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2 You lust and you do not have. You murder and are jealous and you cannot obtain. You fight and make war. You do not have because you do not ask.
2 Ye lust, and have not: ye kill, and covet, and cannot obtain: ye fight and war; ye have not, because ye ask not.
2 You covet, and do not obtain; you kill and envy, but you cannot possess; you strive and fight, yet you have nothing, because you do not ask.
3 You ask and do not receive, because you ask with wrong motives, that you may spend [it] in [gratifying] your lusts.
3 Ye ask, and receive not, because ye ask amiss, that ye may spend [it] in your pleasures.
3 You ask and you do not receive, because you ask badly, so that you may use it toward your own desires.
1:1–5:20 James Depictions of James
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; →Jameses near Jesus). The iconography of James draws particularly on accounts of James recorded in → 2.23 and Hist. eccl.→ 2, who in turn draw on accounts from Clement of Alexandria and Hegesippus ( Vir. ill.→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 great hall with blue grey walls and three-colored tiles. In the side panels are depicted the half-sisters of the Virgin Mary —called after their fathers Mary Cleophas (left) and Mary Salome (right)—together with their husbands.
Left panel: Mary Cleophas and Alphaeus (with the features of Frederick the Wise) with their two sons, the Apostles James the Less (at her breast) and Joseph Justus, called Barnabas, depicted with a book as annunciator of the Gospel according to Matthew.
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 the 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 Frederick III, Maximilian I, and Charles 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 stretched a cloth of gold. On the right column is a tablet with date and signature: LVCAS CHRONVS FACIEBAT ANNO MDIX (1509). The parapet of the matroneum is decorated by a sculptured frieze with dancing putti holding six escutcheons with the six fields of the electorate of Saxony. In the hall are shown the 17 members of the 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. They suffered their martyrdom together and therefore are regularly depicted together. Leg. aur.
Right panel: Mary Salome and Zebedee (with the features of Frederick III, Elector of Saxony, and his brother Herzog Johann der Beständige). Mary Salome, dressed in gold with dark red lining, is combing her son James the Greater, while 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, prays 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 that speaks of the healing power of prayer (Jas 5:14–16), he was 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 alone are very rare. On icons he is represented with other saints: James the brother of the Lord, Nicholas the Thaumaturgist, and Ignatius the God-Bearer (end of the 15th c.); James the brother of the Lord, Cosmas, and Damian (2nd quarter of the 16th c.).