,illustration3 ,murillo4--,guardian ,angel4 ,,angels ,,in ,,art ,art ,series ,illustration ,,the ,,madonna ,,in ,,art ,,estelle ,m4 ,,hurll4 ,,child ,,life ,,in ,,art ,,estelle ,m4 ,,hurll4 ,,angels ,,in ,,art ,,clara ,,erskine ,,clement4 ,,love ,,in ,,art ,,mary ,,knight ,,potter4 ,illustration ,l4 ,c4 ,,page ,,and ,,company 7,,incorporated7 #aif ,summer ,street1 ,boston1 ,mass4 ,,angels ,,in ,,art ,,by ,,clara ,,erskine ,,clement ,,author ,,of 8,a ,,handbook ,,of ,,legendary ,,art10 8,,painters1 ,,sculptors1 ,,architects1 ,,and ,,engravers10 8,,artists ,,of ,,the ,,nineteenth ,,century10 ,,etc4 ,illustrated ,illustration ,,london ,,david ,,nutt #ahii ,colonial ,press3 ,electrotyped and ,printed by ,c4 ,h4 ,simonds ,co4 ,boston1 ,u4 ,s4 ,a4 ,,contents4 ,,chapter ,,page ,i4 ,,introductory #aa ,,ii4 ,,archangels--,,michael #df ,,iii4 ,,the ,,archangel ,,gabriel #hd ,,iv4 ,,the ,,archangel ,,raphael #aje ,v4 ,,guardian ,,angels1 ,,angel ,,choristers1 ,,and ,,adoring ,,angels--,,demons ,,and ,,evil ,,spirits #ace ,,vi4 ,,pictures ,,of ,,angels ,,as ,,authorized ,,by ,,the ,,scriptures #aeh ,,vii4 ,,pictures ,,which ,,illustrate ,,both ,,scripture ,,and ,,legend #bjc ,,viii4 ,,angels ,,in ,,pictures ,,of ,,the ,,virgin ,,mary #bbc ,,index #bfc ,,illustrations4 ,,page ,,murillo4--,guardian ,angel ,frontispiece ,,perugino4--,a ,six-winged ,cherub 7from the ,assumption of the ,virgin7 #ba ,,fra ,,angelico4--,a ,glory of ,angels #bi ,,fra ,,angelico4--,an ,angel of the ,tabernacle #cg ,,francesco ,,albani4--,the ,child ,jesus with ,angels #dc ,,raphael4--,the ,archangel ,michael casting ,satan out of ,heaven #ec ,,guido ,,reni4--,the ,archangel ,michael overpowering ,satan #fc ,h4 ,m,,cke4--,the ,translation of ,st4 ,catherine of ,alexandria #ga ,,fra ,,filippo ,,lippi4--,the ,annunciation of the ,death of the ,virgin ,mary #gi ,,fra ,,filippo ,,lippi4--,a ,divided ,annunciation #hi ,,alessandro ,,allori4--,the ,annunciation #ie ,,fra ,,angelico4--,the ,annunciation #aja ,,andrea ,,del ,,sarto4--,the ,archangel ,raphael conducting the young ,tobias #aaa ,,giovanni ,,biliverti4--,the ,archangel ,raphael refusing the ,gifts of ,tobias #aag ,,sandro ,,botticelli4--,the ,archangel ,raphael 7from a picture of ,tobias and the three ,archangels7 #abc ,,fra ,,angelico4--,angel ,choristers #acg ,,kaulbach4--,the ,angel of ,peace #ada ,,perugino4--,musical ,angels #adg ,,francesco ,,granacci4--,angels in ,adoration #aec ,,il ,,sodoma4--,the ,sacrifice of ,abraham #afa ,,melozzo ,,da ,,forli4--,an ,angel #agc ,,ary ,,scheffer4--,the ,temptation of ,christ #aha ,,sir ,,edward ,,burne-,,jones4--,mary ,magdalene at the ,sepulchre #ahg ,,fra ,,angelico4--,an ,angel conducting a ,soul to ,heaven #aie ,,fra ,,bartolommeo4--,an ,angel playing the ,violin #bja ,,lorenzo ,,di ,,credi4--,an ,angel in ,adoration #bje ,,french4--,death staying the ,hand of the ,sculptor #baa ,,rossetti4--,the ,annunciation #bba ,,francesco ,,granacci4--,the ,virgin and ,angels #bbe ,,francesco ,,francia4--,a ,piet #bcc ,,murillo4--,the ,immaculate ,conception #bcg ,,sandro ,,botticelli4--,madonna and ,angels #bdc ,,van ,,dyck4--,the ,repose in ,egypt #bea ,,titian4--,the ,assumption of the ,virgin #bee ,,angels ,,in ,,art4 ,,chapter ,i4 ,,introductory4 ,angels and archangels1 cherubim and seraphim1 and all the glorious hosts of heaven were a fruitful source of inspiration to the oldest painters and sculptors whose works are known to us1 while the artists of our more practical1 less dreamful age are1 from time to time1 inspired to reproduce their conceptions of the guardian angels of our race4 ,the ,almighty declared to ,job that the creation of the world was welcomed with shouts of joy by 8all the sons of ,god10 and the story of the words and works of the angels written in the ,scriptures--from the placing of the cherubim at the east of the ,garden of ,eden1 to the worship of the angel by ,john1 in the last chapter of ,revelation--presents them to us as heavenly guides1 consolers1 protectors1 and reprovers of human beings4 ,what study is more charming and restful than that of the angels as set forth in ,holy ,writ and the writings of the early ,church8 or more interesting to observe than the manner in which the artists of various nations and periods have expressed their ideas concerning these celestial messengers of ,god8 ,what more fascinating1 more stimulating to the imagination and further removed from the exhausting tension of our day and generation8 ,the ,old ,testament represents the angels as an innumerable host1 discerning good and evil by reason of superior intelligence1 and without passion doing the will of ,god4 ,having the power to slay1 it is only exercised by the command of the ,almighty1 and not until after the ,captivity do we read of evil angels who work wickedness among men4 ,in fact1 after this time the ,hebrews seem to have added much to their angelic theory and faith which harmonizes with the religion of the ,chaldeans1 and with the teaching of ,zoroaster4 ,the angels of the ,new ,testament1 while exempt from need and suffering1 have sympathy with human sorrow1 rejoice over repentance of sin1 attend on prayerful souls1 and conduct the spirits of the just to heaven when the earthly life is ended4 ,one may doubt1 however1 if from the ,scriptural teaching concerning angels would emanate the universal interest in their representation1 and the personal sympathy with it1 which is commonly shared by all sorts and conditions of men1 did they not cherish a belief--consciously or otherwise--that beings superior to themselves exist1 and employ their superhuman powers for the blessing of our race1 and for the welfare of individuals4 ,evidently ,spenser felt this when he wrote3 8,how oft do they their silver bowers leave1 ,and come to succor us that succor want8 ,how oft do they with golden pinions cleave ,the flitting skies1 like flying pursuivant1 ,against foul fiends1 to aid us militant8 ,they for us fight1 they watch1 and duly ward1 ,and their bright squadrons round about us plant1 ,and all for love1 and nothing for reward6 ,oh1 why should heavenly ,god to men have such regard60 ,as early as the fourth century the ,christian ,church had developed a profound belief in the existence of both good and evil angels1--8the foul fiends0 and 8bright squadrons0 of ,spenser's lines1--the former ever tempting human beings to sin1 and the indulgence of their lower natures2 the latter inciting them to pursue good1 forsaking evil and pressing forward to the perfect ,christian life4 ,this faith is devoutly maintained in the writings of the ,fathers of the ,church1 in which we are also taught that angelic aid may be invoked in our need1 and that a consciousness of the abiding presence of celestial beings should be a supreme solace to human sorrow and suffering4 ,it remained for the theologians of the ,middle ,ages to exercise their fruitful imaginations in originating a systematic classification of the ,orders of the ,heavenly ,host1 and assigning to each rank its distinctive office4 ,the warrant for these discriminations may seem insufficient to sceptical minds1 but as their results are especially manifest in the works of the old masters1 some knowledge of them is necessary to the student of ,art2 without it a large proportion of the famous religious pictures of the world are utterly void of meaning4 ,speaking broadly1 this classification was based on that of ,st4 ,paul1 when he speaks of 8the principalities and powers in heavenly places10 and of 8thrones and dominions20 on the account by ,jude of the fall of the 8angels which kept not their first estate20 on the triumphs of the ,archangel ,michael1 and a few other texts of ,scripture4 ,upon these premises the angelic host was divided into three hierarchies1 and these again into nine choirs4 ,the first hierarchy embraces seraphim1 cherubim1 and thrones1 the first mention being sometimes given to the cherubim4 ,dionysius the ,areopagite--to whom ,st4 ,paul confided all that he had seen1 when transported to the seventh heaven--accords the first rank to the seraphim1 while the familiar hymn of ,st4 ,ambrose has accustomed us to saying1 8,to ,thee1 cherubim and seraphim continually do cry40 ,dante gives preference to ,dionysius as an authority1 and says of him3 8,for he had learn'd ,both this and much beside of these our orbs ,from an eye-witness to ,heaven's mysteries40 ,the second hierarchy includes the dominations1 virtues1 and powers2 the third1 princedoms1 archangels1 and angels4 ,the first hierarchy receives its glory directly from the ,almighty1 and transmits it to the second1 which1 in turn1 illuminates the third1 which is especially dedicated to the care and service of the human race4 ,from the third hierarchy come the ministers and messengers of ,god2 the second is composed of governors1 and the first of councillors4 ,the choristers of heaven are also angels1 and the making of music is an important angelic duty4 ,the seraphim immediately surround the throne of ,god1 and are ever lost in adoration and love1 which is expressed in their very name1 seraph coming from a ,hebrew root1 meaning love4 ,the cherubim also worship the ,creator1 and are assigned to some special duties2 they are superior in knowledge1 and the word cherub1 also from the ,hebrew1 signifies to know4 ,thrones sustain the seat of the ,almighty4 ,the second hierarchy governs the elements and the stars4 ,princedoms protect earthly monarchies1 while archangels and angels are the agents of ,god in his dealings with humanity4 ,the title of angel1 signifying a messenger1 may be1 and is1 given to a man bearing important tidings4 ,thus the ,evangelists are represented with wings1 and ,john the ,baptist is1 in this sense1 an angel4 ,the ,greeks sometimes represent ,christ with wings1 and call him 8,the ,great ,angel of the ,will of ,god40 ,very early in the history of ,art a system of religious symbolism existed1 a knowledge of which greatly enhances the pleasure derived from representations of sacred subjects4 ,in no case was this symbolism more carefully observed than in the representations of angels4 ,the aureole or nimbus is never omitted from the head of an angel1 and is always1 wherever used1 the symbol of sanctity4 ,wings are the distinctive angelic symbol1 and are emblematic of spirit1 power1 and swiftness4 ,seraphim and cherubim are usually represented by heads with one1 two1 or three pairs of wings1 which symbolize pure spirit1 informed by love and intelligence2 the head is an emblem of the soul1 the love1 the knowledge1 while the wings have their usual significance4 ,this manner of representing the two highest orders of angels is very ancient1 and in the earliest instances in existence the faces are human1 thoughtful1 and mature4 ,gradually they became child-like1 and were intended to express innocence1 and later they degenerated into absurd little baby heads1 with little wings folded under the chin4 ,these in no sense convey the original1 spiritual significance of the seraphic and cherubic head4 ,the first ,scriptural mention of cherubim with wings occurs after the departure of the ,israelites from ,egypt1 ,exodus xxv41 #bj3 8,and the cherubim shall stretch forth their wings on high1 covering the mercy seat40 ,isaiah gives warrant for six wings1 as frequently represented in ,art1 and so vividly described by ,milton3 8,a seraph winged2 six wings he wore to shade ,his lineaments divine2 the pair that clad ,each shoulder broad1 came mantling o'er his breast ,illustration3 ,,perugino4--,a ,,six-,,winged ,,cherub4 7,,from ,,the ,,assumption ,,of ,,the ,,virgin47 ,with regal ornament2 the middle pair ,girt like a starry zone his waist1 and round ,skirted his loins and thighs with downy gold ,and colors dipp'd in heaven2 the third1 his feet ,shadow'd from either heel with feather'd mail1 ,sky-tinctured grain40 ,in ,ezekiel we read that 8their wings were stretched upward when they flew2 when they stood they let down their wings40 ,there is1 no doubt1 ,scriptural authority for representing angels' wings in the most realistic manner1 since ,daniel says 8they had wings like a fowl40 ,is it not more desirable1 however1 to see angel-wings rather than bird-wings8 ,the more devout and imaginative artists succeeded in overcoming the commonplace in this regard by various devices4 ,for example1 ,orcagna1 in the ,campo ,santo at ,pisa1 makes the bodies of his angels to end in delicate wings instead of legs2 in some old pictures the wings fade into a cloudy vapor1 or burst into flames4 ,in one of ,raphael's frescoes in the ,vatican1 we see fiery cherubs1 their hair1 wings1 and limbs ending in glowing flames1 while their faces are full of spirit and intelligence4 ,certainly1 if anywhere purely impressionist painting is acceptable and fitting1 it is in the portrayal of heavenly wings4 ,mrs4 ,jameson1 in writing of this subject1 says1 8,infinitely more beautiful and consistent are the nondescript wings which the early painters gave their angels3 large1--so large that1 when the glorious creature is represented as at rest1 they droop from the shoulders to the ground2 with long1 slender feathers1 eyed sometimes like the peacock's train1 bedropped with gold like the pheasant's breast1 tinted with azure and violet and crimson1 #8,colors dipp'd in ,heaven1'--they are really angel-wings1 not bird-wings40 ,it is interesting to note that wings were used by the artists of ancient ,egypt1 ,babylon1 ,nineveh1 and ,etruria as symbols of might1 majesty1 and divine beauty4 ,the representation of great numbers of angels1 surrounding the ,deity1 the ,trinity1 or the glorified ,virgin1 is known as a ,glory of ,angels1 and is most expressive and poetical when sthetically portrayed4 ,a ,glory1 when properly represented1 is composed of the hierarchies of angels in circles1 each hierarchy in its proper order4 ,complete ,glories1 with nine circles1 are exceedingly rare4 ,many artists contented themselves with two or three1 and sometimes but a single circle1 thus symbolizing the symbol of the ,glory4 ,the nine choirs of angels are represented in various ways when not in a ,glory1 and are frequently seen in ancient frescoes1 mosaics1 and sculptures4 ,sometimes each choir has three figures1 thus symbolizing the ,trinity2 again1 two figures stand for each choir1 and occasionally nine figures personate the three hierarchies2 in the last representation careful attention was given to colors as well as to symbols4 ,the ,princedoms and ,powers of ,heaven are represented by rows and groups of angels1 all wearing the same dress and the same tiara1 and bearing the orb of sovereignty and wands like sceptres4 ,one of the most important elements in the proper painting of seraphs and cherubs was the use of color1 while greater freedom was permitted in the portrayal of other angelic orders4 ,in a ,glory1 for example1 the inner circle should be glowing red1 the symbol of love2 the second1 blue1 the emblem of light1 which again symbolizes knowledge4 ,angelic symbolism in its purity makes the 8blue-eyed seraphim0 and the 8smiling cherubim0 equally incorrect1 since the seraph should be glowing with divine love1 and the face of the cherub should be expressive of serious meditation1--as ,milton says1 8the ,cherub ,contemplation40 ,the familiar cherubim beneath ,raphael's famous ,madonna di ,san ,sisto1 in the ,dresden ,gallery1 are exquisite illustrations of this thoughtfulness4 ,the colors of the oldest pictures1 of the illuminated manuscripts1 the stained glass1 and the painted sculptures were most carefully considered4 ,gradually1 however1 the color law was less faithfully observed1 until1 at the end of the fifteenth and the beginning of the sixteenth centuries1 it was not unusual to see the wings of cherubim in various colors1 while cherub heads were represented as floating in clouds with no apparent wings4 ,two pictures of world-wide fame illustrate this change1--,raphael's ,madonna1 mentioned above1 and ,perugino's ,coronation of the ,virgin4 ,in the first1 the entire background is composed of seraphs and cherubs apparently evolved from thin blue air1 and in constant danger of disappearing in the golden-tinted background4 ,in the second1 the multi-colored wings of the floating cherubim are beautiful and the harmony of tones is exquisite1 but they represent an innovation to which one must become more and more accustomed as artists are less reverent in their work4 ,the five angelic choirs which follow the seraphim and cherubim are not familiar to us in works of art1 although they were painted with great accuracy in the words of the medival theologians4 ,when archangels are represented merely as belonging to their order1 and not in their distinctive offices1 they are in complete armor1 and bear swords with the points upwards1 and sometimes a trumpet also4 ,illustration3 ,,fra ,,angelico4--,a ,,glory ,,of ,,angels4 ,angels are robed1 and are represented in accordance with the work in which they are engaged4 ,strictly speaking1 the wand is the angelic symbol1 but must be frequently omitted1 as when the hands are folded in prayer1 or musical instruments are in use1 and in a variety of other occupations4 ,all angels are said to be masculine4 ,they are represented as having human forms and faces1 young1 beautiful1 perfect1 with an expression of other-worldliness4 ,they are created beings1 therefore not eternal1 but they are never old1 and should not be infantile4 ,such representations as can be called infant angels should symbolize the souls of regenerate men1 or the spirits of such as die in infancy1--those of whom ,jesus said that 8in heaven their angels do always behold the face of my ,father40 ,angels are changeless2 for them time does not exist2 they enjoy perpetual youth and uninterrupted bliss4 ,to these qualities should be added an impression of unusual power1 wisdom1 innocence1 and spiritual love4 ,in the earliest pictures of angels the drapery was ample1 and no unusual attitudes1 no insufficient robes1 nor unsuitable expression was seen in such representations so long as religious art was at its best4 ,white should be the prevailing color of angelic drapery1 but delicate shades of blue1 red1 and green were frequently employed with wonderful effect4 ,the ,venetians used an exquisite pale salmon color in the drapery of their angels2 but no dark or heavy colors are seen in the robes of angels in the pictures of the old ,italian masters4 ,the early ,german painters1 however1 affected angelic draperies of such vast expanse and weighty coloring1 embroidery1 and jewels1 that apparently their angels must perforce descend to earth1 and never hope to rise again without a change of toilet4 ,i shall presently speak of angels in their offices of messengers1 guardians1 choristers1 and comforters4 ,at present ,i am thinking of the multitudes of angels which were introduced into early religious pictures to indicate a 8cloud of witnesses40 ,they lend an element of beauty and of spiritual emotion to the scenes honored with their presence4 ,their effectiveness has appealed to many ,christian architects who have fully profited by the example of ,solomon1 who 8carved all the walls of the house--temple--with carved figures of cherubim10 and he made the doors of olive-tree1 and he carved on them figures of cherubim4 ,in the same manner1 in many old churches1 angels carved in marble1 stone or wood1 and painted on glass1 in frescoes on walls1 and in smaller pictures1 fill all spaces1 and are everywhere beautiful4 ,so long1 however1 as the stricter theological observances prevailed1 angels were not permitted as mere decorations1 but were so placed as to illustrate some solemn and significant portion of the belief and teaching of the ,church4 ,angels were only second to the persons of the ,trinity at this period1 and preceded the ,evangelists4 ,they were represented as surrounding divine beings1 and the ,virgin ,enthroned1 or in ,glory4 ,what was known as a ,liturgy of ,angels was most effective and beautiful4 ,it consisted of a procession of angels on each side of the choir1 apparently approaching the altar1 all wearing the stole and alba of a deacon1 and bearing the implements of the mass4 ,the statues of kneeling angels1 not infrequently placed on each side the altar1 holding tapers1 or the emblems of the ,passion of ,christ1 were not mere decorations1 but symbolized the angelic presence wherever ,christ is worshipped4 ,in short1 either processions or single figures of angels1 in any part of a church1 and apparently approaching the altar1 are symbols of the glorious hosts of heaven who evermore praise ,god4 ,during the first three centuries of ,christianity the representation of angels was not permissible1 and it is interesting to observe the crude and curious manner in which they were pictured in the illuminated manuscripts and the mosaics of the fifth century4 ,indeed1 until the tenth century the angels in ,art were curiously formed1 and more curiously draped4 ,giotto first approached the ideal representation of angels1 and1 naturally1 his pupils excelled him in their conception of what these celestial beings should be4 ,it was1 however1 ,angelico who first--and shall we not say last8--succeeded in portraying absolutely unearthly angels1--angels who must have appeared to him in his holy dreams1 and impressed themselves on his pure spirit in such a wise that with mere paints and brushes he could picture a superhuman purity4 ,not an angel of ,angelico's resembles any man1 while in the angels of other masters1 beautiful1 seraphic1 and charming as they may be1 we often fancy that we see a beautiful boy1 or a happy child1 who might have served the artist as an angel-making model4 ,wonderfully celestial as ,angelico's angels seem to be1 they are feminine1 almost without exception4 ,in his time this criticism was held to be a serious one2 but since angels are sexless1--according to the religious teaching on which this ,illustration3 ,,fra ,,angelico4--,,an ,,angel ,,of ,,the ,,tabernacle4 spiritually-minded monk relied1--,i fail to see ground for disapprobation of his work4 ,the angels of ,giotto and ,benozzo ,gozzoli1 with all their beauty1 are also feminine1 while the great ,michael ,angelo1 whose angels have not yet attained to wings1 failed to represent such celestial beings as one would choose as personal attendants4 ,leonardo's angels almost grin2 ,correggio reproduced the lovely children who did duty as his angels2 almost the same may be said of ,titian2 while in the pictures by ,francesco ,albani1 ,guido ,reni1 and the ,caracci1 the angels are simply attractive and even elegant boys1 as may be seen in our illustration of the child ,jesus with angels1 by ,albani4 ,it is so difficult to distinguish the angels of some artists from their cupids1 that one can only decide between them by learning the titles of their pictures4 ,these are characteristics of the works of these masters as a whole1 with rare exceptions1 rather than of single pictures4 ,to whom1 then1 may one look for satisfactory angels8 ,for myself1 ,i answer1 to ,raphael1 and especially to his later works4 ,his angels are sexless1 spiritual1 graceful1 and1 at the same time1 the personification of intelligence and power1 as may be seen in our illustration of the ,archangel ,michael4 ,witness also the three angels in the ,expulsion of ,heliodorus from the ,temple1 in the ,stanza della ,signatura1 in the ,vatican4 ,they are without wings1 and none are needed to emphasize their godlike wrath against the thief who robbed the widow and orphan in the very temple of the ,most ,high4 ,the celestial warrior on his celestial steed1--believed to be ,st4 ,michael1 in his office of ,protector of the ,hebrews1--the deadly mace drawn back ready to strike the fallen robber1 and his two rapidly gliding attendants1 with streaming hair and swift1 spirit-like movement1 are such conceptions and personifications of superhuman power as can scarcely be paralleled in any other work of ,art4 ,rembrandt1 too1 painted wonderful angels4 ,no adjective ordinarily applied to such pictures is suited to these4 ,they are poetical1 unearthly apparitions1 and once studied1 can no more be forgotten than can some of ,dante's and ,shakepeare's immortal lines4 ,modern artists have1 speaking generally1 wisely followed the examples of old masters in their treatment of angels4 ,the poet ,blake1 however1 is a notable exception to this rule4 ,he painted angels that surely 8sing to heaven10 while they float upon the air which their diaphanous drapery scarcely displaces1 and seem about to vanish and become a portion of the ether which surrounds them4 ,i cannot better close this chapter than by quoting what ,mr4 ,ruskin writes of the earlier and later representations of angels4 ,he says of the earlier pictures that there is 8a certain confidence in the way in which angels trust to their wings1 very characteristic of a period of bold and simple conception4 ,modern science has taught us that a wing cannot be anatomically joined to a shoulder2 and1 in proportion as painters approach more and more to the scientific1 as distinguished from the contemplative state of mind1 they put the wings of their angels on more timidly1 and dwell with greater emphasis on the human form1 with less upon the wings1 until these last become a species of decorative appendage1--a mere sign of an angel4 8,but in ,giotto's time an angel was a ,illustration3 ,,francesco ,,albani4--,,the ,,child ,,jesus ,,with ,,angels4 complete creature1 as much believed in as a bird1 and the way in which it would1 or might1 cast itself into the air1 and lean hither and thither on its plumes1 was as naturally apprehended as the manner of flight of a chough or a starling4 8,hence1 ,dante's simple and most exquisite synonym for angel1 #8,bird of ,god2' and hence1 also1 a variety and picturesqueness in the expression of the movements of the heavenly hierarchies by the earlier painters1 ill-replaced by the powers of foreshortening and throwing naked limbs into fantastic positions1 which appear in the cherubic groups of later times40 ,,chapter ,,ii4 ,,archangels4 ,,saint ,,michael4 ,the archangels alone have names1 and being known to us by them1 as well as in connection with certain important events in heaven and on earth1 we involuntarily think of them with a more intimate and1 at the same time1 a more reverent and sympathetic feeling than we can possibly have for the numberless nameless angels of the heavenly choir4 ,in works of ,art1 these last are always beautiful1 always smiling1 and ever ready to appear in greater or lesser numbers whenever any notable religious event is taking place1 thus apparently justifying those who believe that we are always surrounded by these celestial beings4 ,they are a most decorative audience of witnesses1 and when they are playing upon their musical instruments1 or with open lips and upturned1 rapturous eyes are singing praises to ,god1 they contribute an enchanting element to the representation4 ,but the story of the archangels and their wonderful deeds1 as told in ,scripture and in the sacred legends1 impresses us with a vivid sense of their marvellous power and wisdom1 as well as of their tender sympathy for the human beings whom they protected and served in their office of guardians and defenders4 ,the official duties that have been assigned them by the theologians have the effect of giving them a place1 so to speak1 in which we may think of them2 and this serves to make them more positively existent to our minds than other angels are4 ,in comparison with such a personality as we must involuntarily give to ,st4 ,michael1 the hovering1 musical angels are so intangible1 such veritable airy visions1 that they elude all practical thought of them1 and appear to be evolved upon occasion from the air into which they vanish4 ,michael 7like unto ,god7 is the captain-general and leader of the heavenly host2 the protector of the ,hebrew nation1 and the conqueror of the hosts of hell2 the lord and guardian of souls1 and the patron saint and prince of the ,church militant4 ,his attributes are the sceptre1 the sword1 and the scales4 ,gabriel 7,god is my strength7 is the guardian of the celestial treasury2 a bearer of important messages2 the angel of the ,annunciation1 and the preceptor of the ,patriarch ,joseph4 ,his symbol is the lily4 ,raphael 7the medicine of ,god7 is the chief of guardian angels1 and was the conductor of the young ,tobias4 ,he bears the staff and gourd of a pilgrim4 ,uriel 7the light of ,god7 is regent of the sun1 and was the teacher of ,esdras4 ,his symbols are a roll and book4 ,chamuel 7one who sees ,god7 is believed by some to be the angel who wrestled with ,jacob1 and who appeared to ,christ during the agony in the garden4 ,others believe the latter to have been ,gabriel4 ,chamuel bears a cup and staff4 ,jophiel 7the beauty of ,god7 is the guardian of the ,tree of ,knowledge1 who drove ,adam and ,eve from the ,garden of ,eden2 the protector of seekers for truth2 the preceptor of the sons of ,noah2 the enemy of those who pursue vain knowledge4 ,his attribute is a flaming sword4 ,zadkiel 7the righteousness of ,god7 is sometimes said to have stayed the hand of ,abraham from the sacrifice of ,isaac1 while others believe this to have been the work of ,michael4 ,the sacrificial knife is the symbol of ,zadkiel4 ,when the archangels are represented merely as such1 without reference to their distinctive offices1 they are in complete armor1 holding swords with the points upwards1 and sometimes bearing trumpets also4 ,they are of a twofold nature1 since they are powers1 as are the princedoms1 and fulfil the duties of messengers and ministers1 as do the angels4 ,although each of the seven archangels has been many times represented in works of ,art1 ,i know of no example in which they are seen together1 and can be distinguished by name4 ,there are occasional instances of the representation of seven angels1 blowing trumpets1 which are intended to illustrate the text in ,revelation1 8,and ,i saw the seven angels which stand before ,god1 and to them were given seven trumpets40 ,in pictures of the crucifixion1 and of the ,virgin with the body of her dead son1--known as the ,piet1--the instruments of the ,passion are frequently borne by seven angels1 and the same number appear in pictures of the last judgment4 ,but as neither the ,eastern or ,western ,church acknowledged the seven archangels1 it is probable that these pictures represent the angels of ,revelation4 ,a most interesting example of artistic symbolism is seen in a picture painted in #aceb by ,taddeo ,gaddi1 and now in the ,church of ,santa ,maria ,novella1 in ,florence4 ,here seven angels attend on ,st4 ,thomas ,aquinas1 and bear the symbols of the distinguished virtues of this reverend and learned saint4 ,the symbols are a church--,religion2 a crown and sceptre--,power2 a book--,knowledge2 a cross and shield--,faith2 an olive branch--,peace2 flames of fire--,piety and ,charity2 and a lily--,purity4 ,the ,hebrews believed that ,michael1 ,gabriel1 ,raphael1 and ,uriel sustain the throne of ,god4 ,the first three are reverenced as saints in the ,catholic ,church2 and their divine achievements and celestial beauty have been a fruitful inspiration to painters and sculptors1 resulting in the creation of many immortal works of art4 ,the ,archangel ,michael is reverenced as the first and mightiest of all created beings4 ,he was worshipped by the ,chaldeans1 and the ,gnostics taught that he was the leader of the seven angels who created the universe4 ,after the ,captivity the ,hebrews regarded him as all that is implied by the ,prophet ,daniel when he ,illustration3 ,,raphael4--,,the ,,archangel ,,michael ,,casting ,,satan ,,out ,,of ,,heaven4 says1 8,michael1 the great prince which standeth for the children of thy people40 ,it is believed that he will be privileged to exalt the banner of the ,cross on the ,judgment ,day1 and to command the trumpet of the archangel to sound2 it is on account of these offices that he is called the 8,bannerer of ,heaven40 ,as captain of the heavenly host1 it devolved on ,michael to conquer ,lucifer and his followers1 and to expel them from heaven after their refusal to worship the ,son of ,man2 and terrible was the punishment he inflicted on them4 ,chained in mid-air1 where they must remain until the ,judgment ,day1 they behold all that happens on earth4 ,man1 whom they disdained1 has flourished in their sight1 and wields a power that they may well envy1 while the souls of the redeemed constantly ascend to the heaven which is closed to them4 ,thus are they constantly tormented by hate1 and a desire for revenge1 of which they must ever despair4 ,st4 ,michael is represented in art as young and severely beautiful4 ,in the earliest pictures his drapery is always white and his wings of many colors1 while his symbols1 indicating that his conquests are made by spiritual force alone1 are a lance terminating in a cross1 or a sceptre4 ,later1 it became the custom to represent him in a costume and with such emblems as indicated the nature of the work in which he was engaged2 and except for the wings1 his picture might often be mistaken for that of a celestially radiant knight1 since he is clothed in armor1 and bears a sword1 shield1 and lance4 ,but his seraphic wings and his bearing mark him as a mighty spiritual power2 and this impression is increased rather than lessened1 when in all humility he is in the act of worship before the ,divine ,infant1 or stands in reverent attitude near the ,madonna1 as if to guard her and her heaven-sent son4 ,when conquering ,satan the treatment is varied1 but the subject is easily recognized4 ,more frequently than otherwise1 the archangel stands on the demon1 who is half human and half dragon1 wearing a suit of mail1 and is about to pierce the evil spirit with a lance or bind him in chains4 ,such pictures date from the earliest attempts in religious painting1 and the same subject was represented in ancient sculpture4 ,some of these works are so crude as to be absurd1 but for their manifest reverence and sincerity4 ,an early sculpture in the porch of the ,cathedral of ,cortona1 probably dating from the seventh century1 presents the archangel in long1 heavy robes1 reaching to his feet2 he stands solidly on the back of the dragon1 and as if to make the footing more secure1 the beast curls his tail in air and lifts his head as high as possible1 holding his mouth wide open1 into which ,st4 ,michael presses his lance without a struggle4 ,the whole effect is that of some calm and commonplace occurrence1 and is in striking contrast with the spirit of the conflict which is represented1 as well as with the superhuman combat depicted by later artists4 ,the dragon is personified by a variety of horrible reptilian forms4 ,some artists even attempted to follow the apocalyptic description4 8,for their power is in their mouth1 and in their tails3 for their tails were like unto serpents1 and had heads1 and with them they do hurt40 ,lucifer is not always alone1 but is sometimes surrounded by demons1 who crouch with him at the feet of ,st4 ,michael1 before whom a company of angels kneel in adoration4 ,during the sixteenth century the pictures of this archangel took on the military aspect1 to which ,i have referred1 and but for the wings would have represented ,st4 ,george1 or a ,crusader of the ,cross1 as suitably as the great ,warrior ,angel4 ,an exquisite small picture of this type1 now in the ,academy at ,florence1 was painted by ,fra ,angelico4 ,the lance and shield and the lambent flame above the brow are the only emblems2 the latter symbolizing spiritual fervor4 ,the rainbow-tinted wings are raised and fully spread1 meeting above and behind the head2 the armor is of a rich dark red and gold4 ,the pose and the expression of the countenance indicate the reserved power and the godlike tranquillity of the celestial warrior1 and fitly represent him as the patron of the ,church ,militant4 ,the representations of ,st4 ,michael conquering ,lucifer are so numerous and so interesting technically1 that any adequate account of them and of their artistic and theological development would fill a volume1 and might be considered rather tiresome4 ,i shall speak especially of two examples which are very generally accepted as the most satisfactory of them all4 ,the first1 painted by ,raphael when at his best1 is in the ,louvre4 ,it was a commission from ,lorenzo dei ,medici1 who presented it to ,francis ,i4 ,the subject was doubtless chosen by ,raphael as a compliment to the sovereign1 who was the ,grand ,master of the ,order of ,st4 ,michael1 the military patron saint of ,france4 ,it was painted on wood1 and sent with three other pictures1 packed on mules1 to ,fontainebleau1 where ,lorenzo was visiting1 in ,may1 #aeah4 ,the picture was somewhat injured on the journey4 ,in #aggc it was transferred to canvas1 and 8restored0 three years later1 but at the beginning of this century the restorations were removed4 ,we must believe that the picture has suffered from these chances and changes1 but the fact remains that it is still a glorious work by a great master4 ,the beautiful young angel does not stand upon the fiend beneath him1 but1 poised in air1 he lightly touches with his foot the shoulder of the demon in vulgar human form1 fiery in color1 having horns and a serpent's tail4 ,the expression of the angel is serious1 calm1 majestic1 as he gazes down upon the writhing ,satan1 whose face1 as he struggles to raise it1 is full of malignant hate4 ,this detail is lost in the black and white reproductions4 ,michael grasps the lance with both hands1 and so natural is the action1 so easy and graceful1 that the beholder instinctively waits to see the weapon do its work1 while flames rise from the earth as if impatient to engulf the disgusting demon4 ,the head of the angel1 with its light1 floating hair is against the background of the brilliant wings1 in which blue1 gold1 and purple are gloriously mingled2 his armor is gold and silver2 a sword hangs by his side1 and an azure scarf floats from his shoulders4 ,his legs are bare1 and his feet shod with buskins1 which leave the toes uncovered4 ,the contrast between the exquisite1 angelic flesh tints1 rosy in hue1 and the brown coloring of the demon1 effectively emphasizes the beauty of purity and the loathsomeness of evil4 ,the ,st4 ,michael of ,guido ,reni so closely resembles that of ,raphael in general treatment1 that it is more nearly just to compare these works than is usually the case with pictures of the same subject by different masters4 ,the attitude of ,guido's saint is like that of a dancing-master when contrasted with the pose of ,raphael's1 ,illustration3 ,,guido ,,reni4--,,the ,,archangel ,,michael ,,overpowering ,,satan4 and his demon is simply low and base1 devoid of malignity or any supreme evil4 ,but the head and face of ,guido's ,michael make his picture wonderful2 they adequately express divine purity and beauty1 while the studied and fictitious qualities of ,guido's art--here at their best--serve to enhance the exquisite effect of this angelic warrior1 and the picture is justly esteemed as one of the treasures of the ,cappucini at ,rome4 ,outside of ,italian art1 the ,st4 ,michael of ,martin ,schoen is well worth notice4 ,the figure is fully draped in a long1 flowing robe and mantle2 the pose is most graceful1 and the bearing of the angel dignified and unruffled4 ,the demon is made up of fins1 a savage mouth1 and numerous claws with which to seize its victims2 an entirely emblematic and most repulsive figure4 ,there are occasional pictures of the 8,fall of the ,angels10 in which ,st4 ,michael contends against the entire company of rebellious spirits4 ,these are illustrative of the text1 8,when ,michael and his angels fought against the dragon1 and the dragon fought and his angels1 and the great dragon was cast out40 ,the painting of such a picture at ,arezzo1 about #adjj1 caused the death of ,spinello d',arezzo1 whose mind so dwelt upon the demons he had painted that he went mad1 and fancied that ,lucifer appeared to him1 and cursed him for having represented the fiend and his angels in so revolting a manner4 ,the horror of the artist induced a fever of which he died4 ,the smaller of the two pictures of this subject by ,rubens1 in ,munich1 is esteemed a miracle of art4 ,it displays the inventive power of the great ,flemish master in a wonderful tour de force1 for the rebel angels are not fallen1 but falling1 and tumbling headlong out of heaven1 down1 down1--in such confusion and affright as only ,rubens could portray4 ,in some cases ,raphael and ,gabriel are represented as witnesses of the combat between ,michael and ,lucifer4 ,to my taste1 these figures1 with their abundant white draperies1 detract from the simplicity and dignity of this impressive scene4 ,not only these archangels1 but apostles and saints are sometimes introduced1 in spite of the evident anachronism1 as observers of this great spiritual struggle1 while hosts of angels are above and around the picture4 ,in short1 the representations of this subject1 in one form and another1 are almost numberless1 and can scarcely be too many1 when they are regarded as embodying the great truth of the spiritual triumph over evil4 ,mrs4 ,jameson says3 8,this is the secret of its perpetual repetition1 and this the secret of the untired complacency with which we regard it 444 and if to this primal moral significance be added all the charm of poetry1 grace1 animated movement1 which human genius has lavished on this ever-blessed1 ever-welcome symbol1 then1 as we look up at it1 we are #8not only touched1 but wakened and inspired1' and the whole delighted imagination glows with faith and hope1 and grateful triumphant sympathy1--so1 at least1 ,i have felt1 and ,i must believe that others have felt it1 too40 ,the representations of ,st4 ,michael as the ,lord of ,souls are less numerous than those of the subjects just mentioned1 but are very interesting4 ,in some votive pictures he appears as the protector of those who have struggled with evil1 and gained a victory4 ,in such pictures the angel has his foot upon the dragon1 or holds a dragon's head in his hand1 and bears the banner of victory4 ,again1 ,michael is represented with his scales engaged in weighing the souls of the dead2 in such pictures he is unarmed1 and bears a sceptre ending in a cross4 ,the souls are typified by little naked human figures2 the accepted spirits usually kneel in the scales1 with hands clasped as in prayer2 the attitude of the rejected souls expresses horror and agony1 which is sometimes emphasized by the figure of a demon1 impatient for his prey1 who reaches out his talons1 or his devil's fork1 to seize the doomed spirits4 ,leonardo da ,vinci represented the angel as presenting the balance to the ,infant ,jesus1 who has the air of blessing the pious soul in the upper scale4 ,signorelli1 about #aejj1 painted a picture of this subject1 which is in the church of ,san ,gregorio at ,rome1 in which the archangel1 in a suit of mail1 stands with his wings spread out1 and the balance with full scales held above a fierce1 open-mouthed dragon4 ,the lance of the archangel has pierced through the under jaw of the beast and entered his body1 making an ugly wound1 and a hideous little demon1 resting on his tiny black wings1 is clutching the condemned spirits in the lower scale4 ,in pictures of the ,assumption or ,glorification of the ,virgin1 if ,st4 ,michael is present1 it is in his office of ,lord of ,souls1 as the legends of the ,madonna teach that he received her spirit1 and guarded it until it was again united with her sinless form4 ,as ,lord of ,souls it is taught that ,st4 ,michael conducted the spirits of the just to heaven1 and even cared for their bodies in some instances4 ,the legend of ,st4 ,illustration3 ,h4 ,m,,cke4--,,the ,,translation ,,of ,,st4 ,,catherine ,,of ,,alexandria4 ,catherine of ,alexandria teaches that her body was borne by angels over the desert and sea to the top of ,mount ,sinai1 where it was buried2 and later a monastery was built over her sepulchre4 ,in the picture of the 8,translation of ,st4 ,catherine10 which we give1 ,st4 ,michael is one of the four celestial bearers of the martyr saint4 ,in rare instances ,st4 ,michael was represented without wings4 ,such a figure standing on a dragon is a ,st4 ,george1 unless the balance is introduced4 ,when the archangel stands upon the dragon with the balance in his hand1 he appears in his double office as ,conqueror of ,satan and ,lord of ,souls4 ,memorial chapels and tombs were frequently decorated with this subject1 a notable instance being that on the tomb of ,henry ,,vii41 in ,westminster ,abbey4 ,in pictures of the ,last ,judgment1 ,st4 ,michael is sometimes seen in the very act of weighing souls1 and1 although ,i have nowhere found this explanation1 it has seemed to me that the souls being thus weighed at the last hour should symbolize those of whom ,st4 ,paul said1 8,we shall not all sleep1 but we shall all be changed1 in a moment1 in the twinkling of an eye1 at the last trump3 for the trumpet shall sound1 and the dead shall be raised incorruptible1 and we shall be changed40 ,since the ,archangel ,michael was made the guardian of the ,hebrew nation1 he was naturally an important actor in many scenes connected with their history4 ,it was he who succored ,hagar in the wilderness 7,genesis xxi41 #ag71 who appeared to restrain ,abraham from the sacrifice of ,isaac 7,genesis xxii41 #aa74 ,he brought the plagues on ,egypt and led the ,israelites on their journey4 ,the ,jews and early ,christians believed that ,god spake through the mouth of ,michael in the ,burning ,bush1 and by him sent the law to ,moses on ,mount ,sinai4 ,when ,satan would have entered the body of ,moses1 in order to personate the prophet and deceive the ,jews1 it was ,michael who contended with the ,evil ,one1 and buried the body in an unknown place1 as is distinctly stated by ,jude4 ,signorelli chose this as the subject of one of his frescoes in the ,sistine ,chapel1 and ,i have seen no other representation of it1 although ,i believe that a few others exist4 ,it was ,michael who put blessings instead of curses into ,balaam's mouth 7,numbers xxii41 #ce71 who was with ,joshua in the plain of ,jericho 7,joshua v41 #ac71 who appeared to ,gideon 7,judges vi41 #b71 and delivered the three faithful ,jews from the fiery furnace 7,daniel iii41 #be74 ,this last subject is one of the earliest in ,christian art1 and was a symbol of the redemption of man by ,jesus ,christ4 ,there are still other like offices which ,st4 ,michael filled as the protector of the ,jews1 while several important works are attributed to him in the ,apochrypha and in the ,legends of the ,church4 ,for example1 in the apochryphal story of ,bel and the ,dragon1 it is related that when ,king ,cyrus had thrown the prophet ,daniel into the lions' den1 and he had been six days without food1 the angel of the ,lord appeared to the prophet ,habakkuk in ,jewry1 when he had prepared a mess of potage for the reapers in his field1 and the angel commanded ,habakkuk to carry the potage to ,babylon and give it to ,daniel4 8,then ,habakkuk said1 #8,lord1 ,i never saw ,babylon2 neither do ,i know where the den is4' ,then the angel of the ,lord took ,habakkuk by the hair of his head1 and set him in ,babylon over the lions' den2 and ,habakkuk cried1 saying1 #8,o ,daniel1 ,daniel1 take the dinner which ,god hath sent thee1'--and the angel again set ,habakkuk in his own place40 ,at one period this subject was represented on sarcophagi2 but ,i have only seen it in prints after the ,flemish artist1 ,hemshirk4 ,in the legends of ,st4 ,michael we read that in the sixth century1 when the plague was raging in ,rome1 and processions threaded the streets chanting the service since known as the ,great ,litanies1 the ,archangel ,michael appeared1 hovering over the city4 ,he alighted on the summit of the ,mausoleum of ,hadrian and sheathed his sword1 from which blood was dripping4 ,from that hour the plague was stayed1 and from that day the ,mausoleum1 which is surmounted by a statue of the ,archangel1 has been called the ,castle of ,sant' ,angelo4 ,the legends also give an account of two appearances of ,st4 ,michael when he commanded the erection of churches2 one at ,monte ,galgano1 on the east coast of ,italy1 and the second at ,avranches in ,normandy4 ,the first site was found to cover a wonderful stream of water1 which cured many diseases1 and made the church of ,monte ,galgano a much frequented place of pilgrimage4 ,the church in ,normandy is on the celebrated ,mont ,saint ,michael1 and is famous in all ,christian countries4 ,from the time when the angel appeared to ,st4 ,aubert1 the bishop1 and commanded him to build the church1 this saint was greatly venerated in ,france1 and was made patron of ,france and of the order which ,st4 ,louis instituted in his honor4 ,the first church erected here was small1 but ,richard of ,normandy and ,william the ,conquerer raised a magnificent abbey1 which overlooked the most ,illustration3 ,,fra ,,filippo ,,lippi4--,,the ,,annunciation ,,of ,,the ,,death ,,of ,,the ,,virgin ,,mary4 picturesque scenery1 and for this reason1 if no other1 remains a much frequented spot4 ,the old ,english coin called an angel was so named from the representation of ,st4 ,michael which was stamped upon it4 ,the pictures of ,st4 ,michael announcing to the ,virgin ,mary the time of her death1 bear so strong a resemblance to those of the ,annunciation1 that it is necessary to remember that these have the symbols of a palm on a lighted taper in the hand of the angel1 instead of the lily of the ,archangel ,gabriel1 as is seen in our illustration of a beautiful picture in the ,florentine ,academy4 ,the legend relates that on a certain day the heart of ,mary was filled with an inexpressible longing to see her ,son1 and she wept sorely1 when lo6 an angel clothed in light appeared before her1 saluting her1 and saying1 8,hail1 ,o ,mary6 blessed by ,him who hath given salvation to ,israel6 ,i bring thee here a branch of palm gathered in paradise2 command that it be carried before thy bier in the day of thy death2 for in three days thy soul shall leave thy body1 and thou shalt enter into paradise where thy ,son awaits thy coming40 ,mary answering1 said3 8,if ,i have found grace in thy sight tell me thy name1 and grant that the ,apostles may be reunited to me1 that in their presence ,i may give up my soul to ,god4 ,also1 ,i pray thee1 that after death my soul may not be affrighted by any spirit of darkness1 nor any evil angel be given power over me40 ,and the archangel replied3 8,my name is the ,great and ,wonderful4 ,doubt not that the ,apostles shall be with thee to-day1 for he who transported the prophet ,habakkuk by the hair of his head to the lions' den1 can also bring hither the ,apostles4 ,fear thou not the evil spirit1 for thou hast bruised his head1 and destroyed his kingdom40 ,and the angel departed1 and the palm branch shed light from every leaf and sparkled as the stars of heaven4 ,and the duty of the archangel was thus fulfilled until he should again appear as ,lord of ,souls to receive the spirit of the ,virgin1 to guard it until it should again inhabit her sinless body4 ,,chapter ,,iii4 ,,the ,,archangel ,,gabriel4 ,the ,archangel ,gabriel is mentioned by name but twice in the ,old ,testament4 ,first in ,daniel viii41 #af1 when he explained the vision which the prophet had seen1 and again in ,daniel ix41 #ba1 when ,gabriel appeared to ,daniel to give him skill and understanding4 ,likewise in the ,new ,testament he is twice mentioned1 in ,luke i41 #ai and #bf1 when he announced to ,zacharias the birth of ,john the ,baptist1 and to the ,virgin ,mary that she was favored of the ,lord1 and blessed among women4 ,on each of these occasions he filled the office of a messenger or bearer of important tidings4 ,it is believed to have been ,gabriel who fought with the ,angel of the ,kingdom of ,persia for twenty-one days1 when ,michael came to his relief1 and ,gabriel again visited ,daniel to strengthen him1 and explain 8that which is noted in the scripture of truth10 and to announce that the king of ,grcia should overcome the king of ,persia4 ,after which ,gabriel returned to his battle with the ,angel of ,persia4 ,the contest with the angel of ,persia is a subject which offers unusual opportunities in its artistic representation2 it is1 however1 much the same in spirit as the struggle between ,michael and ,lucifer1 and the preference was given to the latter by the painters of religious subjects4 ,st4 ,gabriel has been many times portrayed as the messenger announcing the birth of ,john the ,baptist and that of ,jesus ,christ4 ,in the apochryphal legends he also foretells the birth of ,samson1 and that of the ,virgin ,mary4 ,from these frequently repeated messages which foretold important births1 ,gabriel naturally came to be regarded as the angel who presides over childbirth4 ,the great number of representations of the ,annunciation to the ,virgin ,mary make it difficult to select those of which to speak4 ,the earliest pictures of this event portray it with great simplicity1 purity1 and grace4 ,a spiritual mystery is being depicted1 and is handled with sincere reverence and the utmost delicacy4 ,the scene is usually the portico of an ecclesiastical edifice4 ,when seated1 the ,virgin is on a species of throne1 but she is more frequently represented as standing4 ,the archangel is at some distance from her1 not infrequently quite outside the porch4 ,he is majestic and beautiful2 is clothed in white1 wearing the tunic and pallium1 or archbishop's mantle4 ,his wings are large1 and brilliant with many colors1 and his abundant hair is bound with a jewelled tiara4 ,he bears either the sceptre of power or a lily in one hand1 while the other is extended in benediction4 ,sometimes he holds a scroll inscribed with the words1 8,ave ,maria1 gratia plena10 ,hail6 ,mary1 full of grace1 which words ,dante represents ,gabriel as constantly repeating in paradise4 ,the angel is the chief figure in this scene in the earlier pictures2 he is joyfully triumphant1 announcing the coming of the ,saviour1 while the ,virgin is all humility and submission2 in some cases her head is covered1 an extreme expression of lowliness1 and she is always self-effacing in attitude and expression4 ,an early custom in churches was to place the picture of the ,virgin on one side of the altar1 and that of the angel on the other side2 or1 if both figures were in the same frame1 a division was made by an architectural pillar1 or a conventional ornament between them4 ,in many cases the ,virgin and the ,archangel were placed separately above1 or on each side of some scene from the life of ,jesus1 usually an altar piece4 ,the picture by ,fra ,filippo ,lippi1 which we give1 is a very fine example of the so-called 8divided ,annunciations40 ,it is in the ,florentine ,academy4 ,this picture is very beautiful1 and fittingly expresses the humility and surprise of the ,virgin and the reverence of the heavenly messenger4 ,it is also a good example of ,fra ,filippo's style2 his draperies were graceful1 abundant1 and usually much ornamented with designs in gold1 of which we have here enough for elegance1 while it is not overdone as in other works of this artist4 ,illustration3 ,,fra ,,filippo ,,lippi4--,a ,,divided ,,annunciation4 ,a very ancient ,annunciation1 of peculiar and elaborate arrangement1 dating from the fifth century1 is in mosaic1 over the arch in front of the choir in the church of ,santa ,maria ,maggiore1 in ,rome4 ,the classical treatment of the dresses1 and of the entire composition1 makes this work so different from the usual conception of the subject as to be worthy of observation4 ,there are two scenes3 in the first1 the archangel is sent on his mission1 and is rapidly flying towards the earth1 as if in haste to utter his joyous salutation1 8,hail6 thou art highly favored6 ,blessed art thou among women60 ,the second scene presents ,gabriel standing before the ,virgin1 who is seated on a throne1 behind which are two guardian angels4 ,this representation is so utterly unlike what is known as ,christian art as to make a lasting impression1 by reason of its classical treatment2 all the details have an air of belonging to an earlier period than that known as medival1 and the figures might be those of ancient ,greeks4 ,it is extremely curious and interesting to observe the various methods of representing the ,archangel ,gabriel in pictures of the ,annunciation4 ,at times he might be mistaken for the ambassador of a proud and powerful earthly potentate4 ,he is clothed in gorgeous raiment1 with a rich train1 sometimes borne by one1 and again by three page-like angels1 while he carries himself with majestic haughtiness4 ,we do not wonder that the difference between the estate of an archangel sent by ,god1 and the humility of the ,virgin of ,galilee1 should have misled some artists2 or that with them the angel held the first place1 especially as it was only thus that any element of splendor could be introduced into their pictures4 ,indeed1 we have engravings after a picture by ,raphael1 in which the ,virgin is kneeling before the angel1 who raises the right hand in benediction4 ,but the gradual increase in the veneration accorded to the ,virgin1 and the titles of ,queen of ,heaven1 and ,queen of ,angels1 which were bestowed on her1 soon changed the spirit of the representations of the ,annunciation2 and while the ,virgin loses none of her humility and submission1 the angel bows1 and even kneels to her1 thus emphasizing his acknowledgment of her superior holiness1--since an archangel could only kneel before spiritual perfection4 ,it was well that the patriarchs and prophets should acknowledge the superiority of the angels sent to them1--but the glory of the ,mother of ,christ should be represented as commanding the reverence of even the highest of created being--only thus could the faith of the ,church1 for which these religious pictures were painted1 be fittingly illustrated4 ,thus it became customary to omit the sceptre in the hand of the angel1 and to give him the lily alone1 or the lily and the scroll4 ,indeed1 there are notable pictures in which ,gabriel has no symbol1 but with hands clasped over his breast1 and head inclined1 he seems to worship the ,virgin while declaring his mission to her4 ,there are1 however1 few ,annunciations in which the lily does not appear4 ,it is the special symbol of the purity of ,mary1 to whom is applied the verse from the ,song of ,solomon3 8,i am the rose of ,sharon1 and the lily of the valleys40 ,in some pictures the lily is seen in a vase near the ,virgin4 ,occasionally the symbol of peace is introduced in pictures of the ,annunciation by placing a crown of olive on the head ,illustration3 ,,alessandro ,,allori4--,,the ,,annunciation4 of the archangel1 or an olive branch in his hand4 ,here ,gabriel is presented as announcing the 8,peace on earth and good will towards men10 which ,raphael and his attendant angels chanted to the shepherds on the birth of ,jesus4 ,the early ,german painters were fond of picturing ,gabriel in priestly robes1 heavily embroidered1 and rich in color4 ,this dress supplied the same gorgeous effect as was given by the princely trains of which ,i have spoken4 ,in these pictures ,gabriel usually kneels1--his ample robes falling on the pavement around him1--thus avoiding the proud bearing of the regally vestured messenger4 ,the simplicity of the scene1 when ,gabriel is appropriately draped in the filmy white robe1--which is the usual conception of an angel's dress1--is far more satisfactory and harmonious with the spirit of the miraculous ,annunciation than any splendid vestments can possibly be4 ,the earliest pictures of the ,annunciation1 however1 in spite of unsuitable costumes1 and of certain technical imperfections1 are more acceptable to the reverent mind than are those of a later time1 in which the angel is scantily draped and is apparently conscious of his physical beauty1 while the ,virgin is entirely wanting in grace or dignity4 ,such a rendering of this scene is most offensive2 all the more so that these pictures are frequently well executed1 and were they not presented as representations of this sacred subject1 but given some appropriate title1 they would have claims to a certain artistic approbation4 ,other artists1 like ,allori1 in our illustration1 represent an all too conscious ,virgin1 an angel who apparently poses for a picture1 and a mass of utterly inappropriate detail4 ,this ,annunciation1 which is in the ,florentine ,academy1 affords an excellent example of this objectionable style1 and its faults are emphasized when it is compared with the serious dignity of ,fra ,filippo's picture and that which follows1 by ,fra ,angelico4 ,by such comparisons the great difference between true sentiment and affectation in ,art becomes apparent4 ,there are some ,annunciations in which the ,virgin is represented as starting up from fear or surprise1 quite as one might fancy that a tragedy queen would do1 were her privacy unceremoniously disturbed4 ,again the ,virgin ,mary is fainting from emotion1 and thus could not have replied to the angel in the ,scriptural words1 8,behold the handmaid of the ,lord2 be it unto me according to thy word40 ,not infrequently1 in representations of this scene1 the ,holy ,spirit1 as a dove1 hovers above or near the ,virgin1 or flies in through a window2 again the ,almighty is seen in the clouds1 surrounded by a celestial light1 and sometimes attended by celestial spirits4 ,in rare instances the ,eternal ,father sends the ,infant ,jesus down from the sky bearing a cross1 and preceded by a dove4 ,these extremely symbolic ,annunciations are usually of an early date4 ,fra ,angelico painted the ,annunciation with intense reverence and simplicity4 ,we have an illustration of his fresco on the wall of the corridor in his convent of ,san ,marco1 in ,florence1 which is1 to my mind1 one of the most beautiful and spiritual ,annunciations in existence4 ,it tells the sacred story faithfully2 there is nothing introduced that does not essentially belong here4 ,the ,virgin gives the impression of being equal to the angel in purity and goodness2 he is superior only in knowledge4 ,illustration3 ,,fra ,,angelico4--,,the ,,annunciation4 ,angelico believed that he was divinely directed in his work1 which he began with prayer1 and for this reason he would never change his original design4 ,his care in the finish of his pictures was phenomenal2 his draperies were dignified2 his color and composition were harmonious4 ,it has well been said of his works3 8,every part contributed to that unity of tenderness1 inspiration1 and religious feeling which marks his pictures1 and which are such as no one man had ever succeeded in accomplishing40 ,angelico knew nothing of human anxieties and struggles1 and could not paint them2 he could not depict the hatred of the enemies of ,christ2 martyrdoms and persecutions were feebly represented by him1 but to annunciations1 coronations of the ,virgin1 and kindred subjects he imparted a sweetness and a spiritual fervor that has rarely1 if ever1 been surpassed4 ,we can imagine him rising from his prayers with his conceptions of the ,virgin and the archangel as distinct in his mind's eye as they are to our vision in his pictures1 and it is easy to understand that the man who lived in his atmosphere would be void of ambition1 and refuse to be made ,archbishop of ,florence1 as he did4 ,gabriel is reverenced by the ,jews as the chief of the angelic guards1 and the keeper of the celestial treasury4 ,the ,mohammedans regard him as their patron saint2 their prophet believed this archangel to be his inspiring and instructing spirit4 ,thus he is important in the faith and legends of ,christians1 ,jews1 and ,mohammedans alike4 ,milton may have had the ,jewish tradition in mind when he represented ,gabriel as the guardian of paradise3 8,betwixt these rocky pillars ,gabriel sat1 ,chief of the angelic guards1 awaiting night40 ,,chapter ,,iv4 ,,the ,,archangel ,,raphael4 ,,representations ,,of ,,three1 ,,and ,,of ,,four ,,archangels4 ,the ,archangel ,raphael is esteemed as the guardian angel of the human race4 ,he especially protects the young and innocent1 and guards pilgrims and travellers from harm4 ,it was he who warned ,adam of the danger of sin1 and declared to him its dread consequences4 ,milton thus interprets the message3 8,be strong1 live happy1 and love6 but first of all ,him1 whom to love is to obey1 and keep ,his great command2 take heed lest passion sway ,thy judgment to do aught1 which else free-will ,would not admit2 thine1 and of all thy sons ,the weal or woe in thee is placed2 beware60 ,that ,raphael's language was benevolent and sympathetic1 as imagined by the poet1 appears in ,adam's farewell to the angel3 8,since to part ,go1 heavenly guest1 ethereal messenger1 ,sent from whose sovereign goodness ,i adore6 ,gentle to me1 and affable hath been ,thy condescension1 and shall be honor'd ever ,with grateful memory4 ,thou to mankind ,be good and friendly still1 and oft return60 ,representations of ,st4 ,raphael are far less numerous than are those of ,st4 ,michael and ,st4 ,gabriel4 ,they are always pleasing1 and present him as a benign1 sympathetic1 and companionable friend to those whom he serves4 ,his symbol is habitually a pilgrim's staff2 as a guardian he wears a sword1 and has a small casket or vase1 containing the 8fishy charm0 against evil spirits4 ,he wears a pilgrim's dress1 has sandals on his feet1 and a pilgrim bottle or wallet hangs from his belt4 ,his flowing hair is bound by a diadem1 and his beautiful face expresses the benevolence of his character and mission4 ,many chapels and some churches are dedicated to the ,archangel ,raphael1 as the chief of celestial guardians1 and in these are numerous pictures commemorating his benevolent deeds4 ,the greater part of the representations of this archangel are so connected with the history of ,tobias1 that it is necessary to know his story1 in order to enjoy or understand these pictures4 ,i will give this beautiful ,hebrew narrative as concisely as possible3 ,tobit was a rich man1 and just2 and he and his wife1 ,sara1 were carried into captivity by the ,assyrians4 ,he gave alms to all his people1 lived justly1 and ate not the bread of the ,gentiles4 ,his misfortunes1 however1 increased2 he had but his wife and his son1 ,tobias1 left to him1 when he became blind1 and prayed for death4 ,at the same time a man named ,raguel1 who dwelt in ,ecbatane1 was afflicted with a daughter who was persecuted by an evil spirit4 ,she had married seven husbands1 and each one had been killed by the fiend1 as soon as he entered the bridal chamber4 ,the maiden was accused of these murders1 and1 like ,tobit1 she prayed for death4 ,god then sent the ,archangel ,raphael to cure the blindness of ,tobit1 and take away the reproach of the unhappy daughter of ,raguel of ,ecbatane4 ,at this time ,tobit desired his son1 ,tobias1 to go to ,gabael in ,media to receive ten talents1 which ,tobit had left in trust with ,gabael4 ,tobias asked1 8,how can ,i receive the money1 seeing ,i know him not80 ,tobit gave ,tobias the handwriting1 and bade him seek a guide for his journey4 ,raphael then offered to guide the young man1 who knew not that he spoke with an archangel4 ,tobias led ,raphael to his father1 and they agreed upon the wages the guide should receive1 and ,tobit gave directions concerning the journey1 while he and ,sara1 his wife1 were greatly afflicted at parting with ,tobias4 ,at evening the travellers came to the river ,tigris1 and when ,tobias went to bathe1 a fish leapt out at him4 ,raphael told the youth to take out the liver and gall of the fish and preserve it carefully1 which being done1 they roasted the fish and ate it4 ,when ,tobias asked why he should keep the liver and the gall1 the angel told him that the heart and liver would cure a person vexed with an evil spirit1 if a smoke from them was made before the person2 and the gall would cure the blindness of one afflicted with whiteness of the eyes4 ,in our illustration from the picture by ,andrea del ,sarto1 in the ,belvedere1 ,vienna1 ,tobias carries the fish1 and it appears to represent the moment when ,raphael is making his explanation of its purpose4 ,as they proceeded ,raphael said3 8,brother1 to-day we shall lodge with ,raguel1 who is thy cousin2 he hath but one daughter1 named ,sara2 ,i will ask her as a wife for thee3 she belongs to thee by law1 and is fair and wise1 and you can marry her when we return40 ,then ,tobias1 who knew the fate of the seven husbands1 was filled with fear lest he too should die1 and thus afflict his parents1 who had no other child4 ,but ,raphael assured ,tobias that ,sara ,illustration3 ,,andrea ,,del ,,sarto4--,,the ,,archangel ,,raphael ,,conducting ,,the ,,young ,,tobias4 was the wife that the ,lord intended for him1 and that when he entered the marriage chamber the evil spirit would flee at the smoke he should make with the liver of the fish1 and would never return4 ,when ,tobias heard this he loved the maiden1 and his heart was effectually joined to her4 ,when they came near ,ecbatane1 they met ,sara1 and she led them to her parents1 who rejoiced to see them1 and wept when they heard of the blindness of ,tobit4 ,while the servants of ,raguel prepared a supper1 ,tobias said to the angel1 8,speak of those things of which thou didst talk1 and let this business be despatched40 ,then ,raphael asked ,raguel to give ,sara to ,tobias2 but the father was sore distressed1 and told of the death of the seven who had already married her2 but as ,sara belonged to ,tobias by the law of ,moses1 his request could not be denied1 and before they did eat together1 ,raguel joined their hands1 and blessed them4 ,then the marriage chamber was prepared1 and the maiden wept2 but her mother comforted her1 and when ,tobias entered and made the smoke as the angel had directed1 the evil spirit fled4 ,tobias and ,sara knelt in thankfulness1 and ,tobias prayed as ,raphael had told him1 and ,sara said1 8,amen40 ,in the morning ,raguel dug a grave1 for he wished to bury ,tobias quickly1 that no one should know what had happened2 but when he sent to see if he were dead1 it was found that the young husband was quietly sleeping4 ,then there was great rejoicing1 and a wedding feast was made1 which lasted fourteen days4 ,meanwhile1 ,raphael went to ,gabael and received from him the ten talents1 and when the feast ended1 the angel conducted ,tobias and ,sara to ,tobit1 and ,raguel bestowed on ,sara half his wealth4 ,as they approached ,nineveh1 ,raphael said to ,tobias1 8,let us haste before thy wife1 to prepare the house3 and take thou the gall of the fish40 ,the mother of ,tobias was watching for his return1 and was greatly alarmed at his long absence4 ,when she saw him with his guide1 and the little dog which he had taken away1 she ran to ,tobit with the news1 and they rejoiced greatly4 ,raphael now said to ,tobias1 8,i know that thy father will open his eyes2 therefore anoint them with the gall1 and being pricked therewith1 he shall rub them1 and the whiteness shall fall away1 and he shall see thee40 ,and so it was1 and ,tobit was blind no more1 and they all rejoiced and blessed ,god4 ,then ,tobias recounted all that had happened1 and his parents went out with him to meet his wife1 and her servants1 and cattle1 and all she had brought with her4 ,and the people were filled with wonder to see that ,tobit was blind no more1 and they rejoiced greatly with him during seven days when he kept a feast4 ,tobit bade his son to call his guide and give him more than the wages that had been named4 ,and ,tobias wished to give the angel half of all he had brought back with him1 and ,tobit said1 8,it is due unto him40 ,but when ,raphael knew their intentions he commanded them to glorify ,god for all his goodness1 and told ,tobit that his goodness and sorrows and those of the daughter of ,raguel had been known in heaven1 and ,god had sent him to heal all these troubles2 and added1 8,i am ,raphael1 one of the seven holy angels1 which present the prayers of the saints1 and go in and out before the glory of the ,holy ,one40 ,our illustration after the picture of ,illustration3 ,,giovanni ,,biliverti4--,,the ,,archangel ,,raphael ,,refusing ,,the ,,gifts ,,of ,,tobias4 ,giovanni ,biliverti in the ,pitti ,gallery1 ,florence1 places before us the scene1 when1 refusing reward1 the ,archangel declared himself4 ,the beauty of the angel1 the affectionate enthusiasm of ,tobias1 and the sincere and reverent gratitude of the old ,tobit are wonderfully portrayed1 while the young wife and the aged mother in the background complete the group of those who have been delivered from their sorrows by the messenger of the ,most ,high4 ,from the time when the angel left them ,tobit and ,raguel prospered1 and after ,tobit and ,sara died1 ,tobias removed to ,ecbatane and inherited the wealth of ,raguel2 he lived with honor to be an hundred and seven and twenty years old1 and to hear of the destruction of ,nineveh4 ,milton thus refers to the story of ,tobias3 8,the affable archangel ,raphael2 the sociable spirit that design'd ,to travel with ,tobias1 and secured ,his marriage with the seven times wedded maid40 ,raphael is frequently represented without wings when leading ,tobias1 who--in order to emphasize the contrast between an angel and a mortal--is made very small1 and is thus manifestly out of keeping with the story4 ,when the wings appear there is no reason for dwarfing ,tobias1 and the picture is far more satisfactory4 ,it is not difficult to discern that if the story of ,tobias is considered as an allegory1 the young man personates the ,christian1 guided and guarded through life by ,god's mercy4 ,there is1 in ,verona1 in the ,church of ,st4 ,euphemia1 a most impressive chapel which was decorated with pictures illustrating the story of ,tobias1 by ,carotto1 a pupil of ,mantegna1 who seems to have painted more in the manner of ,leonardo than in that of his master4 ,various incidents of the story are effectively pictured1 but the famous altar-piece1 the greatest work by ,carotto1 is the most important of the number4 ,it represents the ,archangels ,michael1 ,gabriel1 and ,raphael1--three exquisite wingless figures1--the latter being in the centre1 and the only one having an aureole4 ,he is leading ,tobias1 and looking down at the youth with an expression of tenderness4 ,st4 ,michael is on the right2 one hand rests on his great sword1 while with the other he lifts his crimson robe4 ,his countenance1 serious and indomitable in expression1 fitly indicates the characteristics that his titles imply4 ,he is the ,lord of ,souls and the ,angel of ,judgment1 so far as human imagination can picture so exalted a celestial being4 ,st4 ,gabriel1 on the left1 holding a lily1 and gazing heavenward in adoration1 is a beautiful1 angelic figure1 far less powerful than the other archangels1 and quite in harmony with his office4 ,the impression on my mind1 made by this picture1 is that ,gabriel realizes that his blessed office has been fulfilled1 his active work is done1 and adoration is now his duty and his joy2 but ,michael and ,raphael have still their great missions to perfect2 they are still battling against evil1 and guiding men in the paths of righteousness4 ,carotto was a native of ,verona1 and his pictures are rarely seen elsewhere4 ,his color is warm and well blended1 while his drawing is severe4 ,it is said that he was but twenty-five years old when he decorated the ,chapel of ,st4 ,raphael1 in #adie4 ,he was of a quick wit1 and when told that the legs of his angels were ,illustration3 ,,sandro ,,botticelli4--,,the ,,archangel ,,raphael4 7,,from ,a ,,picture ,,of ,,tobias ,,and ,,the ,,three ,,archangels47 too slender1 he instantly replied1 8,then they will fly the easier40 ,a very famous and wonderful picture of the three archangels with ,tobias1 by ,botticelli1 is in the ,academy of ,florence4 ,the angels of this artist are frequently criticised for a certain stiffness1 but their beautiful faces more than redeem any fault in their figures1 and have a sweetness and depth of expression that appeals to the heart and makes one forget less important details4 ,a picture of ,st4 ,raphael leading ,tobias1 in the ,church of ,st4 ,marziale in ,venice1 is said to be the earliest remaining work by ,titian4 ,for this reason it is most interesting1 but it is certainly not so beautiful as that of ,carotto1 nor as that of ,raphael1 called the ,madonna del ,pesce1--the ,madonna of the ,fish1--in the ,madrid ,gallery1 in which the master pictures the archangel whose name he bore4 ,of this last picture ,passavant says1 8,here ,christian poetry has found its highest expression2 for it is poetry which touches all nations the most deeply1 and beauty alone can give an idea of divinity40 ,in the famous ,madonna del ,pesce1 the ,virgin is seated on a throne with the child2 the young ,tobias1 holding a fish in his hand1 and led by the ,archangel ,raphael1 comes to implore ,jesus to cure his father's blindness4 ,the ,infant ,saviour looks at ,tobias1 while his hand is on an open book which ,st4 ,jerome holds before him2 the symbolic lion crouches at the feet of the saint4 ,the background of the picture is principally formed by a curtain1 but on the right a small opening of sky is seen4 ,the whole picture is executed in the best style of the artist's mature power1 while it is full of the fervent piety of his earlier works4 ,the ,virgin is the ideal of purity and loveliness2 the child is radiant with divine beauty2 the angel is celestial in his bearing and his countenance1 while the head of the reverend saint is grand and noble in expression4 ,raphael's ,madonnas sometimes seem to be but simple domestic women1 gifted with beauty2 in them no trace of a mystical or spiritual nature appears2 but the ,madonna del ,pesce1 like the ,madonna di ,san ,sisto1 and the ,madonna di ,fuligno1 justifies the eulogy of ,vasari1 when he says1 8,raphael has shown all the beauty which can be imagined in the expression of a ,virgin2 in the eyes there is modesty1 on the brow there shines honor1 the nose is of a very graceful character1 the mouth betokens sweetness and excellence40 ,the color of the ,madonna del ,pesce is admirably clear and harmonious1 even for this great master4 ,this ,madonna was originally painted for the ,church of ,san ,domenico ,maggiore1 at ,naples1 in which church a chapel had been erected as an especial place of worship for the numerous ,neapolitans who suffer from diseases of the eye2 it was not1 however1 permitted to serve its intended purpose1 and has had an interesting history4 ,it is said that the ,duke of ,medina1 when ,viceroy of ,naples1 took the picture from the ,dominicans without the consent of the government1 and when the prior complained to the ,pope1 ,medina had him escorted to the frontier by fifty horsemen1 and expelled from the kingdom4 ,in #afdd the ,duke took the ,virgin with the ,fish to ,spain1 and ,philip ,,iv4 placed it in the ,escurial4 ,in #ahac1 when the ,french were compelled to leave ,spain1 they took this picture1 with many others1 to ,paris4 ,it was painted on a panel and was in bad condition1 and ,bonnemaison was commissioned to transfer it to canvas4 ,this work was not completed in #ahae1 when other pictures which had been taken from ,spain were returned1 and this ,madonna remained in ,france until #ahbb4 ,naturally1 it must have lost something of its original excellence1 but it still holds a place of honor in the wonderful ,italian ,gallery of the ,madrid ,museum2 it is a rival of the famous ,dresden ,madonna--di ,san ,sisto--in the regard of many connoisseurs in art4 ,the various scenes from the story of ,raphael and ,tobias have been represented in the works of artists of all nations4 ,rembrandt four times painted the parting of ,tobias from his father and mother1 and several other incidents in the story4 ,his picture in the ,louvre1 of the departure of the ,archangel1 is remarkable for its spirited action4 ,as the angel ascends1 flying through the air1 he seems to part the clouds as a strong swimmer passes through the breakers of the sea4 ,there have been many curious conceits introduced into some of the early religious pictures1 and ,i have seen two instances in which little seraphim and angels are perched on trees1 near the ,virgin and ,holy ,child4 ,the idea seems to be that these 8,birds of ,god0--as ,dante calls the angels--are making music and singing for the ,divine ,infant1 some of them also praying for his solace4 ,occasionally a series of pictures called the ,acts of the ,holy ,angels has been painted4 ,it consists of eleven strictly ,scriptural subjects1 usually as follows1 but varied in some instances by the introduction of other motives of the same character1 as1 for example1 the angel appearing to ,hagar and to ,elijah3 ,i4 ,the ,fall of ,lucifer4 ,,ii4 ,the ,expulsion of ,adam and ,eve from the ,garden of ,eden4 ,,iii4 ,the ,visit of ,three ,angels to ,abraham4 ,,iv4 ,the ,angel ,preventing the ,sacrifice of ,isaac4 ,v4 ,the ,angel ,wrestling with ,jacob4 ,,vi4 ,jacob's ,dream4 ,,vii4 ,the ,deliverance of the ,three ,children from the ,fiery ,furnace4 ,,viii4 ,the ,angel ,slays the ,host of ,sennacherib4 ,,ix4 ,the ,angel ,protects ,tobias4 ,x4 ,the ,punishment of ,heliodorus4 ,,xi4 ,the ,annunciation to the ,virgin4 ,i have already said that of the seven archangels to whom ,milton refers1 when he says3 8,the ,seven ,who in ,god's presence1 nearest to his throne1 ,stand ready at command10 but three are recognized by the ,christian ,church2 and when three archangels are seen together1 they are ,michael1 ,gabriel1 and ,raphael4 ,in the ,greek ,church this representation is regarded as typical of the military1 civil1 and religious power1 and1 accordingly1 the costumes indicate a soldier1 a prince1 and a priest4 ,but ,uriel has not been entirely ignored1 even by the ,christian ,church1 and an early tradition teaches that this archangel1 and not ,christ1 accompanied the two disciples on their way to ,emmaus4 ,in the book of ,esdras we read1 8,the angel that was sent unto me1 whose name was ,uriel40 ,his office was that of interpreter of judgments and prophecies1 which ,milton recognizes thus3 8,uriel1 for thou of those ,seven ,spirits that stand ,in sight of ,god's high throne1 gloriously bright1 ,the first art wont his great authentic will ,interpreter through highest heaven to bring40 ,in several ancient churches four archangels are represented in the architectural decoration4 ,an example in which they are very splendid is that in the mosaics above the choir arch in the ,cathedral of ,monreale1 ,palermo4 ,these colossal1 armed figures are impressive1 not only from their size1 but also because of their apparent realization of their illustrious rank in the order of created beings4 ,more frequently the four archangels are so represented as to appear to sustain the roof1 or vault1 in churches where the figure of ,christ1 or his symbol1 the ,lamb1 is pictured as the central decoration4 ,these are clearly intended to personate the four 8who sustain the throne of ,god40 ,their symbols are sceptres or lances2 at times they stand erect1 like faithful1 watchful guardians2 again with arms outstretched they seem to uphold the vault on which ,christ is portrayed4 ,the representations of three archangels are more numerous than the above1 and are variously treated4 ,in some ancient pictures they have no wings1 and appear like men of princely rank and noble character4 ,i have seen the visitors of ,abraham thus represented1 which accords with the ,hebrew idea of angels at the period when ,abraham was thus honored2 for1 as ,i have mentioned1 it was not until after the captivity1 when the ,egyptian custom of giving wings to their representations of messengers had been observed1 that the cherubim and seraphim covered the mercy-seat with their wings4 ,one of the best known and most beautiful pictures of these angelic visitors is that by ,raphael in the fourth arcade of the ,loggie of the ,vatican4 ,,chapter ,v4 ,,guardian ,,angels1 ,,angel ,,choristers1 ,,and ,,adoring ,,angels--,,demons ,,and ,,evil ,,spirits4 ,from the classification of the angelic hosts by the early theologians1 and the special duties assigned to each class1 we learn that the word angels1 as ordinarily used1 refers to archangels and angels only2 these two classes are associated with human life in all its phases1 while princedoms protect monarchies1 thrones sustain the throne of ,god1 cherubs continually worship1 and seraphs adore the ,most ,high4 ,a belief in guardian angels--those especially devoted to the care of individuals--is far more widespread than the realism of the present day is inclined to admit4 ,the godly man has a sure warrant for this trust in the ninety-first psalm3 8,because thou hast made the ,lord1 which is my refuge1 even the ,most ,high1 thy habitation2 there shall no evil befall thee1 neither shall any plague come nigh thy dwelling4 ,for he shall give his angels charge over thee1 to keep thee in all thy ways40 ,we cannot think of angels as a reality in the winged1 human forms that have been given them in ,art1 any more than we can look for mermaids to rise from the waters mentioned in the charming legends in which these maidens acted their parts4 ,these imaginary and apparently palpable angels are but allegories1 which long have been and continue to be the angels of ,art1 and we could not willingly give them up4 ,we know that ,illustration3 ,,fra ,,angelico4--,,angel ,,choristers4 they are impossible1 even fantastic1 if we permit ourselves to be matter-of-fact2 but as emblems of spiritual guardians1 sent to mortals by an ever-watchful ,father1 we love them2 and we wish to believe in guardian angels for those who are dear to us1 even if we cannot realize them for ourselves4 ,in one of the early councils of the ,church the form of angels was considered1 and it was maintained by ,john of ,thessalonica that they were in shape like men1 and should be thus represented4 ,this decision is supported by the supposition that ,god spoke to the angels when he said1 8,let us make man after our image20 and again by ,daniel1 when he describes his heavenly visitors as 8like unto the similitude of the sons of men40 ,a guardian angel must be ever beside his charge from the beginning to the end of life1 not only to guard from evil1 but also to incite to good4 ,in sorrow he is a comforter2 in weakness1 strength2 even in death he is faithful1 and contends against the evil spirits who fight for the possession of every soul2 and after death he bears the spirit to ,st4 ,michael1 the ,lord of ,souls4 ,thus is the guardian angel represented in ,art1 as is seen in our illustration called the ,angel of ,peace4 ,when we observe a beautiful1 unselfish life that rises far above its surroundings1 we recall the belief in angelic guardians1 and the description which ,milton gave of a chaste1 saintly soul3 8,a thousand liveried angels lackey her1 ,driving far off each thing of sin and guilt2 ,and in clear dream and solemn vision ,tell her of things that no gross ear can hear1 ,till oft converse with heav'nly habitants ,begin to cast a beam on th' outward shape40 ,the impersonality of angels is one of their most precious qualities4 ,an angel ,illustration3 ,,kaulbach4--,,the ,,angel ,,of ,,peace4 is never active except as the agent of the ,almighty1 deputed to manifest his mercy and love to the pious1 or to inflict his punishments on the wicked4 ,thus angels must be perfect beings2 and while they love to serve1 their service is void of the personality which is inherent in all human service4 ,when they sing together it is because some good has come to men1 and when they mourn it is for human affliction4 ,according to the teaching of the ,fathers of the ,church to which we have referred1 the combat between good and evil angels is unceasing1 and they also warrant ,christians in invoking the aid of angels1 and believing them to be ever near to prevent evil and encourage good4 ,from the views of the early theologians the artists evolved their manner of representing the hosts of heaven1 and while for a time angels were represented as colossal1 gradually they became more graceful and lovely1 as well as more human4 ,an ideal1 a thought1 must be personified to be represented to the eye1 and ,i doubt if any new personification of angels could satisfactorily replace that which has been developed in ,art during sixteen centuries1 and to which we are accustomed from our earliest childhood4 ,the angels that are known in pictures1 watching over children1 preventing harm to individuals1 as in the sacrifice of ,isaac1 encouraging or even compelling worthy action1 as in the case of ,balaam1 are dear to the heart of the world4 ,the representations of guardian angels in the more homely relations1 watching sleeping infants1 guiding their feeble steps1--as is seen in our frontispiece1--and shielding them from accidents1 are modern4 ,to the end of the sixteenth century guardian angels1 while engaged in all these minor duties1 according to the teaching of the ,church1 were only represented in ,art as performing solemn and superhuman deeds4 ,this may have resulted from the fixed belief of the old artists in these angelic beings1 and their deep reverence for them1 while modern artists are simply seeking a graceful and poetic subject4 ,but1 be this as it may1 the angels who perform miracles to prevent the torture of ,christian martyrs and other superhuman acts1 are as essentially guardian angels as are those bending over cradles and gathering blossoms for children in the fields4 ,after the guardians1 the choristers1 or musical angels1 most appeal to us4 ,they are beautiful in their representations1 and fulfil an ideal mission4 ,their hymns of praise are not all devoted to the pure worship of the ,almighty1--except as he is all and in all1--since they rejoice and sing when blessings are conferred upon mankind4 ,how exquisite is the story in the second chapter of ,st4 ,luke's ,gospel1 when the single angel announces the birth of ,jesus to the shepherds1 8and suddenly there was with the angel a multitude of the heavenly host praising ,god1 and saying1 #8,glory to ,god in the highest1 and on earth peace1 good will toward men4'0 ,in the final sentences of this heavenly chant we have the assurance that angels delight to sing of happiness to mankind4 ,there is much that appeals to our imagination in the thought of these heavenly musicians4 ,we fancy their perfect instruments attuned to perfect voices1 creating such harmonies as no earthly orchestra can reproduce4 8,the harp1 the solemn pipe ,and dulcimer1 all organs of sweet stop40 ,illustration3 ,,perugino4--,,musical ,,angels4 ,in the early days of ,christian ,art1 painters and sculptors alike delighted in the representation of musical angels1 and it is surprising to find in how many scenes they are not only appropriate but indispensable4 ,our illustration1 after ,perugino1 is from his picture of the ,assumption of the ,virgin in the ,florentine ,academy4 ,they are most fittingly present at the coronations of ,jesus and the ,virgin2 they gladly welcomed the just to heaven2 they join in the hymn of ,st4 ,cecilia1 which they must have inspired2 they are always in harmony with pictures of the ,madonna and child1 and1 in short1 numerous as are the representations of them1 they are never too many4 ,it would seem that certain sculptors and painters must have seen these blessed beings in visions1 and listened to their music1 so wonderfully did they embody them in statues and on canvas4 ,della ,robbia1 ,ghiberti1 ,fra ,angelico1 ,ghirlandajo1 ,melozzo da ,forli1 ,vivarini1 ,gian ,bellini1 ,raphael1 ,palma1 must all have seen1 at least with the eyes of the spirit1 the angelic choirs which make so precious a part of their legacy to us4 ,the difference in the sentiments with which these angelic choristers seem to be inspired lends them a peculiar charm4 ,now they are alone intent on solemnly praising ,god2 again they seem full of such overflowing joy as can only be expressed in vocal harmonies1 in symphonies with viol1 pipe1 harp1 and lute4 ,nowhere are these angels more lovely than when1 with their sweet faces turned to the ,infant ,jesus1 they chant their love for him4 ,cherubim and seraphim are technically the adoring angels1 as they are represented in pictures of ,god1 the ,father4 ,but adoring angels are frequently seen in pictures of the ,madonna and ,child1 as well as in scenes from the lives of ,jesus and the ,virgin4 ,sometimes they appear in great numbers1 as in ,angelico's picture of the ,last ,judgment2 or in smaller groups1 as the three adoring angels by ,francesco ,granacci2 or singly1 as in the case of the angel with bowed head1 who stands behind the ,virgin in the ,madonna and ,angels1 by ,boticelli2 the last three pictures being among our illustrations4 ,mourning angels appear more frequently in sculpture than in painting1 and are much used as monuments to the dead2 but there are pictures in which angels show their sympathy with sorrow and suffering4 ,while from their nature they cannot be unhappy1 they are not represented as joyful in pictures of the ,crucifixion and other sorrowful scenes in the lives of ,jesus1 the ,virgin1 or saintly martyrs4 ,they hide their faces1 wring their hands1 and manifest their sympathetic grief in various ways4 ,i recall a picture of a mourning angel kneeling before a crown of thorns with tears upon his face4 ,there are occasional pictures of kneeling angels1 who have the appearance of praying4 ,artists have naturally manifested their individuality in their works1 but ,i do not recall any ,scripture warrant for representing angels as themselves praying1 although they are present with mortals who pray4 ,it is1 however1 not inconsistent with their mission to bear the prayers of mortals to the throne of ,god and to return with a blessing4 ,in the early centuries of the ,church there was a well-established belief that wicked spirits had power over men and tempted them to all manner of sins2 they especially desired1 it was taught1 to lead ,illustration3 ,,francesco ,,granacci4--,,angels ,,in ,,adoration4 the pious to revolt against the true religion1 and to become idolaters1 as they had themselves revolted against the ,almighty4 ,it was also believed that good and evil spirits constantly contended over every human being1 the struggle between angels and demons being unending4 ,devils are introduced in many pictures1 and are easily recognized by their demoniacal appearance4 ,frequently they are very small and numerous4 ,they are represented as hovering above death-beds1 they rejoice in the persecution of the martyrs1 and wherever seen1 are the very personification of all that is repulsive and loathsome4 ,the most important pictures in which the devil is represented as a human being are scenes in the temptation of ,jesus1 when he was led into the wilderness to be tempted forty days4 ,shakespeare says that 8the devil hath power to assume a pleasing shape10 but apparently artists have not recognized this4 ,in their pictures of him there is always some characteristic which at once discloses his personality4 ,his skin is an ugly brown1 or the hoofs which he endeavors to hide are disclosed1 or the repulsive expression of his face warns one of his dangerous character4 ,happily such pictures are not numerous1 but an ideal of the repulsiveness of the ,father of ,lies has been conceived by many from the famous representations of him by ,raphael and ,guido1 in their pictures of his conquest by ,st4 ,michael4 ,in numerous cases1 however1 the presence of ,satan is indicated by symbols4 ,the dragon and the serpent are the usually accepted emblems of the ,evil ,spirit1 but there are many variations of this symbolism4 ,a horrid dragon head with open mouth typifies hell4 ,frequently the serpent has an apple in his mouth and thus personates the wily tempter of ,mother ,eve2 but in many cases the serpent has no relation to the fall of man1 and is personified evil4 ,,chapter ,,vi4 ,,pictures ,,of ,,angels ,,as ,,authorized ,,by ,,the ,,scriptures4 ,besides the representations of angels in art in accordance with the imagination of individual artists1 there are two important classes of angelic subjects1 one of which rests upon the authority of the ,scriptures1 and the other upon that of the sacred legends4 ,a comprehensive treatment of these works would require several volumes of the size of this book2 but ,i will here give a suggestive outline of them4 ,the first mention of angels in the ,old ,testament occurs in the third chapter of ,genesis1 when it is related that cherubims were placed at the east of the ,garden of ,eden1 to keep the way to the ,tree of ,life4 ,good pictures of this subject are as rare as they are beautiful4 ,in them the exquisite garden1 the radiant cherubim1 and the dazzling light from the flaming sword1 combine in producing a glorious effect4 ,in connection with the story of ,abraham1 angels frequently appear4 ,the sacrifice of ,isaac is always an interesting subject1 symbolizing1 as it does1 in the submission of ,isaac1 that of ,jesus1 and in the willingness of ,abraham to give his son in sacrifice1 that of the ,divine ,father to give his well-beloved ,son for the salvation of men4 ,the appearance of the angel to prevent the consummation of the sacrifice has been painted many times1 notably by ,andrea del ,sarto1 whose poetical pictures of this scene are in the ,dresden and ,madrid galleries4 ,the picture by ,rembrandt is powerful1 and painfully realistic4 ,it is in the ,hermitage at ,st4 ,petersburg4 ,the same scene in the ,church of ,santa ,maria della ,salute1 ,venice1 is by ,titian1 and is among the famous works of this great master4 ,our illustration after a picture by ,il ,sodoma1 in the ,cathedral of ,pisa1 is in the best style of that master1 who has been called the pride of the ,sienese school4 ,his acknowledged power to render intense feeling is seen in the face of ,abraham1 while the angel is an example of his conception of beauty2 the submissive ,isaac1 missing the pressure of his father's hand from his shoulder1 without changing his position1 turns his eyes to discover the reason for the delay of the expected blow4 ,in the story of ,hagar an angel twice appears1 and one is surprised that these charming subjects have so rarely been ,illustration3 ,,il ,,sodoma4--,,the ,,sacrifice ,,of ,,abraham4 painted1 while the more disagreeable expulsion of ,hagar from the home of her youth has been frequently represented2 the picture of this scene by ,guercino1 in the ,brera at ,milan1 is famous1 and certainly tells the story of 8,cast out the bondwoman and her son0 with directness2 but there is an element of vulgarity in it that so detracts from its good qualities as to make one wonder that it could have been so much admired4 ,a far more tender subject is that which pictures ,hagar in the wilderness alone1 and repentant of her fault1 for which ,sarah had chastened her2 it is at this moment that the angel appears and commands her return to ,abraham4 ,a fine example of this rare subject by ,pietro da ,cortona is in the ,belvedere1 at ,vienna4 ,rubens also painted this scene4 ,a picture that is even more pathetic represents ,hagar and ,ishmael in the wilderness of ,beersheba4 ,ishmael is fainting from thirst1 and ,hagar flings herself to the ground with the prayer1 8,let me not see the death of the child10 when an angel appears to comfort her1 and guide her to a hidden spring4 ,the pathos of this scene must appeal to every mother1 and a picture of it by ,rembrandt is so fine that one can but regret that it is not in a public collection4 ,the visit of the three angels to ,abraham is also a rare subject in ,art4 ,i have already referred to that painted by ,raphael1 in the ,vatican4 ,murillo also represented it in a picture now in a private gallery in ,england4 ,in neither of these pictures have the angels wings4 ,the three beautiful figures by ,raphael1 however1 are not like any men whom we have seen2 they impress one as beings of another and a far higher sphere than ours4 ,murillo1 on the contrary1 shows us three ordinary travellers1 and but for the title of the picture1 we should not suspect that these men were celestial visitors4 ,a large picture of this subject by ,rembrandt is one of the treasures of the ,hermitage4 ,jacob's dream1 with the ascending and descending angels1 is an exquisite motive for illustration1 and has been variously pictured4 ,a single angel sometimes watches the sleeper1 as if to inspire his dream and bring him a blessing2 again1 there are many angels1 and again1 but a small number1 who move here and there1 up and down1 imparting a remarkable effect of airy1 graceful motion4 ,the ladder1 too1 is widely varied1 being represented by one or several flights of steps1 ascending to the clouds4 ,in the sixth arcade of the ,vatican loggie is ,raphael's third and best representation of this dream4 ,here ,jacob's face is turned towards the ladder1 on which are six angels2 ,jehovah appears above with outstretched arms1 and surrounded by a glory4 ,it is not one of the best of ,raphael's works1 and1 indeed1 all representations of ,jacob's dream that ,i have seen1 are1 to my mind1 insufficient when compared with that of ,rembrandt1 in the ,dulwich gallery4 ,this is a poem as essentially as it is a picture4 ,a stream of dazzling light forms the ladder1 up and down which float mystic1 radiant angels4 ,the whole impression is so like a dream1 so intangible1 and yet so apparent1 that one wonders how ,rembrandt1 who so often dwelt upon the all too solid elements of his motives1 here caught the innermost spirit of this most spiritual subject4 8,the ,comforting of ,elijah0 is a subject with rare possibilities1 but has been seldom represented4 ,rubens painted a picture of this scene as symbolical of the ,lord's ,supper1 the angel presenting to ,elijah the bread and a chalice4 ,following a custom of some landscape painters who introduced a subject--mythological1 historical1 or ,scriptural--into their pictures1 ,paul ,potter represented the 8,comforting of ,elijah0 in the foreground of one of his pictures4 ,it also occurs in some ancient illuminated ,bibles4 ,william ,blake's illustration of the text in ,job1 8,when the morning stars sang together1 and all the sons of ,god shouted for joy10 is famous for the unusual character of the angels4 ,like many pictures by this poet1 who was esteemed as half mad1 it has an element of other worldliness which is rarely seen in works of his era4 ,of this especial picture ,mrs4 ,jameson wrote3 8,his adoring angels float rather than fly1 and1 with their half liquid draperies1 seem about to dissolve into light and love2 and his rejoicing angels--behold them--sending up their voices with the morning stars1 that1 singing1 in their glory1 move40 ,the ,vision of ,ezekiel1 in the ,pitti ,gallery1 in ,florence1 is1 so far as ,i know1 a unique representation of this subject4 ,raphael painted it for ,count ,ercolani in ,bologna4 ,it is mentioned as early as #aehi1 in the ,inventory of the ,tribune1 and has been engraved and copied many times4 ,jehovah is represented seated in a glory of cherubim's heads1 which are almost unnoticeable by reason of the exceeding brightness illustrative of the text1 8,and ,i saw as the color of amber1 as the appearance of fire round about within it1 from the appearance of his loins even upward1 and from the appearance of his loins even downward4 ,i saw as it were the appearance of fire1 and it had brightness round about40 ,in accordance with this text also1 ,jehovah is nude in the upper portion of the figure1 the lower portion being draped in purple4 ,near the ,jehovah are the four animals symbolic of the evangelists1 the cherub1 the lion1 the ox1 and the eagle1 not earthly creations1 but mysterious and spiritual as they float along bearing the ,messiah1 while two small angels are near with outstretched arms4 ,the sky effects of this wonderful picture are fine2 the gray clouds are rolling away1 as if for the purpose of disclosing the vision4 ,this picture has been criticised on account of the nude figure of ,jehovah2 it has been said to be a more proper representation of ,jupiter than of the ,almighty1 but ,raphael is justified by the text itself4 ,perhaps no representation exists which more acceptably renders the symbolic nature of the ,four ,beasts than does this4 ,the exact imitation of nature1 which appeared later in works of ,art1 is entirely opposed to the true meaning of these emblems1 which was sacred and mystical4 ,the cherub typifies ,st4 ,matthew1 because his ,gospel sets forth the human nature of ,christ more forcibly than the divine4 ,the lion was appropriate to ,st4 ,mark1 because he first speaks of 8the voice of one crying in the wilderness10 typical of the lion4 ,the ox belongs to ,st4 ,luke1 since he dwells on the priesthood of ,christ1 the ox symbolizing sacrifice2 the eagle to ,st4 ,john1 as the emblem of his inspiration1 by which he wrote so sublimely of the divinity of ,jesus4 ,there are several other explanations of these symbols which are so often seen in works of ,art4 ,but in this especial picture of the 8,vision of ,ezekiel10 it would seem as if the throne of the ,son of ,man is composed of these mystic beasts1 while the angels are attending him1 and gaze into his face1 as if watching for some service to be rendered4 ,when the ,four ,beasts are so pictured as to recall those who were full of eyes within1 and rest not day and night1 saying1 8,holy1 holy1 holy1 ,lord ,god ,almighty0 7,revelation iv41 #g71 they fulfil the intention of the symbol of the early ,church1 as it was understood by those to whom it was sacred4 ,but when1 in the hands of an irreligious and realistic artist1 they become 8as the beasts of the field10 his work is but a travesty upon the mysterious religious symbols1 which he thus debases4 ,the ,new ,testament gives us a clearer idea of the nature and offices of angels than we obtain from the ,hebrew ,scriptures4 ,we learn of their great numbers from the words of ,jesus1 8,thinkest thou that ,i cannot now pray to my ,father1 and he shall presently give me more than twelve legions of angels80 7,matthew xxvi41 #ec71 and from ,paul1 when he speaks of the 8innumerable company of angels40 ,in the ,gospels of ,st4 ,matthew and ,st4 ,luke we learn that they are superior to human affections1 and not subject to change4 8,for in the resurrection they neither marry1 nor are given in marriage1 but are as the angels of ,god0 7,matthew xxii41 #cj74 8,neither can they die any more2 for they are equal unto the angels0 7,luke xx41 #cf74 ,by the words of ,jesus1 however1 we are assured of the sympathy of angels in all that concerns our spiritual good4 ,in ,luke xv41 #aj1 ,jesus says1 8,likewise ,i say unto you1 there is joy in the presence of the angels of ,god over one sinner that repenteth40 ,the belief that angels bear the souls of ,illustration3 ,,melozzo ,,da ,,forli4--,,an ,,angel4 the redeemed to heaven1 rests largely on the declaration by ,st4 ,luke that 8the beggar died1 and was carried by the angels into ,abraham's bosom20 and in ,hebrews i41 #ad1 ,st4 ,paul teaches that they are 8sent forth to minister for them who shall be heirs of salvation40 ,in the annunciations of the birth of ,john the ,baptist and of ,jesus1 the angels were the messengers of ,god1 as they so frequently were when they appeared in the ,old ,testament4 ,that angels are attendant on ,christ is taught in the declaration of ,st4 ,matthew that 8the ,son of man shall come in the glory of his ,father with his angels40 ,and again1 8,when the ,son of man shall come in his glory1 and all the holy angels with him40 ,that angels are deputed to perform such acts as make for the accomplishment of ,christ's mission is shown in ,acts v41 #ai1 when an angel liberated the ,apostles from prison1 and commanded them to 8speak in the temple to the people all the words of life40 ,when writing to the ,romans1 ,st4 ,paul speaks of angels1 principalities1 and powers1 thus enumerating the different orders of angels1 and declares their inability to separate us from the love of ,god1 thus implying that they can do nothing that does not accord with the will of the ,almighty1--that they have no power in themselves4 ,again1 in writing to the ,colossians1 ,st4 ,paul speaks of things 8visible and invisible10 and enumerates thrones1 dominions1 principalities1 and powers1 while to the ,ephesians he declares that ,god has placed ,christ above all these orders of celestial beings4 ,after the annunciations to ,zacharias and the ,virgin ,mary1 an angel next appears1 in the ,new ,testament story1 to instruct ,joseph concerning the miraculous conception of ,jesus4 ,the appearance to the shepherds follows1 of which ,i have spoken in connection with the subject of angelic choirs4 ,again1 ,joseph was warned by an angel to flee into ,egypt with ,mary and the young ,child1 to escape the anger of ,herod4 ,in ancient series of pictures illustrating the life of ,st4 ,joseph1 this scene was curiously portrayed1 and but one modern painter1 so far as ,i know1 has been moved to represent it4 ,in the ,belvedere1 in ,vienna1 there is an admirable ,dream of ,joseph1 by ,anton ,raphael ,mengs4 ,pictures of ,st4 ,john the ,baptist in the wilderness are variously treated1 and when he is represented as very young1 he is attended by ministering angels4 ,this treatment is warranted by the legend which teaches that he was a mere child of seven or eight years1 and is supported by the word of ,st4 ,luke in the last verse of the first chapter of his ,gospel1 8,and the child grew1 and waxed strong in spirit1 and was in the deserts till the day of his shewing unto ,israel40 ,the pictures of the ,baptism of ,christ are numerous1 and the number of attendant angels is varied from two to four1 as a rule1 although there are examples with even a larger number4 ,raphael1 ,verrocchio1 ,paul ,veronese1 ,francesco ,albani1 ,perugino1 ,tintoretto1 and many others painted fine pictures of this subject1 which1 besides its great interest from its importance in the life of the ,saviour1 affords an opportunity for the representation of a beautiful landscape4 ,the picture by ,rubens excels in this regard2 and in his magnificent setting he has a group of about thirty figures1 producing the gorgeous effect which characterizes his work1 but failing to suggest the divinity of ,christ1 or the devotional feeling of the works of ,raphael or ,verrocchio1 and entirely lacking the tenderness of ,lorenzo di ,credi4 ,the ,bible also contains various texts which authorize a belief in the existence of ,satan and his demons4 ,isaiah exclaims1 8,how art thou fallen from heaven1 ,o ,lucifer1 ,son of the ,morning40 ,st4 ,matthew speaks of the devil and all his angels1 and many other ,biblical expressions warrant us in believing that the ,spirit of ,evil with his attendants is ever tempting men to sin1 thus plainly warranting the ,fathers in their teaching1 to which we have referred4 ,it is not possible to picture the ,temptation of ,christ in an attractive manner4 ,satan has been represented in various monstrous and repulsive forms by some artists1 while others have given him such disguises as might well deceive an ordinary mortal4 ,he has thus been presented in the garb and with the bearing of a venerable peasant1 and again as a monk with robe and cowl1 but his especial symbols usually manifest themselves1 in spite of all disguises4 ,the picture by ,ary ,scheffer1 in the ,louvre1 which our illustration reproduces1 tells the story of the temptation very simply and directly4 ,the style of this painter1 sad and almost hopeless1 is well suited to subjects of this nature4 ,the contrast between the perfect serenity of the ,saviour1 and the hideous anxiety and determination of ,satan1 renders this representation as acceptable as so unlovely a subject can be made4 ,in ,perugino's famous picture in the ,sala del ,incendio1 in the ,vatican1 ,jesus and ,satan are seen in mid-air1 like a vision1 while in the background1 ,illustration3 ,,ary ,,scheffer4--,,the ,,temptation ,,of ,,christ4 surrounded by a dazzling light1 another figure of ,jesus is seen between two ministering angels1 while the whole scene is encircled by a multitude of cherubim and angels4 ,in some pictures of this subject angels are represented as if waiting to support the ,master when he shall turn from the demon1 but far more attractive than these are the representations in which ,satan does not appear1 and angels minister to ,christ in the wilderness1 as if illustrating these beautiful lines3 8,they in a flowery valley set him down ,on a green bank1 and straight before him spread ,a table of celestial food--divine ,ambrosial fruits1 fetched from the ,tree of ,life-- ,and from the fount of life celestial drink4 ,and as he fed1 angelic quires ,sang heavenly anthems40 ,one of ,murillo's splendid works was founded on the account of the pool at ,bethesda1 as given in ,john v41 #b-h4 ,this was a favorite subject for hospitals1 and ,murillo painted it for a hospital in ,seville1 from which it was stolen by ,marshal ,soult4 ,in the foreground are ,christ1 the lame man1 and three ,apostles2 in the background is the pool with its fine porches1 above which1 in a glorious1 dazzling light1 the angel hovers1 as if about to descend to stir the waters4 ,it is a magnificent example of the wonderful power of ,murillo4 ,the beauty and tenderness of the head of ,christ1 and the graciousness of his whole bearing1 affect the beholder as do few representations of our ,lord4 ,the atmosphere is soft and translucent1 the angel gently floats rather than flies1 and the porches1 while not too ornate1 impart a dignified balance to the scene4 ,the coloring is such as is peculiar to ,spanish art1 rich and subdued in contrast with that of the ,italians4 ,for example1 the red robe and blue mantle1 so familiar in pictures of ,christ1 are here replaced by a rich violet color1 most harmonious with the sentiment of the scene4 ,there is an ancient picture of this subject in a church near ,bologna1 supposed to be the work of two artists1 ,jacopo ,avanzi1 and ,lippo d',almasio4 ,in the same city1 in the ,church of ,san ,giorgio1 is the picture by ,ludovico ,caracci1 which is1 to say the least1 very decorative1 and has been generously praised by some writers on ,art4 ,many representations of the pool of ,bethesda are in hospitals1--as1 for example1 that by ,sebastian ,conca at ,siena1--rather than in galleries2 for this reason it is less familiar than are many other scenes in which angels are represented4 ,there are some subjects too sacred in their character and too spiritually subtle in their significance to be adequately pictured to the eye4 ,one of these1 to my mind1 is the ,agony in the ,garden of ,gethsemane4 ,it has1 however1 appealed to many artists1 and one must admit that the night scene1 the sleeping disciples1 the suffering ,christ1 the consoling angel1 the approaching traitor1 and the dimly discerned city of ,jerusalem afford unusually picturesque elements for an effective picture4 ,all these have been artistically treated1 but ,the ,divine1 the central thought in the scene1 can scarcely be satisfactorily expressed4 ,a most surprising error that has frequently been made in pictures of this subject1 is that of giving undue prominence to the sleeping disciples4 ,their figures are often placed in the very foreground1 as if the spectator should chiefly consider the unfortunate somnolence of ,illustration3 ,,sir ,,edward ,,burne-,,jones4--,,mary ,,magdalene ,,at ,,the ,,sepulchre4 these men2 by which means the figures of ,jesus and the angel are made to appear as secondary4 ,i have seen no picture in which the sleeping disciples are satisfactorily introduced1 and ,i greatly prefer certain curious ancient representations of the ,agony1 in which ,christ and the angel only are present4 ,many famous artists1 from the time of ,mantegna1 have painted their conceptions of the wonderful scene in the ,garden4 ,correggio has at least made ,jesus the chief person1 and his angel is apparently suited to his office of a comforter4 ,paul ,veronese1 ,albert ,drer1 and ,rembrandt have all painted powerful pictures of this subject1 and ,ary ,scheffer has depicted the ,agony of ,christ with living vividness2 but one and all of these works fall so far short of one's highest conception of this wonderful event1 that1 except as examples of the design1 coloring1 and manner of these masters1 they appear to me of little value4 ,the visit of the women to the sepulchre of ,christ is variously represented1 as would naturally result from the different accounts given by the ,evangelists4 ,some pictures represent ,mary ,magdalene alone1 when she saw two angels sitting where the body of ,christ had lain1 and almost immediately beheld the risen ,lord near by1 as in our illustration after ,burne-,jones4 ,again1 the other women are pictured who saw two men in shining garments1 and were told1 8,he is not here1 but is risen20 more frequently the three ,maries are represented coming to the sepulchre1 bearing spices1 and finding the guards paralyzed with terror1 and an angel who tells them that the ,lord is risen4 ,these scenes have been represented in ,art from its earliest and rudest beginning1 and were rendered with perfect simplicity1 strictly following the clear scriptural account4 ,later1 the guards were omitted1 and the whole scene took on a more dramatic air1 until1 in the sixteenth century1 this subject was rarely painted1 and has not again resumed its earlier importance4 ,it makes one in a series of subjects illustrating the life of ,christ1 but is rarely seen as a separate work4 ,annibale ,caracci painted a picture of the ,women at the ,sepulchre1 which is now in the ,hermitage at ,st4 ,petersburg2 and in ,siena there still exists an example of the same subject by ,duccio1 who lived in the thirteenth century4 ,pictures of the ,last ,judgment1 as usually painted1 are illustrative of a combination of scriptural teaching with the imaginative suggestions of preachers1 writers on religious subjects1 poets1 and artists1 and elements from the sacred legends4 ,there is no scriptural warrant for the presence of ,satan and his demons in this scene1 horribly effective and impressive as they are2 but ,i have reason to think that this element is thoughtlessly accepted as authoritative by many who interest themselves in religious art4 ,this subject was not represented in sculpture or painting before the eleventh century1 and but rarely after that until three centuries later1 when it was wonderfully portrayed1 notably by ,orcagna1 in the ,campo ,santo at ,pisa4 ,the portions of these pictures for which there is scriptural authority are important4 ,christ is the ,judge in accordance with his own words1 ,matthew xvi41 #bg3 8,for the ,son of man shall come in the glory of his ,father with his angels2 and then he shall reward every man according to his works40 ,and still more emphatically in ,matthew xxv41 #ca-df1 where the word-picture of the ,judgment is a vividly realistic description of some artistic representations of this scene4 ,the ,apostles seated on each side of ,christ are also warranted by his words in ,luke xxii41 #cj3 8,that ye may 444 sit on thrones judging the twelve tribes of ,israel40 ,the ,virgin1 ,st4 ,john the ,baptist1 patriarchs1 prophets1 and saints are all admissible on the authority of ,st4 ,paul1 who says1 ,i4 ,corinthians vi41 #b3 8,do ye not know that the saints shall judge the world80 ,and in the following sentence3 8,know ye not that we shall judge angels80 ,the angels are deputed to 8gather together his elect from the four winds10 ,mark xiii41 #bg1 and those who fill this office are the trumpet angels in all these representations4 ,the division of those to be judged rests1 on ,daniel xii41 #b3 8,and many of them that sleep in the dust of the earth shall awake1 some to everlasting life1 and some to shame and everlasting contempt20 and even more positively on ,christ's words in ,matthew xxv41 already referred to4 ,in the utter absence of scriptural warrant for the picturing of the devil and his satellites1 who seize1 torture1 and hurl into hell those doomed to shame and endless contempt1 what defence of it can be made8 ,certainly none from an artistic standpoint2 and this consideration should have prevented such representations4 ,artists should be commiserated who could not sufficiently express the woe of the condemned by the wretchedness of their faces and manner1 as1 hearing the fatal 8,depart from me1 ye cursed1 into everlasting fire1 prepared for the devil and his angels10 they go to the left1 not daring ,illustration3 ,,fra ,,angelico4--,,an ,,angel ,,conducting ,a ,,soul ,,to ,,heaven4 to raise their eyes to ,christ1 nor even to look at the blessed of his kingdom4 ,it would be a pleasure to consider separately the different methods of representing the ,judge of all the world and those surrounding him1 as seen in the works of the masters1 but we are here concerned with the angels alone1 of which1 in nearly all these pictures1 there are three classes4 ,the angels who hold the cross1 scourge1 nails1 crown of thorns1 and other symbols of the ,passion of ,christ1 emphasize the theological teaching that men are judged according to their acceptance or rejection of the ,atonement by ,christ for the sins of the world4 ,in early pictures of the ,judgment these angels stand on clouds1 below the ,judge1 but later they were depicted as hovering above the ,judgment ,seat4 ,in whatever position they are placed1 they appear to attribute a vast importance to the prominence of the symbols of the ,passion4 ,fra ,angelico happily places a single angel at the feet of ,christ with the cross alone1 as a complete symbol of the suffering and death of ,jesus4 ,the trumpet angels vary in number from two to many1 and are differently placed according to the varying designs of the artists4 ,orcagna and ,fra ,angelico placed them below the ,judge1 thus indicating that their sound could be heard in all the earth4 ,in other pictures1 they sound the trumpets directly above the graves1 which open1 displaying the rising dead1 startled from their long sleep and struggling to gain a foothold on the earth above4 ,the third class of angels are those who announce their fate to all who are to be judged4 ,they sometimes hold the balance in which souls are weighed2 again1 they direct those who come to judgment to the right or left1 as in our picture from the ,last ,judgment by ,fra ,angelico1 in the ,florentine ,academy2 and1 again1 as in ,orcagna's great picture in the ,campo ,santo at ,pisa1 a grand warrior angel1 with splendid wings1--a true ,st4 ,michael1--clad in full armor1 with his sword by his side1 a glorious halo about his head1 and the angelic flame above his brow1 holds out two scrolls1--one of joy and one of woe1--on which are written the names of the entire human race4 ,the pictures of the ,last ,judgment by ,orcagna1 ,angelico1 and ,signorelli1 in the ,cathedral of ,orvieto1 and ,michael ,angelo1 in the ,sistine ,chapel1 are among the famous pictures of the world4 ,the ,scriptures mention still other appearances of angels1 as that to ,cornelius1 when he was directed to send to ,joppa for ,peter2 and1 again1 when ,peter was in prison and the ,church prayed for him1 an angel led him forth and the ,apostle departed to ,cesarea for safety4 ,philip was sent by an angel to meet the ,ethiopian eunuch1 and teach him the truth1 after which he baptized the eunuch1 and was then caught away by the ,spirit1 or angel of the ,lord4 ,at times the angels were sent on missions of punishment1 as when ,herod1 in the midst of his blasphemy1 was smitten by ,god's messenger1 and gave up the ghost4 ,these subjects are rich in artistic suggestion1 and nearly all have been represented in painting or sculpture4 ,the book of the ,revelation1 too1 abounds in visions of angels1 from the beginning1 when an angel from heaven 8signified it0 to ,john the ,divine1 to the end1 when the angel refused to be worshipped1 and declared himself the fellow servant of ,john1 and of the prophets1 and of all that keep the sayings of the book4 ,illustration3 ,,fra ,,bartolommeo4--,,an ,,angel ,,playing ,,the ,,violin4 ,,chapter ,,vii4 ,,pictures ,,which ,,illustrate ,,both ,,scripture ,,and ,,legend4 ,in whatever light one may regard the sacred legends of the early ,church1 it is not possible to understand the representations of angels in ,art without some knowledge of these ancient traditions4 ,one who knows nothing of them1 finds himself strangely puzzled and disconcerted1 before the almost numberless legendary subjects which he sees in churches and galleries4 ,for example1 if one knows nothing of the legend of ,st4 ,catherine of ,alexandria1 how can he explain the picture of her mystic marriage to the ,infant ,jesus1 which typifies her renunciation of all earthly things1 and her complete dedication of herself to the service of ,christ and his ,church8 ,st4 ,catherine is habitually represented with a wheel beside her4 ,when the wheel is whole1 it is a symbol of the torture with which she was threatened by the ,emperor ,maximin2 when broken1 it is a token of the miracle by which she was saved from a horrible death4 ,during the many years that have passed since my first visit to the gallery of the ,louvre1 ,i have retained a vivid remembrance of my discontent before the beautiful picture of ,st4 ,margaret4 ,the pleasure that ,i should have taken in the lovely face and exquisite figure of the saint1 in the graceful drapery1 and other details of this celebrated picture1 was utterly lost through my ignorance4 ,i did not know why she was standing on the frightful ,illustration3 ,,lorenzo ,,di ,,credi4--,,an ,,angel ,,in ,,adoration4 dragon1 with his horrible mouth wide open1 and his terrible claw raised as if to clutch the beautiful maiden4 ,as a consequence of this experience1 ,i resolved to study the religious symbolism of the early ,christian ,church1 as ,i had already studied that of the religion of the classic ages4 ,how frequently now1 as then1 ,i meet those who perfectly understand the significance of the head of ,medusa1 or the lyre of ,orpheus1 who have no conception of the reason for the representation of a church in the hand of ,st4 ,jerome1 or of the serpent in the chalice of ,st4 ,john the ,evangelist4 ,there are numerous pictures1 in which angels are introduced1 that are founded on the ,scripture story1 but do not follow it strictly4 ,many subjects are so suggestive of the presence of angels1 that there is a legitimate artistic license for introducing them into these scenes4 ,for example1 the ,scripture account of the ministration of angels to ,jesus1 after the ,temptation and after the ,agony in the ,garden1 naturally suggests their presence on other occasions of his suffering1 and renders their introduction quite permissible4 ,thus1 in the picture of ,christ after the ,flagellation1 in the ,monasterio ,maggiore in ,milan1 by ,luini1 which is full of the wonderful tenderness of that master1 there is no angel2 while ,velasquez1 in his picture of the same subject1 which is in a private collection in ,england1 introduces such a presence4 ,so in the story of the ,ecce ,homo no angel is mentioned1 and the usual devotional picture represents the half figure of ,christ1 or the head alone1 wearing the crown of thorns4 ,the historical picture portrays the scene before ,pilate1 with a number of figures4 ,some artists1 however1 have presented this subject differently1 as in the picture by ,moretto1 in the ,museo ,tosi in ,brescia4 ,this shows the ,saviour seated upon the steps of a building1 probably that in which was the 8common hall10 in which the soldiers crowned him4 ,he still holds the reed sceptre1 though his hands are bound2 the cross is on the ground before him1 and his head is bowed upon his breast4 ,on the steps behind him1 and a little above1 stands a weeping angel1 holding the garment of ,christ as if about to wrap it around him4 ,the expression in the convulsed face of the angel is remarkable4 ,it is as if he endeavored to restrain his tears1 but could not4 ,a much later picture by ,landelle1 called the ,angel of ,tears1 is similar to that of ,moretto in sentiment2 in it a weeping angel kneels before a crown of thorns1 his tears falling over his cheeks4 ,angels are also represented in pictures of the ,crucifixion2 in fact1 they were never absent in the earliest pictures of this subject1 although they were but few in number1 and were extremely realistic in their treatment1 being precisely like ordinary men with wings added to their shoulders4 ,later their number was largely increased1 and they became less human and extremely passionate in the expression of their sorrow in beholding the agony of ,jesus4 ,giotto and ,cavallini introduce an element of absurdity into this momentous scene1 by representing extremely human little angels as tearing open their plump little breasts in their despair4 ,this extreme realism was sometimes carried to the extent of picturing angels with chalices1 catching the blood which flowed from the hands and side of ,jesus4 ,in accordance with true symbolism1 a female figure1 impersonating the ,church1 should hold the chalice to the side alone4 ,illustration3 ,from a ,copley ,print1 copyright1 #ahig1 by ,curtis and ,cameron4 ,,french4--,,death ,,staying ,,the ,,hand ,,of ,,the ,,sculptor4 ,duccio da ,siena1 a generation earlier than ,giotto1 displayed a more subtle perception1 and grouped a numerous company of angels in a half circle above the cross1 in his famous picture of the ,crucifixion1 which is one of the treasures of his native city4 ,two of them kiss the dead hands2 others cover their faces2 some have thrown themselves down prone upon the clouds2 while still others1 as if mindful of their duties as messengers1 are flying upwards to bear the news to the courts above4 ,in a few ,crucifixions1 in which the three crosses appear1 angels are receiving the soul of the penitent thief1 while demons quarrel over that of the unrepentant criminal4 ,unpleasant as this treatment is1 it is the logical result of the belief that a good or bad angel attended every death1 and bore the soul to ,st4 ,michael for judgment1 as is depicted in many ancient works of art4 ,the spirits of the blessed are tenderly carried skyward1 but the translation of lost souls is attended with some revolting details4 ,gradually fewer angels were represented at the ,crucifixion1 and an apparently unwritten law limited them to two or three with chalices2 indeed1 for a time this scene was far less frequently pictured4 ,luini and ,gaudenzio ,ferrari1 ,lombard painters of the fifteenth century1 again portrayed so many angels1 and such numberless little winged heads1 that the upper portions of their ,crucifixions were alive with them4 ,these artists1 with their refined tenderness of manner1 created angels that have rarely1 if ever1 been excelled in what may be termed a genuine angelic quality4 ,especially is this true of ,gaudenzio2 the lamenting angels above his ,crucifixion1 in the church at ,varallo1 are among the most satisfactory representations of angels that occur in any picture of this scene4 ,if the ,resurrection of ,christ is to be represented1 the angel is appropriately present2 but as no account of the scene is given in the ,bible1 and no one witnessed it1 each artist who portrayed it was at liberty to give his imagination full play in his work4 ,for a long time there were no pictures of this subject1 its treatment being confined to carvings in ivory1 on shrines and other small objects4 ,the greater number of artists apparently esteemed it as too sacred1 as well as too tremendous1 a subject to be adequately conceived and satisfactorily presented4 ,so far as ,i can learn1 the ,resurrection was first painted by ,giotto1 as one of a series of small pictures upon a press for the sacred vessels in the ,church of ,santa ,croce in ,florence2 it is now in the ,academy of that city4 ,in this picture there is no angel4 ,fra ,angelico represents the ,maries talking with the angel1 while ,christ is suspended in air above them4 ,by degrees the designs for this subject were modified1 until1 in the picture in the ,vatican which has been attributed to ,perugino1 the rising ,christ1 bearing the banner of victory1 is worshipped by two angels4 ,this work is now believed to be by ,raphael1 as his authenticated studies for it are in the ,oxford ,collection4 ,perhaps it is to be regretted that the illustration of this supremely mystical subject was ever attempted in ,art4 ,i cannot imagine that any existing picture of it should be seriously approved as a whole1 although certain figures or details may be sincerely admired4 ,the ,ascension of ,christ is another mystical subject1 which was long unattempted in a realistic portrayal of the scene as described in the ,new ,testament4 ,ancient ivories show ,jesus as grasping the hand of ,god extended to him through the clouds1 and being thus drawn up from earth4 ,in the twelfth and thirteenth centuries the ,scripture expression1 8he was taken up10 was given a literal meaning1 and the figure of ,jesus was represented in the mandorla1--the oblong glory in which ,christ1 the ,virgin1 or saints are represented when ascending to heaven1--which was borne by angels to a certain height1 when a cloud received him out of sight4 ,as with the ,resurrection so with the ,ascension1 ,giotto was bold enough to attempt representing the scene in accordance with the scriptural description1 and painted his idea of it on the walls of the ,arena ,chapel1 in ,padua4 ,in the centre of the lower part of the picture are two angels1 who1 with raised hands1 direct the attention of the kneeling ,virgin1 and groups of ,apostles1 also kneeling1 to ,christ1 already soaring far above them1 accompanied by numerous worshipping angels1 who are on both sides1 at some distance apart from him4 ,this fresco is much injured1 but is highly valued for the sublimity of its composition4 ,no angel aids ,christ to rise4 ,he is apparently able to fulfil his own words1 8,and ,i1 if ,i be lifted up from the earth1 will draw all men unto me40 ,many pictures of the ,ascension are seen in galleries1 and it became a favorite subject for the decoration of church vaults and cupolas1 especially in ,greek churches4 ,correggio's ,ascension1 in the ,church of ,san ,giovanni1 in ,parma1 is famous wherever ,christian art is studied4 ,this master depicted numberless little angels flying here and there1 riding on clouds or mischievously peeping from behind them1 chasing each other as in some boisterous game1 and by their levity and frolicsomeness destroying all seriousness of effect1 in spite of the solemnity of the ,evangelists and ,reverend ,fathers in the angles of the vault below4 ,this picture must not1 however1 be taken as irreverent4 ,evidently ,correggio wished to convey the idea that the ,ascension of ,christ was an occasion of joy to the angels1 to whom his earthly pilgrimage and sufferings had given a certain seriousness1--not sorrow1 because angels are happy1 and not subject to human wants and weakness4 ,now the great work was accomplished1 and even the angels were rejoicing that the ,son should again resume his place at the right hand of the ,father1 until the time when he should come again with glorious majesty to judge both the quick and the dead4 ,one readily perceives how rich a field for the artistic imagination these mystical subjects presented4 ,but in a comprehensive study of them1 it is curious to note the effect upon works of ,art of the dogmas of the theologians1 as they were promulgated from time to time4 ,in some cases1 especially in ,spain1 rules were prescribed for the manner in which religious subjects should be represented1 and no artist dared depart from them4 ,in the representations of angels1 however1 there was a larger liberty than in the doctrinal subjects of religious art1 and to this we owe the possession of many precious works of sculptors and painters1 which are never outgrown1 and of which we never weary4 ,illustration3 ,,rossetti4--,,the ,,annunciation4 ,,chapter ,,viii4 ,,angels ,,in ,,pictures ,,of ,,the ,,virgin ,,mary4 ,the pictures of the ,madonna1 or ,virgin ,mary1 may be divided into two classes2 the devotional1 which illustrate the doctrines or teaching of the early ,church1 and the historical1 or the representation of the actual scenes in the life of the ,mother of ,christ4 ,when the ,virgin is represented wearing a crown or bearing a sceptre1 and attended by worshipping angels1 she is in the character of the ,queen of ,angels4 ,the earlier examples of these pictures1 as seen in the ,florentine ,academy1 and in the ,churches of ,santa ,maria ,novella and ,santa ,croce in ,florence1 are charming in their simplicity1 and represent a majestic and mystical womanhood1 which entitles them to consideration as works of ,art4 ,but later1 especially in the seventeenth century1 these pictures degenerated into portraits of the self-conscious1 unintelligent prettiness of the models from whom they were painted4 ,this subject was a favorite one with certain decadent artists1 and the contrast between the most ancient and the later pictures of it1 gives one a strong impression of the lack of reverence or ideality in men who could thus represent that holy woman1 whose heart found expression in her beautiful hymn1 beginning1 8,my soul doth magnify the ,lord10 ,st4 ,luke i41 #df4 ,these pictures have neither the humility1 the intellectual power1 nor the sublime faith which the face of the ,virgin ,mary should express4 ,a favorite devotional picture was the ,illustration3 ,,francesco ,,granacci4--,,the ,,virgin ,,and ,,angels4 ,coronation of the ,virgin4 ,this representation is an emblem of the ,church ,triumphant1 and is one of the most beautiful1 as it was one of the most approved1 of the ,middle ,ages4 ,it appeals to all hearts1 since it pictures the reunion of the ,mother and ,son in heaven1 after their separation by his death1 and shows him no longer despised and rejected1 but reigning in the fullness of power1 and exalting his mother above men and angels1 welcoming her to his throne1 and placing a glorious crown upon her head4 ,in the most ancient ,coronations1 which are very interesting1 no angels appear4 ,from the time of ,giotto1--the beginning of the fourteenth century1--however1 angels were witnesses of this scene4 ,fra ,angelico's ,coronation1 in the ,louvre1 in which the ,virgin kneels to be crowned1 has a group of musical angels on each side4 ,one of the most interesting pictures of this subject that ,i have seen is in the ,academy of ,venice1 by ,vivarini1 an artist of the island of ,murano1 who lived in the fifteenth century4 ,it is a very large picture1 having a throne in the centre1 magnificently ornamented and upheld by six pillars on a splendid pedestal4 ,christ and the ,virgin are seated on the throne1 he already crowned1 and engaged in placing the crown on the head of ,mary4 ,the celestial dove hovers between them1 and the ,heavenly ,father appears above1 and rests a hand on the shoulder of each4 ,above are nine choirs of angels2 nearest are the glowing seraphim and cherubim having wings but otherwise so indistinct as to be formless2 above these are thrones1 holding the globe of sovereignty2 to the right are dominations1 virtues1 powers1 and to the left princedoms1 archangels1 and angels4 ,in the lower portion of the same picture are prophets and ,patriarchs with the ,hebrew ,scriptures1 the ,apostles with the ,gospel1 saints and martyrs1 virgins and holy women1 lovely children bearing the cross1 nails1 spear1 and crown of thorns1 and the ,evangelists and ,fathers of the ,church4 ,there are at least seventy heads in this picture without the angels2 the children are beautiful1 and all are finished with great delicacy and care4 ,it is an invaluable example of symbolic art1 as well as an exponent of an entire system of theology4 ,the ,coronation was often a most splendid picture1 as it warranted the use of magnificent draperies and other accessories4 ,it was also a joyous picture4 ,every figure introduced had an air of happiness1 and the angels were especially glad4 ,in the picture known as the ,mother of ,mercy1 the ,virgin is often attended by angels4 ,in ancient pictures and bas-reliefs of this subject1 she was frequently standing and wearing a long1 full cloak1 like that of ,st4 ,ursula1 which was held aside by two angels1 thus disclosing groups of kneeling suppliants1 praying to her for mercy4 ,very often in this picture the ,virgin holds the ,infant ,jesus in her arms4 ,in other fine examples1--notably in the masterpiece of ,fra ,bartolommeo1 in the ,church of ,st4 ,romano1 in ,lucca1--the figure of ,christ surrounded by angels is seen in the clouds1 as if he aided in these works of compassion4 ,such pictures are numerous in hospitals and charitable institutions1 especially in those that are in the care of the ,order of ,mercy1 where they are singularly appropriate4 ,a bas-relief above the entrance to the ,scuola della ,caritas1 in ,venice1 is a fine example of this subject4 ,pictures of the so-called ,piet1 represent the ,virgin holding the body of the dead ,christ on her knees4 ,the greatest artists whose works are known to us have represented this subject in sculpture and painting4 ,when it is a strictly devotional work1 the ,virgin1 the ,christ1 and mourning angels are the only figures admissible4 ,there are many examples in which there are no angels1 the ,mother being alone with the dead ,christ4 ,the ,piet by ,francia1 in the ,national ,gallery1 is very beautiful in sentiment1 and in execution is full of the tenderness of this master4 ,the ,christ is supported by two angels1 and the ,virgin1 with an expression of anguish1 seems to look at the beholder as if beseeching sympathy4 ,in the sublimely pathetic marble group1 by ,michael ,angelo1 in a chapel of the ,vatican1 there are no angels1 but we have engravings of another ,piet by this master1 in which the ,virgin sits at the foot of the cross1 her eyes raised and her arms extended towards heaven1 while two angels support the ,christ1 seated lower down1 and leaning against the knees of the ,virgin4 ,according to the custom of ,michael ,angelo1 these angels have no wings1 but their expression is such as would make it impossible to mistake them for earthly children4 ,there were no pictures of the ,immaculate ,conception of the ,virgin ,mary until the seventeenth century1 when ,spanish and ,italian artists vied with each other in representing this subject1 and these works may be said to abound in angels4 ,when the ,virgin stands on the moon with full sunlight surrounding her1 and wearing the crown of twelve stars1 she is the personification of the woman described in the twelfth chapter of the ,book of ,revelation4 ,illustration3 ,,francesco ,,francia4--,a ,,piet4 ,the dogma of the ,immaculate ,conception of the ,virgin was much in favor with the ,spanish ,church before its confirmation by the bull of ,pope ,paul ,v4 in #afag1 which was welcomed in ,seville1 not only by the most solemn religious services1 but also by the booming of cannon1 and the celebration of bull-fights1 tournaments1 and banquets4 ,spain and all its colonies were placed under the protection of the ,immaculate ,conception4 ,even now1 almost three centuries after this event1 it is not unusual for ,spaniards to use the salute1 8,ave ,maria purissima60 the response being1 8,sin peccado concepida60 ,not long after the publication of the bull1 ,pacheco laid down rules for the representation of this subject in ,art1 which have been conscientiously followed4 ,the ,virgin is very young1 her hair golden1 her robe white1 and her mantle blue4 ,the angels near her bear roses1 lilies1 and palms4 ,she stands on the moon1 wears the starry crown1 and the vanquished dragon is beneath her4 ,as the ,franciscans were always enthusiastically devoted to this dogma1 it was usual to represent the girdle of the ,virgin by the cord of the ,franciscans4 ,murillo1 the painter of this subject par excellence1 was not strictly bound by ,pacheco's rules4 ,he adhered to the colors prescribed for the drapery2 he varied the tint of the hair1 and often was not careful to represent the cord of ,st4 ,francis4 ,he never omitted the moon1 but it was sometimes full rather than in the crescent1 and he pointed the horns upward1 while ,pacheco directed them to point downward2 and he usually omitted the starry crown4 ,but so satisfactory were ,murillo's ,immaculate ,conceptions that he was never accused of being unorthodox4 ,illustration3 ,,murillo4--,,the ,,immaculate ,,conception4 ,other pictures of the ,madonna1 by this great ,spanish master1 are wanting in the characteristics which he invariably gives the ,virgin in this subject4 ,others are commonplace1 and might be duplicated among ,spanish peasant women2 but the ,virgin of his ,conceptions are ideal4 ,spotlessly pure1 full of grace and repose1 exquisite in refinement and delicacy1 her hands folded on her breast1 and her sweetly serious eyes raised as in prayer1 she seems a fitting companion to the angels about her1 but all unsuited to the sufferings of the life before her4 ,murillo painted this picture twenty-five times1 and no two of these works are exactly the same1 although the differences are sometimes slight4 ,the angels are so numerous that they seem to fill all space1 and to be coming forward in still greater numbers out of the depths of the sky4 ,if the dragon is there1 he is concealed by these lovely1 spiritual attendants on the queen of their order4 ,guido ,reni painted several pictures of this subject which was well suited to the master of the ,aurora1 and afforded full play to his ideal of beauty1 and his delicacy of execution4 ,but it was in the ,spanish school that these pictures were multiplied1 and this is not strange when we remember that every candidate admitted to the academy of painting in ,seville was required to declare his full belief in 8the most pure conception of ,our ,lady40 ,mr4 ,stirling1 in his handbook of ,spain1 speaks of a ,conception by ,roelas1 painted before the time of ,murillo1 which he calls 8equal to ,guido40 ,velasquez also painted a fine ,conception1 probably before the rules of ,pacheco were known1 as the ,virgin's robe is violet1 and she has no unusual beauty4 ,it is1 however1 a solemn and remarkable work in the bold1 early style of this great artist4 ,in the ancient pictures of the ,enthroned ,madonna there are always attendant angels2 in some later works they are omitted4 ,in this subject the ,madonna holds the ,infant ,jesus on her lap1 and is surrounded by angels4 ,the earliest ,enthroned ,madonnas represent the ,virgin seated between the ,archangels ,st4 ,michael and ,st4 ,gabriel1 as symbolic of life and death4 ,this representation dates from the eighth century in the carved ivories of the ,greek ,church1 and was repeated in sculpture and glass painting during six or seven hundred years4 ,later ,st4 ,gabriel appears in the ,annunciation only1 but as ,st4 ,michael was the guardian of ,jesus and his mother in their earthly life1 he is often beside them1 as well as ,st4 ,raphael1 the guardian spirit of all human beings4 ,perugino presents both these guardian archangels in his lovely picture in the ,national ,gallery4 ,this is one of the rare examples in which the three archangels are seen together1 each with his appropriate symbol4 ,in the usual picture of this subject the ,madonna is literally enthroned1 her throne being rich and decorative4 ,raphael1 however1 placed her on the clouds1 the child standing beside her1 and the angels below1 rather than above them4 ,this might be called the ,madonna in ,glory1 although she is seated on the clouds as on a throne4 ,angels were represented as attendant upon the ,virgin very early in the history of ,art4 ,even the ancient mosaics of ,ravenna show them about her throne1 and as her office of ,queen of ,angels ,illustration3 ,,sandro ,,botticelli4--,,madonna ,,and ,,angels4 came to be more and more considered1 angels were represented as adoring her1 sustaining her throne1 and performing a variety of services1 the most charming being that of the musical angels4 ,when ,art reached the height of the fifteenth century1 the angelic choristers were exquisite in beauty and in sentiment1 as they knelt or stood near the ,virgin1 or sat upon the steps of her throne1 playing upon lute and pipe1 or singing as only angels can4 ,there are so-called half-length ,enthroned ,madonnas1 in which the ,virgin and ,child and angels alone appear4 ,occasionally the ,infant ,st4 ,john the ,baptist is introduced in these pictures1 as in the illustration here given1 after ,botticelli4 ,the picture known as the ,mater ,amabilis1 in which the ,madonna caresses the ,child1 or tenderly gazes at him1 rarely has the angelic attendants1 but ,gian ,bellini filled the background of such a picture with winged cherub heads4 ,there are two classes of pictures of the ,madonna and ,child1 in which the little ,st4 ,john ,baptist is present4 ,when ,st4 ,john adores ,jesus1 kisses his feet1 or in any way seems to recognize his superiority1 it is a purely devotional picture1 while a great number of others are simply domestic1 friendly scenes4 ,in all of these angels appear in varying numbers4 ,an exquisite picture1 by ,filippino ,lippi1 shows the kneeling ,virgin adoring the ,child1 who rests on the ground1 while near by the little ,st4 ,john also kneels4 ,the group is surrounded by five angels1 one of whom scatters roses over the ,infant1 while the others worship him with folded hands4 ,among the historical and legendary subjects illustrative of the life of the ,virgin1 are those connected with her parents1 ,joachim and ,anna1 her ,nativity and ,presentation in the ,temple1 and her life there1--her ,marriage and all the scenes preceding the ,annunciation4 ,of the latter ,i have written in connection with the ,angel ,gabriel4 ,many of these pictures are very beautiful1 and angels are frequently introduced in them4 ,after the ,annunciation follows the ,visitation1 or the ,salutation of ,elizabeth4 ,i know of but one fine picture of this scene--by ,pinturicchio--in which angels are present at the meeting of the ,holy ,women4 ,it is a poetic conception1 and the humility of the two angels1 with downcast eyes and folded hands1 gives them the appearance of attendants on the journey of the ,virgin1 rather than that of witnesses of the ,salutation4 ,the ,nativity of ,christ1 the ,adoration of the ,shepherds1 and the ,adoration of the ,magi--,wise ,men--have been represented in a variety of ways1 and are subjects easily distinguished4 ,the first two are most effective when treated with perfect simplicity1 with no accessories unsuited to the humble condition of ,joseph and ,mary and the ,shepherds2 with such scenes the presence of the angels is in perfect harmony4 ,the ,nativity by ,albertinelli1 in the ,uffizi ,gallery1 and the ,adoration of the ,shepherds by ,correggio1 in the ,dresden gallery1 are fine examples of these subjects4 ,the ,adoration of the ,magi1 or ,kings1 as the legends call them1 admits of all the splendor that an artist desires to depict4 ,many pictures of this scene display magnificent collections of vases1 ewers1 and other vessels of gold and silver1 while the costumes1 jewelled diadems1 and chains of the ,kings1 are as gorgeous in texture and color as ,veronese1 ,rubens1 ,rembrandt1 and other artists could make them4 ,veronese perhaps excelled all others in making his ,adoration of the ,kings1 in the ,dresden gallery1 an imposing and gorgeous pageant4 ,angels are by no means a necessary part of this scene1 but are always present in the earliest representations of it4 ,a poetic element is imparted to this picture when the angelic announcement of the birth of ,jesus to the ,shepherds is introduced in the background2 or when the star which directed the ,magi in their course appears in the sky1 surrounded by angel heads4 ,in representations of the ,flight into ,egypt1 which ,joseph had been directed to make1 by an angel in a dream1 these heavenly attendants are seen bringing fruits and flowers to the travellers1 pitching their tents1 leading the ass on which the ,virgin rides1 watching over them by night1 and serving them by day4 ,so in the ,repose in ,egypt1--one of the most charming of these kindred subjects1--the attendant angels are a delightful feature1 and so varied are their occupations1 and so fanciful the conceits of the painters of this scene1 that many pages might be devoted to a description of them4 ,for example1 ,van ,dyck1 in his picture in the ,ashburton collection1 has represented the ,virgin seated under a spreading tree1 holding the ,child1 while a number of angels dance in a round to the music made by other angels in the clouds above4 ,lucas ,cranach shows the angels washing linen2 ,albert ,drer represents ,st4 ,joseph as shaping a piece of wood with his axe2 some of the many angels present gather up the chips and put them in baskets2 others dance and frolic merrily ,illustration3 ,,van ,,dyck4--,,the ,,repose ,,in ,,egypt4 about the group1 while still other more serious angels1--probably guardian spirits1--devoutly folding their hands1 stand or kneel around the cradle of the ,infant ,jesus4 ,titian1 in one of his pictures of this subject1 introduced a little angel who waters the ass in a stream4 ,rembrandt gives his ,repose the air of a gipsy camp1 which is emphasized by the fact that the only light comes from a lantern hung on a tree4 ,i do not know who painted a ,repose that ,i have seen1 to which a very human feeling is imparted by ,st4 ,joseph2 he is shaking his fist at the ass1 which has opened its mouth to bray4 ,in the almost numberless representations of the ,madonna and ,child1 and of the ,holy ,family1 angels are frequently introduced4 ,these subjects are so easily recognized1 and1 speaking generally1 are so simply treated as to require no comment here4 ,i have referred to the legend that an angel announced the approach of death to the ,virgin ,mary1 and have explained the difference between the symbolism of this subject1 and that of the ,annunciation of the birth of ,jesus1 all of which is made clear by our illustration4 ,in pictures of the death scene there are always angels present1 in greater or lesser numbers4 ,in the representations of the ,assumption of the ,virgin she is sometimes borne upward by angels1 and again she ascends without aid4 ,in all cases she is attended by choirs of angels1 as in the magnificent ,assumption by ,titian1 which is the pride of the ,academy in ,venice4 ,in the purely devotional ,assumptions such as that sculptured above the portal of the ,cathedral of ,florence1--the ,santa ,maria del ,fiore1--the ,virgin is within the mandorla1 or almond-shaped aureole4 ,she is clothed in white and wears a veil ,illustration3 ,,titian4--,,the ,,assumption ,,of ,,the ,,virgin4 and crown2 her hands are joined and she ascends in a glory of light1 surrounded by angels4 ,the only special difference in these sculptures is the position of the ,virgin1 who sometimes sits1 and again stands upright1 in the mandorla4 ,when the representation corresponds to this1 except that the ,virgin has no crown1 it may more properly be called the ,glorification of the ,virgin4 99 99 99 99 99 ,besides the representations of angels who make a part of the devotional and historical scenes in the lives of ,christ and the ,virgin1 of the ,evangelists1 ,apostles1 and ,fathers of the ,church1 there are a great number that illustrate the legends of the saints4 ,for example1 that of ,st4 ,cecilia1 whose music charmed even the angelic choirs1 so that the angels brought to her the roses of ,paradise1 is one of the most beautiful4 ,after the death of ,st4 ,catherine of ,alexandria1 angels bore her body to the top of ,mount ,sinai1 as represented in our illustration by ,mcke4 ,when ,st4 ,christina was beaten and thrown into a dungeon1 angels bound up her wounds1 and ,st4 ,agatha was comforted by them in her prison4 ,these are a few examples of the numerous appearances of angels in the legends of the saints4 ,perhaps there are no artistic representations that appeal to a greater number of people1 of all possible types1 than do those of angels1 in both sculpture and painting4 ,one reason for this seems to me to be that angels represent our highest ideal of created beings1--beings that we can only realize through the power of imagination1 either our own imagination or that of another4 ,it may be that of a writer1 who1 in a vivid word-picture1 conjures up before us a vision of beings that we have not seen1 as do ,dante and ,milton4 ,or it may be a sculptor or painter who1 rendering his own ideal1 helps us to see with his eyes and to accept or reject his work as it appeals to1 or repels us4 ,this recalls the words of ,ruskin when he says that the noblest use of imagination is to 8enable us to bring sensibly to our sight the things which are recorded as belonging to our future state1 or as invisibly surrounding us in this4 ,it is given us1 that we may imagine the cloud of witnesses in heaven and earth1 and see1 as if they were now present1 the souls of the righteous waiting for us2 that we may conceive the great army of the inhabitants of heaven1 and discover among them those whom we most desire to be with forever2 that we may be able to vision forth the ministry of angels beside us1 and see the chariots of fire on the mountains that gird us round2 but1 above all1 to call up the scenes and facts in which we are commanded to believe1 and be present1 as if in the body1 at every recorded event of the history of the ,redeemer40 ,with such a thought in mind1 it is well worth while to study the various types of angels which are a rich portion of the legacies of the artists to the world4 ,it is surely right to attempt to imagine the glories of a sphere beyond this1--a heaven of purity and glory4 ,one of the most powerful aids to this imagination is the contemplation of religious pictures1 especially those that were executed with such reverence and sincerity as make them appear to reproduce actual scenes1 and1 for the time1 carry us out of ourselves and into the imaginary earth and heaven of the master whose works we study4 ,thus we may leave this brief review of the subject of ,angels in ,art1 feeling that its further development by each reader for himself is a pursuit in harmony with ,st4 ,paul's admonition3 8,whatsoever things are pure1 whatsoever things are lovely1 whatsoever things are of good report2 if there be any virtue1 and if there be any praise1 think on these things40 ,,the ,,end4 ,,index4 ,a ,abraham1 #ej4 ,academy of ,florence1 #abe1 #bae4 ,acts of the ,holy ,angels1 ,the1 #acj4 ,adoration of the ,magi1 ,the1 #bdh4 ,adoration of the ,shepherds1 ,the1 #bdh4 ,agatha1 ,st41 #beh4 ,agony2 in ,gethsemane1 ,pictures of the1 #ahf1 #ahg1 #bjh4 ,albani1 ,francesco1 #ci1 #agh4 ,albertinelli1 #bdh4 ,allori1 ,alessandro1 #ih4 ,almasio1 ,lippo d'1 #ahe4 ,ambrose1 ,hymn of ,st41 #ag4 ,andrea del ,sarto1 #aaj1 #aei4 ,angel ,wings1 #ai-be4 ,angels1 ,orders of1 #ae-ai4 ,angelic ,drapery1 #cb4 ,angelico1 ,fra1 #cf1 #ei1 #ii1 #ajj1 #ajc1 #aej1 #aea1 #aih1 #aii1 #baf1 #bbg4 ,angelo1 ,castle of ,sant'1 #gg4 ,annunciation1 ,the1 #hf-ajd4 ,archangels1 ,office of the1 #ah4 ,arena ,chapel1 ,padua1 #bag4 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