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Tuesday Morning in the Temple Again on Tuesday morning of that great week, the last week of our Saviour's life on earth, he went with his disciples out of Bethany to go to Jerusalem. As they were walking up the Mount of Olives, they came to the fig tree to which Jesus had spoken on the morning before. It was standing upon the hillside, but withered and dead, its dry leaves turned yellow, rustling in the wind. |
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Three Parables of Warning Immediately after answering the question of the priests and the rulers, Jesus gave three parables, one directly after another; and all aimed at his enemies. The first was The Parable of the Two Sons. |
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The Head On the Coin The enemies of Jesus thought that, perhaps, they might lead him to say some words against the Roman rulers over the land. If he would do this, then they could complain to the Roman governor and cause Jesus to be seized and put in prison, or even slain, as an enemy of the Roman state. |
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The Woman with Seven Husbands We have heard much in the story, of the Pharisees, who were looked upon as leaders of the people in religion, because they regularly went to church, paid the church dues and obeyed all the rules, foolish as some of those rules seemed. These Pharisees, as you know, were bitter enemies of Jesus, and every-where stirred up the people against him. |
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The Greatest of All Commandments While Jesus was talking in the Temple and answering all these questions, a teacher of the law was standing near and listening. He saw how well Jesus answered all the questions put to him, and coming up to him, said: Teacher, what commandment stands first of all? |
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The Greatest Gift The room in the Temple where Jesus spoke on that Tuesday, the last day of his teaching in public, was called The Treasury, because beside its walls were chests or boxes in which people who came to worship placed their money for gifts to pay for the offerings of poor people. As Jesus rose up to leave the room, he noticed the people dropping their money into these boxes. |
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Jesus Telling of Dark Days to Come Jesus walked across the Court of the Gentiles or Strangers, the large outer court of the Temple, toward the Mount of Olives. On that side of the court stood Solomon's Porch, a double row of pillars, having a roof above to shield it from the sun. Under this porch they stepped down a marble staircase to pass out of the Temple grounds through a gate called The Golden Gate. |
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The Parable of the Ten Bridesmaids At the close of a long talk with the disciples, on the Mount of Olives, Jesus gave three parables. The first parable was to show that his followers must watch and be ready for his sudden coming. It is The Parable of the Ten Bridesmaids. |
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The Parable of the Talents The second of the three parables with which Jesus closed his long talk to his disciples on the Mount of Olives was The Parable of the Talents. In some parts it was like The Parable of the Pounds, given to the crowd at Jericho only a week before, but in other parts it was different. In that parable, there was a king, going to a distant city to have a kingdom given to him. |
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Washing the Disciples Feet On Thursday evening was to be held by all the Jews the great Feast of the Passover. This kept in mind the day, more than a thousand years before, when the Israelites went out of Egypt and became a free people. At that time each Israelite family in Egypt killed a lamb, roasted it, and ate it, their last meal in Egypt. |
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The Lord's Supper While they were eating the passover meal, Jesus took a loaf of bread, and holding it in his hand, with his eyes lifted to heaven, spoke a blessing upon it. Then he broke it and gave a piece of it to each of the disciples. |
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The Vine and its Branches Jesus saw that his disciples were greatly disturbed at his words, as he spoke of going away to some place where they could not go with him, and leaving them alone among people who were his enemies; especially as he told Peter that he would soon disown his Master, and that all the rest of the disciples should leave him to suffer alone. Jesus tried to comfort them in their fears and their sorrows. |
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The Last Words of Jesus to His Disciples Jesus went on giving his last talk with his disciples, in the room after the supper. Among other things, he said : This is my last command to you. Love one another as I have loved you. No one can give greater proof of love than by laying down his life for his friends. You are my friends if you do what I command you. |
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In the Garden of Gethsemane During the week of the Passover, while the city of Jerusalem held three or four times as many people as usual, the gates in its walls were kept open day and night, although during most of the year they were closed at sunset. It was near midnight on Thursday when Jesus and his disciples, coming from the supper room, passed through a gate in the eastern wall just north of the Temple. |
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Jesus Before Annas The men who took Jesus as their prisoner were the policemen of the Temple, led by their chief. With them were some of the priests and officers, and a crowd of the lowest people, who had been gathered from the streets by the rulers. All these formed together a noisy and disorderly mob, dragging Jesus out of the Garden of Gethsemane and into the city on Mount Zion. |
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Venice Academy - Concerning The Building Paraphrasing St. Victor's homage to Venice, it is, perhaps, not too much to say that the other schools have their admirers, the Venetian its lovers. |
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Venice Academy - Room I - Sala Dei Maestri Primitivi THE room of the early masters, numbered I on the plan, the room into which the entrance stairs lead, was the so-called Great Hall of the old Scuola. It still has the richly carved and decorated Gothic ceiling which was executed for the Brotherhood in the latter half of the fifteenth century. |
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Venice Academy - Room XVII THE two panels in Room 17, one of the Virgin, and the other the Angel of the Annunciation, have been ascribed to Giovanni and Antonio Vivarini, and also to Luigi Vivarini. Morelli doubts if they belong to any Vivarini, claiming them to be more likely the work of Dario of Treviso. Berenson, also, does not give them to either Luigi or Bartolommeo. |
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Venice Academy - Room XVIII - Sala Di Giovanni Bellini WITH the exception of the one picture by his father, Room 18 is given up entirely to the works of Giovanni Bellini. |
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Venice Academy - Room XV - Sala Di Gentile Bellini GENTILE BELLINI, all of whose works owned by the Academy are in Room 15, was born about 1426, and, as has been said, was a pupil of his father Jacopo. His earliest training was in Padua, where he worked with his father, brother, and Mantegna, and in his portrait of Doge Lorenzo Giustiniani, in the Academy, can be seen the Paduan rather than the Venetian elements. |
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Venice Academy - Room XVI - Sala Del Carpaccio VITTORE CARPACCIO, whose St. Ursula pictures entirely fill this octagonal room once a part of the Church of the Carità, is a subject of considerable controversy to the critics. It is not known exactly when or where he was born, nor is the date of his death definitely settled. The probabilities, however, seem to be that, though calling himself a Venetian, he was actually born at Capo d'Istria, somewhere about 1450. |
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Venice Academy - Room V - Sala Dei Belliniani CARLO CRIVELLI, who has two, mutilated specimens of his work in the room called Sala dei Belliniani, is supposed to have been born some-where near 1440. Though he always signed him-self a Venetian, he has nothing in common with the painters whose works at once stamp them as Venetian. There is no relation observable between him and Bellini, Giorgione, Titian, or Tintoretto. |
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Venice Academy - Room III - Sala Scuole Varie Italiane IN Room 3 there is an elaborate frieze, most of the panels of which were painted for the Scuola Grande of S. Giovanni Evangelista by Titian. Four of these represent the symbols of the Evangelists, and fifteen smaller ones hold angels and carved heads. Forming part of the same frieze are some paintings on canvas, depicting the Tables of Law, and another with the head of an angel. These are works of the last century. |
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Venice Academy - Room II - Sala Dei Friulani THE Sala dei Friulani is so named from the works of men from the Friuli country which mostly fill it. |
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Venice Academy - Room XX - Sala Della Presentazione THE so-called Sala della Presentazione was the old Albergo, the reception-hall, of the Scuola della Carità, and has the same carved and painted ceiling which was redecorated and practically reconstructed as early as 1443. |
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Venice Academy - Room IX - Sala Di Paolo Veronese Room 9 holds most of Tintoretto's paintings in the Academy, and among them are many notable portraits. As a painter of men, and particularly of middle-aged and old men, Tintoretto has rarely been excelled. Often little more than sketches, so far as handling goes, they have a vigour, a life, a fire, that few artists have equalled. |
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Venice Academy - Room X - Sala Dei Bonifazi ACCORDING to Berenson, Cariani has at least. one canvas in Room 10, the portrait of a blond-haired man in full face, with reddish beard and moustache, black clothes, white shirt, black greatcoat lined with fur, and a black cap. His left hand is gloved, his right bare, carrying its glove and resting on a pedestal on which is the date MDXXVI. |
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Venice Academy - Room XI - Sala Dei Bassano MOST of the pictures in Sala dei Bassano, as the title of the room indicates, are by the three Bassani. As their characteristics and abilities have already been considered, it is not necessary to treat of these pictures in detail. |
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Venice Academy - Room XIII - Sala Dei Paesista Room 13 holds eight pastel portraits by Rosalba Camera, besides several others that may or may not be her own work. The greatest number of the pastels of this famous woman are in the Dresden Gallery, but some of these in Venice rank higher, artistically, than many in the German gallery. Among the best are the portraits of herself, of Cardinal de Polignac, Abbot le Blond, and of two noblemen. |
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Venice Academy - Loggia Palladiana And First And Second Corridor MUCH spoiled by the cracking of the paint and probably by the restorer, is the long wall-panelling in the Loggia Palladiana, by Tiepolo, called the Brazen Serpent. It is probably not wholly by Gianbattista, but may have been from his studio where his son and other assistants helped him with his large decorative work. |
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Venice Academy - Room Vi - Sala Del Callot WITH the exception of the canvases by foreign painters, which are in the Loggia Palladiana, Rooms 6 and 8 hold practically all the works by non-Italian painters in the Academy. As has been already said more than once, these are with few exceptions extremely poor examples of the art of the men whose works they purport to be. |
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