Bicci di Lorenzo (1378-1452) – Scenes from the Story of Tobias: Tobias bids farewell to his father; Tobias and the Archangel Raphael; Tobias takes the heart, liver and gall from a big fish Kunsthistorisches Museum

The composition unfolds as a sequence of discrete episodes, presented within a shallow pictorial space that emphasizes narrative clarity over spatial depth. Here we see three distinct scenes linked by the central figure of a young man, presumably Tobias. The artist has divided the action into segments, each framed by architectural or landscape elements which serve to delineate them.
The leftmost scene depicts an elderly man, likely a father, standing within a portico-like structure. He is accompanied by a younger individual, possibly a servant or family member, both figures exhibiting expressions of concern and farewell. The architecture suggests a domestic setting, though its simplicity reinforces the focus on the emotional weight of departure. A golden halo encircles the head of the older man, indicating his significance within the narrative – perhaps signifying piety or status.
Moving towards the center, Tobias is shown in direct interaction with a figure who appears to be an angel, identifiable by the wings and flowing robes. The angel’s gesture suggests reassurance or blessing; he extends a hand toward Tobias, creating a visual link between the two figures. Tobiass posture conveys a mixture of apprehension and obedience. This central encounter seems pivotal within the larger story, marking a moment of divine intervention or guidance.
The final scene on the right portrays Tobias kneeling before what appears to be a dead animal – a fish, judging by its form. The positioning of this element is significant; it’s presented as an offering or a necessary component of his task. A second figure, also haloed, kneels nearby, seemingly observing the action with solemnity. This segment introduces a darker, more practical aspect to the narrative, hinting at trials and obligations that Tobias must fulfill.
The color palette is restrained, dominated by earthy tones – ochres, browns, and greens – with touches of gold for the halos and certain garments. The limited range contributes to a sense of solemnity and reinforces the devotional nature of the work. The figures are rendered with a degree of stylized naturalism; their features are simplified but expressive, conveying emotions through gestures and posture rather than detailed anatomical accuracy.
Subtly, the painting explores themes of filial duty, divine providence, and the acceptance of challenging tasks. The narrative progression suggests a journey – both physical and spiritual – where obedience to higher authority is intertwined with personal sacrifice. The inclusion of halos elevates the characters beyond mere mortals, imbuing their actions with symbolic weight within a religious context. The overall effect is one of quiet dignity and understated piety, characteristic of devotional art intended for private contemplation.