Raphael, in his character of guardian angel, is generally represented as leading the youthful Tobias. When, in order to mark the difference between the celestial and the mortal being, Tobit is figured so small as to look like a child, and when the angel wears his spirit-wings, and is not disguised, the whole subject becomes idealised: it is no longer an historical action, but a devotional allegory; and Tobias with his fish represents the Christian, the believer, guarded and guided through his life-pilgrimage by the angelic monitor and minister of divine mercy. [Illustration: 46 St. Raphael (Murillo. Leuchtenberg Gallery)] There is a small side chapel in the church of Saint Euphemia, at Verona, dedicated to St. Raphael. The walls are painted with frescoes from the story of Tobit; and over the altar is that masterpiece of Carotto, representing the three archangels as three graceful spirit-like figures without wings. The altar being dedicated to Raphael, he is here the principal figure; he alone has the glory encircling his head, and takes precedence of the others; he stands in the centre leading Tobias, and looking down on him with an air of such saintly and benign protection, that one feels inclined to say or sing, in the words of the litany, ‘Sancte Raphaël, adolescentium pudicitiæ defensor, ora pro nobis!’ Even more divine is the St. Michael who stands on the right, with one hand gathering up the folds of his crimson robe, the other leaning on his great two-handed sword; but such a head, such a countenance looking out upon us—so earnest, powerful, and serious!—we recognise the Lord of Souls, the Angel of Judgment. To the left of Raphael stands Gabriel, the Angel of Redemption; he holds the lily, and looks up to heaven adoring: this is the least expressive of the three heads, but still beautiful; and, on the whole, the picture left a stronger impression on my mind than any I had seen at Venice, the glorious Assumption excepted. The colouring in its glowing depth is like that of Giorgione. Vasari tells us, that this picture, painted when Carotto was young (about A.D. 1495), was criticised because the limbs of the angels were too slender; to which Carotto, famous for his repartees, replied, ‘Then they will fly the better!’ The drawing, however, it must be conceded, is not the best part of the picture.