After the resurrection of Jesus, we find further fruits of the harvest sown by a chance interview of Jesus with this woman. In the eighth of Acts we read of the ingathering of a church in a city of Samaria, where it is said that "the people, with one accord, gave heed to the things spoken by Philip, and there was great joy in that city." One thing in this story impresses us strongly,--the power which Jesus had to touch the divinest capabilities in the unlikeliest subjects. He struck at once and directly for what was highest and noblest in souls where it lay most hidden. As physician of souls he appealed directly to the vital moral force, and it acted under his touch. He saw the higher nature in this woman, and as one might draw a magnet over a heap of rubbish and bring out pure metal, so he from this careless, light-minded, good-natured, unprincipled creature, brought out the suppressed and hidden yearning for a better and higher life. She had no prejudices to keep, no station to preserve; she was even to her own low moral sense consciously a sinner, and she was ready at the kind and powerful appeal to leave all and follow him. We have no further history of her. She is living now somewhere; but wherever she may be, we may be quite sure she never has forgotten the conversation at the well in Samaria, and the man who "told her all that ever she did." [Illustration: MARY MAGDALENE] MARY MAGDALENE. One of the most splendid ornaments of the Dresden Gallery is the Magdalen of Batoni. The subject has been a favorite among artists, and one sees, in a tour of the various collections of Europe, Magdalens by every painter, in every conceivable style. By far the greater part of them deal only with the material aspects of the subject. The exquisite pathos of the story, the passionate anguish and despair of the penitent, the refinement and dignity of Divine tenderness, are often lost sight of in mere physical accessories. Many artists seem to have seen in the subject only a chance to paint a voluptuously beautiful woman in tears. Titian appears to have felt in this wonderful story nothing but the beauty of the woman's _hair_, and gives us a picture of the most glorious tresses that heart could conceive, perfectly veiling and clothing a very common-place weeping woman. Correggio made of the study only a charming effect of light and shade and color. A fat, pretty, comfortable little body lying on the ground reading, is about the whole that he sees in the subject.