Matthew 25:11-12

The Foolish Virgins

Women plead beside a closed doorway under a dark, rain-streaked sky, with lightning cutting across the trees behind them.
John Everett Millais (design); Dalziel Brothers (engraving), The Foolish Virgins, 1864.
Later the other virgins arrived and said, ‘Lord, lord, open the door for us!’ But he replied, ‘Truly I tell you, I do not know you.’
Matthew 25:11-12 · Berean Standard Bible
About the painting

Women plead beside a closed doorway under a dark, rain-streaked sky, with lightning cutting across the trees behind them.

About the artwork

The shut threshold becomes the image’s decisive object. One raised hand reaches toward it, while kneeling and fallen bodies occupy the ground outside. The weather intensifies the separation, but rain and lightning are Millais’s additions rather than details stated by the parable.

In the earlier Ten Virgins design, the women are separated by different states of readiness. Here the door puts all five on the same side of a hard boundary. The Dalziel engraving packs their overlapping bodies into a narrow strip of light against the dark exterior. Raised hands can reach the doorway, but the scene gives them no opening through it. The later moment changes a practical shortage of oil into a final separation.

What does Matthew 25:11-12 mean?

Matthew 25:11–12 follows the arrival of the bridegroom while the unprepared women are away buying oil. Those ready enter the feast, and the door closes. The later appeal to be admitted receives the answer that the bridegroom does not know them.

The parable concludes by urging watchfulness because the day and hour are unknown. The engraving’s storm should not distract from that sequence: it is the missed arrival, rather than bad weather, that explains the closed door. Millais gives the final exclusion a bodily and spatial form.

Matthew 25:11–12 identifies the unanswered plea at the closed door; the storm is Millais’s dramatic setting.

Sources

The Metropolitan Museum of Art — The Foolish Virgins, 21.68.4(10). Wood-engraved proof by the Dalziel Brothers after Millais, dated 1864; the second of his two treatments of the parable.

John Everett Millais’s Bible Paintings: The Holy Family That Made Dickens Furious. Artwork reading adapted from this guide.

Matthew 25 — Berean Standard Bible. Context for Matthew 25:11-12.

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