The Bible in Its Traditions

James 5:20

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20  let him know that he who turns a sinner back from the error of his way will save a soul from death and will cover a multitude of sins.

20  he ought to know that whoever causes a sinner to be converted from the error of his ways will save his soul from death and will cover a multitude of sins.

Reception

Liturgies

10–20 Use in Lectionary

  • BL: Special and General Feasts: Prophets; one of three reading options.

13–20 Use in Lectionary

16–20 Use in Lectionary

  • RML (1570): Rogation Days (Monday and Wednesday before Ascension).

Context

Biblical Intertextuality

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):

  • G-Dt 30:2–3 "And return (epistrephô) to the Lord your God and obey his voice in all that I command you today…and the Lord will heal (iaomai) your sins."
  • 2Chr 7:14 "if then my people…turn (M: šwb; G: apostrephô) from their evil ways, then I will hear from heaven, and will forgive their sin and heal (G: iaomai; M = rp’) their land."
  • Is 6:10 "they turn (M: šwb; G: epistrephô) and be healed (M: rp’; G: iaomai)."
  • Jer 3:22 "Return (M: šwb; G: epistrephô), rebellious children! I will heal (M: rp’; G: iaomai) your rebellions."
  • Hos 6:1 "Come, let us return (M: šwb; G: epistrephô) to the Lord, For it is he who has torn, but he will heal (M: rp’; G: iaomai) us" (NAB).
  • See also Prv 3:7; Ez 34:4,16.

Reception

Christian Tradition

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).

  • Test. Dom. 1.24 (prayer over the oil for healing): “send on this oil (mšḥ’), which is the type of your fatness, the delivering [power] of your good compassion, that it may deliver those who labour and heal those who are sick, and sanctify those who return (mtpnyn), when they approach to your faith; for you are mightily and [to be] praised for ever and ever" (Cooper and MacLean 1902, 78; Rahmani 1899, 48)
  • Polycarp Phil. 6.1 identifies caring for the sick (episkeptomenoi pantas astheneis) and "turning back those who have gone astray (epistrephontes ta apopeplanêmena)" as duties of the presbyters (presbuteroi; Ehrman 2003, 1:340–341).

The language of physical healing can be used to describe repentance and conversion:

  • Const. ap. 2.14.11 "Now we ought to assist those who are with us (variant reading: 'those who are sick') and are in danger, and fall, and, as far as lies in our power, to reduce them to sobriety by our exhortations, and so save them from death (hugiazein autous kai ruesthai ek thanatou)" (ANF 7:401; von Funk 1905, 1:55).

Visual Arts

1:1–5:20 James Depictions of James

Western Catholic Tradition

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 Eusebius of Caesarea Hist. eccl. 2.23 and Jerome Vir. ill. 2, who in turn draw on accounts from Clement of Alexandria and Hegesippus (→Introduction). Several prominent features of these portrayals may be noted:

  • Following the tradition that he was the first bishop of Jerusalem, James is often portrayed anachronistically in bishop's vestments.
  • James is often portrayed holding a fuller's club, alluding to the tradition that James was beaten to death with a such a club. Variations show him holding different types of clubs. Another related tradition shows James holding a bow such as one used by hat-makers of the Middle Ages.
  • James bears a striking physical resemblance to his brother Jesus.
  • One artistic tradition, based on accounts found in the preface to the Glossa ord. and de Voragine Leg. aur., portrays the infant James as part of a large extended family. According to this legend, Anne, mother of the Virgin Mary, had three children named Mary with three different husbands. James and his brothers Joses (Joseph), Simon, and Jude (cf. Mk 6:3) are the sons of Mary (daughter of Anne and Cleophas; cf. Jn 19:25) and Alphaeus (cf. Mk 3:18). James and his brothers are thus cousins of Jesus (son of Mary, daughter of Anne and Joachim) and of John the Evangelist and James the Greater (sons of Mary, daughter of Anne and Salomas).

The following images are noteworthy:

  • A painting of James in the Armenian St. James Cathedral, Jerusalem: James is dressed in episcopal robes, wears a miter, and holds a crozier (Gowler 2014, 54).
  • Blessed James Apostle. In the Stavelot Bible (1093–1097, British Museum Add. MS. 28106–28107) illuminations of the apostle James are at the introduction to the Catholic epistles (f. 197 r→) and at the beginning of his epistle (f. 197 v→). The apostle stands, holding a book.
  • Apostle James the Less, statue, south portal of Chartres Cathedral, early 13th century.

Anonymous, 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.

  • Leonardo da Vinci, The Last Supper (1495–1498), Santa Maria delle Grazie, Milan. 

Giampietrino (1495–1549), The Last Supper (oil on canvas, ca. 1520, after Leonardo da Vinci [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 Cranach the Elder, The Holy Kinship (1509), a triptych in the Städelsches Kunstinstitut, Frankfurt, Germany. The infant Jesus, his mother Mary, and Mary's mother Anne are portrayed in the center. To the right is Anne's other daughter Mary, her husband Zebedee, and sons John the Evangelist and James the Greater. To the left is another of Anne's daughters named Mary with her husband Alphaeus; their children James, Joses (Joseph), Simon, and Jude are in the left and center panels.

Lucas Cranach the Elder (1472–1553), The Holy Kinship (mixed media on lime, Wittenberg, 1509), Altarpiece, central panel: 100.4 x 121.1 cm; wings: 40 x 120 cm

Städel 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 de Voragine Leg. aur. 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.

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 Veronese (Caliari), James as Bishop (ca. 1578), Burghley House Collection, Lincolnshire, UK. James with crozier and miter, holding a book.

Paolo Veronese (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→

  • El Greco, Saint James the Less (1610–1614), Museo del Greco, Toledo, Spain. 

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El Greco (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

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Niccolò Bambini (1651–1736), The Communion of the Apostle James the Less (oil on canvas, 1722–1723), San Stae, Venice, © Chorus Venezia→ 

The risen Jesus appears to James and breaks bread with him (based on an account recorded in Jerome Vir. ill. 2, said to be drawn from the Gospel according to the Hebrews).

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Angelo de Rossi (1671–1715), James the Less (sculpture on marble, 1705–1711), height 424 cm), Saint John Lateran, Rome, © Wikicommons

James holds a book and club.

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James Tissot (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, 2008

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.

Eastern Orthodox Traditions

  • Martyrdom of James the Just, illustration from the Menologion of Basil II (late 10th/early 11th c., PG 117:9–614), Vatican Library, Vat. gr. 1613: image 131→.
  • James the Just, Russian icon, 16th c., Novgorod. James is depicted in episcopal robes and holds a book.

Anonymous, 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.).

For discussion of visual depictions, see Bedford 1911; Gowler 2014, 53–62.