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All the offices of the seven days of that week are well calculated to excite the imagination, and awaken in the coldest hearts the most lively sympathy with the great events then commemorated. Every thing connected with those rites breathes grief and sadness, and there is a certain mournful solemnity in them which harmonises with the scenes of our Saviour’s passion.
All the sculptured figures, called pasos, which are of the natural size and colour, and are carried about in those doleful processions, represent the principal scenes of our Saviour’s passion,—such as his prayer in the garden, the treachery of Judas, the judgment of Pilate, and the crucifixion. In Seville, the processions of Holy Week are of an extent and character renowned all over Christendom.
Nay, and many of the children of God fall into this same error, of making the way of Christ broader and easier than ever Christ made it, and taking more liberty than ever he allowed; therefore mark ye well our Saviour’s words: “Enter ye in at the strait gate: for wide is the gate, and broad is the way, that leadeth to destruction, and many there be which go in thereat: because strait is the gate, and narrow is the way, which leadeth unto life, and few there be that find it,” Matt. vii. 13, 14.
*Robert Parfew*, A.D. 1554-1557, also known as Wharton, was instituted to the Hereford See at St. Mary’s Church, Southwark, by Lord Chancellor Gardiner. He had been Abbat of St. Saviour’s, Bermondsey, as well as Bishop of St. On his death, September 22, 1537, he bequeathed his mitre and other ornaments to Hereford Cathedral, though whether he was buried there or in Mold Church seems doubtful.
For us of the western world it is difficult, and at times next to impossible, to represent to ourselves the life and customs of the Orient; and in particular do we find it hard to picture to our minds and to understand the simple poetry of that shepherd life for which Palestine has always been known. Time has little changed the scene of the Saviour’s earthly labors.
It is of elaborate design and execution; a group of emblems of the Saviour’s Passion, the pillar, the scourge, the spear, and various other objects, combine with a representation of the Crucifixion, a small ruby being set in the centre of the ring above the head of the Saviour.
The thrilling vision of eternal love so much desired, so long perhaps delayed, is then, indeed, about to dawn. The sweetness of God and the peace of His spirit are not to be found in the market place, nor in the noise and clamor of the busy street. It is not at the banquets of earthly kings that we taste of the joys of the Saviour’s feast.
Had I now had the sense to have gone back to Hull, and have gone home, I had been happy, and my father, as in our blessed Saviour’s parable, had even killed the fatted calf for me; for hearing the ship I went away in was cast away in Yarmouth Roads, it was a great while before he had any assurances that I was not drowned.
In performing this operation, the handkerchief happened to be folded into double, treble, or quadruple, and it was found that an exact impress of the Saviour’s visage was indelibly stamped on every fold! These portraits, they say, have been preserved, and are certainly venerated as sacred relics in different places. One is exhibited in Rome, another in Padua, and a third in Jaen, in Andalusia.
The bier alludes to the Saviour’s miraculous restoration to life of the widow’s son, whom He met carried out on a bier as He entered the city of Nain; the ointment pot alludes to the anointing of His feet by Mary Magdalene.
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