Illustrated Catalogue Of Magic Lanterns (after November 1889, probably 1890)

McIntosh battery and optical co., Chicago, ill., u. s. a. 169 3. When other helpers fail, and comforts flee, ., . _ Help of the helpless, oh! abide with me. This idea is most beautifully illustrated by a houseless and homeless wanderer, crouching upon the steps of a brilliantly lighted mansion, gazing in through the Windows at the comforts so sadly needed and for which she must look to the “Help of the Helpless.” 4. Swift to its close ebbs out life’s little day; Earth’s joys grow dim; its glories pass away; An old church in ruins, in the midst of toppling gravestones, well illustrates how “its glories pass away.” 5. Change and decay in all around I see: O Thou, who changest not, abide with me! A beautiful moonlight view of a ruined abbey, with its ivy-clad gable, the moon shining through its “Catharine Wheel” win- flow, and well exDressing “change and de- cay.” 6. Not a brief glance, I beg, a passing word; . But, as Thou dwell’st with Thy dis- ciples, Lord, Our Lord, with his disciples, partaking of the last supper. 7. Familiar, condescending, patient, free, . „ ... Come, not to sojourn, but abide with me! The Saviour, “familiar, condescending, patient, free,” surrounded by the “little children,” whom he loved so well. 8. Come not in terrors, as the King of kings; But kind and good, with healing in Thy wings; A scene in which the “kind and gopd ” Phase of our Saviour’s character is typified at the bedside of the sick and dying. 9. Tears for all woes, a heart for every plea; , _ Come, Friend of sinners, and thus abide with me! The “Friend of sinners,” standing over the crouching, penitent figure, and saying, “He that is without sin among you, let him first cast a stone at her.” 10. Thou on my head in early youth didst smile; And, though rebellious and perverse meanwhile, A beautiful child watched over by two cider sisters—a perfect gem of a picture. 11-12. Thou hast not left me, oft as I left Thee. On to the close, O Lord! abide with me. Angel faces appearing as in readiness to crown with glory one who is near “the close.” 13. I need Thy presence every passing hour; What but Thy grace can foil the tempt- er’s power? A portion only—the central group—of Du- bufe’s celebrated picture of the “Prodigal Son ” is here utilized, showing the youth sur- rounded by the “tempter’s power.” By tak- ing only the principal group of this picture, the interest is centered on the one figure. The other portions of the allegory do not di- vert the attention. 14. Who, like Thyself, my guide and stay can be ? Through cloud and sunshine, oh! abide with me. An attic room; the figure of a woman, weary with work; the meagre furnish- ing of the room, and the unmistakable surroundings of one who sees more of “cloud” than “sunshine,” illustrates this number. 15. I fear no foe, with Thee at hand to Ills have no weight and tears no bitter- ness ; Another beautiful picture is here intro- duced, showing a widow at the grave of her departed husband ; but her look of resigna- tion and the wreath of flowers she has brought, with which to deck the tomb, show that, although there may have been tears, they have lost their bitterness. 16. Where is Death’s sting ? Where, Grave, thy victory ? I triumph still, if Thou abide with me! Death is depicted. The arena is filled with the dead and the dying, sacrificed to furnish a day’s diversion for an emperor. But when we know that they were slaught- ered for daring to proclaim their belief in the Saviour, and as we see the angels hover- ing over the martyrs thus sacrificed, we may well exclaim, “Where is Death’s sting? Where, Grave, thy victory?” 17-18. Hold, then, Thy cross before my clos- ing eyes! . ^ Shine through the gloom, and point me to the skies! Faith, looking forward, sees the cross rise before her, pointing to the skies. 19 to 25. Heaven’s morning breaks, and earth’s vain shadows flee; In life and death, O Lord! abide with me. The numbers from 19 to 25 all cpmbine to make the closing scene of this series one of the most brilliant in effect of anything at- tempted in the line of lantern transformar tions. The last view previous to this fades gradually away into a rosy-tinted cloud, from which two angels emerge, bearing in the<r arms a female figure representing a departed soul. These figures are quite large and low down on the disk, and seem quite near. Gradually the figures disappear. An en- tirely different but more gorgeous cloud covers the screen, and presently the same figures emerge again, smaller and higher up, apparently further away, and in their turn disappear into a third cloud, as brilliant as the last, but different from either of the pre- ceding ; when, at length, on the upper por- tion of the disk, and flying in the opposite direction, reduced in size, as though a long way off, appear the angels with, their bur- den, only to melt away gradually, and al- most imperceptibly, disappearing into a cloud of the brightest ruby tints, as we pict- ure to ourselves that “ Heaven’s morning breaks, and earth’s vain shadows flee.”