From the time when the angel left them Tobit and Raguel prospered, and after Tobit and Sara died, Tobias removed to Ecbatane and inherited the wealth of Raguel; he lived with honor to be an hundred and seven and twenty years old, and to hear of the destruction of Nineveh.
Milton thus refers to the story of Tobias:
“The affable archangel
Raphael; the sociable spirit that design’d
To travel with Tobias, and secured
His marriage with the seven times wedded maid.”
Raphael is frequently represented without wings when leading Tobias, who—in order to emphasize the contrast between an angel and a mortal—is made very small, and is thus manifestly out of keeping with the story. When the wings appear there is no reason for dwarfing Tobias, and the picture is far more satisfactory. It is not difficult to discern that if the story of Tobias is considered as an allegory, the young man personates the Christian, guided and guarded through life by God’s mercy.
There is, in Verona, in the Church of St. Euphemia, a most impressive chapel which was decorated with pictures illustrating the story of Tobias, by Carotto, a pupil of Mantegna, who seems to have painted more in the manner of Leonardo than in that of his master.
Various incidents of the story are effectively pictured, but the famous altar-piece, the greatest work by Carotto, is the most important of the number. It represents the Archangels Michael, Gabriel, and Raphael,—three exquisite wingless figures,—the latter being in the centre, and the only one having an aureole. He is leading Tobias, and looking down at the youth with an expression of tenderness.
St. Michael is on the right; one hand rests on his great sword, while with the other he lifts his crimson robe. His countenance, serious and indomitable in expression, fitly indicates the characteristics that his titles imply. He is the Lord of Souls and the Angel of Judgment, so far as human imagination can picture so exalted a celestial being.
St. Gabriel, on the left, holding a lily, and gazing heavenward in adoration, is a beautiful, angelic figure, far less powerful than the other archangels, and quite in harmony with his office.
The impression on my mind, made by this picture, is that Gabriel realizes that his blessed office has been fulfilled, his active work is done, and adoration is now his duty and his joy; but Michael and Raphael have still their great missions to perfect; they are still battling against evil, and guiding men in the paths of righteousness.
Carotto was a native of Verona, and his pictures are rarely seen elsewhere. His color is warm and well blended, while his drawing is severe. It is said that he was but twenty-five years old when he decorated the Chapel of St. Raphael, in 1495. He was of a quick wit, and when told that the legs of his angels were