If the first parable of the group teaches the compassion of the Son, and the second the solicitude of the Spirit, the third teaches the enduring love of God the Father. _Molitor, Plate 105,_ has designed an almost abstract father and son--_a_ prodigal, perhaps, but not _the_ prodigal--to match his panel of the lost sheep. The parable is but faintly echoed in this picture. [Illustration: Prodigal Son.] Plate 105. _Prodigal Son._ Franz Molitor. The man who has painted the parable as a whole is _Dubufe, Plate 106._ The central panel in the triptych shows the young man wasting his substance in riotous living. "He squandered his property by his dissolute life," says one version. His feasts were such as that described by Isaiah 5:11, 12. The panel at the left shows the young man in want, feeding swine, when "no man gave unto him." (Luke 15:16.) In that at the right, he has returned to his father's house. [Illustration: The Prodigal Son.] Plate 106. _The Prodigal Son._ E. Dubufe. _Dore, Plate 104,_ is truer to the parable in the matter of the return, for "while he was yet a great way off his father saw him and ran, and fell on his neck and kissed him." (Luke 15:20.) [Illustration: Prodigal Son.] Plate 104. _Prodigal Son._ Gustave Dore. 1833-1883. _Dore, Plate 107,_ illustrates the parable of the Rich Man and Lazarus, as recorded in Luke 16:19-31. He has added a dramatic touch by representing the servants ordering the beggar away, even with violence--a part of the "evil things" which Lazarus received during his life. (Luke 16:25.) [Illustration: The Rich Man and Lazarus.] Plate 107. _The Rich Man and Lazarus._ Gustave Dore. 1833-1883. Jesus was again called to visit Bethany by the death of the brother of Mary and Martha. None of the pictures here reproduced give an adequate representation of that which then occurred--the raising of Lazurus. Perhaps the event is too august to be put upon canvas. _Bonifazio, Plate 118,_ seems to take an almost childish delight in depicting the varying effects of a disagreeable odor! He has magnified the remark of Martha (John 11:39) into the motive for a picture! [Illustration: Raising of Lazarus.] Plate 118. _Raising of Lazarus._ Bonifazio II. 1494-1563. _Piombo, Plate 119,_ suggests the large company who witnessed the miracle, but ignores the statement that Lazarus was buried in a cave, and that he came forth without assistance. (Verses 38 and 44.) He has surpassed Bonifazio in one respect at least. Piombo's people are astonished and excited over what has occurred: they are not entirely witless because of Martha's suggestion. [Illustration: Raising of Lazarus.] Plate 119. _Raising of Lazarus._ Sebastian del Piombo. 1485-1547.