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THE SHAFFER LECTURES FOR 1940 IN THE DIVINITY SCHOOL OF YALE UNIVERSITY JAMES MOFFATT Hon. D. D. St. Andrews, Oxford, D. Litt. ABINGDON-COKESBURY PRESS New York Nashville JfifetTS CHRIST THE SAME MXL Stone All rights n tfci book are reserved. No part of the text may be reproduced vrr J form without written permission of the pub lishers, creeps irjef quotations used in connection with reviews in a magazine or newspaper. SET UP, ELECTROTYPED, PRINTED AND BOUND BY TH CLKRMONT PRESS AT DOBBS FERRY, NEW YORK, UNITED STATES OF AMERICA To THOSE AMONG THE WISE AND THE UNLEARNED WHO KNOW BETTER THAN THE WRITER WHAT HE HAS DONE HIS BEST TO DELINEATE IN THE SIGNIFICANCE OF THEIR LORD AND HIS. CONTENTS PAGE PART ONE 9 PART Two 59 PART THREE 117 PART FOUR 170 INDEX 217 Part One A HUNDRED YEARS AGO THERE WAS A HISTORICAL PAINTER in London who had one artistic ambition. He desired to draw the face of Jesus Christ. Four times he tried, first in a picture of the entry into Jerusalem, on which he labored for six years it was eventually bought and brought over to the United States. Then he painted the raising of Lazarus, as well as the agony in Geth semane, and an unfinished sketch of the crucifixion. Benjamin Haydon had a touch of genius in his art. He was honored by some of the brightest spirits in his day, from Wordsworth to Sir Walter Scott. Indeed his friend Keats proudly declared that there were three things at which one might rejoice in contemporary England Wordsworths Excursion, Hazlitts depth of critical taste, and Haydons pictures. As it hap pened, none of these four religious pictures satisfied either the artist or his public. Probably no drawing of Christ ever has or ever will. Some of us indeed may have come to desire nothing more than the face of the wonderful child, not a baby but a little boy, in the arms of the Sistine Madonna it is the divine face of a per fectly natural child, but we are haunted by the slight suggestion of trouble in eyes that seem to foresee mys terious pain and agony to come, even as he faces us 9 JESUS CHRIST THE SAME with a re-assuring look of quiet mastery and grave con fidence. What Raphaels genius did with the face of the young Jesus, Haydon failed to do with the full grown Christ, however. The results of his work in the studio fell short of his dream. Yet his method was admirable, and that is the main point for us. There was a genuinely religious vein in Haydons queer char acter. He once wrote in his autobiography, The mo ment I touch a great canvas, I think I see my Creator smiling on all my efforts the moment I do mean things for mere subsistence, I feel as if he had turned his back, and whats more I believe it In 1817, as he was be ginning to plan his picture on the entry into Jerusalem, he jotted down this sentence I resolved to acquire the fundamental principles of perspective, of which I did not know enough. I earnestly prayed that I might con ceive and execute such a picture of the head of Christ as would impress the Christian world While the artist sought reverently to paint a picture of his Lord, he was well aware that he must master the technique of his art in order to achieve his end. Haydon prayed as he painted, but he did not fail to attend to the prosaic details of a matter like perspective as he set to work on the huge canvas, realizing that the one without the other would be of no avail. The aim of this essay is to consider some of the rele vant evidence for the divine humanity of our Lord in historical perspective. This does not mean that the historical method of approach is one thing, and the 10 JESUS CHRIST THE SAME devotional another, as though mental integrity and moral affinity could only thrive apart in the quest for a real Jesus. Such a notion belongs to prejudices of the street and the study which are no longer tenable. Here as elsewhere it might be said that the inquirer uses a binocular glass, and it is of primary importance to see that the lenses correspond...
THE SHAFFER LECTURES FOR 1940 IN THE DIVINITY SCHOOL OF YALE UNIVERSITY JAMES MOFFATT Hon. D. D. St. Andrews, Oxford, D. Litt. ABINGDON-COKESBURY PRESS New York Nashville JfifetTS CHRIST THE SAME MXL Stone All rights n tfci book are reserved. No part of the text may be reproduced vrr J form without written permission of the pub lishers, creeps irjef quotations used in connection with reviews in a magazine or newspaper. SET UP, ELECTROTYPED, PRINTED AND BOUND BY TH CLKRMONT PRESS AT DOBBS FERRY, NEW YORK, UNITED STATES OF AMERICA To THOSE AMONG THE WISE AND THE UNLEARNED WHO KNOW BETTER THAN THE WRITER WHAT HE HAS DONE HIS BEST TO DELINEATE IN THE SIGNIFICANCE OF THEIR LORD AND HIS. CONTENTS PAGE PART ONE 9 PART Two 59 PART THREE 117 PART FOUR 170 INDEX 217 Part One A HUNDRED YEARS AGO THERE WAS A HISTORICAL PAINTER in London who had one artistic ambition. He desired to draw the face of Jesus Christ. Four times he tried, first in a picture of the entry into Jerusalem, on which he labored for six years it was eventually bought and brought over to the United States. Then he painted the raising of Lazarus, as well as the agony in Geth semane, and an unfinished sketch of the crucifixion. Benjamin Haydon had a touch of genius in his art. He was honored by some of the brightest spirits in his day, from Wordsworth to Sir Walter Scott. Indeed his friend Keats proudly declared that there were three things at which one might rejoice in contemporary England Wordsworths Excursion, Hazlitts depth of critical taste, and Haydons pictures. As it hap pened, none of these four religious pictures satisfied either the artist or his public. Probably no drawing of Christ ever has or ever will. Some of us indeed may have come to desire nothing more than the face of the wonderful child, not a baby but a little boy, in the arms of the Sistine Madonna it is the divine face of a per fectly natural child, but we are haunted by the slight suggestion of trouble in eyes that seem to foresee mys terious pain and agony to come, even as he faces us 9 JESUS CHRIST THE SAME with a re-assuring look of quiet mastery and grave con fidence. What Raphaels genius did with the face of the young Jesus, Haydon failed to do with the full grown Christ, however. The results of his work in the studio fell short of his dream. Yet his method was admirable, and that is the main point for us. There was a genuinely religious vein in Haydons queer char acter. He once wrote in his autobiography, The mo ment I touch a great canvas, I think I see my Creator smiling on all my efforts the moment I do mean things for mere subsistence, I feel as if he had turned his back, and whats more I believe it In 1817, as he was be ginning to plan his picture on the entry into Jerusalem, he jotted down this sentence I resolved to acquire the fundamental principles of perspective, of which I did not know enough. I earnestly prayed that I might con ceive and execute such a picture of the head of Christ as would impress the Christian world While the artist sought reverently to paint a picture of his Lord, he was well aware that he must master the technique of his art in order to achieve his end. Haydon prayed as he painted, but he did not fail to attend to the prosaic details of a matter like perspective as he set to work on the huge canvas, realizing that the one without the other would be of no avail. The aim of this essay is to consider some of the rele vant evidence for the divine humanity of our Lord in historical perspective. This does not mean that the historical method of approach is one thing, and the 10 JESUS CHRIST THE SAME devotional another, as though mental integrity and moral affinity could only thrive apart in the quest for a real Jesus. Such a notion belongs to prejudices of the street and the study which are no longer tenable. Here as elsewhere it might be said that the inquirer uses a binocular glass, and it is of primary importance to see that the lenses correspond...
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