BOYS OF THE BIBLE. 285

ness of chin tells how the years have passed since the
Magi laid their treasures at his feet. Putting face and fig-
ure together, and mindful of the attitude of interest in what
is passing before him, the lad as I see. him standing on the
rock, is at once both handsome and attractive.”

Of all the modern pictures of the Saviour, after his
pensive boyhood had passed to more pathetic manhood, the
picture of Gustave Dore, is in many respects the most
remarkable. The artist represents Jesus as descending from
the judgment hall. The whole situation is most impressive.
The trial is over, Jesus is condemned and he starts forth on
that brief journey that is to end amid the glooms that gather
round the brow of Calvary. He is dressed in a white robe
falling to his feet. His whole aspect is that of perfect peace.
A divine calm sits upon that brow, so soon to be girt with
thorns. ‘The hands that are for appeal, or, if needs be, for
defense, fall within the folds of the white samite robe. As the
lamb to the slaughter, so silently and unresistingly he com-
mences that sad march to the cross. There are jeering foes
and weeping friends around. The disciples are there, and
the mother he loved so well. As you sit and drink in the
manifold lessons of the picture, you cannot fail to note that
Jesus is not largely influenced in this hour, either by the
mockery of his foes, or the sorrows of his friends. He is
absorbed in some more commanding consideration. He hears
other voices above the din and turmoil of that scene; those
calm eyes penetrate through the present to the centuries yet to
be. The passion of the cross is upon him. But “for the
joy that is set before him,” he endures nobly, royally,
divinely. It is impossible to sit for an hour and look at this
wonderful picture without having your reverence for the

character of Jesus of Nazareth broadened and deepened.
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