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Formerly documented in the church of Santa Maria della Misericordia in Venice, the painting, which was originally on wood panel, was alienated in 1827 from the then abbot Girolamo Moro Lin, then rebought on the market in 1839 by the prior Pietro Pianton and brought back to the church. It was finally bought by the Italian state and sent to the Gallerie in 1884. The transposition from panel to canvas, which was undertaken in 1888 and again in 1962 because of the poor state of the support, has in part jeopardised its conservation, above all its preparation. The central group of Tobias and the Archangel Raphael stands out thanks to their raised position on a rocky rise, and evokes a sort of sacra conversazione with the flanking saints. The main character of the painting, however, is the extraordinary hilly landscape where we can make out the artist’s beloved native Conegliano, which is often included in his backgrounds. Chronologically, the work belongs to the painter’s later period, from 1514 to 1515.