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18 And he prayed again, and heaven gave rain,
and the earth produced its fruit.
13–18 The passage focuses on prayer (Literary Devices 5:13-18). After warning the reader that he must ask God in faith, not doubting (Jas 1:5–8) and that he must not ask wrongly (Jas 4:2–3), James here gives examples of proper, effective prayer.
The passage also relates to James' concern with proper speech: after giving many admonitions against improper speech (e.g., Jas 5:9; 5:12), James here gives example of the proper use of speech in praying and singing. See also →James: Speech in James.
The passage presents a holistic view of illness and healing: here, these two elements are closely associated: physical illness and “spiritual illness” (sin) on the one hand, and physical healing and forgiveness of sin, on the other, are closely linked. There is also a strong link between understanding the anointing ritual as providing healing (both spiritual and physical) in this life, and understanding the anointing and prayer as preparation for ultimate healing in the resurrection and eternal life. This holistic emphasis reflects the theme of wholeness and integrity found throughout the letter. See further →James: Perfection / Wholeness in James.
Catholic tradition has drawn out the meaning of Jas 5:14-15 in various ways, primarily through the development of the teaching on the sacrament of the anointing of the sick. The tradition has at various times emphasized the different aspects of James’ integral vision: spiritual healing (Origen, Chrysostom, Council of Trent), physical healing (an early tradition of anointing among the laity, Vatican II’s emphasis on a broader understanding of healing), and the eschatological dimension (the traditional emphasis on “extreme unction” as preparation for eternal life). See also Christian Tradition 5:14-15 and Theology 5:14-15.
This section, and the letter, ends with James' exhortation to community members to turn back a straying fellow-believer (Jas 5:19-20). James thus reinterates his characteristic concern for harmony within the community. The history of interpretation generally interpreted the ambiguous passage to mean that a person who converted another from sin would in turn receive pardon of his own sins; this took its place in a traditional list of ways in which one could seek pardon for sins. See also Christian Tradition 5:19-20.
13–18 pray prayer...plea: Isotopy of Prayer Every verse in this passage refers to prayer; however, the words used are not simple synonyms. The noun euchê (prayer, v. 15) and the corresponding verb euchomai (to pray, v. 16) are generic terms. The verb expressing the prayer of petition is proseuchomai (v. 13, 14, 17,18) or proseuchê (v. 17). More concretely, the noun deêsis (v. 16) stands for a supplication or a particular request. As for psallô ("to sing a hymn," v. 13), it applies to prayer in the form of a hymn, in particular in the liturgical context.
1:1–5:20 James Depictions of the Author Depictions of James, the author of the epistle, in paintings, statues, manuscript illustrations, engravings, woodcuts, and embroidery on liturgical vestments are particularly prominent in the Middle Ages. A common consensus of the artists is that the author of the epistle is James the Just, leader of the Jerusalem church; he is typically further identified with James, son of Alphaeus, one of Jesus' Twelve (Mk 3:18), and "James the Less" (Mk 15:40). The iconography of James draws particularly on accounts of James recorded in → 23 and Hist. eccl.→ 2, who in turn draw on accounts from Clement of Alexandria and Hegesipus. See also Vir. ill.→James: Introduction.
Several prominent features of these portrayals may be noted:
The following images are noteworthy:
James holds a club.
James, who resembles his brother Jesus, is second from his left. This full-scale copy was the main source for the— unfortunate—twenty-year restoration of the original (1978–1998). It includes several lost details such as Christ's feet, the transparent glass decanters on the table, and the floral motifs of the tapestries that decorate the room's interior. It was first mentioned in 1626 by the author Bartolomeo Sanese as hanging in the Certosa di Pavia, a monastery near Pavia, Italy, but it is unlikely that it was intended for this location. At some point, the upper third of the picture was cut off, and the width was reduced. Giampietrino is thought to have worked closely with Leonardo when he was in Milan. A very fine, full-size copy of this painting, before it was cut down, is installed at Tongerlo Abbey in Westerlo, near Antwerp, Belgium.
The side and central panels describe a a great hall with blue grey walls and three-colored tiles. In the side panels are depicted the half sisters of Virgin Mary, called after their fathers Mary Cleophas (left) and Mary Salome (right) together with their husbands.
Left panel: St. Mary Cleophas and Alphaeus (with the features of Friedrich the Wise with their two sons, the Apostles St. James the Less (at her breast) and Joseph Justus, called St. Barnabas, as annunciator of the Gospel of Matthew depicted with a book.
Central panel: Joseph, who seems to seems to sleep, the Virgin, dressed in blue with yellow lining, Anna and the Christ Child on her knee, who is stretching out his hand towards an apple given to him by Virgin Mary. Anna's three husbands following → are shown in the background in the matroneum: on the left Joachim, who is attracted by the holy women in front of him and whose relation is also shown by the corresponding blue and yellow color of his dress, Cleophas (with the physiognomy and chain of Emperor Maximilian I and Salomas, with the physiognomy of Sixtus Oelhafen von Schöllenbach, secretary of Friedrich III, Maximilian I and Karl V), who are talking to each other. There is an architectural structure by a great stone bench in the foreground of the central panel with two marble columns on the sides, over which is strectched a cloth of gold. On the right column is a tablet with date and signature: [LVCAS CHRONVS FACIEBAT ANNO 1509. The parapet of the matroneum is decorated by a sculptured frieze with dancing putti holding six escutcheons with the six fields of Electorate of Saxony. In the hall are shown the 17 members of the Holy Kinship. In the central panel are shown two more children of Mary Cleophas and Alpheus, the Apostles Simon, patron saint of weavers, dyers, tanners and saddlers and Jude, who went on mission and suffered their martyrdom together and therefore are regularly depicted together. Leg. aur.
Right panel: St. Mary Salome and Zebedee (with the features of Frederick III, Elector of Saxony, and his brother Herzog Johann der Beständige). St. Mary Salome, dressed in gold with dark red lining, is combing her son Saint James the Greater and while Saint John the Evangelist is hiding in her dress.
James is shown holding a Bible, symbolizing his status as a scriptural writer, in one hand. James is depicted in the Mannerist style with elongated form and without any of the traditional iconographic symbols
The risen Jesus appears to James and breaks bread with him (based on an account recorded in → 2, said to be drawn from the Gospel according to the Hebrews). Vir. ill.
James holds a book and club.
James, resembling Jesus, prayers on his knees with outstretched arms. It perhaps reflects Hegesippus' statement that James spent so much time in prayer that his knees were as hard as a camel's.
The inscription bearing the name of the saint has disappeared, but the iconography—facial features and beard shape —suggest that the icon is of James. Byzantine art places him among the founding fathers of the Church. As the creator of the first liturgy containing memorial services and the author of the message, which speaks of the healing power of prayer (Jas 5:14-16), he was also worshipped in ancient times as a healer. In Novgorod, James is prayed for the end of the epidemics. In sacred iconography, the representations of James of Jerusalem alone are very rare. We know the icons of Novgorod in which he is represented with other saints: Nicholas the Thaumaturgist, James the brother of God, Ignatius the bearer of God, end of the 15th c.; James the brother of God, Cosmas and Damian, 2nd quarter of the 16th c. The icon comes from the best workshops in Moscow or Novgorod.