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At that moment the wind tore loose the parchment nailed at the top of the cross. It drifted to the ground a few yards away. The younger man looked at Cleopas: "Shall I get it?" After a moment Cleopas replied: "No. Let it lie there. Why keep things that make us remember these days?" He turned his back on the cross and started down the hill toward Emmaus.
He used human agents, with their natural language and surroundings, as his instruments, but he could, on the way to Emmaus, "beginning from Moses and all the prophets," interpret to those humble believers "in all the Scriptures the things concerning himself."
One appears to represent the interview between our Saviour and the two disciples at Emmaus, when in the set of making himself known to them by the breaking of bread. Another exhibits the Virgin bearing in swaddling-clothes the infant Jesus; and a third seems to illustrate the same subject in circumstances somewhat different.
Emmaus was also burnt by Varus's order, after its inhabitants had deserted it, that he might avenge those that had there been destroyed.
How different some of them, one from another, the Virgin of Van Eyck from the Virgin of Raphael, Rembrandt's "Pilgrimsat Emmaus" from the "Entombment" by Titian. Yet between others there are common elements of likeness. Raphael and Titian are distinguished by an opulence of form and a luxuriance of color which reveal supreme technical accomplishment in a fertile land under light-impregnated skies.
This day is the only one named upon which Christ appeared to his disciples after his resurrection: it was on the evening of the first day of the week, and on the evening of the following eighth day, that they assembled and Christ appeared in the midst of them. On this day he walked with his disciples to Emmaus, and made their hearts to burn within them with holy joy and wonder.
Francesco Maria della Rovere Titian and Eleonora Gonzaga The "Venus with the Shell" Titian's later ideals The "Venus of Urbino" The "Bella di Tiziano" The "Twelve Cæsars" Titian and Pordenone The "Battle of Cadore" Portraits of the Master by himself The "Presentation in the Temple" The "Allocation" of Madrid The Ceiling Pictures of Santo Spirito First Meeting with Pope Paul III. The "Ecce Homo" of Vienna "Christ with the Pilgrims at Emmaus."
Among the ten subjects that decorate the nave, we find Moses Striking the Rock, the Disciples at Emmaus, the Healing of One Possessed, of One Born Blind, and of Tobit; but in spite of the calm energy shown in these frescoes, they are disappointing by reason of their general heaviness and of the sleepy and unwonted effect of colour.
If quarrel they must before they reached Emmaus, now but a few leagues east of them, he must insure himself against defeat much less likely to be suffered from a man reluctant to quarrel. He admitted now that it would not be wise to force a fight. Whatever must be done should be done with least danger to himself. It were better, he believed, to allay suspicion. He spoke.
Was it not natural to think that only a blood-sucking insect could innoculate it? How many students felt that glory had passed close to them, and were amazed and saddened by the knowledge, like the disciples of Emmäus, who said to each other when the Master disappeared before they recognized Him: "Did not our hearts burn within us when He spoke and expounded the Scriptures to us?"
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