Sara in Medes suffers torment. Because of their good life and prayers, God sends the Archangel Raphael to help them.
THE BOOK OF TOBIT OR TOBIAS
The virtuous Tobias the Son joins the disguised Raphael on a journey to Medes on his father's behalf, and brings happiness both to his Father and Sara. The message of the book is that God is both just and free. The book offers much wisdom and notes suffering is not a punishment but a test. God in the long run does reward the just and punish the wicked. The believer is called upon to trust God and live his way. The book presents the sanctity of Marriage , intercession through Angels , reward of good works, and parental respect, as well as the importance of prayer in our daily lives, fasting, and especially almsgiving in expiation of sin Raphael reveals himself in a fascinating statement in Chapter 12 as "the angel Raphael, one of the seven who stand before the Lord" Even though the setting takes place in the eighth century BC, it is thought the book was written after the time of Ezra, and thus it was not included in the shorter Hebrew Canon.
It is part of the Apocrypha in the King James Bible. The following Scripture is from the Douay-Rheims Bible, now in the public domain. The Douay-Rheims Bible was the standard English Bible for Catholics for over years, and still remains in use today. Jerome's Latin Vulgate Bible. Kennedy took the oath of office on January 20, to become the 35th President of the United States. And he forthwith leaped up from his place at the table, and left his dinner, and came fasting to the body: 4 And taking it up carried it privately to his house, that after the sun was down, he might bury him cautiously.
At these words she went into an upper chamber of her house: and for three days and three nights did neither eat nor drink: 11 But continuing in prayer with tears besought God, that he would deliver her from this reproach.
According to the text, Raphael explained that these could be used as an ointment to cure blindness and burnt to drive away evil spirits. He holds the precious organs in a little box. We can only see its head at the bottom of the panel, as the lower edge — like that of the other panels— was cut down in the eighteenth century.
He planned their poses in a drawing from life using workshop assistants now in the Ashmolean Museum, Oxford.
The fish is painted with great skill — Perugino has taken particular care to show the faceted structure of the gill, and the sheen of its finely freckled silvery scales. As in the other panels, this naturalistic effect is achieved through his expert blending of oil paint. License and download a high resolution image for reproductions up to A3 size from the National Gallery Picture Library.
This image is licensed for non-commercial use under a Creative Commons agreement. As a charity, we depend upon the generosity of individuals to ensure the collection continues to engage and inspire.
Young Tobias and the Angel Raphael
Help keep us free by making a donation today. You must agree to the Creative Commons terms and conditions to download this image. Perugino painted this altarpiece for the Duke of Milan, Ludovico Sforza. It stood in the side chapel dedicated to the Archangel Michael in the Carthusian monastery also known as a charterhouse or certosa in Pavia, a town outside Milan. The Duke was captured by invading French forces in , and the altarpiece was completed in the early sixteenth century by two other painters: Fra Bartolommeo and Mariotto Albertinelli.
Our panels formed the lower tier of two in this large-scale construction.
The upper tier showed the Annunciation: the Archangel Gabriel, on one panel, giving the Virgin Mary, on another panel, the news that she would conceive the son of God. Between these panels was an image of God in glory, which is still in the church. Because oil paint dries slowly, it is possible to blend different tones together to create subtle transitions, particularly evident here in the figures' flesh — their cheeks, for example, have a rosy blush.
The picture stood upon the altar in the side chapel dedicated to the Archangel Michael in the Carthusian monastery also known as a charterhouse or certosa in Pavia, a town outside Milan where the Duke had his palace. It seems that the Duke was not happy with the length of time that Perugino was spending on the paintings — he wrote to his agent in demanding that he set the painter a deadline. Shortly afterwards, however, the Duke was captured by invading French forces, and the altarpiece was completed in the early sixteenth century by two other painters: Fra Bartolommeo and Mariotto Albertinelli.
This was due to his knowledge of the Netherlandish technique of painting in oil, which was renowned for being incredibly sophisticated.
The skin, for example, was painted using thin layers of paint, taking advantage of the white ground covering the panel to make the flesh appear pale. More generally, using oil enabled him to create a depth of colour by layering different tones, using translucent glazes which modified the colours beneath. It is possible that his talent at painting in oil was due to a visit to Venice in — artists there were more expert in the medium than in central Italy, where he was trained.
The pictures were removed to the picture gallery in Milan in the late eighteenth century, at which time copies were made. By the time they were purchased by the National Gallery in the mid-nineteenth century they had been cut down in various places, and all of them at the bottom edge. Fortunately, their original appearance is preserved in the copies which remain in the monastery.
The central panel of the upper tier is also still in the church, surrounded by two paintings by Ambrogio Bergognone that originally belonged to a different altarpiece.
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