What could be more intriquing and assist us with the pleasure of veiwing the art work of Angels, then the understanding of how it displays the Angel and what it displays. This part of this section has been included not to give anyone art lessons, but to help us to understand what the artists were trying to illustrate in their work.



Much of the earlier works, those created by the old masters (de Vinci, Raphael, Titian, etc) used as their guide the classification or ranking of the orders (also called choirs) of Angels that had been established by the theologists in the Middle Ages. The discussion of this classification of Angels is contained in Angelic Heirarchy. Their representation of the Angels was through the use of their postion and functions, as described in this classification.

The "Glory of Angels" is the representation of the Angels surrounding the Deity, the Trinity, or the glorified Virgin. It consists of the complete heirarchy of Angels in circles, with each heirarchy in its proper order. When shown in its entirity, this illustration of the "Glory" is said to be the most expressive and poetic portrayal of the Angels. Unfortunately, this complete illustration of the "Glory" is very rare, as most artists have contended themselves with two or three (sometimes one) circles as a symbol of the circle of Glories.

When not represented in the Glory, the nine choirs were represented in a multitude of ways. In some works there will are three figures in each choir and this is said to be symbolizing the Trinity. But there again, there may only be two figures illustrating each choir. With occasionally only a total of nine figues illustrated. Thus representing all nine choirs or the three divisions of the heirarchy.

The colors and display of the choirs of the oldest artworks were carefully considered. The Princedoms and Powers were displayed in rows and groups. They were illustrated as wearing the same attire, wearing the same tiara, and bearing the same orb of sovereignity and wand like sceptres. The proper display of the Seraphs and Cherubs included the use of white, with greater freedom permitted in the display of the other Angel choirs. The Seraph, were protrayed as glowing with the utmost divine love. While the Cherub were protrayed with an expression of serious meditation. The displays of color are well demonstrated in the earlier works of art, but somewhere around the end of the fifteenth or the beginning of the sixteenth centuries, the illustration of color became less faithfully followed.

The prevaialing color of angelic drapery was taught to be white. While the frequent use of delicate shades of blue, red, and green provided a wonderful effect. There were some works provided by the Venetians that utilized a pale salmon color, and again the effect was beautiful. But at no time did the old masters include dark or heavy colors for the illustration of Angel attire. The exception to this was provided by the German artists who illustrated the attire of Angels with heavy colors, elaborate embroidery, and extravagant jewels.

Other considerations were given to the belief that Angels are created beings and not eternal. They were said to be of a masculine gender. While at the same time being in human form with faces of youth, beauty, perfection, and expressions of other - worldliness. They were never illustrated as aged and were not believed to have been illustrated as infantile. This form of representation, called Infant Angels, was only to be used to symbolize the souls of regenerate men or of the spirits of those who died in infancy. The challenge that the old masters overcame was in perfecting their protrayal of Angels who are changeless, perpetually young, along with the qualities of power, wisdom, innocence, and spiritual love.

One other specific display that deserves mention, is that of what is called the "Liturgy of Angels." This is illustrated as a procession of Angels on each side of the choir. They are displayed as if approaching the altar. Each Angel in the illustration is wearing the stole and alba of a deacon and each is bearing an implement of mass. This is frequently represented by the placing of kneeling Angels on each side of the altar. They are generally seen holding tapers or the emblems of the Passion of Christ. This display symbolizes the presence of Angels wherever Christ is worshipped. The presence of Angels in either of the two forms placed in the Church are symbols representing the concept that all Angels praise God.

An interesting note about the art work of Angels is that during the first three centuries of Christianity, the representation of Angels was not permitted. It was not until around the tenth century of this religion that the representation became something more than a crude form. When the representation of Angels first appeared in a grandeur form, there were strict theological observations that had to be adhered to when displayed in Churches. The representation of Angels was not allowed to be used as mere decorations. They had to be placed in such a manner that they illustrated a significant portion of the beliefs and the teachings of the Church.

When religious art was said to be at its best, was in the earliest illustrations of Angels. The imagery of this time included ample draper, yet there were no unusual attitudes, no insufficient robes, nor were there unsuitable expressions.





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