Saint Matthew is shown writing his gospel; the angel beside him represents his divine inspiration. Saint Catherine of Alexandria wears the crown of a princess. Fragments of the wheel on which she was tortured lie at her feet. She was finally beheaded, hence the sword she carries. Saint John the Evangelist carries pen & ink at his belt. The eagle next to him symbolises the inspiration for his Book of Revelations, while the snake & chalice refer to his survival after having drunk poison. The damaged reverse shows Saint Jerome, a female martyr, Saint Gregory the Great & a kneeling donor in the cloak of a Knight of Malta. This painting once formed the left-hand shutter of an altarpiece, probably made for a church in Cologne, of which the central panel is now lost. The other shutter showing saints Mark, Barbara & Luke on the front & saints Ambrose, Cecilia & Augustine on the reverse, is in the Wallraf-Richartz Museum in Cologne. Both reverses include donors wearing the emblem of the Knights of Malta. ...

In the left foreground is a man-of-war, presumably at sea anchor. Beyond her, is a much damaged ship with a tattered Dutch flag. A third ship is seen in the right distance. This picture was painted in London (spelt Londen in the inscription) in 1673 & the ship may be from Flushing (Vlissingen). ...

The same watermills occur in another picture by Ruisdael (formerly New York, S. Borchard collection). The attribution of this painting has been doubted in the past, but it is an autograph, rather worn painting that dates from about 1670. ...

This painting was etched by Philippe Zilcken sometime before 1890. The subject & composition were a favourite of the artist, who was not seeking to depict particular sites. The main windmill has detail picked out in light browns, but the two further one ...

The painting is signed & dated on the rock on the right: P.B. 1746. An old collection inventory number can be seen in the bottom right-hand corner of the canvas. This was added when the painting was in the Koucheleff Besborodko collection. The winged ...

The story is told in the Book of Tobit (6: 1-3). Tobias was sent by his blind father Tobit to collect a debt. He was escorted by the Archangel Raphael & when a fish attacked him as the crossed the river Tigris, Raphael told the boy to kill it & remove ...

Create your own bespoke National Gallery art print of Titian’s Tobias & the Angel from our collection. About this painting Tobias & the Angel, about 1470-5 © The National Gallery, London This painting joined our collection in 1867. With our custom print service, you can order your own fully customised reproduction from the National Gallery Collection & exhibitions. Choose your own size, print material & frames & have your masterpiece delivered straight to your door. ...

The subject is taken from the Book of Tobit in the Old Testament Apocrypha. The blind Tobit sent his son Tobias out to collect some money; the boy was accompanied by the Archangel Raphael in disguise. Raphael helped him to catch a fish, the heart, liver & gall of which were used by Tobias to drive away a demon & cure his father's blindness. Here the boy & angel are shown travelling together, the fish being dragged between them. The flowers in the foreground are cabbage poppies, & in the middle ground is a herd of cows. The painting has been executed on a copper plate engraved with a coat of arms. The painting appears to be based on a much imitated composition by Elsheimer. ...

Tobit & Anna were the parents of Tobias who saved his father's sight with the help of the Archangel Raphael. Tobit had been reduced to poverty by God as a test: Anna supported them with her spinning wheel. Book of Tobit (2: 11 & 4: 21). If the identification of the subject as Tobit & Anna is correct, the spinning-wheel is presumably a reference to Anna working for money & the bare cupboard an allusion to their poverty. Because of the interior setting the painting was for a long time been interpreted as being a genre scene with an old couple. However, the subject was identified by comparison with a similar painting by Rembrandt (' Anna & the Blind Tobit'), also in the National Gallery's Collection. In 17th-century Holl&, paintings were sometimes protected by curtains, & illusionistic representations of them, as in the curtain set in front of the scene on the right, are not uncommon. ...

Monticelli painted many imaginary scenes of costumed figures. Here, the central figure in white appears to be dressed in the costume of Pulcinella, a character from the Commedia dell' Arte plays. This subject was also used by Watteau, whom Monticelli greatly admired. The authenticity of this painting has been doubted. It was possibly painted by an artist imitating Monticelli in the 1870s. ...