_Harrach, Plate 139,_ gives the denial of Peter before the soldiers in the presence of the maid-servant. (Mark 14:54 and 67.) As Peter denies, the cock, above in the branches of a vine, crows as Jesus had predicted. Harrach has seized upon the moment recorded by Luke alone. "And the Lord turned and looked upon Peter." (Luke 22:61.) And Peter remembered, and went out and wept bitterly. (Verse 6.) [Illustration: Peter's Denial of Christ.] Plate 139. _Peter's Denial of Christ._ Graf Harrach. In the morning the trial is continued before Pilate. Probably no one has painted that scene so well as has _Munkacsy, Plate 141._ The picture is true to the accounts of the evangelists, and is besides a great study of character. The face of Christ is about the only inadequate piece of representation in the whole picture. Munkacsy has evidently followed Luke's account. "And they began to accuse him, saying, We found this man perverting our nation, and forbidding to give tribute to Caesar." The moment may be that after which Pilate says, "I find no fault in this man," and the accusers "become more urgent, saying, He stirreth up the people" (Luke 23:4, 5). [Illustration: Trial Before Pilate.] Plate 141. _Trial Before Pilate._ M'Haly Munkacsy. 1846- Then the soldiers took Jesus into the Pretorium, and stripped him, and scourged him, and plaited a crown of thorns, and gave him a scarlet robe, and put a reed in his hand. Smiting him again and again on the head, they offered him mock reverence. _Guido, Plate 142,_ portrays Jesus at this time (Matt. 27:27-30). Afterwards Pilate brings Jesus forth to the crowd and says, "Behold the Man." (John 19:5.) [Illustration: Ecce Homo.] Plate 142. _Ecce Homo._ Guido Reni. 1575-1642. _Ciseri, Plate 143,_ takes us upon the colonnade with Pilate and Jesus, and gives us a sense of the mad crowd below--immense, implacable--shouting "Crucify him! Crucify him!" (John 19:6.) [Illustration: Ecce Homo.] Plate 143. _Ecce Homo._ Antonio Ciseri. 1825- _Hofmann, Plate 144,_ shows "the man" to us, and says, Behold him! Hofmann too, suggests the angry crowd, and in the distance introduces the three Marys. Both these artists include Pilate's wife in the picture because of Matt. 27:19. [Illustration: Ecce Homo.] Plate 144. _Ecce Homo._ H. Hofmann. 1824- _Dore, Plate 145,_ with his love of the extraordinary, has objectified such a dream as he supposes might have caused a Roman matron to 'suffer many things.' She sees the living and the dead, all heaven and hell attendant upon the Christ, and because of this fears for the welfare of her husband if he does not protect so august a person as this mysterious King, whose Kingdom is not of this world. [Illustration: Pilate's Wife's Dream.] Plate 145. _Pilate's Wife's Dream._ Gustave Dore. 1833-1883. THE CRUCIFIXION.