THE ARCHANGEL GABRIEL.
The Archangel Gabriel is mentioned by name but twice in the Old
Testament. First in Daniel viii., 16, when he explained the vision which
the prophet had seen, and again in Daniel ix., 21, when Gabriel appeared
to Daniel to give him skill and understanding.
Likewise in the New Testament he is twice mentioned, in Luke i., 19 and
26, when he announced to Zacharias the birth of John the Baptist, and to
the Virgin Mary that she was favored of the Lord, and blessed among
women. On each of these occasions he filled the office of a messenger
or bearer of important tidings. It is believed to have been Gabriel who
fought with the Angel of the Kingdom of Persia for twenty-one days, when
Michael came to his relief, and Gabriel again visited Daniel to
strengthen him, and explain “that which is noted in the scripture of
truth,” and to announce that the king of Græcia should overcome the king
of Persia. After which Gabriel returned to his battle with the Angel of
Persia.
The contest with the angel of Persia is a subject which offers unusual
opportunities in its artistic representation; it is, however, much the
same in spirit as the struggle between Michael and Lucifer, and the
preference was given to the latter by the painters of religious
subjects.
St. Gabriel has been many times portrayed as the messenger announcing
the birth of John the Baptist and that of Jesus Christ. In the
apochryphal legends he also foretells the birth of Samson, and that of
the Virgin Mary. From these frequently repeated messages which foretold
important births, Gabriel naturally came to be regarded as the angel who
presides over childbirth.
The great number of representations of the Annunciation to the Virgin
Mary make it difficult to select those of which to speak. The earliest
pictures of this event portray it with great simplicity, purity, and
grace. A spiritual mystery is being depicted, and is handled with
sincere reverence and the utmost delicacy.
The scene is usually the portico of an ecclesiastical edifice. When
seated, the Virgin is on a species of throne, but she is more frequently
represented as standing. The archangel is at some distance from her, not
infrequently quite outside the porch. He is majestic and beautiful; is
clothed in white, wearing the tunic and pallium, or archbishop’s mantle.
His wings are large, and brilliant with many colors, and his abundant
hair is bound with a jewelled tiara. He bears either the sceptre of
power or a lily in one hand, while the other is extended in benediction.
Sometimes he holds a scroll inscribed with the words, “Ave Maria, gratia
plena,” Hail! Mary, full of grace, which words Dante represents Gabriel
as constantly repeating in paradise.
The angel is the chief figure in this scene in the earlier pictures; he
is joyfully triumphant, announcing the coming of the Saviour, while the
Virgin is all humility and submission; in some cases her head is
covered, an extreme expression of lowliness, and she is always
self-effacing in attitude and expression.
An early custom in churches was to place the picture of the Virgin on
one side of the altar, and that of the angel on the other side; or, if
both figures were in the same frame, a division was made by an
architectural pillar, or a conventional ornament between them. In many
cases the Virgin and the Archangel were placed separately above, or on
each side of some scene from the life of Jesus, usually an altar piece.
The picture by Fra Filippo Lippi, which we give, is a very fine example
of the so-called “divided Annunciations.” It is in the Florentine
Academy. This picture is very beautiful, and fittingly expresses the
humility and surprise of the Virgin and the reverence of the heavenly
messenger. It is also a good example of Fra Filippo’s style; his
draperies were graceful, abundant, and usually much ornamented with
designs in gold, of which we have here enough for elegance, while it is
not overdone as in other works of this artist.
[Illustration: FRA FILIPPO LIPPI.--A DIVIDED ANNUNCIATION.]
A very ancient Annunciation, of peculiar and elaborate arrangement,
dating from the fifth century, is in mosaic, over the arch in front of
the choir in the church of Santa Maria Maggiore, in Rome. The classical
treatment of the dresses, and of the entire composition, makes this work
so different from the usual conception of the subject as to be worthy of
observation. There are two scenes: in the first, the archangel is sent
on his mission, and is rapidly flying towards the earth, as if in haste
to utter his joyous salutation, “Hail! thou art highly favored! Blessed
art thou among women!”
The second scene presents Gabriel standing before the Virgin, who is
seated on a throne, behind which are two guardian angels. This
representation is so utterly unlike what is known as Christian art as to
make a lasting impression, by reason of its classical treatment; all
the details have an air of belonging to an earlier period than that
known as mediæval, and the figures might be those of ancient Greeks.
It is extremely curious and interesting to observe the various methods
of representing the Archangel Gabriel in pictures of the Annunciation.
At times he might be mistaken for the ambassador of a proud and powerful
earthly potentate. He is clothed in gorgeous raiment, with a rich train,
sometimes borne by one, and again by three page-like angels, while he
carries himself with majestic haughtiness.
We do not wonder that the difference between the estate of an archangel
sent by God, and the humility of the Virgin of Galilee, should have
misled some artists; or that with them the angel held the first place,
especially as it was only thus that any element of splendor could be
introduced into their pictures. Indeed, we have engravings after a
picture by Raphael, in which the Virgin is kneeling before the angel,
who raises the right hand in benediction.
But the gradual increase in the veneration accorded to the Virgin, and
the titles of Queen of Heaven, and Queen of Angels, which were bestowed
on her, soon changed the spirit of the representations of the
Annunciation; and while the Virgin loses none of her humility and
submission, the angel bows, and even kneels to her, thus emphasizing his
acknowledgment of her superior holiness,--since an archangel could only
kneel before spiritual perfection.
It was well that the patriarchs and prophets should acknowledge the
superiority of the angels sent to them,--but the glory of the Mother of
Christ should be represented as commanding the reverence of even the
highest of created being--only thus could the faith of the Church, for
which these religious pictures were painted, be fittingly illustrated.
Thus it became customary to omit the sceptre in the hand of the angel,
and to give him the lily alone, or the lily and the scroll. Indeed,
there are notable pictures in which Gabriel has no symbol, but with
hands clasped over his breast, and head inclined, he seems to worship
the Virgin while declaring his mission to her. There are, however, few
Annunciations in which the lily does not appear. It is the special
symbol of the purity of Mary, to whom is applied the verse from the Song
of Solomon: “I am the rose of Sharon, and the lily of the valleys.” In
some pictures the lily is seen in a vase near the Virgin.
Occasionally the symbol of peace is introduced in pictures of the
Annunciation by placing a crown of olive on the head
[Illustration: ALESSANDRO ALLORI.--THE ANNUNCIATION.]
of the archangel, or an olive branch in his hand. Here Gabriel is
presented as announcing the “Peace on earth and good will towards men,”
which Raphael and his attendant angels chanted to the shepherds on the
birth of Jesus.
The early German painters were fond of picturing Gabriel in priestly
robes, heavily embroidered, and rich in color. This dress supplied the
same gorgeous effect as was given by the princely trains of which I have
spoken. In these pictures Gabriel usually kneels,--his ample robes
falling on the pavement around him,--thus avoiding the proud bearing of
the regally vestured messenger.
The simplicity of the scene, when Gabriel is appropriately draped in the
filmy white robe,--which is the usual conception of an angel’s
dress,--is far more satisfactory and harmonious with the spirit of the
miraculous Annunciation than any splendid vestments can possibly be.
The earliest pictures of the Annunciation, however, in spite of
unsuitable costumes, and of certain technical imperfections, are more
acceptable to the reverent mind than are those of a later time, in which
the angel is scantily draped and is apparently conscious of his physical
beauty, while the Virgin is entirely wanting in grace or dignity. Such a
rendering of this scene is most offensive; all the more so that these
pictures are frequently well executed, and were they not presented as
representations of this sacred subject, but given some appropriate
title, they would have claims to a certain artistic approbation.
Other artists, like Allori, in our illustration, represent an all too
conscious Virgin, an angel who apparently poses for a picture, and a
mass of utterly inappropriate detail. This Annunciation, which is in
the Florentine Academy, affords an excellent example of this
objectionable style, and its faults are emphasized when it is compared
with the serious dignity of Fra Filippo’s picture and that which
follows, by Fra Angelico. By such comparisons the great difference
between true sentiment and affectation in Art becomes apparent.
There are some Annunciations in which the Virgin is represented as
starting up from fear or surprise, quite as one might fancy that a
tragedy queen would do, were her privacy unceremoniously disturbed.
Again the Virgin Mary is fainting from emotion, and thus could not have
replied to the angel in the Scriptural words, “Behold the handmaid of
the Lord; be it unto me according to thy word.”
Not infrequently, in representations of this scene, the Holy Spirit, as
a dove, hovers above or near the Virgin, or flies in through a window;
again the Almighty is seen in the clouds, surrounded by a celestial
light, and sometimes attended by celestial spirits. In rare instances
the Eternal Father sends the Infant Jesus down from the sky bearing a
cross, and preceded by a dove. These extremely symbolic Annunciations
are usually of an early date.
Fra Angelico painted the Annunciation with intense reverence and
simplicity. We have an illustration of his fresco on the wall of the
corridor in his convent of San Marco, in Florence, which is, to my mind,
one of the most beautiful and spiritual Annunciations in existence. It
tells the sacred story faithfully; there is nothing introduced that does
not essentially belong here. The Virgin gives the impression of being
equal to the angel in purity and goodness; he is superior only in
knowledge.
[Illustration: FRA ANGELICO.--THE ANNUNCIATION.]
Angelico believed that he was divinely directed in his work, which he
began with prayer, and for this reason he would never change his
original design. His care in the finish of his pictures was phenomenal;
his draperies were dignified; his color and composition were harmonious.
It has well been said of his works: “Every part contributed to that
unity of tenderness, inspiration, and religious feeling which marks his
pictures, and which are such as no one man had ever succeeded in
accomplishing.” Angelico knew nothing of human anxieties and struggles,
and could not paint them; he could not depict the hatred of the enemies
of Christ; martyrdoms and persecutions were feebly represented by him,
but to annunciations, coronations of the Virgin, and kindred subjects he
imparted a sweetness and a spiritual fervor that has rarely, if ever,
been surpassed. We can imagine him rising from his prayers with his
conceptions of the Virgin and the archangel as distinct in his mind’s
eye as they are to our vision in his pictures, and it is easy to
understand that the man who lived in his atmosphere would be void of
ambition, and refuse to be made Archbishop of Florence, as he did.
Gabriel is reverenced by the Jews as the chief of the angelic guards,
and the keeper of the celestial treasury. The Mohammedans regard him as
their patron saint; their prophet believed this archangel to be his
inspiring and instructing spirit. Thus he is important in the faith and
legends of Christians, Jews, and Mohammedans alike. Milton may have had
the Jewish tradition in mind when he represented Gabriel as the guardian
of paradise:
“Betwixt these rocky pillars Gabriel sat,
Chief of the angelic guards, awaiting night.”