ABSTRACT
The writer of this volume, after seeing the Tissot pictures or illustrations of the life of Jesus in New York, compared experiences with an estimable Christian woman who has travelled in the Holy Land. During the course of the conversation he put to her the question he had wished someone to answer: “What about the rich, even high, Venetian colouring of the pictures; can it be that they are true to life, to local colour? Palestine surely can never have had so much colour?” “Yes,” was the reply, “Tissot is true to life here. Most Eastern buildings are a dingy white, but such is the witchery of light in that practically cloudless land that the charm of colour is thrown over everything, beautifying and glorifying all.” 1
