Angels 9781780422022, 1780422024

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Content: List of Illustrations.

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Angels

Author: Clara Erskine Clement

Layout: Baseline Co. Ltd, 61A-63A Vo Van Tan Street 4th Floor District 3, Ho Chi Minh City Vietnam © Confidential Concepts, Worldwide, USA © Sirrocco, London, UK (English version) All rights reserved No part of this publication may be reproduced or adapted without the permission of the copyright holder, throughout the world. Unless otherwise specified, copyright on the works reproduced lies with the respective photographers. Despite intensive research, it has not always been possible to establish copyright ownership. Where this is the case, we would appreciate notification. ISBN: 978-1-78042-202-2

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"When angels visit us, we do not hear the rustle of wings, nor feel the feathery touch of the breast of a dove; but we know their presence by the love they create in our hearts"

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CONTENTS

Introduction

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Archangels

82

Guardian Angels, Angel Choristers and Adoring Angels

102

Pictures of Angels as Authorised by the Scriptures Angels in Pictures of the Virgin Mary

134 192

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Index of Artists B Baciccio (Giovanni Battista Gaulli) Baldovinetti, Alesso Bartolomeo, Fra Blake, William Botticelli, Sandro (Alessandro di Mariano Filipepi) Botticini, Francesco Boucher, François Bourdon, Sébastien Broederlam, Melchior Bruegel the Elder, Pieter I Buoninsegna (di), Duccio C Campin, Robert (Master of Flémalle) Caravaggio (Michelangelo Merisi) Carpaccio, Vittore Carracci, Annibale Christus, Petrus Cimabue (Cenni di Pepo) Correggio (Antonio Allegri) Credi (di), Lorenzo Crivelli, Carlo

43 167, 169, 173, 175 131 163 71 9 141 91 97

D David, Gérard

119

E Eyck (van), Jan

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F Fabriano (da), Gentile Fouquet, Jean Fra Angelico Francesca (della), Piero Froment, Nicolas G Gaddi, Agnolo Giordano, Luca Giotto di Bondone Goes (van der), Hugo Greco (El) (Domenikos Theotokopoulos) Grien, Hans Baldung Grünewald, Matthias Gothart Guercino (Giovanni Francesco Barbieri) I Ingres, Jean-Auguste-Dominique

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229 63 117, 129 243 93, 101, 103, 111 81, 95 241 207 29 159, 171, 181 11

37 69 39, 49, 51, 53, 55, 57, 65 79 87 27 217 13,15 89 161 143, 145 125 187 245

L Lanfranco, Giovanni Leonardo da Vinci Lippi, Filippino (Fra) Lippi, Filippo (Fra) Liss, Johann Lochner, Stephan Lorenzetti, Ambrogio M Mantegna, Andrea Martini, Simone Martino (di), Ottaviano Nelli Masaccio, Tommaso Master of Hohenfurth Memling, Hans Memmi, Lippo Michelangelo (Michelangelo Buonarroti) Monaco, Lorenzo Murillo, Bartolomé Estebán Perez P Pacheco, Francisco Pacino (di), Matteo Parmigianino (Girolamo Francesco Mazzola) Pinturicchio, Bernardino Poussin, Nicolas Pozzo, Andrea R Raphael (Raffaello Sanzio) Rembrandt van Rijn, Harmensz. Reni, Guido Rossetti, Dante Gabriel Rottenhammer, Hans Rubens, Peter Paul

185 85, 107 99 61, 75 191 59 21 67, 73, 83, 109 17, 19 33 41, 47 25 77, 105 19 151, 153 35 211, 227, 231 183 23 149 113 195 233 115, 121, 123, 127, 137, 139 193, 199, 203, 205, 209, 213, 219, 221, 223, 225 179 247 171 181, 189, 197

S Saraceni, Carlo Sarto, Andrea del Stella, Jacques

177 135, 147 235

T Tiepolo, Giovanni Battista Tintoretto (Jacopo Robusti) Titian (Tiziano Vecellio) Troger, Paul

237 165 133, 155 239

V Velázquez, Diego Veronese (Paolo Caliari)

201, 215 157

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Introduction

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ngels and archangels, cherubim and seraphim, and all the glorious hosts of

heaven were a fruitful source of inspiration to the oldest painters and sculptors. The Almighty declared to Job that the creation of the world was welcomed with shouts of joy by “all the sons of God”, and the story of the words and works of the angels

Madonna and Child Enthroned with Two Angels and SS. Francis and Dominic Cimabue (Cenni di Pepo) Tempera on wood panel, 133 x 81 cm Galleria degli Uffizi, Florence 8

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written in the Scriptures from the placement of the cherubim at the east of the Garden of Eden to the worship of the angel by John in the last chapter of Revelation, presents them to us as heavenly guides, consolers, protectors, and chastisers of human beings. What study is more appealing than that of the angels 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 God? What more fascinating,

Rucellai Madonna Duccio di Buoninsegna, 1285 Tempera on wood panel, 450 x 290 cm Galleria degli Uffizi, Florence 10

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more stimulating to the imagination and further removed from the exhausting tension of our day and generation? The Old Testament presents angels as an innumerable host, discerning good and evil by reason of superior intelligence, and without passion following the will of God. While they have the power to slay, the force is only exercised upon the command of the Almighty, and not until after the Captivity do we read of evil angels who work wickedness among men.

Flight into Egypt Giotto di Bondone, 1304-1306 Fresco, 200 x 185 cm Cappella Scrovegni (Arena Chapel), Padua 12

The angels of the New Testament, while exempt from need and suffering, have sympathy for human sorrow, rejoice over repentance of sin, attend to prayerful souls, and escort the spirits of the just to heaven when the earthly life has passed. However it is highly unlikely that scriptural teaching concerning angels would encourage a universal interest in their representation, and the personal sympathy with it, which is commonly shared by all sorts and conditions of men, did they not cherish a belief consciously or otherwise that beings superior to themselves

Ognissanti Madonna (Madonna in Maestà) Giotto di Bondone, c. 1310 Tempera on wood panel, 325 x 204 cm Galleria degli Uffizi, Florence 14

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exist, and employ their super-human powers for the blessing of our race, and for the welfare of individuals. As early as the fourth century, the Christian Church had developed a profound belief in the existence of both good and evil angels, the former persuading human beings to pursue good and forsake evil, the latter luring human beings to sin and indulgence. This faith is devoutly maintained in the writings of the Fathers of the Church, in which we are also taught that angelic aid may be invoked in our need, and that a consciousness of the abiding presence of

Maestà (detail) Simone Martini, 1315 Fresco, 763 x 970 cm Palazzo Pubblico, Siena 16

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celestial beings should be a supreme solace to human sorrow and suffering. The theologians of the Middle Ages exercised their imaginations to create a systematic classification of the Orders of the Heavenly Host, assigning to each rank its distinctive office. To the sceptical mind, the warrant for these discriminations may seem insufficient, but as their results are manifested in the works of the old masters, basic knowledge of them is imperative to art students; without it, a large portion of the famous religious pictures of the world are utterly void of meaning.

The Annunciation and Two Saints Simone Martini and Lippo Memmi, 1333 Tempera on wood panel, 184 x 210 cm Galleria degli Uffizi, Florence 18

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Speaking broadly, this classification was based on of the theories of St. Paul, when he speaks of “the principalities and powers in heavenly places” and of the “thrones and dominions”, on Jude's account of the fall of the “angels which kept not their first estate” on the triumphs of the Archangel Michael, and on a few other Scripture texts. Upon this premise, the angelic host was divided into three hierarchies, and these hierarchies were further separated into nine choirs.

Small Maestà Ambrogio Lorenzetti, 1335-1340 Tempera on wood panel, 49 x 32.5 cm Pinacoteca Nazionale, Siena 20

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The first hierarchy embraces seraphim, cherubim, and thrones, the first mention being sometimes given to the cherubim. Dionysius, the Areopagite to whom St. Paul confided all that he had seen, when transported to the seventh heaven accords the first rank to the seraphim, while the familiar hymn of St. Ambrose has accustomed us to saying, “To Thee, cherubim and seraphim continually do cry”. Dante gives preference to Dionysius as an authority, and says of him: “For he had learn’d/ Both this and much beside of these our orbs/ From an eye-witness to Heaven’s mysteries”.

St. Bernard’s Vision of the Virgin with Saints (triptych) Matteo di Pacino Tempera on wood panel, 175 x 200 cm Galleria dell’Accademia, Florence 22

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The second hierarchy includes dominations, virtues, and powers; the third, princedoms, archangels, and angels. The first hierarchy receives its glory directly from the Almighty, and transmits it to the second, which in turn illuminates the third, which is especially dedicated to the care and service of the human race. The third hierarchy is constructed of the ministers and messengers of God; the second is composed of governors, and the first

Nativity Master of Hohenfurth, c. 1350 Panel, 99 x 93 cm Národní Galerie, Prague 24

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consisted of councillors. The choristers of heaven are also angels, and the making of music is revered as an angelic duty. The seraphim immediately surround the throne of God, and are ever lost in adoration and love, which is expressed in their very name, seraph coming from a Hebrew root meaning ‘love’. The cherubim also worship God and are assigned special duties; they are superior in knowledge. The word cherub, by definition, means ‘to know’.

Madonna of Humility with Six Angels Agnolo Gaddi, c. 1390 Tempera on wood panel, 118 x 62.5 cm Galleria dell’Accademia, Florence 26

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The second hierarchy governs the elements and the stars. Princedoms protect earthly monarchies, while archangels and angels are the agents of God in his dealings with humanity. The title of angel signifies a messenger and is often given to a man bearing important tidings. Thus, the Evangelists are represented with wings, and St. John the Baptist is considered an angel. In addition, the Greeks sometimes depict Christ with wings and call him “The Great Angel of the Will of God”.

Annunciation, Visitation, Presentation in the Temple and Flight to Egypt Melchior Broederlam, 1393-1399 Tempera on wood, 167 x 125 cm Musée des Beaux-Arts, Dijon 28

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Very early in the history of art, a system of religious symbolism existed, knowledge of which greatly enhances the pleasure derived from representations of sacred subjects. In no case was this symbolism more carefully explored than in the representations of angels. The aureole or nimbus is rarely omitted from the head of an angel and is always used as the symbol of sanctity. Wings are the distinctive angelic symbol and emblematic of spirit, power and swiftness. Seraphim and cherubim are usually represented by heads with one,

Richard II Presented to the Virgin and Child by his Patron St. John the Baptist and SS. Edward and Edmund, also called The Wilton Diptych Named after Wilton House, c. 1395-1399 Egg on oak, 53 x 37 cm The National Gallery, London 30

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two or three pairs of wings, which symbolise pure spirit, informed by love and intelligence. The head remains an emblem of the soul, love and knowledge. This manner of representing the two highest orders of angels is ancient, and in the earliest instances of their existence the faces are human, thoughtful and mature. Gradually they became increasingly more childlike and are depicted as little baby heads with small wings folded under the chin, symbolising innocence. Evidently, these illustrations fail

Madonna del Belvedere Ottaviano Nelli di Martino, 1404 Tempera on stone Santa Maria Nuova, Gubbio 32

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to convey the original, spiritual significance of the seraphic and cherubic head. The first scriptural mention of cherubim with wings occurs after the departure of the Israelites from Egypt, Exodus 25.20: “And the cherubim shall stretch forth their wings on high, covering the mercy seat”. In Ezekiel, we read that “their wings were stretched upward when they flew; when they stood they let down their wings”. There is, no doubt, scriptural authority for representing angels’ wings in the most realistic manner,

Adoration of the Magi Lorenzo Monaco, c. 1422 Tempera on wood, 115 x 177 cm Galleria degli Uffizi, Florence 34

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since Daniel says “they had wings like a fowl”. Is it not more desirable, however, to see angel-wings rather than bird-wings? The more devout and imaginative artists succeeded in overcoming the commonplace in this regard by various devices. For example, in one of Raphael’s frescoes in the Vatican, we see fiery cherubs, their hair, wings and limbs ending in glowing flames, while their faces are full of spirit and intelligence.

Adoration of the Magi Gentile da Fabriano, 1423 Tempera on wood, 300 x 282 cm Galleria degli Uffizi, Florence 36

It is therefore interesting to note that wings were used by the artists of ancient Egypt, Babylon, Nineveh and Etruria as symbols of might, majesty and divine beauty. The representation of great numbers of angels, surrounding the Deity, the Trinity or the Glorified Virgin, is known as a Glory of Angels and is most expressive and poetical when aesthetically portrayed. A Glory, when properly represented, is composed of the hierarchies of angels in circles, each hierarchy in its proper order. Complete Glories,

Christ Glorified in the Court of Heaven (predella of the altarpiece of San Domenico at Fiesole) Fra Angelico, 1423-1424 Tempera on wood, 31.7 x 73 cm The National Gallery, London 38

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with nine circles of angels, are exceedingly rare. Many artists worked with two or three, and sometimes even a single circle, thus experimenting with the symbol of the Glory. The nine choirs of angels also frequently appear in ancient frescoes, mosaics and sculptures. Sometimes each choir has three figures, thus symbolising the Trinity; again, two figures stand for each choir, and occasionally nine figures signify the three hierarchies. In the final representation careful attention was given to colours as well as to symbols.

Madonna and Child with St. Anne Tommaso Masaccio, c. 1424 Tempera on panel, 175 x 103 cm Galleria degli Uffizi, Florence 40

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The Princedoms and Powers of Heaven are represented by rows and groups of angels all adorned in the same dress and tiara and bearing the orb of sovereignty and sceptre-like wands. Contrary to the portrayal of angelic orders, the representation of seraphs and cherubs often follows a uniform colour scheme. In a Glory, for example, the inner circle should be glowing red, the symbol of love; and the second should be blue, the shade of light, symbolising knowledge.

The Annunciation Triptych (Mérode Triptych) Robert Campin (Master of Flémalle) and workshop, c. 1425-1430 Oil on oak, overall (open): 64.5 x 117.8 cm, central panel: 64.1 x 63.2 cm, each wing: 64.5 x 27.3 cm The Metropolitan Museum of Art, New York 42

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Angelic symbolism in its purity makes the “blue-eyed seraphim” and the “smiling cherubim” equally unconventional, since the seraph should be glowing with divine love, and the face of the cherub should be expressive of serious meditation. The familiar cherubim beneath Raphael’s famous Madonna di San Sisto in the Dresden Gallery are exquisite illustrations of this attention to detail. The colours of the oldest pictures, illuminated manuscripts, stained glass and painted sculptures were most carefully considered.

Adoration of the Lamb (The Ghent Altarpiece, central panel) Jan van Eyck, 1425-1429 Oil on wood, 350 x 461 cm (open), 350 x 223 cm (closed) Saint Bavo Cathedral, Ghent 44

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However by the end of the fifteenth and the beginning of the sixteenth century, this colour law had become less observed, and it was not unusual to see the wings of cherubim in various colours. Raphael’s world-renowned Madonna exemplifies this very change. The entire background of the painting is composed of lightly-painted seraphs and cherubs that almost blend into the golden-tinted background of the painting. The five angelic choirs which follow the seraphim and cherubim are not illustrated in

The Expulsion from the Garden of Eden Tommaso Masaccio, 1426-1427 Fresco, 208 x 88 cm Brancacci Chapel of Santa Maria della Carmine, Florence 46

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works of art, although they were described with great accuracy by medieval theologians. When archangels are represented merely as belonging to their order as opposed to their distinctive offices, they are depicted in complete armour, bearing swords that point upwards and often carrying a trumpet. Angels are robed and represented in accordance with the work in which they are engaged. While the wand is an angelic symbol, it is often omitted in order to depict the angel in a specific action – for example

The Annunciation Fra Angelico, 1433-1434 Tempera on wood, 150 x 180 cm Museo Diocesano, Cortona 48

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when the hands are folded in prayer or musical instruments are in use, in addition to other circumstances. Most angels are depicted as masculine. They are represented as having human forms and faces, young, beautiful and perfect, with an expression of divine nature. Artists see them as created beings, therefore not eternal, but they are never old, and should not be infantile. Such representations are referred to as infant angels and symbolise the souls of regenerate men or the spirits of dead infants, those of whom Jesus

Coronation of the Virgin Fra Angelico, 1434-1435 Tempera on panel, 209 x 206 cm Musée du Louvre, Paris 50

said that “in heaven their angels do always behold the face of my Father”. Angels are invariable; resistant to the fleeting nature of time, they enjoy perpetual youth and uninterrupted bliss. They embody unique power, wisdom, innocence and spiritual love. In the earliest pictures of angels the drapery was abundant and no unusual attitudes, no insufficient robes, nor unsuitable expression was seen in such representations so long as religious art was at its best.

Virgin and Child (Madonna della Stella) (shrine containing the relics of the SS. Dominic, Thomas Aquinas, and Peter Martyr) Fra Angelico, 1434 Tempera on wood panel, 84 x 51 cm Museo Nazionale di San Marco, Florence 52

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White was the prevailing colour of angelic drapery, but delicate shades of blue, red and green were frequently employed. The Venetians often used an exquisite pale salmon colour in the drapery of their angels but steered away from dark or heavy colours. Contrary to the old Italian masters, the early German painters incorporated colourful and elaborate angelic draperies within their paintings, utilising a vast array of colours, needlework and jewels. Artists’ usage of such

The Virgin and Child Enthroned with Four Angels (central panel of Guidalotti polyptych) Fra Angelico, c. 1437 Tempera on wood panel, 130 x 77 cm Galleria Nazionale dell’Umbria, Perugia 54

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elaborate colouring, embroidery and jewels implied that their angels might involuntarily descend to earth and never hope to rise again without a change of attire. The multitude of angels which were introduced into early religious pictures (messengers, guardians, choristers) often indicated a “cloud of witnesses”. They lend an element of beauty and of spiritual emotion to the scenes honoured with their presence.

Deposition from the Cross (Pala di Santa Trinità) Fra Angelico, 1437-1440 Tempera on panel, 176 x 185 cm Museo Nazionale di San Marco, Florence 56

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Their effectiveness has appealed to many Christian architects who have fully profited by the example of Solomon, who “carved all the walls of the house temple with carved figures of cherubim,” and he made the doors of olive-tree, depicting carved cherubim. In the same manner, in many old churches, angels carved in marble, stone or wood, and painted on glass, in frescoes on walls, and in smaller pictures, fill all spaces,

Madonna of the Rose Bush Stephan Lochner, c. 1440 Oil on panel, 51 x 40 cm Wallraf-Richartz-Museum, Cologne 58

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and are figures of beauty. However, as the stricter theological observances prevailed, angels were not permitted as mere decorations, but were as also utilised as didactical tools, employed to reiterate the beliefs and teachings of the Church. Angels were only second to the persons of the Trinity at this period, and preceded the Evangelists. They were represented as surrounding divine beings, and the Virgin enthroned, or in Glory.

Annunciation Fra Filippo Lippi, c. 1445 Wood, 175 x 183 cm Martelli Chapel, San Lorenzo, Florence 60

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What was known as a Liturgy of Angels was most effective and beautiful. It consisted of a procession of angels on each side of the choir, apparently approaching the altar, all wearing the stole and alba of a deacon, and bearing the implements of the mass. The statues of kneeling angels, often placed on each side the altar, holding tapers, or the emblems of the Passion of Christ, were not mere decorations, but symbolised the angelic presence wherever Christ is worshipped.

Annunciation Alesso Baldovinetti, 1447 Tempera on wood, 167 x 137 cm Galleria degli Uffizi, Florence 62

Therefore, either processions or single figures of angels, in any part of a church or approaching the altar, are symbols of the glorious hosts of heaven who eternally praise God. During the first three centuries of Christianity, the representation of angels was prohibited, and it is therefore interesting to observe the unrefined manner in which they were pictured in the illuminated manuscripts and the mosaics of the fifth century. Indeed, until the tenth century the angels in art were both uniquely formed and draped.

The Annunciation Fra Angelico, c. 1450 Fresco, 230 x 321 cm Convento di San Marco, Florence 64

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Giotto first approached the ideal representation of angels, and naturally his pupils elaborated upon this idealised conception of these celestial beings. It was Angelico who first succeeded in portraying absolutely unearthly angels- angels who must have appeared to him in his holy dreams, and impressed themselves on his pure spirit in such a way that with mere paints and brushes he could picture a superhuman purity. Angelico’s angels fail to appear as grown humans while in the angels of other masters,

The Adoration of the Shepherds Andrea Mantegna, c. 1450 Tempera on wood mounted on canvas, overall 40 x 55.6 cm painted surface 37.8 x 53.3 cm The Metropolitan Museum of Art, New York 66

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beautiful, seraphic and charming as they may be, we often fancy that we see a beautiful boy, or a happy child, who might have served the artist as an angel-making model. Wonderfully celestial as Angelico’s angels seem to be, they are predominantly feminine. In his time this may have been criticised, however, since angels are sexless according to religious teachings that guided this spiritual-minded monk and illuminator.

Virgin and Child Surrounded by Angels (right panel of Meulun’s diptych) Jean Fouquet, c. 1450 Wood, 93 x 85 cm Koninklijk Museum voor Schone Kunsten Antwerpen, Antwerp 68

The angels of Giotto and Benozzo Gozzoli, with all their beauty, also appear feminine while the great Michael Angelo, whose angels have not yet attained wings, fail to represent such celestial beings as one would choose to accompany them to heaven. Leonardo’s angels almost grin; Correggio reproduced the lovely children who did duty as his angels; almost the same may be said of Titian; while in the pictures by Francesco Albani, Guido Reni and Caracci, the angels are simply attractive and even elegant boys. It is so difficult to distinguish the angels of

The Last Judgment (right wing of a triptych) Petrus Christus, 1452 Oak, 134 x 56 cm Gemäldegalerie, Staatliche Museen zu Berlin, Berlin 70

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some artists from their cupids that one can only differentiate by learning the titles of their pictures. This is characteristic of the works of these masters as a whole, with rare exceptions. To whom, then, may one look for satisfactory angels? Raphael's angels, especially the beings that appear in his later works are particularly exemplary. His angels are sexless, spiritual, graceful and simultaneously personify intelligence and power. The three angels in The Expulsion of Heliodorus from the Temple, in the Stanza della Signatura, in the Vatican encompass

The Agony in the Garden Andrea Mantegna, c. 1460 Tempera on wood, 62.9 x 80 cm The National Gallery, London 72

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these angelic characteristics. They are without wings, and none are needed to emphasise their God-like wrath against the thief who robbed the widow and orphan in the very Temple of the Most High. With streaming hair and swift, spirit-like movement, the celestial warrior on his steed believed to be St. Michael in his office of Protector of the Hebrews with his deadly mace drawn back ready to strike the fallen robber and his two rapidly gliding attendants, represent poignant conceptions and personifications of super-human power that is that is incomparable to any other work of art.

Madonna with the Child and Two Angels Fra Filippo Lippi, 1465 Tempera on wood, 95 x 62 cm Galleria degli Uffizi, Florence 74

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Rembrandt also painted wonderful angels: they are poetic, unearthly apparitions and once studied, are forever immortalised in time. Modern artists have followed the examples of old masters in their treatment of angels. The poet Blake, however is a notable exception to this rule. He painted angels that surely “sing to heaven,” while they float upon the air which their diaphanous drapery seems about to vanish and become a portion of the ether which surrounds them.

Last Judgment Triptych Hans Memling, 1467-1471 Oil on wood, 221 x 160 cm Muzeum Narodowe w Gdansku, Gdansk 76

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Mr. Ruskin writes of the earlier and later representations of angels […] that there is “a certain confidence in the way in which angels trust to their wings, very characteristic of a period of bold and simple conception. Modern science has taught us that a wing cannot be anatomically joined to a shoulder. As painters take a more scientific approach, they place less importance on the wings and instead emphasise the human form. “But in Giotto’s time an angel was a complete creature, as much believed in as a bird, and the way in which it would, or might,

The Nativity Piero della Francesca, 1470-1475 Oil on poplar, 124.4 x 122.6 cm The National Gallery, London 78

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cast itself into the air, and lean hither and thither on its plumes, was as naturally apprehended as the manner of flight of a chough or a starling”. “Hence, Dante’s simple and most exquisite synonym for angel, ‘Bird of God;’ and hence, also, a variety and picturesqueness in the expression of the movements of the heavenly hierarchies by the earlier painters, ill-replaced by the powers of foreshortening and throwing naked limbs into fantastic positions, which appear in the cherubic groups of later times”.

Tobias and the Three Archangels Francesco Botticini, c. 1470 Tempera on wood panel, 135 x 154 cm Galleria degli Uffizi, Florence 80

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Archangels

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he archangels alone have names and being able to identify them, especially

in connection with certain important events in heaven and on earth, we involuntarily think of them with a more intimate, reverent and sympathetic feeling than we can possibly have for the infinite nameless angels of the heavenly choir.

Oculus (Camera Picta Ceiling) Andrea Mantegna, 1471-1474 Fresco, diameter: 270 cm Palazzo Ducale, Mantua 82

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In works of art, these angels are always beautiful, perpetually smiling and appear in varying numbers depending on the particular religious event, thus apparently justifying those who believe that we are always surrounded by these celestial beings. They are a most decorative audience of witnesses and when they are playing upon their musical instruments or singing praises to God with open lips and upturned, rapturous eyes, they contribute an enchanting element to the representation.

Annunciation Leonardo da Vinci, 1472-1475 Tempera on wood, 98 x 217 cm Galleria degli Uffizi, Florence 84

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The story of the archangels and their wonderful deeds, as told in scripture and in the sacred legends provides us with a vivid sense of their marvellous power and wisdom, as well as their tender sympathy for the human beings, of whom they protected and served in their office of guardians and defenders. The official duties that have been assigned to them by the theologians give them a lasting presence within our minds.

The Burning Bush (triptych) Nicolas Froment, 1476 Wood, 410 x 305 cm Cathédrale Saint-Sauveur, Aix-en-Provence 86

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In comparison with such a personality as we must involuntarily give to St. Michael, the hovering, musical angels appear intangible, such fleeting airy visions, and appear to be evolved from the air into which they vanish. Michael (Who is like unto God) is the captain-general and leader of the heavenly host- the protector of the Hebrew nation and the conqueror of the hosts of hell, the lord and guardian of souls, the patron saint and prince of the Church militant. His attributes are the sceptre, the sword and the scales.

The Adoration of the Shepherds (central panel of the Portinari Altar) Hugo van der Goes, 1476-1479 Oil on wood, 253 x 304 cm Galleria degli Uffizi, Florence 88

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Gabriel (Man of God) is the guardian of the celestial treasury; a bearer of important messages, the angel of the Annunciation and the preceptor of the Patriarch Joseph. His symbol is the lily. Raphael (God’s Healing) is the chief of guardian angels and was the conductor of the young Tobias. He bears the staff and gourd of a pilgrim. Uriel (Light of God) is regent of the sun, and was the teacher of Esdras. His symbols are a scroll and book.

The Annunciation Lorenzo di Credi, after Leonardo da Vinci, between 1478 and 1485 Oil on wood panel, 16 x 60 cm Musée du Louvre, Paris 90

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Chamuel (One Who Sees God) is believed by some to be the angel who wrestled with Jacob and who appeared to Christ during the agony in the garden. Others believe the latter to have been Gabriel. Chamuel bears a cup and staff. Jophiel (Beauty of God) is the guardian of the Tree of Knowledge, who drove Adam and Eve from the Garden of Eden, the protector of seekers for truth, the preceptor of the sons of Noah, and the enemy of those who pursue vain knowledge. His attribute is a flaming sword.

Madonna of the Magnificat Sandro Botticelli (Alessandro di Mariano Filipepi), c. 1480-1481 Tondo, tempera on panel, d.: 118 cm Galleria degli Uffizi, Florence 92

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Zadkiel (the righteousness of God) is sometimes said to have prevented the hand of Abraham from the sacrifice of Isaac, while others believe this to have been the work of Michael. The sacrificial knife is the symbol of Zadkiel. When the archangels are represented without reference to their distinctive offices, they are in complete armour, holding swords with the points upwards and sometimes bearing trumpets. They are of a two-fold nature, since they are powers;

Adoration of the Child Francesco Botticini, c. 1485 Tondo, tempera on wood panel, d.: 123 cm Galleria degli Uffizi, Florence 94

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archangels fulfil the duties of messengers and ministers. Although each of the seven archangels has been often represented in works of art, there doesn’t appear to be an example in which they are all seen together and can be identified by name. There are occasional instances of the representation of seven angels, blowing trumpets, which are intended to illustrate the text in Revelation,

The Annunciation, with St. Emidius Carlo Crivelli, 1486 Egg and oil on canvas, 207 x 146.7 cm The National Gallery, London 96

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“And I saw the seven angels which stand before God, and to them were given seven trumpets”. In pictures of the crucifixion, and of the Virgin with the body of Christ, also known as the Pietà, the instruments of the Passion of Christ are frequently borne by seven angels, and the same number appear in pictures of the last judgment. But as neither the Eastern or Western Church acknowledged the seven archangels, it is probable that these pictures represent the angels of Revelation.

Madonna and the Child Enthroned with SS. John the Baptist, Victor, Bernard and Zenobius (Altarpiece of the Otto di Pratica) Fra Filippino Lippi, 1486 Tempera on wood panel, 355 x 255 cm Galleria degli Uffizi, Florence 98

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The Hebrews believed that Michael, Gabriel, Raphael and Uriel sustained the throne of God. The first three are revered as saints in the Catholic Church; and their divine achievements and celestial beauty have been an inspiration to painters and sculptors, resulting in the creation of many immortal works of art.

Annunciation Sandro Botticelli (Alessandro di Mariano Filipepi), 1489-1490 Tempera on panel, 150 x 156 cm Galleria degli Uffizi, Florence 100

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Guardian Angels, Angel Choristers and Adoring Angels

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rom 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

Coronation of the Virgin (San Marco Altarpiece) Sandro Botticelli (Alessandro di Mariano Filipepi), c. 1490 Tempera on panel, 378 x 258 cm Galleria degli Uffizi, Florence 102

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worship and seraphs adore the Most High. The belief in guardian angels especially those devoted to the care of individuals is far more widespread than one would think. The godly man has a true 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”.

Madonna Enthroned with Child and Two Angels Hans Memling, 1490-1491 Oil on wood, 57 x 42 cm Galleria degli Uffizi, Florence 104

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We cannot think of angels as a reality in the winged, human forms that have been given to them in art, any more than we can expect mermaids to rise from the waters as mentioned in the charming legends in which these maidens were presented. These imaginary and apparently palpable angels are but allegories, which long have been and continue to be applied to art. On a literal level, we know that they are impossible, even fantastic creatures; however as emblems of spiritual guardians,

The Virgin of the Rocks (The Virgin with the Infant St. John Adoring the Infant Christ Accompanied by an Angel) Leonardo da Vinci, c. 1491-1508 Oil on wood, 189.5 x 120 cm The National Gallery, London 106

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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 realise 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 shaped like men and should be thus represented. This decision is supported by the supposition that God said to the angels, “Let us make man after our image”;

Christ as the Suffering Redeemer Andrea Mantegna, 1495-1500 Tempera on wood, 78 x 48 cm Statens Museum for Kunst, Copenhagen 108

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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 encourage good. In sorrow he is a comforter; in weakness, strength; even in death he is faithful contending 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.

Mystic Nativity Sandro Botticelli (Alessandro di Mariano Filipepi), 1500 Oil on canvas, 108.6 x 74.9 cm The National Gallery, London 110

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The impersonality of angels is one of their most precious qualities. An angel is never active except as the agent of the Almighty, appointed to show his mercy and love for 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.

Annunciation Bernardino Pinturicchio, 1501 Fresco Cappella Baglioni, Collegiata di Santa Maria Maggiore, Spello

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According to the teaching of the Fathers of the Church to which we have referred, the combat between good and evil angels is endless, and they also advise Christians to invoke the aid of angels, thus believing them 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.

St. Michael and the Demon, known as The Small Saint Michael Raphael (Raffaello Sanzio), c. 1504 Oil on wood, 30.9 x 26.5 cm Musée du Louvre, Paris 114

An ideal, must be personified to be visually represented, and I doubt if any new personification of angels could satisfactorily replace that which has been developed in art during sixteen centuries of which we have grown accustomed to since childhood. The angels that are known in pictures are illustrated as watching over children, preventing harm to individuals (as in the sacrifice of Isaac) and encouraging or even compelling worthy action (as in the case of Balaam), therefore they are dear to the heart of the world.

Vision of St. Bernard with SS. Benedict and John the Evangelist Fra Bartolomeo, 1504 Panel, 213 x 220 cm Galleria degli Uffizi, Florence 116

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The representations of guardian angels in the domestic realm, for example watching sleeping infants, guiding their feeble steps, and shielding them from accidents, are completely modern interpretations. By the end of the sixteenth century, guardian angels engaged in all these minor duties, were only represented in art as performing solemn and superhuman deeds. This shift may have resulted from the old artists’ devout belief in these angelic beings as oppose to modern artists who are simply seeking a graceful and poetic subject.

The Archangel St. Michael (central panel of the Michael Altar) Gérard David, c. 1510 Oak, 66 x 53 cm Kunsthistorisches Museum, Vienna 118

However, the angels who perform miracles to prevent the torture of Christian martyrs and other superhuman acts are as much guardian angels as are those bending over cradles and gathering blossoms for children in the fields. After the guardians, the choristers or musical angels, most appeal to humankind. They are beautiful in their representations, and fulfil an ideal mission. Their hymns of praise are not all devoted to the pure worship of the Almighty since they rejoice and sing when blessings are conferred upon mankind.

The Expulsion of Heliodorus from the Temple Raphael (Raffaello Sanzio), 1511-1512 Fresco, width: 750 cm Stanza di Eliodoro, Palazzi Pontifici, Vatican City 120

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How exquisite is the story in the second chapter of St. Luke’s Gospel, when the single angel announces the birth of Jesus to the shepherds, “and suddenly there was with the angel a multitude of the heavenly host praising God, and saying, Glory to God in the highest, and on earth peace, good will toward men”. In the final sentences of this heavenly chant, we can infer that angels are delighted to provide songs of happiness for humans.

The Sistine Madonna Raphael (Raffaello Sanzio), c. 1512-1513 Oil on canvas, 269.5 x 201 cm Gemäldegalerie Alte Meister, Dresden

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There is much that appeals to our imagination in the thought of these heavenly musicians. We fancy their perfect instruments attuned to perfect voices, creating such harmonies that no earthly orchestra can reproduce. “The harp, the solemn pipe And dulcimer, all organs of sweet stop”. In the early days of Christian Art, painters and sculptors alike valued the representation of musical angels, and it is surprising to find in how many scenes they are not only appropriate but vital.

Isenheim Altarpiece open: Concert of Angels and Nativity Matthias Gothart Grünewald, 1512-1516 Oil on wood panel, 265 x 304 cm Musée d’Unterlinden, Colmar 124

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They are most fittingly present at the coronations of Jesus and the Virgin; they gladly welcomed the just to heaven; they join in the hymn of St. Cecilia, which they must have inspired; they are always in harmony with pictures of the Madonna and child and are as numerous as the representations of them. It would seem that certain sculptors and painters must have witnessed these blessed beings in visions and listened to their music, inspiring them to incorporate them in statues and on canvas. Della Robbia, Ghiberti, Fra Angelico, Ghirlandajo, Melozzo da Forli,

The Holy Family with Raphael, Tobias and St. Jerome, known as Madonna del Pesce Raphael (Raffaello Sanzio), 1513-1514 Oil on wood, 215 x 158 cm Museo Nacional del Prado, Madrid 126

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Vivarini, Giovanni Bellini, Raphael and Palma, must all have seen, at least with the eyes of the spirit, the angelic choirs which make so precious a part of their legacy to us. The difference in the sentiments with which these angelic choristers seem to be inspired lends them a peculiar charm. Now they are alone intent on solemnly praising God; again they seem full of such overflowing joy as can only be expressed in vocal harmonies, in symphonies with violin, pipe, harp and lute. Nowhere are these angels more pleasant as when they turned their sweet faces to the infant Jesus and chanted their love for him.

Christ with the Four Evangelists Fra Bartolomeo, 1516 Wood, 282 x 204 cm Galleria Palatina, Palazzo Pitti, Florence 128

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Cherubim and seraphim are technically the adoring angels since they are represented in pictures of God. But adoring angels are also frequently seen in pictures of the Madonna and Child, as well as in scenes from the lives of Jesus and the Virgin. Sometimes they appear in great numbers, as in Angelico’s picture of the Last Judgment; or in smaller groups, as the three adoring angels in Francesco Granacci's work; or alone, as in the case of the angel with bowed head, who stands behind the Virgin in the Madonna and Angels, by Boticelli.

St. George and the Dragon Vittore Carpaccio, 1516 Oil on canvas, 180 x 226 cm San Giorgio Maggiore, Venice 130

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Mourning angels appear more frequently in sculpture than in painting and are much used as monuments to the dead. Despite this, there are pictures in which angels show their sympathy with sorrow and suffering. While by nature they cannot be unhappy, they are not represented as joyful as in pictures of the Crucifixion and other sorrowful scenes in the lives of Jesus, the Virgin, or saintly martyrs. They hide their faces, wring their hands and show their grief and sympathy in various ways. I recall a picture of a mourning angel kneeling before a crown of thorns with tears upon his face.

Assumption of the Virgin Titian (Tiziano Vecellio), 1516-1518 Oil on wood, 690 x 360 cm Santa Maria Gloriosa dei Frari, Venice 132

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Pictures of Angels as Authorised by the Scriptures

B

eside the representations of angels in art in accordance with the imagination

of individual artists, there are two important classes of angelic subjects, one of which rests upon the authority of the Scriptures, and the other upon that of the sacred legends.

Madonna and Child between St. Francis of Assisi and St. John the Evangelist, known as Madonna of the Harpies Andrea del Sarto, 1517 Oil on wood panel, 208 x 178 cm Galleria degli Uffizi, Florence 134

The first mention of angels in the Old Testament occurs in the third chapter of Genesis, in relation to the cherubims that were placed at the east of the Garden of Eden, to keep the way to the Tree of Life. Fine pictures of this subject are as rare as they are beautiful. The pictures often amalgamate the exquisite garden, the radiant cherubim and the dazzling light from the flaming sword together, producing a glorious effect. In connection with the story of Abraham, angels frequently appear. The sacrifice of Isaac is always an interesting subject,

The Vision of Ezekiel Raphael (Raffaello Sanzio), 1518 Oil on wood, 40 x 30 cm Galleria Palatina, Palazzo Pitti, Florence 136

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symbolising, as it does, in the submission of Isaac, that of Jesus, and in the willingness of Abraham to give his son in sacrifice, that of the Divine Father to give his well-beloved Son for the salvation of men. The appearance of the angel to prevent the consummation of the sacrifice has been painted many times. The picture by Rembrandt is powerful, and profoundly realistic. It is in the Hermitage at St. Petersburg. The same scene is also painted by Titian and is displayed in the Church of Santa Maria della Salute, Venice, is by Titian and is among the famous works of this great master.

St. Michael Slaying the Demon, known as The Large Saint Michael Raphael (Raffaello Sanzio), 1518 Oil on canvas, 268 x 160 cm Musée du Louvre, Paris 138

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While the story of Hagar references two angels, these charming subjects have rarely been painted. Evidently, the more unpleasant expulsion of Hagar from the home of her youth has been frequently represented. After being admonished by Sarah, Hagar is depicted alone in the wilderness repenting her sins. It is at this moment that the angel appears and commands her return to Abraham. A more dramatic example illustrates Hagar and Ishmael in the wilderness of Beersheba. Ishmael is fainting from thirst, and Hagar

Passing away of St. John Correggio (Antonio Allegri), 1520-1524 Fresco San Giovanni Evangelista, Parma 140

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flings herself to the ground pleading “Let me not see the death of the child”. In the midst of prayer, an angel appears to comfort her and guides her to a hidden spring. Jacob’s Dream from Genesis 28, a story describing Jacob’s dream of a ladder stretching to heaven with angels ascending and descending on the stairs, is a widely depicted story throughout art. However, each interpretation varies in its representation of both the angels and the ladder. Some artists

Nativity Hans Baldung Grien, 1520 Oil on wood, 105.5 x 70.4 cm Alte Pinakothek, Munich 142

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depict one angel watching over the sleeper while others depict several angels drifting gracefully up and down the steps. The ladder too often differs in its’ representation, it is often characterised by both single and multiple flights of stairs ascending to the clouds or heavens. William Blake’s illustration of the story of Job, When the Morning Stars Sang together, and All the Sons of God Shouted for Joy is renowned for its unusual exploration of angels. Similarly to several of his other works Blake

Virgin and Child with Parrots Hans Baldung Grien, c. 1527 Oil on panel, 91 x 63.2 cm Germanisches Nationalmuseum, Nuremberg 144

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(who was viewed by his peers as mentally disturbed), conveys an element of other worldliness which is rarely seen in works by other artists of his era. In reference to this particular painting Mrs. Jameson wrote: “His adoring angels float rather than fly, and, with their half liquid draperies, seem about to dissolve into light and love; and his rejoicing angels behold them sending up their voices with the morning stars, that, singing, in their glory, move”. Raphael’s

The

Vision

of

Ezekiel,

displayed in the Pitti Gallery in Florence,

Annunciation Andrea del Sarto, 1528 Oil on wood, 96 x 189 cm Galleria Palatina, Palazzo Pitti, Florence 146

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was painted for Count Ercolani of Bologna and is mentioned as early as 1589 and has been engraved and copied many times. Jehovah is depicted seated in a glory of cherubim’s heads, which are almost unnoticeable as a result of the exceeding brightness described within the text, “ And I saw as the colour of amber, as the appearance of fire round about within it, from the appearance of his loins even upward, and from the appearance of his loins even downward. I saw as it were the

Madonna with Long Neck Parmigianino (Girolamo Francesco Mazzola), 1534-1540 Oil on panel, 216 x 132 cm Galleria degli Uffizi, Florence 148

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appearance of fire, and it had brightness round about”. In conjunction with this text, Jehovah appears partially nude, his upper portion exposed while the lower portion of his body is draped in rose. Underneath Jehovah are the four animals symbolic of the Evangelists, the cherub, the lion, the ox, and the eagle. These animals are mythical and spiritual creatures that float along bearing the Messiah, while two small angels are near with out-stretched arms.

Last Judgment (full view) Michelangelo (Michelangelo Buonarroti), 1537-1541 Fresco after restoration, 13.7 x 12.2 m Sistine Chapel, Vatican 150

The sky in this picture is especially striking; the gray clouds roll away in order to disclose the vision. This picture has been criticised as a result of the nude figure of Jehovah; and has been argued to be a more proper representation of Jupiter than of the Almighty. Despite this objection, evidently the text itself justifies Rapheal’s interpretation. It is highly doubtful that a representation exists which more suitably captures the symbolic nature of the “Four Beasts”. The exact imitation of nature, which appeared later in other works of Art, contradicts the sacred and

Pietà Michelangelo (Michelangelo Buonarroti), c. 1538-1544 Black chalk on paper, 28.9 x 18.9 cm Isabella Stuart Gardner Museum, Boston 152

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mystical nature inherent to these emblems. The cherub signifies St. Matthew, because his Gospel sets forth the human nature of Christ more forcibly than the divine. The lion refers to St. Mark, because he first speaks of “the voice of one crying in the wilderness”, typical of the lion. The ox symbolises sacrifice and is associated with St. Luke since he dwells on the priesthood of Christ. The eagle alludes to St. John, serving as the emblem of his inspiration, of which he described so sublimely in relation to the divinity of Jesus.

Sacrifice of Isaac Titian (Tiziano Vecellio), 1542-1544 Oil on canvas, 328 x 285 cm Santa Maria della Salute, Venice 154

There are several other explanations of these symbols which so often appear in works of Art. However, in this particular version of the “Vision of Ezekiel”, it would seem as if Jehovah’s throne is composed of these mystic beasts while the angels that attend to him gaze into his face, anticipating some service to be rendered. The New Testament provides us with clearer idea of the nature and offices of angels than we obtain from the Hebrew Scriptures. We learn of their great numbers from the words of Jesus,

The Mystical Marriage of St. Catherine of Alexandria Veronese (Paolo Caliari), 1560-1565 Oil on canvas, 130.5 x 130 cm Musée Fabre, Montpellier 156

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“Thinkest thou that I cannot now pray to my Father, and he shall presently give me more than twelve legions of angels?” (Matthew 26.53), and from Paul, when he speaks of the “ innumerable company of angels”. In the Gospels of St. Matthew and St. Luke we learn that they are superior to human affections, and immune to change. “For in the resurrection they neither marry, nor are given in marriage, but are as the angels of God” (Matthew 20.30). “Neither can they die any more; for they are equal unto the angels” (Luke 20.36). By the words

The Fall of the Rebel Angels Pieter I Bruegel the Elder, 1562 Oak, 117 x 162 cm Musées royaux des Beaux-Arts de Belgique, Bruxelles 158

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of Jesus, however, we are assured of the sympathy of angels in all that concerns our spiritual good. In Luke 20.10, Jesus says, “Likewise I say unto you, there is joy in the presence of the angels of God over one sinner that repenteth”. The belief that angels bear the souls of the redeemed to heaven, rests heavily on the St. Luke’s declaration that “the beggar died, and was carried by the angels into Abraham’s bosom” and in Hebrews 1.14, St. Paul teaches that they are “sent forth to minister for them who shall be heirs of salvation”.

The Burial of the Count of Orgaz El Greco (Domenikos Theotokopoulos), 1586-1588 Oil on canvas, 480 x 360 cm Iglesia de Santo Tomé, Toledo 160

In the Annunciations of the birth of St. John the Baptist and of Jesus, the angels were the messengers of God, similarly to the way in which they appeared in the Old Testament. The declaration of St. Matthew conveys that angels act as attendants to Christ, “the Son of man shall come in the glory of his Father with his angels”. This is reiterated again “When the Son of man shall come in his glory, and all the holy angels with him”. The role that angels play in fulfilling Christ’s missions is indicated in Act 5.20,

Madonna in Glory with Child, St. Louis, St. John the Baptist, St. Alexius, St. Catherine, St. Francis and St. Clare Annibale Carracci, 1587-1588 Oil on canvas, 278 x 193 cm Pinacoteca Nazionale di Bologna, Bologna 162

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when an angel liberated the Apostles from prison and commanded them to “speak in the temple to the people all the words of life”. When writing to the Romans, St. Paul speaks of angels, principalities, and powers, thus enumerating the different orders of angels, declaring their inability to separate humans from the love of God, denoting their devotion and obedience to god and therefore implying their inability to deviate from God’s will. Again, in writing to the Colossians, St. Paul speaks of things “visible and invisible” and enumerates thrones, dominions, principalities,

The Last Supper Tintoretto (Jacopo Robusti), 1592-1594 Oil on canvas, 365 x 568 cm San Giorgio Maggiore, Venice 164

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and powers while to the Ephesians he declares that God has placed Christ above all these orders of celestial beings. After the annunciations to Zacharias and the Virgin Mary, the next angel appears in the New Testament story, instructing Joseph about the miraculous conception of Jesus. The appearance to the shepherds follows, which was mentioned earlier in connection with the subject of angelic choirs. Again, Joseph was warned by an angel to flee to Egypt with Mary and the young Child, to escape the anger of Herod.

St. Francis of Assisi in Ecstasy Caravaggio (Michelangelo Merisi), c. 1594-1595 Oil on canvas, 92.5 x 128.4 cm Wadsworth Atheneum Museum of Art, Hartford 166

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The treatment of angels in the pictures of St. John the Baptist in the wilderness are often interpreted differently depending upon the particular work. When he is depicted as very young, he is attended by ministering angels. This idea is warranted by the legend suggesting that he was a mere child of seven or eight years in addition to the words of St. Luke in the last verse of the first chapter of his Gospel, “And the child grew, and waxed strong in spirit, and was in the deserts till the day of his shewing unto Israel”.

The Musicians Caravaggio (Michelangelo Merisi), c. 1595 Oil on canvas, 92.1 x 118.4 cm The Metropolitan Museum of Art, New York 168

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The pictures of the Baptism of Christ are numerous, and the number of attendant angels often varies from two to four, although there are some examples that incorporate a larger number. The visit of the women to the sepulchre of Christ also varies between pictures, as would naturally result from the different accounts given by the Evangelists. Some pictures depict Mary Magdalene alone when she saw two angels sitting where the body of Christ had lain. However more frequently,

Rest upon the Flight into Egypt with the Temple of Tivoli Pieter I Bruegel the Elder and Hans Rottenhammer, 1595 Oil on copper, 26 x 35.5 cm Private Collection 170

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three Marys are shown coming to the sepulchre bearing spices only to find the guards paralyzed with terror, and an angel who tells them that the Lord has risen. This subject was not represented in sculpture or painting before the eleventh century, and rarely after that until three centuries later, when it was wonderfully portrayed, notably by Orcagna, In the Campo Santo at Pisa. The portions of these pictures for which there is scriptural authority are important.

Rest on Flight to Egypt Caravaggio (Michelangelo Merisi), 1596-1597 Oil on canvas, 133.5 x 166.5 cm Galleria Doria Pamphilj, Rome 172

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Christ is the judge in accordance with his own words, Matthew 65. 27: “For the Son of man shall come in the glory of his Father with his angels; and then he shall reward every man according to his works”. This also is more emphatically illustrated in Matthew 25. 31-46, where the word-picture of the “Judgment” is a vividly realistic description of some artistic representations of this scene. The Apostles seated on each side of Christ are also warranted by his words in Luke 22. 30: “That ye may... sit on thrones

The Inspiration of St. Matthew Caravaggio (Michelangelo Merisi), 1602 Oil on canvas, 292 x 186 cm San Luigi dei Francesi, Rome 174

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judging the twelve tribes of Israel”. The Virgin, St. John the Baptist, patriarchs, prophets and saints are all admissible on the authority of St. Paul, who says, Corinthians 55.2: “Do ye not know that the saints shall judge the world?” and in the following sentence: “Know ye not that we shall judge angels?”. The angels are deputed to “gather together his elect from the four winds” (Mark 13. 27) and those who fill this office are the trumpet angels in all these representations.

St. Cecilia and the Angel Carlo Saraceni, c. 1610 Oil on canvas, 172 x 139 cm Palazzo Barberini, Galleria Nazionale d’Arte Antica, Rome 176

The division of those to be judged rests on Daniel 7. 2: “And many of them that sleep in the dust of the earth shall awake, some to everlasting life, and some to shame and everlasting contempt”, and even more positively on Christ’s words in Matthew 25 (which was previously referred to). The angels who hold the cross, scourge, nails, crown of thorns and other symbols of the Passion of Christ, emphasise the theological teaching that men are judged according to their acceptance or rejection of the atonement by Christ for the sins of the world.

The Massacre of the Innocents Guido Reni, 1611 Oil on canvas, 268 x 170 cm Pinacoteca Nazionale di Bologna, Bologna 178

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In early pictures of the Judgment these angels stand on clouds below the Judge, but later they are depicted as hovering above the Judgment Seat. In whatever position they are placed, they appear to attribute a vast importance to the prominence of the symbols of the Passion of Christ. Fra Angelico places a single angel at the feet of Christ with the cross alone, clearly indicating the suffering and death of Jesus. The trumpet angels vary in number, and are placed according to the creative license of the artist. Orcagna and Fra Angelico placed

The Virgin and the Infant Jesus in a Frame Surrounded by Flowers and Fruits Pieter I Bruegel the Elder and Peter Paul Rubens, c. 1614-1618 Oil on panel, 79 x 65 cm Museo Nacional del Prado, Madrid 180

them below the Judge, thus elucidating that their sound could be heard across the earth. In other pictures, artists place the trumpet angels directly above the graves, which open, revealing the rising dead-startled from their long sleep and struggling to gain a foothold on the earth above. The third class of angels are those who announce their fate to all who are to be judged. They sometimes hold the balance in which souls are weighed; they direct those who come to judgment to the right or left,

Christ Attended to by Angels in the Desert Francisco Pacheco, 1616 Oil on canvas, 268 x 418 cm Musée Goya, Castres 182

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as demonstrated in Fra Angelico Last Judgment, in the Florentine Academy; and again as indicated in Orcagna’s great picture in the Campo Santo at Pisa. A grand warrior angel, with splendid wings, a true St. Michael, clad in full armour, with his sword by his side, a glorious halo about his head, and the angelic flame above his brow, holds out two scrolls, one of joy and one of woe, on which are written the names of the entire human race.

Annunciation Giovanni Lanfranco, c. 1616 Oil on canvas, 296 x 183 cm San Carlo Catinari, Rome 184

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The pictures of the Last Judgment by Orcagna, Angelico and Signorelli, in the Cathedral of Orvieto and Michael Angelo, in the Sistine Chapel, are among the famous works of the world. The Scriptures also allude to other appearances of angels, for example Cornelius, when he was directed to send to Joppa for Peter; and again, when Peter was in prison and the Church prayed for him, an angel led him forth and the Apostle departed to Cesarea for safety.

Ecce Homo and St. Petronilla Guercino (Giovanni Francesco Barbieri), 1622-1623 Oil on canvas, 720 x 423 cm Pinacoteca Capitolina, Rome 186

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Philip was sent by an angel to meet the Ethiopian eunuch, to teach him the truth, after which he baptised the eunuch and was then caught away by the spirit, or angel of the Lord. At times the angels were sent on missions of punishment, similarly to Herod when in the midst of his blasphemy was smitten by God’s messenger and gave up the ghost.

The Landing of Marie de' Medici at Marseille Peter Paul Rubens, 1623-1625 Oil on canvas, 394 x 295 cm Musée du Louvre, Paris 188

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These subjects are rich in artistic allusions, and nearly all have been represented in either painting or sculpture. The Book of Revelation, also includes an abundance of visions of angels, from the beginning, when an angel from heaven revealed itself to John the Divine, to the end, when the angel refused to be worshipped and declared himself the fellow servant of John, the prophets and of all that keep the sayings of the book.

Sacrifice of Abraham Johann Liss, c. 1624 Oil on canvas, 88 x 70 cm Galleria degli Uffizi, Florence 190

Angels in Pictures of the Virgin Mary

T

he pictures of the Madonna, or Virgin Mary, may be divided into two classes;

the devotional which illustrate the doctrines or teaching of the early church, and the historical which depict the actual scenes of the life of the mother of Christ. When the Virgin is represented wearing a crown or bearing a sceptre and attended by worshipping angels, she is a character of the

Balaam’s Ass Harmensz. van Rijn Rembrandt, 1626 Oil on panel, 63 x 46.5 cm Musée Cognacq-Jay, Paris 192

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Queen of Angels. The earlier examples of these pictures, as seen in the Florentine Academy, and in the churches of Santa Maria Novella and Santa Croce in Florence are charming in their simplicity and represent a majestic and mystical womanhood. However, by the seventeenth century, these pictures

deviated

from

this

idealised

womanhood and transformed into portraits of the models themselves. This practice was a favourite amongst decadent artists, and the contrast between the most ancient works

The Martyrdom of St. Erasmus Nicolas Poussin, 1628 Oil on canvas, 320 x 186 cm Pinacoteca, Vatican City 194

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and the later pictures, insinuates the lack of reverence in men. These pictures had neither the humility, nor the intellectual power or the sublime faith which the face of the Virgin Mary had symbolised in the past. The Coronation of the Virgin, an emblem of the Church Triumphant, is one of the most accepted and beautiful works of the middle ages. It appeals to human compassion by depicting the reunion of the mother and son in heaven after their separation due to his death. It portrays Jesus in a position of

The Garden of Love Peter Paul Rubens, c. 1633 Oil on canvas, 198 x 283 cm Museo Nacional del Prado, Madrid 196

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power exalting his mother above men and angels, welcoming her to his throne and placing a glorious crown upon her head. In the most ancient coronations, which are very interesting, no angels appear. From the time of Giotto, the beginning of the fourteenth century, however, angels were witnesses of this scene. Fra Angelico’s Coronation, in the Louvre depicts the Virgin in a kneeling position surrounded by musical angels and waiting to be crowned. The Coronation was often a most splendid picture, as it warranted

The Sacrifice of Isaac Harmensz. van Rijn Rembrandt, 1635 Oil on canvas, 193 x 132 cm The State Hermitage Museum, St. Petersburg 198

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the use of magnificent draperies and other accessories. Every figure introduced had an air of happiness, and the angels were especially joyful. In the picture known as the Mother of Mercy, the Virgin is often attended by angels. In ancient pictures and bas-reliefs of this subject, she was frequently standing and wearing a long, full cloak, like that of St. Ursula, which was held aside by two angels, thus disclosing groups of kneeling suppliants, praying to her for mercy.

The Coronation of the Virgin Diego Velázquez, c. 1635 Oil on canvas, 176 x 124 cm Museo Nacional del Prado, Madrid 200

Very often in this picture the Virgin holds the infant Jesus in her arms. Pictures of the so-called Pietà represent the Virgin holding the body of the dead Christ on her knees. Many famous artists have represented this subject in sculpture and painting. When it is a strictly devotional work, the Virgin, Christ and mourning angels are the only figures included in the work. However, there are many examples in which angels are omitted, leaving the Virgin alone with the dead Christ.

The Ascension of Christ Harmensz. van Rijn Rembrandt, 1636 Oil on canvas, 93 x 68.7 cm Alte Pinakothek, Munich 202

In the sublimely marble group by Michael Angelo, in a chapel of the Vatican, there are no angels, but we have engravings of another Pietà by this master in which the Virgin sits at the foot of the cross, her eyes raised and her arms extended towards heaven while two angels support the Christ, sitting underneath and leaning against the knees of the Virgin. According to the custom of Michael Angelo, these angels have no wings, but their expressions are such that would make it impossible to mistake them for earthly children.

The Archangel Raphael Leaving the Family of Tobias Harmensz. van Rijn Rembrandt, 1637 Oil on wood, 66 x 52 cm Musée du Louvre, Paris 204

There were no pictures of the Immaculate Conception of the Virgin Mary until the seventeenth century, when Spanish and Italian artists competed with each others’ representations of this subject. These works contained a plethora of angels. When the Virgin stands on the moon with full sunlight surrounding her, adorned with the crown of twelve stars, she is the manifestation of the woman described in the twelfth chapter of the Book of Revelation.

Death of Dido Sébastien Bourdon, c. 1637-1640 Oil on canvas, 158.5 x 136.5 cm The State Hermitage Museum, St. Petersburg 206

The dogma of the Immaculate Conception of the Virgin popular amongst the Spanish Church before its confirmation by the bull of Pope Paul V. in 1617, which was welcomed in Seville not only by the most solemn religious services, but also by the booming of cannon, and the celebration of bull-fights, tournaments and banquets. Spain and all its colonies were placed under the protection of the Immaculate Conception. Not long after the publication of the bull, Pacheco laid down rules for the representation

Holy Family Harmensz. van Rijn Rembrandt, 1645 Oil on canvas, 117 x 91 cm The State Hermitage Museum, St. Petersburg 208

of this subject in art, which have been conscientiously followed. The Virgin is supposed to appear young with golden hair, a white robe and a blue mantle. The angels near her bear roses, lilies and palms. She stands on the moon, wearing the starry crown and the vanquished dragon is beneath her. As the Franciscans were always enthusiastically devoted to this dogma, it was considered customary to represent the girdle of the Virgin by the cord of the Franciscans.

Esquilache Immaculate Conception Bartolomé Estebán Perez Murillo, 1645-1655 Oil on canvas, 235 x 196 cm The State Hermitage Museum, St. Petersburg 210

Murillo, a principal painter of Immaculate Conceptions was not strictly bound by Pacheco’s rules. He adhered to the colours outlined for the drapery, yet he varied the tint of the hair and often was unconcerned with representing the cord of St. Francis. He never omitted the moon, but depicted it as full rather than in the crescent. Contrary to Pacheco he pointed the horns upward instead of downwards and usually omitted the starry crown. Despite his disregard for the rules, Murillo was never accused of being unorthodox.

Abraham Entertaining the Three Angels Harmensz. van Rijn Rembrandt, c. 1646 Oil on canvas Private collection 212

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Some pictures of the Madonna, by this great Spanish master, share the same characteristics that he invariably gives the Virgin in this subject. Others are commonplace and might be duplicated among Spanish peasant women, but the Virgin of his Conceptions is ideal. Spotlessly pure, full of grace and repose, exquisite in refinement and delicacy, her hands folded on her breast, and her sweetly serious eyes raised as in prayer, she seems a fitting companion to the angels around her, but all unsuited to the sufferings of her life before.

The Toilet of Venus (The Rokeby Venus) Diego Velázquez, 1647-1651 Oil on canvas, 122.5 x 177 cm The National Gallery, London 214

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Murillo painted this picture twenty-five times, and no two of these works are exactly the same. The angels are so numerous that they seem to fill all space, emerging from of the depths of the sky. While the later works of the Enthroned Madonna sometimes exclude angelic imagery, the ancient pictures of this subject always depict attendant angels. In this subject, the Madonna holds the infant Jesus on her lap and is surrounded by angels. The earliest Enthroned Madonnas represent the Virgin

The Fall of the Rebel Angels Luca Giordano, c. 1655 Oil on canvas, 419 x 283 cm Kunsthistorisches Museum, Vienna 216

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seated between the Archangels St. Michael and St. Gabriel, symbolizing life and death. This representation dates from the eighth century in the carved ivories of the Greek Church and was repeated in sculpture and glass painting for the following six or seven hundred years. Later St. Gabriel only appears in the Annunciation, but as St. Michael was the guardian of Jesus and his mother in their earthly life, he is often beside them, as well as St. Raphael (the guardian spirit of all human beings).

The Sacrifice of Isaac (unique state) Harmensz. van Rijn Rembrandt, 1655 Etching and drypoint, 15.6 x 13.1 cm Bibliothèque nationale de France, Paris 218

In the usual picture of this subject, the Madonna is literally enthroned, her throne being rich and decorative. Angels were represented as attendant upon the Virgin very early in the history of art. Even the ancient mosaics of Ravenna show on her throne, came to be more and more considered. These angels were represented as adoring her, sustaining her throne and performing a variety of services, the most charming being that of the musical angels.

The Sacrifice of Isaac Harmensz. van Rijn Rembrandt, 1659-1660 Oil on canvas, 178 x 145 cm Private Collection, Hedingham Castle, Essex 220

When art reached the height of the fifteenth century, the angelic choristers were exquisite in beauty and in sentiment, as they knelt or stood near the Virgin or sat upon the steps of her throne, playing upon lute and pipe or singing triumphantly. There are so-called half-length Enthroned Madonnas in which the Virgin and Child and angels alone appear. Occasionally the infant St. John the Baptist is introduced in these pictures, as in the illustration provided here after Botticelli.

Jacob’s Struggle with the Angel Harmensz. van Rijn Rembrandt, c. 1660 Oil on canvas, 137 x 116 cm Gemäldegalerie, Staatliche Museen zu Berlin, Berlin 222

The picture known as the Mater Amabilis, in which the Madonna caresses the Child, or tenderly gazes at him, rarely has the angelic attendants, but Gian Bellini filled the background of such a picture with winged cherub heads. There are two classes of pictures of the Madonna and Child, in which the little St. John Baptist is present. When St. John adores Jesus, kisses his feet or in any way seems to recognise his superiority, it is a purely devotional picture, separating itself from the mass of domestic, friendly scenes. In all of these pictures angels appear in varying numbers.

St. Matthew and the Angel Harmensz. van Rijn Rembrandt, 1661 Oil on canvas, 96 x 81 cm Musée du Louvre, Paris 224

Among the historical and legendary subjects representative of the life of the Virgin, are those connected with her parents, Joachim and Anna, her nativity and presentation in the temple, her marriage and all the scenes preceding the Annunciation. The Visitation, or the Salutation of Elizabeth directly follows the Annunciation. The Nativity of Christ, the Adoration of the Shepherds and the Adoration of the Magi Wise Men have been represented in a variety of ways, and the subjects can be easily distinguished. The first two are most

Rest on the Flight into Egypt Bartolomé Estebán Perez Murillo, c. 1665 Oil on canvas, 136.5 x 179.5 cm The State Hermitage Museum, St. Petersburg 226

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effective when treated with perfect simplicity, with no accessories unsuited to the humble condition of Joseph and Mary and the Shepherds. In such scenes, the presence of the angels appears in perfect harmony. The Adoration of the Magi, or Kings, as the legends call them, inspired the artists to incorporate elements of splendour. Many pictures of this scene display magnificent collections of vases, ewers and other vessels of gold and silver, while the costumes, jewelled diadems and chains of the Kings,

Adoration of the Name of Jesus Baciccio (Giovanni Battista Gaulli), 1674-1679 Fresco Il Gesù, Rome 228

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are just as gorgeous in texture and colour of as the works of Veronese, Rubens and Rembrandt. Angels are by no means a necessary part of this scene, but are always present in the earliest representations. A poetic element is achieved within this picture when the angelic announcement of the birth of Jesus to the Shepherds is introduced in the background or when the star which directed the Magi in their course appears in the sky, surrounded by angel heads. In representations of the Flight into Egypt, which Joseph had been directed to make by

The Immaculate Conception of the Venerable Ones, or of “Soult” Bartolomé Estebán Perez Murillo, c. 1678 Oil on canvas, 274 x 190 cm Museo Nacional del Prado, Madrid 230

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an angel in a dream, these heavenly attendants are seen bringing fruits and flowers to the travellers, pitching their tents, leading the mule on which the Virgin rides, watching over them by night and serving them by day. In the Repose in Egypt, one of the most charming of these kindred subjects, the attendant angels, are a delightful feature, and so varied are their occupations, and so fanciful the conceits of the painters of this scene, that many pages might be devoted to a description of them.

Allegory of the Jesuits’ Missionary Work Andrea Pozzo, 1691-1694 Fresco Sant’Ignazio, Rome 232

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In the numerous representations of the Madonna and Child and of the Holy Family, angels are frequently introduced. In pictures of the death scene there are always angels present, in greater or lesser numbers. In the representations of the Assumption of the Virgin she is sometimes borne upward by angels, and again she ascends without aid. In all cases she is attended by choirs of angels, as represented in the magnificent Assumption by Titian, which is the pride of Venice.

Christ in the Desert Served by Angels Jacques Stella, before 1693 Oil on canvas, 111 x 153 cm Galleria degli Uffizi, Florence 234

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Besides the representations of angels who make a part of the devotional and historical scenes in the lives of Christ and the Virgin, of the Evangelists, Apostles and Fathers of the Church, there are a great number that illustrate the legends of the saints. For example, the picture of St. Cecilia, whose music charmed even the angelic choirs so much that the angels brought to her the roses of Paradise, could be considered one of the most beautiful representations. After the death of St. Catherine of Alexandria, angels bore her body to the top of Mount Sinai.

Sarah and the Archangel Giovanni Battista Tiepolo, 1726-1728 Fresco, height: 400 cm Palazzo Arcivescovile, Udine 236

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When St. Christina was beaten and thrown into a dungeon, angels bound up her wounds, and St. Agatha was comforted by them in her prison. These are a few examples of the numerous appearances of angels in the legends of the saints. Perhaps there are no artistic representations that appeal to a greater number of people, of all possible types, than do those of angels in both sculpture and painting. One reason for this seems be that angels represent our highest ideal of created beings, beings that

St. Sebastian and the Women Paul Troger, c. 1746 Oil on canvas, 60 x 37 cm Österreichische Galerie Belvedere, Vienna 238

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we can only realise through the power of imagination, either our own imagination or that of another. It may be that of a writer, who, in a vivid word-picture, conjures up before us a vision of beings that we have not seen, as do Dante and Milton. Or it may be a sculptor or painter who, in rendering his own ideal, encourages us to see with his eyes and to accept or reject his work at our own discretion. This alludes to the words of Ruskin when he says that the noblest use of imagination is to “enable us to bring sensibly to our sight the

The Toilet of Venus François Boucher, 1751 Oil on canvas, 108.3 x 85.1 cm The Metropolitan Museum of Art, New York 240

things which are recorded as belonging to our future state, or as invisibly surrounding us in this. It has helped us to imagine the cloud of witnesses in heaven and earth, and see, as if they were now present, the souls of the righteous waiting for us; that we may conceive the great army of the inhabitants of heaven, and discover among them those whom we most desire to be with forever; that we may be able to vision forth the ministry of angels beside us, and see the chariots of fire on the mountains that gird us round; but,

Book of Job no. 14, “When the Morning Stars Sang Together” William Blake, c. 1805-1810 Pen and black and grey inks, grey wash, and watercolour, over faint indications in pencil, on paper, 28 x 18.5 cm The Morgan Library & Museum, New York 242

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above all, to call up the scenes and facts in which we are commanded to believe, and be present, as if in the body, at every recorded event of the history of the Redeemer”. With such a thought in mind, 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 world. It is surely right to attempt to imagine the glories of a sphere beyond this, a heaven of purity and glory. One of the most powerful aids to this imagination is the contemplation of religious pictures, especially those that were executed with such reverence

The Vow of Louis XIII Jean-Auguste-Dominique Ingres, 1824 Oil on canvas, 421 x 262 cm Cathédrale Notre-Dame, Montauban 244

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and sincerity as make them appear to reproduce actual scenes and for the time being, carry us out of ourselves and into the imaginary earth and heaven of the master whose works we study. Thus we may leave this brief review of the subject of angels in art, feeling that its further development by each reader for himself is a pursuit in harmony with St. Paul’s admonition: “Whatsoever things are pure, whatsoever things are lovely, whatsoever things are of good report; if there be any virtue, and if there be any praise, think on these things”.

The Girlhood of Mary Virgin Dante Gabriel Rossetti, 1848-1849 Oil on canvas, support: 83.2 x 65.4 cm, frame: 108 x 90.5 x 7.5 cm Tate Gallery, London 246

List of Illustrations A Abraham Entertaining the Three Angels, Harmensz. van Rijn Rembrandt

213

Adoration of the Child, Francesco Botticini

95

Adoration of the Lamb (the Ghent Altarpiece), Jan van Eyck

45

Adoration of the Magi, Gentile da Fabriano

37

Adoration of the Magi, Lorenzo Monaco

35

Adoration of the Name of Jesus, Baciccio (Giovanni Battista Gaulli)

229

Adoration of the Shepherds (The), (Portinari Altar), Hugo van der Goes

89

Adoration of the Shepherds (The), Andrea Mantegna

67

Agony in the Garden (The), Andrea Mantegna

73

Allegory of the Jesuits’ Missionary Work, Andrea Pozzo Annunciation, Alesso Baldovinetti Annunciation, Sandro Botticelli (Alessandro di Mariano Filipepi) Annunciation (The), Lorenzo di Credi Annunciation (The), Fra Angelico Annunciation, Giovanni Lanfranco

233 63 101 91 49, 65 185

Annunciation, Leonardo da Vinci

85

Annunciation, Fra Filippo Lippi

61

248

Annunciation, Bernardino Pinturicchio

113

Annunciation, Andrea del Sarto

147

Annunciation and Two Saints (The), Simone Martini and Lippo Memmi

19

Annunciation Triptych (The), (Mérode Triptych), Robert Campin (Master of Flémalle) and workshop

43

Annunciation, Visitation, Presentation in the Temple and Flight to Egypt, Melchior Broederlam

29

Annunciation, with St. Emidius (The), Carlo Crivelli

97

Archangel Raphael Leaving the Family of Tobias (The), Harmensz. van Rijn Rembrandt

205

Archangel St. Michael (The) (Michael Altar), Gérard David

119

Ascension of Christ (The), Harmensz. van Rijn Rembrandt

203

Assumption of the Virgin, Titian (Tiziano Vecellio)

133

B Balaam’s Ass, Harmensz. van Rijn Rembrandt

193

Book of Job no. 14, “When the Morning Stars Sang Together”, William Blake

243

Burial of the Count of Orgaz (The), El Greco (Domenikos Theotokopoulos)

161

Burning Bush (The), Nicolas Froment

87 249

C Christ as the Suffering Redeemer, Andrea Mantegna

109

Christ Attended to by Angels in the Desert, Francisco Pacheco

183

Christ Glorified in the Court of Heaven, Fra Angelico

39

Christ in the Desert Served by Angels, Jacques Stella

235

Christ with the Four Evangelists, Fra Bartolomeo

129

Coronation of the Virgin, (San Marco Altarpiece)) Sandro Botticelli (Alessandro di Mariano Filipepi) Coronation of the Virgin, Fra Angelico Coronation of the Virgin (The), Diego Velázquez

103 51 201

D Death of Dido, Sébastien Bourdon Deposition from the Cross, Fra Angelico

207 57

E Ecce Homo and St. Petronilla, Guercino (Giovanni Francesco Barbieri)

187

Esquilache Immaculate Conception, Bartolomé Estebán Perez Murillo

211

Expulsion from the Garden of Eden (The), Tommaso Masaccio Expulsion of Heliodorus from the Temple (The), Raphael (Raffaello Sanzio) 250

47 121

F Fall of the Rebel Angels (The), Pieter I Bruegel the Elder

159

Fall of the Rebel Angels (The), Luca Giordano

217

Flight into Egypt, Giotto di Bondone

13

G Garden of Love (The), Peter Paul Rubens

197

Girlhood of Mary Virgin (The), Dante Gabriel Rossetti

247

H Holy Family, Harmensz. van Rijn Rembrandt

209

Holy Family with Raphael, Tobias and St. Jerome (The), known as Madonna del Pesce, Raphael (Raffaello Sanzio)

127

I Immaculate Conception of the Venerable Ones, or of ‘Soult’ (The), Bartolomé Estebán Perez Murillo Inspiration of St. Matthew (The), Caravaggio (Michelangelo Merisi)

231 175

Isenheim Altarpiece, open: Concert of Angels and Nativity, Matthias Gothart Grünewald

125 251

J Jacob’s Struggle with the Angel, Harmensz. van Rijn Rembrandt

223

L Landing of Marie de' Medici at Marseille (The), Peter Paul Rubens Last Judgment (The), Petrus Christus Last Judgment, Michelangelo (Michelangelo Buonarroti) Last Judgment Triptych, Hans Memling Last Supper (The), Tintoretto (Jacopo Robusti)

189 71 151 77 165

M Madonna and Child between St. Francis of Assisi and St. John the Evangelist, known as Madonna of the Harpies, Andrea del Sarto

135

Madonna and Child Enthroned with Two Angels and SS. Francis and Dominic, Cimabue (Cenni di Pepo) Madonna and Child with St. Anne, Tommaso Masaccio

9 41

Madonna and the Child Enthroned with SS. John the Baptist, Victor, Bernard and Zenobius (Altarpiece of the Otto di Pratica), Fra Filippino Lippi Madonna del Belvedere, Ottaviano Nelli di Martino Madonna Enthroned with Child and Two Angels, Hans Memling

99 33 105

Madonna in Glory with Child, St. Louis, St. John the Baptist, St. Alexius, St. Catherine, St. Francis and St. Clare, Annibale Carracci

163

Madonna of Humility with Six Angels, Agnolo Gaddi

27

Madonna of the Magnificat, Sandro Botticelli (Alessandro di Mariano Filipepi)

93

Madonna of the Rose Bush, Stephan Lochner

59

252

Madonna with Long Neck, Parmigianino (Girolamo Francesco Mazzola)

149

Madonna with the Child and Two Angels, Fra Filippo Lippi

75

Maestà, Simone Martini

17

Martyrdom of St. Erasmus (The), Nicolas Poussin

195

Massacre of the Innocents (The), Guido Reni

179

Musicians (The), Caravaggio (Michelangelo Merisi)

169

Mystic Nativity, Sandro Botticelli (Alessandro di Mariano Filipepi)

111

Mystical Marriage of St. Catherine of Alexandria (The), Veronese (Paolo Caliari)

157

N Nativity, Hans Baldung Grien

143

Nativity (The), Piero della Francesca

79

Nativity, Meister von Hohenfurth

25

O Oculus (Camera Picta Ceiling), Andrea Mantegna

83

Ognissanti Madonna (Madonna in Maestà), Giotto di Bondone

15

P Passing away of St. John, Correggio (Antonio Allegri)

141

Pietà, Michelangelo (Michelangelo Buonarroti)

153

R Rest on Flight to Egypt, Caravaggio (Michelangelo Merisi)

173 253

Rest on the Flight into Egypt, Bartolomé Estebán Perez Murillo

227

Rest upon the Flight into Egypt with the Temple of Tivoli, Pieter I Bruegel the Elder and Hans Rottenhammer

171

Richard II Presented to the Virgin and Child by his Patron St. John the Baptist and SS. Edward and Edmund, also called ‘The Wilton Diptych’, Anonymous Rucellai Madonna, Duccio di Buoninsegna

31 11

S Sacrifice of Abraham, Johann Liss Sacrifice of Isaac (The), Harmensz. van Rijn Rembrandt

191 199, 219, 221

Sacrifice of Isaac, Titian (Tiziano Vecellio)

155

Sarah and the Archangel, Giovanni Battista Tiepolo

237

Sistine Madonna (The), Raphael (Raffaello Sanzio)

123

Small Maestà, Ambrogio Lorenzetti

21

St. Bernard’s Vision of the Virgin with Saints, Matteo di Pacino

23

St. Cecilia and the Angel, Carlo Saraceni

177

St. Francis of Assisi in Ecstasy, Caravaggio (Michelangelo Merisi)

167

St. George and the Dragon, Vittore Carpaccio

131

St. Matthew and the Angel, Harmensz. van Rijn Rembrandt

225

St. Michael and the Demon, known as The Small Saint Michael, Raphael (Raffaello Sanzio) 254

115

St. Michael Slaying the Demon, known as The Large Saint Michael, Raphael (Raffaello Sanzio) St. Sebastian and the Women, Paul Troger

139 239

T Tobias and the Three Archangels, Francesco Botticini

81

Toilet of Venus (The), François Boucher

241

Toilet of Venus (The), (The Rokeby Venus), Diego Velázquez

215

V Virgin and Child (Madonna della Stella), Fra Angelico

53

Virgin and Child Enthroned with Four Angels (The), (Guidalotti polyptych), Fra Angelico Virgin and Child Surrounded by Angels (Meulun's diptych), Jean Fouquet Virgin and Child with Parrots, Hans Baldung Grien

55 69 145

Virgin and the Infant Jesus in a Frame Surrounded by Flowers and Fruits (The), Pieter I Bruegel the Elder and Peter Paul Rubens

181

Virgin of the Rocks (The), (The Virgin with the Infant St. John Adoring the Infant Christ Accompanied by an Angel), Leonardo da Vinci

107

Vision of Ezekiel (The), Raphael (Raffaello Sanzio)

137

Vision of St. Bernard with SS. Benedict and John the Evangelist, Fra Bartolomeo

117

Vow of Louis XIII (The), Jean-Auguste-Dominique Ingres

245 255