The Good Samaritan (detail) by Philip Richard Morris (1857)

The English artist Philip Richard Morris imagines Luke’s parable of The Good Samaritan within the historical reality of the Holy Land. Why did this story exercise such a wide appeal during the nineteenth-century? Pre-Raphaelite artists like Morris delighted in recreating the domestic world of first-century Palestine. In addition, Victorian families relished the Samaritan’s example of selflessly serving those in need. In keeping with Victorian values, Morris focuses on the later part of the parable. The Samaritan together with the unfortunate traveller have found their way to an inn, where the Samaritan ensures that the inn-keeper will further nurse the man who has been robbed. Here the inn-keeper’s family, his wife and child proceed to offer support and care to the victim of casual theft and violence. Through the entrance we glimpse the merchant and his horse heading off. Morris shows that the Samaritan can now depart, confident that the inn-keeper and his family will continue to care for the man. The didactic message of Luke’s parable centres of course on Jesus words “Go and do like-wise”. In the painting the small child prominently dressed in red reminds us of Jesus’ words. Clearly frightened by the intrusion of the unkempt stranger, he is never-the-less gently encouraged by his mother to regard the man with compassion. The command to offer hospitality to the stranger resonates from this painting into our own communities.

The 2015 Art Guide has been compiled by Claire Renkin, well-known Art Historian and Lecturer at Yarra Theological Union and recorded by Geraldine Doogue, Australian Journalist, Radio and Television Host.

Learn more about the Columban Art Calendar: www.columban.org.au