Hunt expert Judith Bronkhurst describes it as "harder and crisper in appearance than the Manchester painting". Hunt also painted a small-scale version of the composition in 1873. Williamson was sentenced to three months in prison. Staff were alerted by the sound of broken glass and the three were apprehended. She, Evelyn Manesta and Annie Briggs waited until the gallery was closing and then proceeded to break the glass on many of the most valuable paintings in including the "Shadow of Death", two by John Everett Millais and two by George Frederick Watts. In 1913 Lillian Williamson led an attack on the Manchester Art Gallery. I thought the picture theatrical and detestable and wished I had never seen it." His entry for 27 June 1874 reads, "I regret to say that against good advice and wise warning I went to see Holman Hunt's picture of the Shadow of Death. ĭiarist Francis Kilvert describes a visit to see the painting on display in 1874, the year after its completion. It is now held by Manchester City Art Gallery. The profits made possible the donation of the original to the city of Manchester in 1883. The painting was a popular success and was widely reproduced as an engraving. This may be related to Millais's contemporaneous Victory O Lord!. The painting contains detailed typological symbolism, referring to the theological significance of Christ's role and identity. The portrayal of Mary's thriftiness (by carefully "saving" the gifts) also fits the emphasis on working class financial responsibility promoted by contemporary evangelical publications such as The British Workman. Carlyle had strongly criticised Hunt's earlier depiction of Jesus in The Light of the World, identifying it as a "papistical" picture because it showed Jesus in regal clothing. It also corresponds to the emergence of Muscular Christianity, the view of writers Charles Kingsley, Thomas Hughes and others, who promoted physical strength and health as well as a vigorous pursuit of Christian ideals in personal and political life. Hunt's portrayal of Jesus as a hard-working adult craftsman and labourer was also probably influenced by Thomas Carlyle who repeatedly emphasised the spiritual value of honest labour. Hunt repeats many features of Millais's painting, but emphasises Jesus' physical health and muscularity. Millais' painting, Christ in the House of his Parents, had been viciously attacked by critics because of the alleged squalour of the workshop. In 1850 Hunt's colleague John Everett Millais had already portrayed Jesus as a budding carpenter, helping his father as a young boy.
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