From the classification of the angelic hosts by the early theologians, and the special duties assigned to each class, we learn that the word angels, as ordinarily used, refers to archangels and angels only; these two classes are associated with human life in all its phases, while princedoms protect monarchies, thrones sustain the throne of God, cherubs continually worship, and seraphs adore the Most High. 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 admit. The godly man has a sure warrant for this trust in the ninety-first psalm:

Because thou hast made the Lord, which is my refuge, even the Most High, thy habitation; there shall no evil befall thee, neither shall any plague come nigh thy dwelling. For he shall give his angels charge over thee, to keep thee in all thy ways.

We cannot think of angels as a reality in the winged, human forms that have been given them in Art, any more than we can look for mermaids to rise from the waters mentioned in the charming legends in which these maidens acted their parts. These imaginary and apparently palpable angels are but allegories, which long have been and continue to be the angels of Art, and we could not willingly give them up. We know that they are impossible, even fantastic, if we permit ourselves to be matter-of-fact; but as emblems of spiritual guardians, sent to mortals by an ever-watchful Father, we love them; and we wish to believe in guardian angels for those who are dear to us, even if we cannot realize them for ourselves.

In one of the early councils of the Church the form of angels was considered, and it was maintained by John of Thessalonica that they were in shape like men, and should be thus represented. This decision is supported by the supposition that God spoke to the angels when he said, “Let us make man after our image;” and again by Daniel, when he describes his heavenly visitors as “like unto the similitude of the sons of men.”

A guardian angel must be ever beside his charge from the beginning to the end of life, not only to guard from evil, but also to incite to good. In sorrow he is a comforter; in weakness, strength; even in death he is faithful, and contends against the evil spirits who fight for the possession of every soul; and after death he bears the spirit to St. Michael, the Lord of Souls. Thus is the guardian angel represented in Art, as is seen in above in the illustration called The Angel of Peace.

When we observe a beautiful, unselfish life that rises far above its surroundings, we recall the belief in angelic guardians, and the description which Milton gave of a chaste, saintly soul:

A thousand liveried angels lackey her,
Driving far off each thing of sin and guilt;
And in clear dream and solemn vision
Tell her of things that no gross ear can hear,
Till oft converse with heavenly habitants
Begin to cast a beam on the outward shape.

The impersonality of angels is one of their most precious qualities. An angel is never active except as the agent of the Almighty, deputed to manifest his mercy and love to the pious, or to inflict his punishments on the wicked. Thus angels must be perfect beings; and while they love to serve, their service is void of the personality which is inherent in all human service. When they sing together it is because some good has come to men, and when they mourn it is for human affliction.

According to the teaching of the Fathers of the Church to which we have referred, the combat between good and evil angels is unceasing, and they also warrant Christians in invoking the aid of angels, and believing them to be ever near to prevent evil and encourage good. From the views of the early theologians the artists evolved their manner of representing the hosts of heaven, and while for a time angels were represented as colossal, gradually they became more graceful and lovely, as well as more human.

An ideal, a thought, must be personified to be represented to the eye, and I doubt if any new personification of angels could satisfactorily replace that which has been developed in Art during sixteen centuries, and to which we are accustomed from our earliest childhood. The angels that are known in pictures, watching over children, preventing harm to individuals, as in the sacrifice of Isaac, encouraging or even compelling worthy action, as in the case of Balaam, are dear to the heart of the world.

Guardian Angel Pictures
Guardian Angel by Bartolome Esteban Murillo

The representations of guardian angels in the more homely relations, watching sleeping infants, guiding their feeble steps, as is seen in the image above, and shielding them from accidents, are modern. To the end of the sixteenth century guardian angels, while engaged in all these minor duties, according to the teaching of the Church, were only represented in Art as performing solemn and superhuman deeds.

This may have resulted from the fixed belief of the old artists in these angelic beings, and their deep reverence for them, while modern artists are simply seeking a graceful and poetic subject. But, be this as it may, the angels who perform miracles to prevent the torture of Christian martyrs and other superhuman acts, are as essentially guardian angels as are those bending over cradles and gathering blossoms for children in the fields.

You can discover more images of Guardian Angels at Christian Image Source.

Angel Pictures

There have been many curious conceits introduced into some of the early religious pictures, and two instances in which little seraphim and angels are perched on trees, near the Virgin and Holy Child. The idea seems to be that these “Birds of God” — as Dante calls the angels — are making music and singing for the Divine Infant, some of them also praying for his solace.

Occasionally a series of pictures called the Acts of the Holy Angels has been painted. It consists of eleven strictly Scriptural subjects, usually as follows, but varied in some instances by the introduction of other motives of the same character, as, for example, the angel appearing to Hagar and to Elijah:

I. The Fall of Lucifer.

II. The Expulsion of Adam and Eve from the Garden of Eden.

III. The Visit of Three Angels to Abraham.

IV. The Angel Preventing the Sacrifice of Isaac.

V. The Angel Wrestling with Jacob.

VI. Jacob’s Dream.

VII. The Deliverance of the Three Children from the Fiery Furnace.

VIII. The Angel Slays the Host of Sennacherib.

IX. The Angel Protects Tobias.

X. The Punishment of Heliodorus.

XI. The Annunciation to the Virgin.

The Angelic Council - Easter Orthodox church icon of the Seven Archangels

Of the seven archangels to whom Milton refers, when he says:

The Seven
Who in God’s presence, nearest to his throne.
Stand ready at command.

only three are recognized by the Christian Church; and when three archangels are seen together, they are Michael, Gabriel, and Raphael. In the Greek Church this representation is regarded as typical of the military, civil, and religious power, and, accordingly, the costumes indicate a soldier, a prince, and a priest.

Madonna of the Rocks by Leonardo da Vinci with Uriel in the red robe

But Uriel has not been entirely ignored, even by the Christian Church, and an early tradition teaches that this archangel, and not Christ, accompanied the two disciples on their way to Emmaus. In the book of Esdras we read, “The angel that was sent unto me, whose name was Uriel.” His office was that of interpreter of judgments and prophecies, which Milton recognizes thus:

Uriel, for thou of those Seven Spirits that stand
In sight of God’s high throne, gloriously bright,
The first art wont his great authentic will
Interpreter through highest heaven to bring.

The Cathedral Monreale photographed by Jerzy Strzelecki

In several ancient churches four archangels are represented in the architectural decoration. An example in which they are very splendid is that in the mosaics above the choir arch in the Cathedral of Monreale, Palermo. These colossal, armed figures are impressive, not only from their size, but also because of their apparent realization of their illustrious rank in the order of created beings.

More frequently the four archangels are so represented as to appear to sustain the roof, or vault, in churches where the figure of Christ, or his symbol, the Lamb, is pictured as the central decoration. These are clearly intended to personate the four “who sustain the throne of God.” Their symbols are sceptres or lances; at times they stand erect, like faithful, watchful guardians; again with arms outstretched they seem to uphold the vault on which Christ is portrayed.

Abraham and the Three Angels by Sebastiano Ricci

The representations of three archangels are more numerous than the above, and are variously treated. In some ancient pictures they have no wings, and appear like men of princely rank and noble character. The visitors of Abraham are often thus represented, which accords with thevHebrew idea of angels at the period when Abraham was thus honored; for it was not until after the captivity, when the Egyptian custom of giving wings to their representations of messengers had been observed, that the cherubim and seraphim covered the mercy-seat with their wings.

Prophet Abraham and the Three Angels

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 Vatican, which is shown as an engraving in the image above.

You can find many more Angel Pictures at Christian Image Source.

Santa Eufemia, Verona – Interior

Raphael is frequently represented without wings when leading Tobias, who — in order to emphasize the contrast between an angel and a mortal — is made very small, and is thus manifestly out of keeping with the story. When the wings appear there is no reason for dwarfing Tobias, and the picture is far more satisfactory. It is not difficult to discern that if the story of Tobias is considered as an allegory, the young man personates the Christian, guided and guarded through life by God’s mercy.

There is, in Verona, in the Church of St. Euphemia, a most impressive chapel which was decorated with pictures illustrating the story of Tobias, by Giovanni Francesco Caroto, a pupil of Mantegna, who seems to have painted more in the manner of Leonardo than in that of his master.

Various incidents of the story are effectively pictured, but the famous altar-piece, the greatest work by Caroto, is the most important of the number. It represents the Archangels Michael, Gabriel, and Raphael, — three exquisite wingless figures, — the latter being in the centre, and the only one having an aureole. He is leading Tobias, and looking down at the youth with an expression of tenderness.

St. Michael is on the right; one hand rests on his great sword, while with the other he lifts his crimson robe. His countenance, serious and indomitable in expression, fitly indicates the characteristics that his titles imply. He is the Lord of Souls and the Angel of Judgment, so far as human imagination can picture so exalted a celestial being.

St. Gabriel, on the left, holding a lily, and gazing heavenward in adoration, is a beautiful, angelic figure, far less powerful than the other archangels, and quite in harmony with his office.

The impression  made by this picture, is that Gabriel realizes that his blessed office has been fulfilled, his active work is done, and adoration is now his duty and his joy; but Michael and Raphael have still their great missions to perfect ; they are still battling against evil, and guiding men in the paths of righteousness.

Caroto was a native of Verona, and his pictures are rarely seen elsewhere. His color is warm and well blended, while his drawing is severe. It is said that he was but twenty-five years old when he decorated the Chapel of St. Raphael, in 1495. He was of a quick wit, and when told that the legs of his angels were too slender, he instantly replied, ” Then they will fly the easier.”

Guardian Angels
Tobias and the three Archangels
by Sandro Botticelli

The Archangel Raphael
from a picture of Tobias and the three Archangels
by Sandro Botticelli

A very famous and wonderful picture of the three archangels with Tobias, by Botticelli, is in the Academy of Florence. The angels of this artist are frequently criticized for a certain stiffness, but their beautiful faces more than redeem any fault in their figures, and have a sweetness and depth of expression that appeals to the heart and makes one forget less important details.

Archangel Raphael and Tobias by Titian

A picture of St. Raphael leading Tobias, in the Church of St. Marziale in Venice, is said to be the earliest remaining work by Titian. For this reason it is most interesting, but it is certainly not so beautiful as that of Caroto, nor as that of Raphael, called the Madonna del Pesce, — the Madonna of the Fish, — in the Madrid Gallery, in which the master pictures the archangel whose name he bore.

Madonna del Pesce (Madonna of the Fish) by Raphael

Of this last picture Passavant says, “Here Christian poetry has found its highest expression; for it is poetry which touches all nations the most deeply, and beauty alone can give an idea of divinity.”

In the famous Madonna del Pesce, the Virgin is seated on a throne with the child; the young Tobias, holding a fish in his hand, and led by the Archangel Raphael, comes to implore Jesus to cure his father’s blindness. The Infant Saviour looks at Tobias, while his hand is on an open book which St. Jerome holds before him; the symbolic lion crouches at the feet of the saint. The background of the picture is principally formed by a curtain, but on the right a small opening of sky is seen.

The whole picture is executed in the best style of the artist’s mature power, while it is full of the fervent piety of his earlier works. The Virgin is the ideal of purity and loveliness ; the child is radiant with divine beauty ; the angel is celestial in his bearing and his countenance, while the head of the reverend saint is grand and noble in expression.

Raphael’s Madonnas sometimes seem to be but simple domestic women, gifted with beauty; in them no trace of a mystical or spiritual nature appears; but the Madonna del Pesce, like the Madonna di San Sisto, and the Madonna di Fuligno, justifies the eulogy of Vasari, when he says, “Raphael has shown all the beauty which can be imagined in the expression of a Virgin; in the eyes there is modesty, on the brow there shines honor, the nose is of a very graceful character, the mouth betokens sweetness and excellence.” The color of the Madonna del Pesce is admirably clear and harmonious, even for this great master.

This Madonna was originally painted for the Church of San Domenico Maggiore, at Naples, in which church a chapel had been erected as an especial place of worship for the numerous Neapolitans who suffer from diseases of the eye; it was not, however, permitted to serve its intended purpose, and has had an interesting history.

It is said that the Duke of Medina, when Viceroy of Naples, took the pic- ture from the Dominicans without the consent of the government, and when the prior complained to the Pope,

Medina had him escorted to the frontier by fifty horsemen, and expelled from the kingdom. In 1644 the Duke took the Virgin with the Fish to Spain, and Philip IV. placed it in the Escurial. In 18 13, when the French were compelled to leave Spain, they took this picture, with many others, to Paris.

It was painted on a panel and was in bad condition, and Bonnemaison was commissioned to transfer it to canvas. This work was not completed in 1815, when other pictures which had been taken from Spain were returned, and this Madonna remained in France until 1822. Naturally, it must have lost something of its original excellence, but it still holds a place of honor in the wonderful Italian Gallery of the Madrid Museum; it is a rival of the famous Dresden Madonna — di San Sisto — in the regard of many connoisseurs in art.

Archangel Raphael Leaving Tobias by Rembrandt

The various scenes from the story of Raphael and Tobias have been represented in the works of artists of all nations. Rembrandt four times painted the parting of Tobias from his father and mother, and several other incidents in the story. His picture in the Louvre, of the departure of the Archangel, is remarkable for its spirited action. As the angel ascends, flying through the air, he seems to part the clouds as a strong swimmer passes through the breakers of the sea.

You can find more images of Christian Angels at Christian Image Source.

Archangel Art

The Archangel Michael is reverenced as the first and mightiest of all created beings. He was worshiped by the Chaldeans, and the Gnostics taught that he was the leader of the seven angels who created the universe. After the Captivity the Hebrews regarded him as all that is implied by the Prophet Daniel when he says, “Michael, the great prince which standeth for the children of thy people.” It is believed that he will be privileged to exalt the banner of the Cross on the Judgment Day, and to command the trumpet of the archangel to sound; it is on account of these offices that he is called the “Bannerer of Heaven.”

As captain of the heavenly host, it devolved on Michael to conquer Lucifer and his followers, and to expel them from heaven after their refusal to worship the Son of Man ; and terrible was the punishment he inflicted on them. Chained in mid-air, where they must remain until the Judgment Day, they behold all that happens on earth. Man, whom they disdained, has flourished in their sight, and wields a power that they may well envy, while the souls of the redeemed constantly ascend to the heaven which is closed to them. Thus are they constantly tormented by hate, and a desire for revenge, of which they must ever despair.

St. Michael is represented in art as young and severely beautiful. In the earliest pictures his drapery is always white and his wings of many colors, while his symbols, indicating that his conquests are made by spiritual force alone, are a lance terminating in a cross, or a sceptre. Later, 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 engaged; and except for the wings, his picture might often be mistaken for that of a celestially radiant knight, since he is clothed in armor, and bears a sword, shield, and lance. But his seraphic wings and his bearing mark him as a mighty spiritual power, and this impression is increased rather than lessened, when in all humility he is in the act of worship before the Divine Infant, or stands in reverent attitude near the Madonna, as if to guard her and her heaven-sent son.

Archangel Michael

When conquering Satan the treatment is varied, but the subject is easily recognized. More frequently than otherwise, the archangel stands on the demon, who is half human and half dragon, wearing a suit of mail, and is about to pierce the evil spirit with a lance or bind him in chains.

Such pictures date from the earliest attempts in religious painting, and the same subject was represented in ancient sculpture. Some of these works are so crude as to be absurd, but for their manifest reverence and sincerity. An early sculpture in the porch of the Cathedral of Cortona, probably dating from the seventh century, presents the archangel in long, heavy robes, reaching to his feet; he stands solidly on the back of the dragon, and as if to make the footing more secure, the beast curls his tail in air and lifts his head as high as possible, holding his mouth wide open, into which St. Michael presses his lance without a struggle. The whole effect is that of some calm and commonplace occurrence, and is in striking contrast with the spirit of the conflict which is represented, as well as with the superhuman combat depicted by later artists.

The dragon is personified by a variety of horrible reptilian forms. Some artists even attempted to follow the apocalyptic description. “For their power is in their mouth, and in their tails, for their tails were like unto serpents, and had heads, and with them they do hurt.”

Lucifer is not always alone, but is sometimes surrounded by demons, who crouch with him at the feet of St. Michael, before whom a company of angels kneel in adoration.

During the sixteenth century the pictures of this archangel took on the military aspect and, but for the wings, would have represented St. George, or a Crusader of the Cross, as suitably as the great Warrior Angel.

An exquisite small picture of this type, now in the Academy at Florence, was painted by Fra Angelico. The lance and shield and the lambent flame above the brow are the only emblems; the latter symbolizing spiritual fervor. The rainbow-tinted wings are raised and fully spread, meeting above and behind the head; the armor is of a rich dark red and gold. The pose and the expression of the countenance indicate the reserved power and the godlike tranquility of the celestial warrior, and fitly represent him as the patron of the Church Militant.

The representations of St. Michael conquering Lucifer are so numerous and so interesting technically, that any adequate account of them and of their artistic and theological development would fill a volume, and might be considered rather tiresome. However, there are two examples which are very generally accepted as the most satisfactory of them all.

Archangel Michael Casting Satan out of Heaven by Raphael

The first, painted by Raphael when at his best, is in the Louvre. It was a commission from Lorenzo de Medici, who presented it to Francis I. The subject was doubtless chosen by Raphael as a compliment to the sovereign, who was the Grand Master of the Order of St. Michael, the military patron saint of France.

It was painted on wood, and sent with three other pictures, packed on mules, to Fontainebleau, where Lorenzo was visiting, in May, 1518. The picture was somewhat injured on the journey. In 1773 it was transferred to canvas, and “restored” three years later, the restorations were eventually removed. The picture has no doubt suffered from these chances and changes, but the fact remains that it is still a glorious work by a great master.

The beautiful young angel does not stand upon the fiend beneath him, but, poised in air, he lightly touches with his foot the shoulder of the demon in vulgar human form, fiery in color, having horns and a serpent’s tail. The expression of the angel is serious, calm, majestic, as he gazes down upon the writhing Satan, whose face, as he struggles to raise it, is full of malignant hate. This detail is lost in the black and white reproductions.

Michael grasps the lance with both hands, and so natural is the action, so easy and graceful, that the beholder instinctively waits to see the weapon do its work, while flames rise from the earth as if impatient to engulf the disgusting demon. The head of the angel, with its light, floating hair is against the background of the brilliant wings, in which blue, gold, and purple are gloriously mingled; his armor is gold and silver; a sword hangs by his side, and an azure scarf floats from his shoulders. His legs are bare, and his feet shod with buskins, which leave the toes uncovered. The contrast between the exquisite, angelic flesh tints, rosy in hue, and the brown coloring of the demon, effectively emphasizes the beauty of purity and the loathsomeness of evil.

The Archangel Michael Overpowering Satan by Guido Reni

The St. Michael of Guido Reni so closely resembles that of Raphael in general treatment, that it is more nearly just to compare these works than is usually the case with pictures of the same subject by different masters. The attitude of Guido’s saint is like that of a dancing-master when contrasted with the pose of Raphael’s, and his demon is simply low and base, devoid of malignity or any supreme evil.

But the head and face of Guido’s Michael make his picture wonderful; they adequately express divine purity and beauty, while the studied and fictitious qualities of Guido’s art here at their best serve to enhance the exquisite effect of this angelic warrior, and the picture is justly esteemed as one of the treasures of the Cappucini at Rome.

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Archangel Pictures

The Archangel Gabriel is mentioned by name but twice in the Old Testament. First in Daniel viii., 16, when he explained the vision which the prophet had seen, and again in Daniel ix., 21, when Gabriel appeared to Daniel to give him skill and understanding.

Likewise in the New Testament he is twice mentioned– in Luke i., 19 and 26, when he announced to Zacharias the birth of John the Baptist, and to the Virgin Mary that she was favored of the Lord, and blessed among women. On each of those occasions he filled the office of a messenger or bearer of important tidings. It is believed to have been Gabriel who fought with the Angel of the Kingdom of Persia for twenty-one days, when Michael came to his relief, and Gabriel again visited Daniel to strengthen him, and explain “that which is noted in the scripture of truth,” and to announce that the king of Greece should overcome the king of Persia. After which Gabriel returned to his battle with the Angel of Persia.

The contest with the angel of Persia is a subject which offers unusual opportunities in its artistic representation; it is, however, much the same in spirit as the struggle between Michael and Lucifer, and the preference was given to the latter by the painters of religious subjects.

St. Gabriel has been many times portrayed as the messenger announcing the birth of John the Baptist and that of Jesus Christ. In the apocryphal legends he also foretells the birth of Samson, and that of the Virgin Mary. From these frequently repeated messages which foretold important births, Gabriel naturally came to be regarded as the angel who presides over childbirth.

The great number of representations of the Annunciation to the Virgin Mary make it difficult to select those of which to speak. The earliest pictures of this event portray it with great simplicity, purity, and grace. A spiritual mystery is being depicted, and is handled with sincere reverence and the utmost delicacy.

The scene is usually the portico of an ecclesiastical edifice. When seated, the Virgin is on a species of throne, but she is more frequently represented as standing. The archangel is at some distance from her, not infrequently quite outside the porch.  He is majestic and beautiful; is clothed in white, wearing the tunic and pallium or archbishop’s mantle. His wings are large, and brilliant with many colors, and his abundant hair is bound with a jeweled tiara. He bears either the sceptre of power or a lily in one hand, while the other is extended in benediction. Sometimes he holds a scroll inscribed with the words, “Ave Maria, gratia plena.” Hail! Mary, full of grace, the words Dante represents Gabriel as constantly repeating in paradise.

The angel is the chief figure in this scene in the earlier pictures; he is joyfully triumphant, announcing the coming of the Saviour, while the Virgin is all humility and submission; in some cases her head is covered, an extreme expression of lowliness, and she is always self-effacing in attitude and expression.

A Divided Annunciation by Fra Filippo Lippi

An early custom in churches was to place the picture of the Virgin on one side of the altar, and that of the angel the other side; or, if both figures were in the same frame, a division was made by an architectural pillar, or a conventional ornament between them. In many cases the Virgin and the Archangel were placed separately above, or on each side of some scene from the life of Jesus, usually an altar piece. The picture by Fra Filippo Lippi, shown above, is a very fine example of the so-called “divided Annunciations.” It is in the Florentine Academy. This picture is very beautiful, and fittingly expresses the humility and surprise of the Virgin and the reverence of the heavenly messenger. It is also a good example of Fra Filippo’s style; his draperies were graceful, abundant, and usually much ornamented with signs in gold, of which we have here, enough for elegance, while it is not overdone as in other works of this artist.

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Apse Mosaic, San Vitale, Ravenna (Flickr) / CC BY-NC 3.0

The earliest instance of the Archangels introduced by name into a work of art is in the old church of San Michele at Ravenna (A. D. 545). The mosaic in the apse exhibits Christ in the centre, bearing in one hand the cross as a trophy or sceptre, and in the other an open book on which are the words, “Qui cidef me videt et Patrem meum” [John xiv. 9]. On each side stand Michael and Gabriel, with vast wings and long scepters; their names are inscribed above, but without the Sanctus and without the Glory. It appears, therefore, that at this time, the middle of the sixth century, the title of Saint, though in use, had not been given to the Archangels.

Vault of the San Zeno Chapel, Basilica di Santa Prassede, Rome, Italy by Sixtus

When, in the ancient churches, the figure of Christ or of the Lamb appears in a circle of glory in the centre of the roof and around, or at the four corners, four angels who sustain the circle with outstretched arms, or stand as watchers, with sceptres or lances in their hands, these are presumed to be the four Archangels “who sustain the throne of God.” Examples may be seen in San Vitale at Ravenna; in the chapel of San Zeno, in Santa Prassede at Rome; and on the roof of the choir of San Francesco d’Assisi.

Franciscan Allegories – Allegory of Giotto di Bondone
Allegory of Poverty
c. 1330, Fresco, Lower Church, San Francesco, Assisi

So the four Archangels, stately colossal figures, winged and armed and sceptred, stand over the arch of the choir in the Cathedral of Monreale, at Palermo. (Greek mosaic, A. D. 1174.)

So the four angels stand at the four corners of the earth (Rev. vii. 1) and hold the winds, heads with puffed cheeks and dishevelled hair. (MS. of the Book of Revelation, fourteenth century, Trinity College, Dublin.)

Uriel is seldom represented by name, or alone, in any sacred edifice. In the picture of Uriel painted by Allston, he is the “Regent of the Sun,” as described by Milton, not a sacred or scriptural personage.  On a shrine of carved ivory (Hotel de Cluny [Paris]) can be seen the four Archangels as keeping guard, two at each end. The three first are named, as usual, St. Michael, St. Gabriel, St. Raphael. The fourth is styled St. Cherubin–the same name inscribed over the head of the angel who expels Adam and Eve from Paradise. There is no authority for such an appellation applied individually, but in a famous legend of the Middle Ages, “La Penitence d’Adam,” the angel who guards the gates of Paradise is designated as “Lorsque l’Ange Chernbin vit arriver Seth aux portes de Paradis,” etc. The four Archangels, however, seldom occur together, except in architectural decoration.

The Three Archangels from an Ancient Greek picture.

On the other hand, devotional pictures of the three Archangels named in the canonical Scriptures are of frequent occurrence. They are often grouped together as patron saints or protecting spirits, or they stand round the throne of Christ, or below the glorified Virgin and Child, in an attitude of adoration. According to the Greek formula, the three in combination represent the triple power–military, civil, and religious– of the celestial hierarchy. St. Michael being dressed as a warrior, Gabriel as a prince, and Raphael as a priest. In the Greek picture shown above, the three Archangels sustain in a kind of throne the figure of the youthful Christ, here winged, as being Himself the supreme Angel and with both hands blessing the universe. The Archangel Raphael has here the place of dignity as representing the Priesthood, but in western art Michael takes precedence of the two others, and is usually placed in the center as Prince or Chief.

Source: Jameson, Anna. Sacred and Legendary Art – Volume 1. London: Longman, Brown, Green, Longman’s & Roberts, 1987.

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Archangels

The Seven
Who in God’s presence, nearest to His throne,
Stand ready at command. — Milton.

There are several angels who in artistic representations have assumed an individual form and character. These belong to the order of Archangels, placed by Dionysius in the third Hierarchy: they take rank between the Princedoms and the Angels  and partake of the nature of both. Like the Princedoms, they have Powers; and, like the Angels, they are Ministers and Messengers.

Frequent allusion is made in Scripture to the seven Angels who stand in the presence of God. (Rev. viii. 2, xv. 1, xvi. 1, etc.; Tobit xxii. 15.) This was in accordance with the popular creed of the Jews, who not only acknowledged the supremacy of the Seven Spirits, but assigned to them distinct vocations and distinct appellations, each terminating with the syllable El, which signifies God. Thus we have —

I. Michael (i. e. who is like unto God), captain-general of the host of heaven, and protector of the Hebrew nation.

II. Gabriel (i. e. God is my strength), guardian of the celestial treasury, and preceptor of the patriarch Joseph.

III. Raphael (i. e. the Medicine of God), the conductor of Tobit; thence the chief guardian angel.

IV. Uriel (i. e. the Light of God), who taught Esdras. He was also regent of the sun.

V. Chamuel (i. e. one who sees God), who wrestled with Jacob, and who appeared to Christ at Gethsemane. (However, according to other authorities, this was the angel Gabriel.)

VI. Jophiel (i. e. the Beauty of God), who was the preceptor of the sons of Noah, and is the protector of all those who, with a humble heart, seek after truth, and the enemy of those who pursue vain knowledge. Thus Jophiel was naturally considered as the guardian of the tree of knowledge, and the same who drove Adam and Eve from Paradise.

VII. Zadkiel (i. e. the Righteousness of God), who stayed the hand of Abraham when about to sacrifice his son. (But, according to other authorities, this was the archangel Michael.)

The Christian Church does not acknowledge these Seven Angels by name, neither in the East, where the worship of angels took deep root, nor yet in the West, where it has been tacitly accepted. Nor have they been met as a series, by name, in any ecclesiastical work of Art, though there is a set of old anonymous prints in which they appear with distinct names and attributes: Michael bears the sword and scales; Gabriel, the lily; Raphael, the pilgrim’s staff and gourd full of water, as a traveler. Uriel has a roll and a book: he is the interpreter of judgments and prophecies, and for this purpose was sent to Esdras.”The angel that was sent unto me, whose name was Uriel, gave me an answer.” (Esdras ii. 4.)

And in Milton —,

Uriel, for thou of those Seven Spirits that stand
In sight of God’s high throne, gloriously bright,
The first art wont his great authentic will
Interpreter through highest heaven to bring.

According to an early Christian tradition, it was this angel, and not Christ in person, who accompanied the two disciples to Emmaus. Chanmel is represented with a cup and a staff; Jophiel with a flaming sword. Zadkiel bears the sacrificial knife which he took from the hand of Abraham.

But the Seven Angels, without being distinguished by name, are occasionally introduced into works of art. For example, over the arch of the choir in San Michele, at Ravenna (A. D. 545), on each side of the throned Saviour are the Seven Angels blowing trumpets like cow’s horns: “And I saw the Seven Angels which stand before God, and to them were given seven trumpets.” (Rev. viii. 2, 6.) In representations of the Crucifixion and in the Pieta, the Seven Angels are often seen in attendance, bearing the instruments of the Passion. Michael bears the cross, for he is “the Bannerer of heaven,” but the particular avocations of the others is uncertain.

Archangels

In the Last Judgment of Orcagna, in the Campo Santo at Pisa, the Seven Angels are active and important personages. The angel who stands in the center of the picture, below the throne of Christ, extends a scroll in each hand. On the scroll in the right hand is inscribed, “Come, ye blessed of my Father,” and on the scroll in the left hand, “Depart from me, ye accursed.” The angel is supposed to be Michael, the angel of judgment. At his feet crouches an angel, who seems to shrink from the tremendous spectacle, and hides his face. This angel is supposed to be Raphael, the guardian angel of humanity. The attitude has always been admired — cowering with horror, yet sublime. Beneath are another five angels, who are engaged in separating the just from the wicked, encouraging and sustaining the former, and driving the latter towards the demons who are ready to snatch them into flames. These Seven Angels have the garb of princes and warriors, with breastplates of gold, jeweled sword belts and tiaras, and rich mantles; while the other angels who figure in the same scene are plumed and bird-like, and hover above, bearing the instruments of the Passion.

Again we may see the Seven Angels in quite another character, attending on St. Thomas Aquinas, in a picture by Taddeo Gaddi. Here, instead of the instruments of the Passion, they bear the allegorical attributes of those virtues for which that famous saint and doctor is to be reverenced. One bears an olive-branch, i. e. Peace. The second holds a book, i. e. Knowledge. The third, a crown and sceptre, i. e. Power. The fourth holds a replica of a church, i. e. Religion. The fifth holds a cross and shield, i. e. Faith. The sixth holds flames of fire in each hand, i.e. Piety and Charity. Finally, the seventh angel holds a lily, i. e. Purity.

In general it may be presumed that when seven angels figure together, or are distinguished from among a host of angels by dress, stature, or other attributes, that these represent “the Seven Holy Angels who stand in the presence of God.” Four only of these Seven Angels are individualized by name: Michael, Gabriel, Raphael, and Uriel. According to the Jewish tradition, these four sustain the throne of the Almighty; they have the Greek epithet arch, or chief, assigned to them, from the two texts of Scripture in which that title is used (1 Thess. iv. 16 ; Jude 9), but only the three first, who in Scripture have a distinct personality, are reverenced in the Catholic Church as saints, and their gracious beauty, divine prowess, and high behests to mortal man have furnished some of the most important and most poetical subjects which appear in Christian Art.

Source: Jameson, Anna. Sacred and Legendary Art – Volume 1. London: Longman, Brown, Green, Longman’s & Roberts, 1987.

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Michael the Archangel

The Supernatural in the Angelic World

Supernatural Vocation of the Angels

I.         Holy Scripture hints that all the angels were called to the vision of God, when it represents the good angels as actually seeing His Face, and only excludes the fallen ones of from that privilege. Such is also the common tradition embodied in the opinion that man was called to fill the places left vacant by the fallen angels. At any rate, the supernatural vocation of man affords the strongest presumption for a similar vocation of the angels. The fact that many of them did fall supposes that they had to go through a trial, and to merit salvation. Like man, they were unable to attain supernatural life without the aid of actual and habitual grace.

Grace Granted to the Angels

(1.) It is morally certain that all the angels once possessed sanctifying grace. Holy Scripture alludes to this fact, while patristic tradition is unanimous about it. The Fathers generally apply to the angels the texts Ezech. xxviii. and Isai. xiv. 12, which, however, taken literally, only refer to the kings of Tyre and Babylon. A better, though by no means a cogent proof is afforded by John viii. 44, combined with Jude i. 6: “The devil stood not in the truth” “the angels who kept not their principality.” Truth, in the language of the New Testament, means truth founded on grace and justice; and principality implies a dignity so high that we can hardly conceive it to have been unadorned with grace.

The tradition of the Fathers is unanimous that the angels also received grace in the moment of their creation. Theologians generally admit that the diversity of rank among the angels is an indication of diversity of grace received, because, on account of his unimpaired free will, every angel attained at once all the perfection possible to him. It may further be supposed that God created the angels with an amount of natural perfection proportionate to the measure of grace predestined to each of them, and also that the measure of grace given to the angels surpasses that given to men. Yet it is quite possible that some human beings attain to a higher degree of perfection than angels. That the Queen of Angels did so is taught expressly by the Church.

Grace was necessarily accompanied by the virtue of Faith and the knowledge of the supernatural order, culminating in the clear vision of God; because, without these. supernatural life in the state of probation is impossible. Most probably the knowledge of the supernatural order included a knowledge of the Trinity, and of the future Incarnation of the Logos, as these dogmas are so intimately connected with the order of grace.

Merit of the Angels

(2.) The meritorious acts performed by the angels in consequence of the grace received, consisted in the free fulfilling of the supernatural law of God, or in the full subjection to God as the Author of grace and glory. The angels who persevered must have performed at least this one act of submission. But as regards the circumstances of this act, we have only more or less probable opinions. E.g., it may be that a special law of probation, analogous to that given to Adam, was given to the angels, and that it consisted in a restriction of their natural exaltedness above human nature, just as the commandment given to man consisted in a restriction of his dominion over visible nature.

Angels and Beatific Vision

(3.) From the words of Christ, “Their angels in heaven always see the Face of My Father Who is in heaven” (Matt. xviii. 10), we learn that, unlike the Patriarchs, the angels were admitted to the immediate vision of God as soon as they merited it. There is no reason why there should have been any interval.

Relations of the Angels to Mankind

II.         The angels hold the first rank in the order of grace as well as in the order of nature. They actually possess the supernatural perfection to which man is but tending, and are therefore his model in the service and praise of God.

(1.)  As the first-born of creation, they are called to cooperate in the Divine government of the world, and especially in carrying out the supernatural order in mankind. The nature of their cooperation results from the fellowship of all rational creatures, by reason of which they are one city of the saints, one temple of God, offering to God by Charity one great sacrifice. Men are fellow-citizens of the angels, or, rather, members of the same family of which God is the Father, and in which the perfect members are the born protectors and helpers of the yet imperfect members. St . Paul expresses this idea when he calls the heavenly Jerusalem “our mother” (Gal. iv. 26). Man requires the protection of the good angels, not only because of his natural weakness, but also in order to resist the onslaught of the fallen angels, the princes and powers of darkness.

Guardian Angels

Guardian Angels

(2.) It is an article of faith that the angels are “ministering spirits, sent to minister for those who shall receive the inheritance of salvation” (Heb. i. 14). As Divine ambassadors and messengers they minister to man, not indeed as servants of man, but as servants of God. Theymact as guardians, guides, pedagogues, tutors, pastors, set over their weaker brethren by the common Father: “ He hath given His angels charge over thee, to keep thee in all thy ways” (Ps. xc. 11). At times they also execute the decrees of Divine justice, e.g. Gen. iii. 24; Exod. xxii., 27.; 1 Paral. xxi. 16.

From many indications in Holy Writ, and from constant tradition, the guardianship of man is divided among the angels according to a fixed order, so that different spheres of action are assigned to different angels. Thus different nations and greater corporations, especially the several parts of the Church of God, are committed to the permanent charge of particular angels. The guardian angels of the Jews, Persians, and Greeks are mentioned Dan. x. 13, 20, 21, and xii. I: “ Now I will return to fight against the prince of the Persians. When I went forth, there appeared the prince of the Greeks coming, and none is my helper in all these things but Michael your prince” (Dan. x. 20, 21). The title of prince given to the guardian angel implies a permanent office among the same people. The proof that the care of individual men is entrusted to angels is found in Matt, xviii. 10: “Take heed that you despise not one of these little ones; for I say to you that their angels in heaven always see the face of My Father Who is in heaven.” The first Christians testified to this doctrine when they thought it was not St. Peter but “his angel” who stood in their presence (Acts xii. 6 ; Psalm xxxiii. 8, and Heb. i. 14). The doctrine that “every one of the faithful is guarded by one or more angels,” although not exactly a matter of faith, is yet theologically certain, and to deny it would be rash. It is simply a consequence of the fellowship which Baptism establishes between man and angels. It is less certain, but still highly probable, that even the unbaptized are under the special custody of angels, on account of their supernatural vocation.

The common belief that each individual has his own guardian angel, or that there are as many guardian angels as men, is not so certain as the more general doctrine that all men are guarded by angels. It is quite possible for one angel to guard and protect several individuals

Office of the Guardian Angels

(a). The functions of the guardian angels have chiefly to do with the eternal salvation of their charges, but, like Divine Providence and neighbourly love, they extend also to assistance in matters temporal. In matters spiritual the guardian angels behave towards us as tender and conscientious parents towards their children. They protect us against our invisible enemies, either by preventing the attack or by helping us to resist. They pray for us, and offer our prayers and good works to God.

Lastly, they conduct the souls to the judgment seat of God, and introduce them into eternal glory (Luke xvi. 22). The communication of the dead with the living, e.g. apparitions and death-warnings, are probably the work of guardian angels, as may also be the bilocation related of several saints.

Worship Due to the Guardian Angels

(b). The position of the angels with regard to man entitles them to a worship consisting of love, respect, and reverence. Our fellowship with the family of God requires mutual love between the members; the excellent dignity of the angels demands grateful and submissive homage, but neither adoration nor slavish submission (Apoc. xxii 8, 9).

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Cherub Pictures

Number and Hierarchy of the Angels

Number of the Angels

I.         We are certain, from Revelation. that the number of Angels is exceedingly great, forming an army worthy ot the greatness of God. This army of the King of heaven is mention in Deut. xxx. 2; then in the vision of Daniel (vii. 10), and in many other places.

How Many Kinds?

II.         If the Angels can be numbered, there must exist between them at least personal differences; that is to say, each angel has his own personality. But whether they are all of the same kind, like man, or constitute several kinds, or are each of a different kind or species, is a question upon which Theologians differ.

The Nine Choirs

III.         The Fathers have divided the Angels into nine Orders or Choirs, the names of which are taken from Scripture. They are: Seraphim, Cherubim, Thrones, Dominations, Virtues, Powers, Principalities, Archangels and Angels. The first two and the last two orders are often named in Holy Writ; the five others are taken from Ephes. i. 21 and Col. i. 16. It seems clear enough, especially if we take into account the all but unanimous testimony of the Fathers, that these names designate various Orders of Angels; whence it follows that there are at least nine such Orders—not, however, that there are only nine. Considering, however, that for the last thirteen centuries the number nine has been accepted as the exact number of angelical Choirs, we are justified in accepting it as correct.

It is impossible to determine the differences between the several Orders of Angels with anything like precision. The three highest Orders bear names which seem to point to constant relations with God, as if these Angels formed especially the heavenly court; the three lowest express relations to man; the three middle ones only point to might and power generally.

The fallen angels probably retain the same distinctions as the good ones, because these distinctions are, in all likelihood, founded upon differences in natural perfections. Scripture speaks of “the prince of demons” (Matt. xii. 24), and applies some of the names of angelic Orders to bad angels (Eph. vi. 12).

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Drawings of Angels

Attributes of the Angels—Incorruptibility and 
Relation to Space

The attributes of the Angels, like the nature of their substance, are to be determined by a comparison with the attributes of God on the one hand, and with the attributes of man on the other. As creatures, the Angels partake of the imperfections of man; as pure spirits, they partake of the perfections of God.

Incorruptibility

I.        The angelic substance is physically simple—that is, not composed of different parts; but it is not metaphysically simple, because it admits of potentiality and actuality, and also of accidents (§ 63). It is, moreover, essentially immutable or incorruptible; Angels cannot perish by dissolution of their substance, nor can any created cause destroy them. For this reason they are essentially immortal, not, indeed, that their destruction is in itself an impossibility, but because their substance and nature are such that, when once created, perpetual conservation is to them natural. As to accidental perfections, Angels can acquire and lose them. Observe, however, that the knowledge they once possess always remains, and that a loss of perfection can only consist in a deviation from goodness.
Angels differ from the human soul in this, that they neither are nor can be substantial forms informing a body. When they assume a body, their union with it is neither like that of soul and body, nor like the hypostatic union of the two natures in Christ. The assumed body is, as it were, only an outer garment, or an instrument for a transitory purpose.

Relation to Space

II.         As regards relation to space, Angels, having like God no extended parts, cannot occupy a place so that the different portions of space correspond with different portions of their substance, nor do they require a corporal space to live in, nor can any such space enclose them. On the other hand, they differ from God in this, that they can be present in only one place at a time, and thus can move from place to place. Their motion is, however, unlike that of man; probably it is as swift as thought, or even instantaneous.

The Natural Life and Work of the Angels

Life of the Angels

I.          The life of the Angels is purely intellectual, without any animal or vegetative functions, and therefore more like the Divine Life than the life of the human soul. The whole substance of an Angel is alive, whereas, in man, one part is life-giving and another life-receiving. The angelic life is inferior to the Divine in this, that the Angel’s life is not identical with its substance; and also in this, that it is susceptible of increase and decrease in perfection. So far all Theologians agree. But they differ very considerably as to how Angels live—that is, how and what they think and will. Leaving aside the abstruse speculations on this subject, we shall here only touch on the few points in which anything like certitude is attainable.

Intellect and Knowledge of the Angels

II.         It is certain from Revelation that the natural intellect of Angels is essentially more perfect than the human, and essentially less perfect than the Divine Intellect. Thus Scripture makes the knowledge of Angels the measure of human knowledge, e.g. 2 Kings xiv. 20; and in Mark xiii. 32, Christ says that even the Angels—much less man—do not know the time of the last judgment. The Fathers call the angels intelligentias,—that is, beings possessed of immediate intuitive knowledge; but man they call rationalis—that is, a being whose knowledge is for the most part inferential: whence the superiority of angelic knowledge is manifest. Compared to the Divine Knowledge, the imperfection of the angelic, according to Scripture and the Fathers, consists in this, that the Angels cannot naturally see God as He is, by immediate, direct vision; that they cannot penetrate the secrets either of the Divine decrees, or of the hearts of man, or of each other; much less do they know future free actions.

The Will of Angels

III.         As to the will of the Angels, we can only gather from Revelation that it naturally possesses the perfection of the human will, but at the same time also shares to some extent in the imperfections of the latter. The angelic will is free as to the choice of its acts, and is able to perform moral actions and to enjoy true happiness. But it is not, by virtue of its nature, directed to what is morally good; its choice may fall on evil. This much can be gathered from what is revealed on the fall of the Angels.

External Power and Activity of the Angels

IV.         It is evident that the Angels are able to perform all the actions of man, except those which are peculiar to man on account of his composite nature. Revelation, moreover, introduces Angels acting in various ways: they speak, exhort, enlighten, protect, move, and so forth. It is also beyond doubt that the power of Angels is superior to that of man, both as regards influence on material things, and on man himself. As to the mode of action, we know, but little with certainty. The Angel acts by means of his will, like God; but he neither creates out of nothing, nor generates like man. The only immediate effect an Angel can produce by an act of his will, is to move bodies or forces so as to bring them into contact or separate them, and thus to influence their action. Bodies are moved from place to place locally; spirits or minds are only moved “intentionally;” that is, the Angel who wishes to act upon our souls or upon other spirits, puts an object before them and directs their attention towards it. The power of Angels over matter exceeds that of man as regards the greater masses they are able to move and the velocity and exactness or appropriateness of the motion. These advantages enable them to produce effects supernatural in appearance, although entirely owing to a higher knowledge of the laws of nature and to superior force. As this power belongs to the angelic nature it is common to both good and bad Angels.
Angelic speech would seem to consist simply in this, that the speaker allows the listener to read so much of his thoughts as he wishes to communicate. Hence Angels can converse at any distance; the listener sees the thought of the speaker, and thus all possibility of error or deception is excluded.

Power of the Angels over Man

V.          Angels have over the body of man the same power as over other material bodies. Over the human mind, however, their power is circumscribed within narrow limits. They cannot speak to man as they speak to each other, because the mind of man is unable to grasp things purely spiritual. But, by their power over matter, they can exercise a great influence on the lower life of the soul, and thus indirectly on its intellectual life also. They can propose various objects to the senses, and also move the sense-organs internally; they can act on the imagination, and feed it with various fancies; and lastly, as the intellect takes its ideas from the imagination, Angels are enabled to guide and direct the noblest faculty of man either for better or for worse.

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