“THE LIGHT OF THE WORLD.”

Lyttelton Times, Volume CXV, Issue 14060, 15 May 1906, Page 2

“THE LIGHT OF THE WORLD.”

HOLMAN HUNT’S PICTURE WITH A PURPOSE. “ The Light of the World,” the allegorical picture which is being shown throughout the British Empire by its owner, the Hon Charles Booth, will be on view in the local Art Gallery this afternoon. “In the “Canterbury Times of this week a reproduction of the magnificent painting is given as a supplement. It is most artistically reproduced hy aid of the printer’s art, and is well suited for framing, as an ornament for a room. The Hon Charles Booth has an object in the exhibition of the picture. It is that the thoughts of Christians may be turned more on their Master. To gaze on the symbolical painting is to inspire holy sentiments. The _ great work has been subjected to criticism. Ruskin, after a careful analysis of its spiritual meaning, wrote as follows: “ I believe there are very few_ persons on whom this picture,*,thus justly understood, will not produce a deep impression. For my part, I think it is one of the very noblest works of sacred art ever produced in. this or any other age.” In his “ Pre-Raphaelitism and the Pre-Raphaelite Brotherhood,” Holman ■ Hunt quotes a very different criticism by Carlyle. Carlyle had called on Hunt just as the picture was completed. Ho spoke “ in terms of disdain ” as he looked upon it. Hunt thus reports his caustic remarks; — “ You call that thing. I ween, a picture of Jesus Christ. Now, you cannot gain any profit to yourself, except in mere pecuniary sense, or profit anyone eke on earth, in putting into shape a more papistical fantasy like that, for it can only bo an inanity or a delusion to everyone that may look on it. It is a poor, misshaped presentation of the noblest, the brotherliest, and the most heroic-minded Being that ever walked God’s earth. Do you ever suppose that Jesus walked about bedizened in priestly robes and a crown, and. with yon jewels on his breast and a gilt aureole round his head? Ne’er crown ■ or pontifical rcbo did the world e’er give to such as Him. Well— j and if you mean to represent Him as the spiritual Christ, you have chosen the form in which He has been travestied from the beginning by worldings who have recorded their own ambitions as His, repeating Judas’s betrayal to the high priests. You should think frankly of His antique, heroic soul; if you realised His character at, all you wouldn’t try to make people go back and worship the image that the priests have invented of Him to keep men’s silly souls-in meshes of slavery and darkness. Don’t you see that you’re helping to make peoule i believe what you know to be false' what y’ don’t believe yourself? The picture I was looking at just now of the shallow, idle fool and his wretched victim, had to do with reality; this Is only empty makebelieve, more pretended fancy, to do the like of which is tho worst of occupation for a man to take to.” Holman Hunt thus interprets the picture-meaning of “ Tho Light of the Light ox the World ” : ■ •• The closed door is tho obstinately shut mind, the weeds tho cumher_ of daily neglect, the accumulated hindrances of sloth ; the orchard the garden of delectable fruit for the dainty feast of the soul. The music of the still, small voice is tin; summons to the sluggard to awaken and become a zealous labourer under the Divine Master: the bat flitting about only_iu darkness is a natural symbol of ignorance: the kingly and priestly dress of Christ, the sign of His reign over the body and the soul, to them who could give their allegiance to Him, and acknowledge GocFs over-rule. In making it a night scene, lit mainly hy the lantern carried by Christ, I followed the metahporical explanation in the Psalms. ‘ Thy word is a lamp unto my feet,' and a light unto my path,’ witly also tho accordant allusions by St Paul to the sleeping soul. ‘ The night is far spent, tho day is at hand.’ ” • A contemporary thus describes the great painting:—“The Light of tho World” shows the Saviour in royal robes, a lantern in his hand, the right hand raised to knock at a deer overgrown with brambles and ivy. Tho figure of Christ stands out with faintly haloed head against the blue sky of a clear night, and tho dark green of silent brooding trees. From the lantern, swinging from the left hand by a cord, a brilliant flood of radiance shines out, glowing on the crimson cloan. that is clasped with gems over tho shoulders and breast, on the dark door, and the fallen golden apples on the grass. The door is fast shut, and covered with green and yellow tsr'cirik and leaves. The face of Christ is lit in shadow and shade hy the -rosy radiance of the lantern, and is solemn, steadfast .and mild. To the artist the picture is a thing of delight, not only for its wonderful technique and splcn.did “values,” hut for its magnificent colouring. The light from the lantern is treated in a way to make the ordinary despair—it glows and fades, and shimmers on the white-robe, warms the flesh tints, and streams in ceaseless sweetness through all the picture. Such an impression did Holman Hunt’s work make upon Australians that it is calculated that it was viewed by at least 400.000 people of the Commonwealth. On one day alone, in Melbourne, 15,000 nersens were sdmitter to the Art Gallery to view “The Light of the World.” The picture is a replica by the artist

of his original work, which by 1886 had fallen into disrepair. As there is likely to be a great demand for tho “ Canterbury Times” this week, the proprietors have had several thousand, extra copies printed of tho the beautifully-prepared supplement, “Tho Light of the World,”