The four shepherds and the three Magi follow. Then
comes the flight into Egypt, with Mary on an ass led by Joseph,
the infant Christ in her arms. Later we see the doctors of the
Temple walking in two rows, disputing with the young Jesus in their
midst. The triumphal entry into Jerusalem is represented by a crowd
of schoolchildren waving palm-branches and singing hosannahs round
Jesus mounted on an ass. The agony in the garden, Peter denying
his Lord and weeping bitterly, Jesus crowned with thorns, Pilate
in his judgment-hall, the Saviour staggering beneath the cross,
the Crucifixion itself, the Resurrection and the Ascension, are
all shown with the crude realism of the Middle Ages. There are
penitents bearing ponderous crosses on their shoulders, or carrying
in their hands the whips, the nails, the thorns, the veil of the
Temple rent in twain, a picture of the darkened sun, and other
symbols of the Passion. At the end, amidst torches and incense
and solemn chanting, the Host is exhibited for the adoration of
the crowd.
[Illustration: FURNES. Tower of St. Nicholas.]
Much of this spectacle is grotesque, and even ludicrous; but there
is also a great deal that is terribly real, for the penitents are
not actors playing a part, but are all persons who have come to
Furnes for the purpose of doing penance.
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