A project of the Bible in Its Traditions Research Program AISBL
Directed by the École Biblique et Archéologique in Jerusalem
To support us, click here
16c Greatly prevails the prayer of a righteous [man when it is] at work Belief that God Hears the Righteous James seems to assume that the righteous person's (G: dikaios) prayer is effective in that God hears it. Cf. Prv 15:29 "The Lord is far from the wicked, but hears the prayer of the just (M: ṣaddîqîm; G: dikaioi)."
16a Confess the failings to one another Confession of Sins at Qumran
10–20 Use in Lectionary
16–20 Use in Lectionary
16a failings Synonym of Sin The cognate verb para + piptô means "to fall beside," "to miss." The noun paraptôma means "lapse," "misdeed." In the context of classical Greek, the noun refers to literary faults. The noun appears in parallel to hamartia "sin" in Rom 5:20 and Eph 2:1, where both are described as deadly.
16b healed Physically and Innerly The Greek is iaomai.
13–18 Isotopy of Prayer Every verse in this passage refers to prayer; however, the words used are not simple synonyms.
13–20 Connection between Healing and Conversion Several biblical passages evince the connection between healing (Jas 5:14–16) and conversion from sin (Jas 5:19–20):
16a Confess : Byz TR | Nes: Confess, then Nes (א B A C) retains oun ("then") after “Confess."
16a Confess, then Association of Confession with Healing and Forgiveness By using the particle oun to link mutual confession and prayer (v. 16) with the reference to healing and forgiveness in v. 15, James may imply that confession and harmony in the community are required before God will answer the prayer of healing. This connection here is similar to that made in the petition of the Lord's prayer, "Forgive us our debts, as we forgive our debtors" (Mt 6:12).
16a Confess the failings to one another Confession of Sin in Scripture Confession of sin took place in a variety of contexts.
16c Greatly prevails the prayer of a righteous [man] Asking for the Intercession of the Righteous
16c the prayer of a righteous [man] The Effective Prayers of Jacob for Healing The Testaments of the Twelve Patriarchs portray the prayers of Jacob as effective in saving his sons from deadly illnesses sent by God as punishment for their sins:
13–20 Connection between Conversion and Healing As part of the generally assumed connection between illness and sin, conversion and health, many texts parallel James in linking healing (Jas 5:14–16) with references to repentance or conversion from sin (Jas 5:19–20).
The language of physical healing can be used to describe repentance and conversion:
13–18 Parallel with 1 Clement Several themes and some specific vocabulary occurring in Jas 5 appears in a prayer recorded in →1 Clem. 59.4 ( 2003, 1:142–143):
Some scholars posit that 1 Clement is dependent on James, but the relationship may also be seen as a common reliance on early Christian vocabulary and concerns.
16a sins Differing Terms for "sins" Nes (א B A) have tas hamartias, usually rendered in English as "sins." Some minuscules (e.g., 307, 442), Byz, and thus the TR read ta paraptômata, traditionally rendered in English as "trespasses." See comments of Erasmus at Christian Tradition Jas 5:16a.
13–18 Exhortations on Prayer, Proper Speech, and Physical and Spiritual Healing The passage focuses on prayer (Literary Devices Jas 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 5:9,12), James here gives example of the proper use of speech in praying and singing. See also →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 →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, John 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 Jas 5:14f; Theology Jas 5:14f.
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 reiterates 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 Jas 5:20c.
16a Confess the failings to one another Confessing to Priests or Laity? The tradition is divided on whether James refers to confessing sins to priests or to laypeople.
16c Greatly prevails the prayer of a righteous [man when it is] at work What Makes Prayer Prevail? The passage has drawn many comments on what makes prayer effective.
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 among Other Apostles (sculpture on limestone, early 13th c.), South Portal, Chartres Cathedral, France
© D.R. Photo Mary Ann Sullivan→
James holds a club.
(1495–1549), The Last Supper (oil on canvas, ca. 1520, after Leonardo [1452–1519], The Last Supper [1495–1498]), 298 cm x 770 cm
Royal Academy of Arts, London, exhib. Magdalen College, Oxford
Public Domain © Wikicommons→
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.
Lucas
(1472–1553), The Holy Kinship (mixed media on lime, Wittenberg, 1509), Altarpiece, central panel: 100.4 x 121.1 cm; wings: 40 x 120 cmStädel Museum — 1398, Frankfurt am Main
Public Domain © Wikicommons→
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.
Paolo
(Caliari, 1528–1588), Saint James (oil on canvas, ca. 1578), 200 X 85 cm, one of the volets of the organ of the church of San Jacopo, Murano, Venice — the other is a portrait of St. Augustine.Burghley House Collection, Lincolnshire, UK, © A Graduate of Pomona→
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
(Domínikos Theotokópoulos, 1541–1614), Saint James the Less (oil on canvas, 1610–1614), 100 X 80 cm
Museo de El Greco→ (Toledo, Spain), © Wikicommons
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
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Niccolò Chorus Venezia→
(1651–1736), The Communion of the Apostle James the Less (oil on canvas, 1722–1723), San Stae, Venice, ©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.
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Angelo
(1671–1715), James the Less (sculpture on marble, 1705–1711), height 424 cm), Saint John Lateran, Rome, © WikicommonsJames holds a book and club.
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
Not Found
James
(1836–1902), Saint James the Less (opaque watercolor over graphite on gray wove paper, 1886–1894), 30.6 x 23.5 cm, Brooklyn Museum, 00.159.237, New York © Brooklyn Museum photograph, 2008James, 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.
, James the Just (pigments on wood, 16th c.), icon, Novgorod
Public Domain © Wikicommons→,
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.).