The red-robed angels (they were painted red of face as well as of robe)
were the Seraphim, the angels of love, and nearest to God. Often with
the early painters only their heads were shown, with wings crossed in
front of them, sometimes with four, six, or eight wings. The blue-robed
angels were the Cherubim, the angels of knowledge, and they too were
shown in their heads only, with many crossed wings. They appeared in
groups and halos surrounding the presence of the Father, the Son, or
the Virgin. The cherubs or _putti_ of later Italian art, so frequently
seen with the Madonna and Child, are the artistic descendants of
the Seraphim and Cherubim. They are seen in the large aureoles of
light that surround the Madonna; for instance, in Raphael's "Sistine
Madonna" and Titian's "Assumption of the Virgin." They recede into the
background or come forward in clouds as the countless hosts of heaven.
[Illustration: DOMENICHINO. MADONNA OF THE ROSARY (detail)]
Frequently the Cherubs are given enlarged childlike or feminine forms
with individual features, elongated wings, variegated colors. They are
then shown hovering or standing or seated near the Madonna, and are
usually playing on musical instruments--making music for the glory
of the Madonna and Child. They are seen in the pictures of Bellini
(bel-lee´-nee) and Carpaccio (kahr-pah´-cho) near the foot of the
throne; with Melozzo da Forlì (for-lee´) they soar in the air; with
Duccio (doo´-cho) and Cimabue (chee-mah-boo´-ah) they stand about the
throne, dressed in rich robes, singing, playing, or worshiping. Music
and color were associated in the minds of the early Italians as though
both were manifestations of sentiment in art. Especially was this true
at Venice,--the one great color spot in Italian art.