Tobias with Archangel Raphael

Benozzo Gozzoli's treatment of this sacred subject in 1460 exemplifies the fifteenth-century approach to sacred subjects, balancing theological orthodoxy with artistic innovation. Painted during the flourishing of the Early Renaissance, the work draws on centuries of iconographic tradition while expressing Benozzo Gozzoli's individual interpretation of the divine narrative. By the mid-fifteenth century, the innovations of Masaccio, Brunelleschi, and the Van Eycks had fundamentally altered the possibilities of painting, establishing perspective, oil glazing, and naturalistic light as standard tools.

The devotional work is executed with narrative profusion, reflecting Benozzo Gozzoli's engagement with the demands of religious painting. The composition balances narrative clarity with spiritual atmosphere, using rich decorative detail to heighten the sacred drama.