A brief explanation of the history of the production of this picture is called for both as an apology for the long interval since last I exhibited a large picture, and also of the fact that the painting now shown is a repetition of my first attempt to illustrate this imaginative episode in “The Flight into Egypt,” which before long, will also be exhibited, cured of its defect. I may be allowed, perhaps, to state that first in the year 1854, I acted upon a resolution formed earlier to go to Palestine. This was to revivify on canvas, if it were possible to me, the facts of Scripture History, by study not made in sketches to be incorporated in subject pictures afterwards in England. My aim was rather to advance nearer to the truth than had yet been done, by patiently working out a whole picture, surrounded by the very people and the circumstances of the life in Judea of old days. To strive――while not forgetting the vital ambition of an artist, which is to serve as high priest and expounder of the excellence of the works of the Creator――choosing the highest types and combinations of His handiworks, as the Greeks taught the after-world to do, so that men’s admiration may be fascinated by the perfections of the works of the Great Author of all, and men’s life thus may be a continual joy and solace, and at the same time to embody the events by which God in His providence led the foremost of the people Israel to be prepared to act as teachers and prophets to the whole Gentile world. I did not――let me say――wish to condemn any artistic manly treatment of similar subjects by others. My idea suggested the experiment to me as worth making for myself. The attempt was beset with difficulties beyond expectation, and being away for long, put me at many disadvantages in my profession, but I have many reasons for rejoicing at the course taken, and I have now to gratefully acknowledge the recognition of the public who, from the time of the exhibition of the first result of my Eastern labours――“The Scapegoat,” have ever given exceptional attention to my paintings, produced only, I regret to say, at long intervals, owing to circumstances external to the limits of this statement.