife, +who sympathised with the Reformers, even though at first they did not +come out boldly on their side. And there are still people, in the most +unlikely places, who really love truth and goodness, and show their +secret feeling at times in unexpected and surprising ways. + +You see that we do not need bishops and priests to give us the Lord's +Supper, but that this Sacrament can be enjoyed in the simplest way +wherever two or three followers of the Lord Jesus are gathered together +in His name. George Wishart's last Communion was strangely like the +first Communion of all, which Jesus observed at Jerusalem with His +disciples. Wishart, like his Master, was about to die for the truth. +He desired to hold this farewell feast with his friends. And in doing +so he made use just of the food and drink of an ordinary meal. + +And you see, lastly, that the Communion in the picture was like our own +Communions in this, that children were present, looking on, and +listening, and understanding something of what was said and done. I am +sure the Governor's little girl would never forget that Communion, nor +the good man who took such a touching farewell of his friends in the +name of the Lord Jesus. I think that surely she would always remember +not only George Wishart, but George Wishart's Master and Lord, of whom +he spoke so earnestly, and for whom he was so willing to die. And I +hope that you boys and girls who look on at the Communion services in +your own church, and see the disciples of Jesus Christ eating the bread +and drinking the wine in remembrance of Him, will understand something +of what all this means, and will learn to love Him and serve Him and +remember Him yourselves, and all your lives long. + + + + +THE RIDER ON THE WHITE HORSE + +BY G. F. WATTS, R.A. + + +[Illustration: THE RIDER ON THE WHITE HORSE. By permission, from a +photograph by Mr. Frederick Hollyer.] + + +THE RIDER ON THE WHITE HORSE + +_And I saw, and behold, a white horse: and he that sat on him had a +bow; and a crown was given unto him: and he went forth conquering, and +to conquer_.--REV. vi. 2. + + +The Book of Revelation is full of word-pictures of the wonderful things +which its writer saw in vision. And it is natural that great artists +should try to turn some of these word-pictures into real pictures for +the eye. Mr. Watts has done this for the first part of the sixth +chapter, which tells us about the four different horses, white, red, +black, and pale, and about their four riders. He has made these horses +and riders the subjects of four different paintings, and it is the +first of them--the Rider on the White Horse--which is before us now. +As we look at the picture we are helped to imagine what the vision was +like, and helped perhaps also to understand the truth it was meant to +teach. + +The Horse and the Rider are, of course, the principal figures. The +Horse is a splendid milk-white charger. Its breast is broad and +powerful. Its neck is arched proudly. It has a small but graceful +head, beautiful eyes, widely opened nostrils, and a mouth that seems to +be impatiently champing the bit. The front portion of its mane is +parted on its brow and streams back round the ears on either side. The +rest of the mane is erect on its neck. The Rider is a towering and +terrible figure. He wears a loose flowing cloak which swells around +and behind him in the wind. His left arm, strong and bare, is firmly +stretched out, and his left hand holds a thick bow in its iron grasp. +His right arm is out of sight, and only the right hand is seen, drawing +back the bowstring to his breast. At his left side there hangs a +quiver, full of arrows with feathered shafts. On his head he wears a +stately winged helmet, and above it a crown. His face wears a look of +commanding strength, and in the eyes beneath the shadow of the helmet +there is an awful gleam of fixed and pitiless resolve. + +These two principal figures are closely surrounded by others. Three of +these on the left of the Horse first attract our attention. The +foremost, a dusky form, with head bent forward, and breast and +shoulders bare, leads the Horse with his right hand by the bridle rein. +Behind him, the fair face of a woman appears, framed in the folds of +the mantle that is gathered closely around her neck; and behind this +still another face is seen in the background. These three are all +marching alongside of the Horse and his Rider. Just in front of the +figure who leads the Horse there is a figure lying backwards with +closed eyes, as if in death; and on the further side of the Horse two +other lifeless faces come into view. In the lower left hand corner of +the picture, just in front of the Horse we see the bowed head and +stooping shoulders of one more dark form. All these figures, the dead +as well as the living, have bright stars on their foreheads, though the +star on the brow of the one furthest back is partly hidden by the bow. +The Rider and his companions move forward under a gloomy sky, with +angry streaks of light showing here and there between the clouds. A +wind seems to be blowing in their faces. And high up behind them great +eagles, with spreading wings, are hovering in the air. + +Now, what shall we say is the meaning of the Bible vision which this +picture brings afresh before our eyes? The four Horses with their +Riders represent four kinds of judgment which God sends at times upon +the world. They are Conquest, Slaughter, Famine, and Death. The Rider +on the White Horse stands for the first of these. The picture shows us +the way in which strong nations and their rulers subdue the world, and +build up great Empires by force. The Rider's stately figure, and +resolute face, and stern, unpitying eyes remind us of famous conquerors +like Alexander the Great and Napoleon. The bow and quiver make it +clear that it is by the weapons of war that their successes have been +won. The proud war-horse, forcing its way among the thronging forms +around it, suggests the resistless power with which Conquest goes on +its triumphant way. The crown on the Rider's head is an emblem of the +glory and dominion which conquerors win. In the other figures with the +starry brows we may see the different nations, or the kings and queens, +who have been touched and influenced by the spirit of War for Empire's +sake. The leader of the Horse, and the other two forms behind him, may +represent nations that are marching along on the path of Conquest. The +prostrate, lifeless figures may be nations that have perished in the +strife. And the bowed head in front of the Horse's breast may stand +for one of the nations that are subdued, and brought under the power of +those that are stronger than themselves. The dark, angry sky makes us +feel that the Conqueror's progress is full of dread; and the eagles +give us a hint of the horrors that he leaves behind him, of the dead +bodies that lie in the track of the White Horse and his terrible Rider, +of the other three Riders, more terrible still, who follow in his train. + +As we look at this picture we learn that War and Conquest have two +sides. At first sight we are attracted by the power and majesty of the +Horse and his Rider, and we cannot help admiring them. There is +something grand and noble in the might of a great nation, in the strong +will and fearless courage of a great conqueror. We are stirred and +thrilled when we see the march of great armies, and hear the tidings of +great victories. There is a feeling of pride in belonging to a great +Empire which has proved itself able to subdue the world. It seems a +glorious thing to lead, or even to take part, in such a conquest. But +the more closely we look at the picture, the more we feel that it is +not altogether a pleasant and satisfying sight. The kind of conquest +which the Rider on the White Horse represents is, after all, not a +blessing, but a judgment which God sends on the world. It is the +victory of strength over weakness. If it brings glory to some nations, +it brings destruction to others, and humiliation to others still. It +means the loss of countless lives, and the wrecking of numberless +homes. It is followed by unspeakable sufferings and bitter sorrows. +It knows nothing of pity or mercy. Its garlands of triumph are stained +with blood and tears. + +And so we gladly turn away from this picture to think of another +Conqueror of whom the Bible tells us, and who is described in these +words: _Behold, thy King cometh unto thee: He is just, and having +salvation; lowly, and riding upon an ass.... And the battle-bow shall +be cut off: and He shall speak peace unto the nations: and His dominion +shall be from sea to sea, and from the river to the ends of the +earth_.[1] This conquering King is the Lord Jesus Christ. He took +these words of the prophet to Himself when He rode into Jerusalem to +die. His conquest is of a far nobler kind than that of war and force. +It is the victory of right over wrong. Its motive is not ambition, but +love. He is not stern and pitiless, but tender and gracious. He rides +in majesty _because of truth, and meekness, and righteousness_.[2] He +is the Prince of Peace. His triumphs bring no sorrow or hurt or death +in their train. He blesses those whom He overcomes. His Empire is the +only one that we can be truly proud to belong to, the only one that +will conquer the whole world and last for ever. + + + Jesus shall reign where'er the sun + Does his successive journeys run; + His kingdom stretch from shore to shore, + Till moons shall wax and wane no more. + + Blessings abound where'er He reigns: + The prisoner leaps to lose his chains; + The weary find eternal rest; + And all the sons of want are blest. + + + +[1] Zech. ix. 9, 10. + +[2] Ps. xlv. 4. + + + + +THE MAN WITH THE MUCK-RAKE + +BY THE LATE SIR J. NOEL PATON, R.S.A. + + +[Illustration: THE MAN WITH THE MUCK-RAKE. By permission of Mr. Haydon +Hare.] + + +THE MAN WITH THE MUCK-RAKE + +_Set your affection on things above, not on things on the earth_.--COL. +iii. 2. + + +In the second part of the _Pilgrim's Progress_, Bunyan tells us how +Christiana and her children came to the Interpreter's House, and were +taken by the master of it into one of his Significant Rooms. In one of +these there was _a man that could look no way but downwards, with a +muck-rake in his hand; there stood also one over his head, with a +celestial crown in his hand, and proffered him that crown for his +muck-rake; but the man did neither look up nor regard, but raked to +himself the straws, the small sticks, and dust of the floor_. + +The late Sir Noel Paton has taken this as the subject of one of his +most famous pictures. The canvas is a large one, and the figures in it +are of life-size. That of the man with the muck-rake himself first +arrests your eye, and chiefly draws your attention. He is an old man +with a grey beard. His face is a handsome one, and you see that he has +gifts and powers which might have made him wise and venerable in his +old age, if only he had made a good use of them. But instead of the +noble gravity which you might expect to find on such a face, there is +nothing but an eager gleam and a senseless smile of perfectly childish +and foolish delight. He wears on his head an old broad-rimmed hat, +adorned with a gold chain and a peacock's feather. At his belt he has +several bags full of gold, and also a dagger with which he is ready to +defend his possessions. One of the bags has burst, and the coins are +dropping on the ground. On his back he carries a wallet, crammed with +old law-papers and straw. He kneels on one knee, and his whole body is +bent downward. With his left hand he grasps the handle of a rake which +has three long prongs. He is using the rake to draw towards him a lot +of varied stuff that is littered about in front of him--more straw and +papers, a broken necklace of beads, and a heart-shaped brooch, besides +coins and feathers, and other such things. A large black beetle creeps +near his feet. A little further in front of him more rubbish lies in a +heap--a book of fashions, a fan, still more straw, some artificial +roses and withered leaves, an old lamp, a skull, and a king's crown, +all battered and bent and blood-stained. There is a toad crouching +under the fan. Among the other things a snake is crawling, and blowing +out of its mouth beautifully coloured bubbles, airy and unsubstantial. +You can see one of them breaking as it touches a stone. It is on these +bubbles that the eager, delighted gaze of the old man is fixed, and to +grasp them he is stretching out his thin and trembling right hand. His +left ankle is bound by a strong fetter of gold. When you have looked +at the picture for a little while, you see that he is in a prison cell. +A faint light glimmers through a grated window at the back, where steps +come down into the cell by the side of a pillar. Beside the old man a +lantern stands on the ground. Its glass sides are shaped like church +windows, but the flame of the candle inside is guttering and going out. +The straw on the floor is bursting into red flames and wreaths of +smoke, and the whole pile of rubbish is on the point of being burned up. + +Behind the man with the muck-rake is another Figure, tall and straight, +yet bending down in pity. It is the Figure of Christ. He stands +motionless, with a look of sorrowful patience on His face. One of His +hands is laid on the old man's shoulder, and with the other He holds up +a bright crown. It is a crown of thorns, the same which He wore +Himself, but on the thorns are seven bright stars. They turn it into a +crown of glory, and shed a radiance over all the picture. You can see +that the Saviour's hands have been pierced, and that the thorns have +left bleeding marks upon His brow. + +Away in the dim background, hovering on many-tinted pinions, and with +hands clasped in prayer, is an angel--the guardian angel of the old +man's soul. This angel has a face of unspeakable sadness, and eyes in +which you can almost see the trembling of big tears, ready to fall. + +These are some of the things that the genius and the exquisite skill of +the painter have put into the picture for our eyes to see. What did he +mean our minds and hearts to understand by them all? Perhaps I may +begin to answer that question by reminding you of what John Banyan +meant by the man in his story. + +_Then said Christiana_ (to the Interpreter), _I persuade myself that I +know somewhat the meaning of this; for this is a figure of a man of +this world: is it not, good Sir?_ + +_Thou hast said the right, said he; and his muck-rake doth show his +carnal mind. And whereas thou seest him rather give heed to rake up +straws and sticks, and the dust of the floor, than to do what he says +that calls to him from above, with the celestial crown in his hand, it +is to show that Heaven is but as a fable to some, and that things here +are counted the only things substantial. Now, whereas it was also +shewed thee that the man could look no way but downwards, it is to let +thee know, that earthly things, when they are with power upon men's +minds, quite carry their hearts away from God._ + +_Then said Christiana, O deliver me from this muck-rake!_ + +I think I am not wrong in saying that the story and the picture set +before us two kinds of life--a poor and worthless one which many people +choose, and a high and glorious one from which many people turn away. + + +I + +The man with the muck-rake represents _The worldly life_--the life of +selfishness, of grasping and striving after the good things of this +earth alone. + +This is a childish kind of life for any one to spend. A look at the +old man's face shows us that. God has given us natures that we can put +to the noblest uses; but if we prize and pursue nothing save the +pleasures and the riches of this world, we shall carry into our old age +the foolishness and senselessness of the youngest children. + +Such a life, besides, is a life of bondage and care. We make the world +into a prison, and we fetter ourselves with chains, when we make its +good things our chief aim and reward. The battered and blood-stained +crown shows that the highest earthly ambitions have their pains and +miseries even when they are most successful. + +Then this kind of life does not satisfy, and does not last. The varied +rubbish shows that this world's possessions are not worth much after +all. The bursting bubbles show that their attraction is hollow and +delusive. The coins escaping from the bags show that we cannot keep +our riches for ever, no matter how hard we try. The rising flames +remind us that nothing on the earth will endure. + +Lastly, a worldly life is an unworthy life. The toad and beetle and +snake show that there are often vile things hidden among the treasures +of earth. The bent, crouching form of the old man shows how +selfishness and greed degrade and bow down our nature. The expiring +flame of the lantern warns us that worldly grasping puts out the light +of love and goodness in the soul. + + +II + +The shining crown which Christ holds out calls us to _The unworldly +life_. This is a life of love, of giving, of sacrifice like His own. + +Such a life is the only one that is truly happy, though it may not seem +so pleasant as the other. It is far more blessed to give than to +receive. + +It is the only life that is truly noble. There never was such a grand +life as the life of the Lord Jesus on earth, and the more our life is +like His, the nearer will it come to its highest and best. + +It is the life, too, that leads to the richest reward. The thorns are +turned into stars. The emblem of pain and sacrifice is changed into a +crown of light and glory. + +But it is the life of likeness to Christ. It is a share of His own +crown and of His own glory that He offers to us, and we cannot get +these except by being like Him. We can only win them by following Him. +He has suffered for us, and given Himself for us. We need to learn of +Him, and to be filled with His Spirit of self-forgetting, self-denying, +self-sacrificing love. + +Some of you may be old enough to feel that your life has already been +too much like that of the man with the muck-rake. It has been too +selfish and too worldly: it has been a life beneath you; a life of +chains and bondage; a life perhaps touched with vileness; a life spent +in pursuit of worthless trifles; a life degrading and darkened and +foolish and vain. Well, this patient Saviour stands beside you. He +bends over you in pity. He touches you with His pierced hand. He asks +you to yield to His love, and to be loving like Him. He offers you the +crown of glory, instead of the rubbish that you have coveted so long. +If you will look up to Him, and meet His look, and take His gift, and +follow Him, you will find true light, true freedom, true riches, true +nobility. His suffering will be rewarded. His patience will be +satisfied. There will be joy in the presence of the angels of God. + + + + + + + + + + + +End of the Project Gutenberg EBook of Evangelists of Art, by James Patrick + +*** END OF THIS PROJECT GUTENBERG EBOOK EVANGELISTS OF ART *** + +***** This file should be named 30220.txt or 30220.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/3/0/2/2/30220/ + +Produced by Al Haines + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. 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