Setting aside the intimate and still scene of Tobias healing his father in Van Uyttenbroeck’s original series, Van de Velde opted instead for powerful drama in conjuring the Archangel Raphael’s departure, his ascent into the clouds after revealing his identity to Tobit and Tobias. The artist’s choice is consistent with his transformations of the model elsewhere in the series, and this more forceful aesthetic may have been sought by the publisher Claes Cornelisz. Visscher, who tended to moral didacticism in imagery.