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Easter at Bozrah Finding the mother-love in God s
heart Page 337

CHAPTER XXIV. A HEROINE S PILGRIMAGE.

The convert s yearnings " Go and tell " When parents
oppose each other which shall the child follow? A
child of the kingdom in a new family circle Jesus,
Mary and the elect Miriamne s two great ambitions
Living apart may be as sinful as actual divorcement
Father Adolphus encourages and Rizpah opposes Miri
amne Rizpah recounts to Miriamne the story of her
love for Sir Charleroy, his madness and her own futile
visit to London in the effort to win him back The
curse of heredity " I ll disown thee with tears in my
voice and kisses in my heart." Page 351

CHAPTER XXV. COXSOLATRIX AFFLICTORUM.

Miriamne s welcome by the London Palestineans The
daughter meets her father in a mad-house Disappoint-



Contents. xxiii

merit The flight The search The White Madonna
ot the Asylum Park Love the remedy of minds per
turbed by hate Pallas-Athene the virgin of the
fteatheii Miriamne s letter to her mother and its grim
answer . . Page 367

CHAPTER XXVI. THE WEDDING AT CANA.

Sir Charleroy giving signs of recovery under Miriamne s
ministries A remarkable service in the chapel of the
Palestineans The knight interested in the story of
Cana The address of Cornelius, on " Home " and
"Marriage" "Is this London or Bozrah ? " Sir
Charleroy s sudden relapse Miriamne s adroit minis
tries Memories that awaken hopes The clouds again
lifting Mary s life motto Page 381

CHAPTER XXVII. THE STAR OF THE SEA.

Sir Charleroy, partially restored, with Miriamne and Corne
lius journeying toward Syria Passing Cyprus Olym
pus A storm rising on the Mediterranean Cornelius
presses his love suit on Miriamne Miriamne pledges
love, but pleads her mission as a barrier to marriage
Conflicts below, tempests aloft A dream ; Venus s
court and Mary s triumph Sir Charleroy in frenzy de
fying the billows An hour of peril The "Lightning
Song " of the sailors The twin stars " Mary, Star of
the Sea " The victims of fabricated consciences
Parting Page 397

CHAPTER XXVIII. THE QUEEN IN THE VALLEY OF
SORROWS.

Father and daughter at Acre The mysterious Hospitaler
From Acre to Joppa " The myths are as full of women
as the women are full of myths" The wars of men about
women At Jerusalem The wonderful words of the
Knight-Hospitaler, turned preacher The Via Dolorosa
The Valley of Jehosaphat The mountain outlook
" Soldiers Speed the Cross " Mary, the sun of women,
rising in moral grandeur above the women of the grove-
shrines The panorama of the ages, passing before
Mary s mind Tage 419



xxiv TJic Queen of the House of David.

CHAPTER XXIX. Two DEAD HEARTS UNITING Two
LIVING ONES.

From Jerusalem to Bozrah The tomb of Ichabod Sir
Charleroy argues against meeting Rizpah Miriamne s
strong argument in behalf of the lasting obligations of
marriage A husband reaching the climax of revenges
Joseph by kindness kept Mary in sweet mood and so
blessed the unborn Christ " Miriamne, I am a bundle
of contradictions ! " The news-rider A plague at Bozrah
- De Griffin s twins nigh death Miriamne meets her
mother Reconciliation A strange funeral ; only two
women as mourners and pall-bearers. . . Page 437

CHAPTER XXX. THE " KNIGHT OF SAINT MARY " AND
RIZPAH AT THE GRAVE OF THEIR SONS.

Father Adolphus and Sir Charleroy A ruined temple and
a ruined man "A woman, a woman leading in religion! "
Jesus and Magdalena The twelve appearings of the
lingering Christ The Savior s love-letter from heaven to
His mother Lucifer s attempt at suicide The kiss
befouled by treason The meeting of Sir Charleroy and
Rizpah " The tomb of giant-love grown to mad-hate."

Page 453

CHAPTER XXXI. THE ROSE, QUEEN OF HEARTS IN

BOZRAH.

A scene of domestic happiness Love the vassal of the will
Neb-ta in the " Judgment Hall of Truth " The lambs
that are offered by sectarian hates The Arcana of
glorious wedded love Rizpah transformed Miriamne s
public profession of Christ Cornelius Woelfkin again
appeals for union in wedlock An inner and an outer
Miriamne The coronation of love The solemn espousal.

Page 467

CHAPTER XXXII. THE QUEEN AND THE GRAIL-SEEKERS.

* The gold of my heart to the man that piloted me to hap
piness " Miriamne yearns for a world in sin Has the
Church or God failed ? A revolutionary reformer The
tory of the grail quest The quest of a heavenly cure



Contents, xxv

for human ills The triumphant Adam and Eve The
queenly women of patriarchal times The mother of the
Savior as the wife of a carpenter What kept her young
heart from breaking Miriamne s farewell to Bozrah.

Page 484

CHAPTER XXXIII. THE HOSPITALER S ORATION.

The secret meeting of the Knights at the house of Phebe
Swords bent sickle-like and spears crossed After war,
social victories Sunrise at midnight Each career
determined by the life that gives life The girdle of
Venus Next after God, Mary chiefly instrumental in
giving the world a Savior Page 498

CHAPTER XXXIV. MEMORIALS AT BOZRAH.

The death of Dorothea The priest of the wayside The
wedding of Cornelius and Miriamne A pilgrimage to
the tombs of Adolphus, Charieroy and Rizpah. Back-
look, and outlooks Page 510

CHAPTER XXXV. THE SISTERS OF BETHANY.

The Missioners at Bethany The site of the Home of Jesus
Miriamne s ideal society The miracle age A home, not
a throne, the place of Ascension Will Jesus so return ?
The angel bivouac Page 522

CHAPTER XXXVI. THE QUEEN OF THE HOUSE OF DAVID.

The Knight s Pentecost In the upper room of Joseph of
Arimathcea Mary s title and realm Luke, the word-
painter The smoke side and the fire side of Pentecost.

Page 529

CHAPTER XXXVII. THE CORONATION OF THE QUEEN.

The Hospitaler deemed a prophet at Bethany. The legiti
macy of Jesus as the " son of David " assured through
His mother "The reign of blood" First born
Pagan Rome made sponsor for Mary s son Doomsday
books and royal charters Page 538



xxvi The Queen oj the House oj David.

CHAPTER XXXVIII. THE " LIGHT OF THE HAREM " IN
THE " TEMPLE OF ALLEGORY."

The old church at Bethany A dedication The wonders
of symbolism Idolatry and Mariolatry. . . Page 548

CHAPTER XXXIX. CROWN JEWELS.

The Hospitaler warns the Missioners of the Sheik of Jerusa
lem s designs The son of Azrael Immunity purchased
The wedding of Beulah, Nourahmal s grand-daughter to
a Jewish convert The wedding address Juno-Moneta
Crown jewels of maidens and mothers Mary sounding
the depths of woman s miseries A malediction for lust
" Knights of the White Cross " The lost woman dreaming
of how it seems to have a mother s arms infolding her
The Virgin s potent example Page 568

CHAPTER XL. THE QUEEN S VISION OF THE AGE OF GOLD
AND FIRE.

NouraKmal wed to the Druse camel-driver the Druse con
verted The Hospitaler s message Ezekiel prophecies
fulfilled at Olivet The " Mother s pillow " Gabriel, the
" Angel of Mothers and of Victories." . . Page 581

CHAPTER XLI. A CHIME AND A DIRGE AT CHRISTMAS
TIME.

" Motherhood priced " " Thou shall be saved in child-
bearing Sylvan gods of Rome " The Miriamites,"
"In Rama, weeping and great mourning" Joachim s
bleating lamb slain Woman s supreme hour Maternity s
crucifixion " The Caesarian Section" The ebbing-tide
and the stranded wreck, at midnight. . . . Page 595

CHAPTER XLII. THE MOTHER OF SORROWS TRIUMPHANT
AT LAST.

The funeral of Miriamne The Hospitaler tells the traditions
of Mary s death and assumption What the Druse con
vert said to his camel " The beatings of mighty wings "
The tomb of Miriamne in Gethsemane. Page 6il



Contents. xxvii

CHAPTER XLIII. A COFFIN FULL OF FLOWERS, AND A
GIRDLE WITH WINGS.

Cornelius and his son at Bethany Changed scenes Undei
the lights and shadows of Chemosh A widower s grief
Azrael s putative son razes to the ground Miriamne s
home and temple The legend of Mary s coffin and girdle
The last of the new grail-knights A sad and dramatic
tableau. 618



LIST OF ILLUSTRATIONS.



i.

MARY AND THE INFANT JESUS, - - Frontispiece
(The original painted by GOODALL.)

II.

PAGE

THE BIRTH OF MARY ...... 6c

(The original painted by MURILLO.)

III.
RIZPAH DEFENDING THE DEAD BODIES OF HER

RELATIONS, - 250

(The original painted by BECKER.)
IV.

THE EDUCATION OF MARY, ... 282

(The original painted by CARL MULLER.)

V.

THE MARRIAGE OF MARY AND JOSEPH, - 294

(The original painted by RAPHAEL.)

VI.

THE SHADOW OF THE CROSS, - - 332

(The original painted by MORRIS.)

VII.

JESUS AT THE AGE OF TWELVE WITH MARY AND

JOSEPH ON THEIR WAY TO JERUSALEM - - 350
(The original painted by MENGELBURG.)

VIII.
THE YOUTH JESUS YIELDING TO THE WISHES OF

His MOTHER, - - 366

(The original painted by W. HOLMAN HUNT.)

IX.

THE WEDDING AT CANA, - 380

(The original painted by PAUL VERONESE.)

X.

MARY AND ST. JOHN, - - 43 5

(The original painted by PLOCKHORST.)



THE

QUEEN OF THE HOUSE OF DAVIP



CHAPTER I.
THE QUEEN S PORTRAIT.

" And breaking as from distant gloom,

A face comes painted on the air;
A presence walks the haunted room,

Or sits within the vacant chair.
And every object that I feel

Seems charged by some enchanter s wand,
And keen the dizzy senses thrill,

As with the touch of spirit hand.
A form beloved comes again,

A voice beside me seems to start,
While eager fancies fill the brain,

And eager passions hold the heart."




ASTER, we would see a sign from Thee,
was the cunning challenge of the Scribes
and Pharisees. They were certain that, in
this at least, the hearts of the people
would be with them. A sign, a scene, a symbol, were
the constant demand and quest of the olden times, as of
all times. Even Jehovah led forth to victory and trust,
as necessity was upon Him in leading human followers,



30 The Queen of the House of David,

" with an outstretched arm, and with signs and with wor*.
ders." The Jews, seemingly so doubtful and so quer
ulous, after all articulated the longings of the universal
humanity. The longing stimulated the effort to gratify
it, and forthwith the artist became the teacher of the
people. Presentments of Mary, as she might have been,
and as she was imagined to have been by those most
devout, were multiplied. Piety sought to express its
regard for her by making her more real to faith through
the instrumentality of the speaking canvas, but beyond
this there was the desire to embody certain charms and
virtues of character dear to all pure and devout ones.
These were expressed by pictured faces, ideally perfect.
They called each such " Mary " ; and if there had never
been a real Mary, still these handiworks would have had
no small value. Who can say that those consecrated
artists were in no degree moved by the Spirit which
guided David when " he opened dark sayings on the
harp," and rapturously extolled that other Beloved of
God, the Church ? Music and painting twin sisters
equal in merit, and both from Him who displays
form, color and harmony as among the chief rewards
and glories of His upper kingdom. These also meet a
want in human nature as God created it. The artists
did not beget this desire for presentments through
form and color of the woman deemed most blessed ;
the desire rather begot the artists. Stately theology has
never ceased truly to proclaim from the day Christ cried
" It is finished ! " that " in Him all fullness dwells ; " but
no theology, has been able to silence the cry of woman s
heart in woman and woman s nature in man which
pleads through the long years, "S/ww us the mother and



The Queen s Portrait. 31

it sufficeth us" It has happened sometimes that gross
minds have strayed from the ideal or spiritual imports
of Mary s life and fallen into idolizing her effigies. That
was their fault, and must not be taken as full proof that
nothing but evil came from the portrayings of our
queen. The facts are conclusively otherwise. The
painters that made glorious ideals shine forth from the
canvas unconsciously painted the shadows largely out
of the conditions of all women. Before this second
advent of the Virgin, the paganish idea that women
were the " weaker sex," the inferiors of men, at best
only useful, handsome animals, prevailed. The
renaissance of Mary, as the ideal woman, was an event
seeded with the germs of revolutionary impulses
socially. Like sunrise it began in the East, at first
dimly manifest, then it became effulgent and quickly
coursed westward along the pathways of Christianity s
conquests. Like sweet, grateful light then there came
to the hearts of men the braver true persuasion, that
the woman who not only bore the Christ but won
His reverent love must have been morally beautiful
and great. In the track of this persuasion, and as its
sequence, there came the conviction that the sex,
of which Mary was one, had within it possibilities be
yond what its sturdier companions had dreamed.
After this it came about that the painters, often the
interpreters of human feelings, began to represent all
goodness under the form of a Madonna. Not know
ing the contour of Mary s face they began gathering
here and there, from the women they knew, features of
beauty. They combined these in one harmonious pre
sentment. They set out to represent the ideal woman.



32 The Queen of the House of David.

but had to go to women to find her parts. It became
a tribute to womankind to do this. It was like a voy
age of discovery, and the artist voyagers depicted not
only the best things in womankind, but by putting
these things together illustrated what woman could be
and should be at her best.

It was thus that Guido produced a picture of the
Madonna which enravished all that beheld it. Once
he had said, " I wish I d the wings of an angel to
behold the beatified spirits, which I might have
copied." After, here and there, he picked out frag
ments of color and form on earth ; then put them into
one ideal composition. It was a heart-expanding
work ; the work of a prophet, since it told of what
might be in woman wholly at her best. Then he said,
"the beautiful and pure idea must be in the head " of
the artist. It was a deep saying. Given the ideal,
and the worker will need only proper ambition to pre
sent a grand composition, whether on canvas or in the
patterningsof the inner life. The presentments of the
Virgin rose in fineness when priests turned from their
exegesis to kneel and paint for men. The great Saint
Augustine, held in high honor by Christians of every
name, redeemed from a youth of darkest sinning,
revered as his guiding star two lovely women, Monica,
his mother, and Mary, the mother of Jesus. He
argues, in stalwart polemics, that through the acknowl
edgment of Mary s pre-eminence all womankind was
elevated. Her presentment, so as to be fully compre
hended, was in the beginning a blessing to every soul
in being an inspiration to purer, sweeter living. So
far as such presentment now conserves the same



The Queen s Portrait. 33

results the work is worthy and profitable. In all
times the representations of the Virgin, whether by
the historian or the master of the studio, varied ; but
the piety they awakened always seemed to be of one
type, and that lofty. Thus we have " the stern, awful
quietude of the old Mosaics, the hard lifelessness of
the degenerate Greeks, the pensive sentiment of the
Siena, the stately elegance of the Florentine Madon
nas, the intellectual Milanese, with their large fore
heads and thoughtful eyes, the tender, refined mysti
cism of the Umbrian, the sumptuous loveliness of
the Venetian ; the quaint, characteristic simplicity of
the early German, so stamped with their nationality
that I never looked round me in a room full of Ger
man girls without thinking of Albert Durer s Virgins;
the intense, life-like feeling of the Spanish, the prosaic,
portrait-like nature of the Flemish schools, and so on."
Each time and place produced its own ideal, but all
tried to express the one thought uppermost ; pious
regard for the Queen and model. All seemed to feel
that in this devotion there was somehow comfort and
exaltation and there generally were both.

The writer of the foregoing quotation, a woman of
widest culture and admirable good sense, attested the
need that many feel by her own rapturous description
of the Madonna of Raphael in the Dresden Gallery.
" I have seen my own ideal once where Raphael
inspired, if ever painter was inspired projected on
the space before him that wonderful creation."
"There she stands, the transfigured woman; at once
completely human and completely divine , an abstrac
tion of power, purity and love; poised on the



34 The Queen of the House of David.

empurpled air, and requiring no other support;
with melancholy, loving mouth, her slightly dilated
sibylline eyes looking out quite through the universe
to the end and consummation of all things; sad, as if
she beheld afar off the visionary sword that was to
reach her heart through HIM, now resting as enthroned
on that heart ; yet already exalted through the hom
age of the redeemed generations who were to salute
her as blessed. Is it so indeed? Is she so divine? or
does not rather the imagination lend a grace that is
not there? I have stood before it and confessed that
there is more in that form and face than I have ever
yet conceived. The Madonna di San Sisto is an
abstract of all the attributes of Mary."

The foregoing representation marked a step forward
in things spiritual. Before Raphael, painters number
less, under the influence of the luxurious and vicious
Medici, had filled the churches of Florence with painted
presentments of the Virgin, characterized by an allur
ing beauty which seemed next door to blasphemy.
Then came that Luther of his times, Savonarola. He
thundered for purity, simplicity and reform ; aiming
his blows at the depraving, sensuous conceptions of
the grosser artists. He made a bonfire in the Piazza
of Florence, there consuming these false madonnas.
He was, for this, persecuted to death by the Borgia
family. They could not bear his trumpet call to Flor
entines, " Your sins make me a prophet ; I have been a
Jonah warning Nineveh ; I shall be a Jeremiah weep
ing over the ruins ; for God will renew His church and
that will not take place without blood Art heard
his voice, the painters became disgusted with their



The Queen s Portrait. 35

meaner handiwork, the rude, the obscene, the mis
chievous was obliterated ; finer, more spiritual and
loftier concepts of the Virgin appeared as proof of a
reformation of morals. And Raphael, later on, seeing
these productions, felt the influence that begot them,
and then produced that masterpiece. Tradition says
Saint Luke painted a picture of the Virgin from life.
The picture, reputed to have been so painted, was
found by the Turks in Constantinople when that city
fell into their conquering hands. They despoiled it of
its princely jewel-decorations, then tramped it con
temptuously beneath their feet. The latter act was
typical, and the Turk still lives to trample in contempt
on honest efforts to portray with amplitude and fin
ished details this splendid character, whose outlines
alone are presented by the Gospels. But though the
Vandal spirit survives, there survives also the strong
yearning for the representation of that woman beyond
compare, and some will still revel amid the ideals of
painters, and some will be gladdened still more by
truth s complete presentment which words alone can
make.



CHAPTER II.

THE PILGRIM, CRUSADER AND VIRGIBL

" There is a fire

And motion of the soul which will not dwell.
In its own narrow being, but aspire
Beyond the fitting medium of desire ;
And but once kindled, quenchless ever more,
Preys upon high adventure, nor can tire
Of aught but rest."

"CJnlde Harold:




HERE is something very fascinating about
the contemplation of life as a continuous
pilgrimage, and the fascination grows on
one as the conviction of the truth of the
conception is deepened by study of it. The course of
our race has been a series of processions from continent
to continent, from age to age, from barbarism to refine
ment, from darkness toward light. Whether measuring
the little arcs of individuals from birth to dust, or follow
ing along the mighty marches of our universe with all
its grouping hosts of whirling constellations, we have
before us ever this constant truth ; man moves will
ingly or unwillingly onward, as a pilgrim amid pil
grims. " Move on " is the constant mandate and
necessity of being. Man s course is mapped ;
onward from the swaddling clothes to the shroud, from



The Pilgrim, Crusader and Virgin. 37

life to dust ; then onward again ; while all the mighty
planet fleets of which the earth-ship is but one, move
along their courses, over trackless oceans, toward des
tinations, all unknown, yet concededly in a grand as
well as in an inexorable pilgrimage. Partly because
the motions of his earth-ship makes nim restless, partly
because he is a being that hopes and so comes to try
to find by distant quests hope s fruitions, and more
largely because he is of a religious nature, which
impels him to seek things beyond himself, the man
becomes a pilgrim. He that is content as and where
he is, always, is regarded as a fool playing with the
toys of a child, by wise men ; by religionists, lack of
holy restlessness is ever adjudged to be a. sign of
depravity. Hence almost all religions, whether false
or true, have given birth to the pilgrim spirit. The
zeal to express and to utilize this spirit has been
often pitiful to behold. Multitudes, failing to grasp
the fact that life itself is a pilgrimage, have invented
other pilgrimages and gone aside to useless, needless
miseries. But all the time they attested human
nature seeking something beyond itself, better than
its present. So the tribes that lived in the lowlands
nourished traditions of descent from gods or ances
tors who. abode on the mountains, and they inaugu
rated pilgrimages to seek inspiration or a golden
age "on high places, faraway." The chosen people
of God thus constantly were allured from the worship
of the Everywhere and One Jehovah by the enthusiasm
of the heathen devotees who flocked to the mountain
fanes. Turn which way one will in the night of the
ages and the spectacle of the pilgrim is before him.



38 The Queen of the House of David.

Ancient Hinduism, followed by that of to-day, with
nessed, witnesses annually, pilgrims counted by hun
dreds of thousands to the temple of murderous Jugger
naut, the Ganga Sagor, or isle of Sacred Ganges. The
Buddhists journey to Adam s Peak in Ceylon, and the
Lamaists of Thibet travel adoringly to their Lha-Isa;
the Japanese have their pilgrim shrines amid perilous
approaches at Istje, while the Chinese, who claim to
be sons of the mountains, clamber with naked knees
the rugged sides of Kicou-hou-chan. The pilgrimages
of the Jews occupy many chapters of Holy Writ, for all
their ancient worthies " not having received the promises,
but seeing them afar off * * confessed that they vvere
pilgrims and strangers." Christ confronted the pilgrim
spirit perverted in the person of the woman of Samaria,
at the eastern foot of Gerezim. She and her people
rested their hopes in pilgrimages to their supposed
to be sacred places, but the Saviour declared to her by
Jacob s well, truths, both grand and revolutionary, in
these words : "The hour * * now is when the true
worshiper shall worship the Father in spirit * * * not
in this mountain nor in Jerusalem." " Go call thy hus
band and come hither. Whosoever drinketh the water
I shall give shall never thirst." There were volumes
in the golden sentences and they plainly said no need
to travel far to find the Everywhere God Who ever
comes where men are to satisfy their every thirst. " Go
call thy husband." Go to thy home and find the water
of life through doing God s will ; it is better to be a
missionary than a pilgrim unless the pilgrim be also
missioner. But the truths of that hour have found
tardy acceptance among many. The children of



The Pilgrim, Crusader and Virgin. 39

Jacob are pilgrims throughout the earth, and the dis
ciples of Christ, since His departure, have gone pii.
griming often, as did their fathers before them. Con-
stantine, the Roman emperor, and his mother, Helena,
by example and precept, urged Christendom to
re-embark in such pious journeys, and at the end of
the first thousand years of its existence, Christianity
had hosts of disciples actuated by the same old
passion that sent religionists everywhere to seek
shrines, fanes and blessings. Then the belief began
to be held everywhere among Christians that the



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