Christian art and symbolism; Hunt, William Holman, 1827-1910. Triumph of the Innocents
The foal accompanies the mother ass, in a long journey the young
creature lags behind whinnying in remonstrance at the ceaseless steps,
and only hurrying on in bounds when there is fear of the parent ass
getting beyond reach and sight. The glorified infants are encircling
the weary laggard, who is thus brought up to the onward group. The wild
dogs which have come out of the mill-house to bark――as is their wont
with nocturnal travellers striving to pass a homestead in silence――are
cowed at the unusual apparition and steal away in fear. The leader and
father of the party, St. Joseph, regards not the ghostly attendants.
He is engaged in securing the best means of safety while passing the
near village. He watches the distant fires to discover any signs there
might be of pursuit. He is passing over the shallow stream supplied for
irrigation by the creaking water-wheel. The liquid surface is
“Pavid with the image of the sky,”
and burdened lightly with the fallen flower from the hand of one of
the foremost seraphic children. In contrast to this mundane reflection
of Heaven――which takes the leader’s steps for the moment――are the
waves on which the children dance along. They are not clouds such as
angels may be portrayed upon. They are from the fountain of the water
of life, given to them that are athirst freely (athirst for fuller
life). It is the spiritual eternal stream provided in exchange for
the life that perisheth which has been to them so brief. These first
Christian martyrs no longer walk on the earth, but they travel on the
living waters of life, bringing comfort to their late fellows and to
all future disciples who have yet their burdens to bear and their
victory to win. “How beautiful upon the mountains are the feet of him
that bringeth good tidings, that publisheth peace; that bringeth good
tidings of good, that publisheth salvation; that saith unto Zion, Thy
God reigneth.”
Public-domain text, read in full here on John Shaqi.
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