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Jesus healing the servant of a Centurion, by the Venetian artist Paolo Veronese, 16th century. Healing the centurion's servant is one of the miracles performed by Jesus of Nazareth as related in the Gospel of Matthew [1] and the Gospel of Luke [2] (both part of the Christian biblical canon).
In the previous verse, a Centurion had asked Jesus to come and heal his paralyzed servant. Modern translations offer two different versions of this verse. Some, like the ESV, translate it as a declaration that Jesus will go and heal the servant. Others, like the NIV, have Jesus questioning whether he should come and help.
The words of the Centurion are obeyed by his subordinates so he merely needs to speak for action to happen. This is the same with Jesus who merely needs to speak to bring about miracles. The verse may imply that like with the Centurion Jesus' miracle will involve those below him performing the act, either his disciples or angels. [4]
A servant would have been a slave, but slaves were a legal part of a Roman family. As Roman Centurions were barred from marrying, the slave may likely have been the Centurion's only family. There would also have been a financial consideration as a slave would be a large part of the wealth of a minor officer. [3]
The official, based in Capernaum, may have been in service to either the tetrarch Herod Antipas or the emperor. It is not clear whether he is a Jew or Gentile. [3]The healing of the official's son follows Jesus' conversation with the Samaritan woman regarding "a spring of water welling up to eternal life” and serves as a prelude to Jesus' statement when questioned after healing the paralytic ...
Luke has the men return to find the servant healed while Matthew has Jesus performing the miracle itself. The verses are different enough that Davies and Allison believe there is no way to reconstruct what the original ending to the Centurion story would have been in Q. [1] The healing used similar language as Matthew 8:3 and Matthew 9:6. [2]
Both this account and the preceding one of the healing of the Centurion's servant (Luke 7:1–10) serve as a precursor to Jesus' assurance to the imprisoned John the Baptist that He is truly, 'the one who is to come' , since, 'the dead are raised.' .
The painting was commissioned for the Grand Hall of the Scuola Grande di San Giovanni Evangelista, the seat of the eponymous brotherhood in Venice.The commission included a total of nine large canvasses by prominent artists of the time, including Gentile Bellini, Perugino, Vittore Carpaccio, Giovanni Mansueti, Lazzaro Bastiani and Benedetto Rusconi.