Christian art and symbolism; Hunt, William Holman, 1827-1910. Triumph of the Innocents
It is natural to follow the mind of the mother in such distraction
of love, while the wintry mountains are traversed, and the fugitives
descend into the rich plain with its genial breath, the more placid
from the cleared sky. We can understand the comfort that would be
prayed for――a higher Knowledge of the Divine mercy――and we can conceive
how this came to her through her pure maternal charity, in the form of
ever increasing tender regard for the woes of the children torn from
their mothers’ breasts for ever, and of the bereaved childless women
mourning their dearest ones. She searches her much harassed mind to
find consolation for the weeping neighbours of her home. The party pass
through the rich corn-fields, among villages of peaceful slumberers.
The whole air is balmy and soothing. They feel the comfort of peace
after a storm. The torrents would no longer be in broken cascades but
flowing along in deep channels to the sea, the further from the uplands
the greater the change in the temperature. Recently the travellers have
made a turn in their course to find a crossing sure to be provided in
Roman days over the deep river which has to be crossed in the path to a
village on the road. The garments which the Mother is about to arrange
have been carried with other needful gear in the saddle-bags. Her own
under-garment is the wedding-dress of Bethlehem, worn by a bride until
it is past service. While her Child is being re-dressed, and is thus
engaging her solicitude, He calls her attention to the holy company
around them. The spirits of the children of Bethlehem troop along by
the side, they bear the signs of their martyrdom. Garlanded as were
ancient sacrifices and bearing branches of blossoming trees; like
enrolled saints they appear “in habit” as they lived, the forward ones
already rejoice in the knowledge of their high service. Midway there
is an infant bewildered to find that his new spiritual body bears no
trace of the fatal wound. Behind in the air are babes; this sleeping,
grieving group is the only one in the picture which in its sorrowing
aspect connects the idea of human pain with the fate suffered, for the
rest, in degrees differing, death is already seen to have no sting, the
grave no victory.
Public-domain text, read in full here on John Shaqi.
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