ANGELS IN PICTURES OF THE VIRGIN MARY.
The 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, or the representation of the
actual scenes in 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 in the character of the 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, which entitles them to consideration as
works of Art. But later, especially in the seventeenth century, these
pictures degenerated into portraits of the self-conscious, unintelligent
prettiness of the models from whom they were painted. This subject was a
favorite one with certain decadent artists, and the contrast between the
most ancient and the later pictures of it, gives one a strong impression
of the lack of reverence or ideality in men who could thus represent
that holy woman, whose heart found expression in her beautiful hymn,
beginning, “My soul doth magnify the Lord,” St. Luke i., 46. These
pictures have neither the humility, the intellectual power, nor the
sublime faith which the face of the Virgin Mary should express.
A favorite devotional picture was the
[Illustration: FRANCESCO GRANACCI.--THE VIRGIN AND ANGELS.]
Coronation of the Virgin. This representation is an emblem of the Church
Triumphant, and is one of the most beautiful, as it was one of the most
approved, of the Middle Ages. It appeals to all hearts, since it
pictures the reunion of the Mother and Son in heaven, after their
separation by his death, and shows him no longer despised and rejected,
but reigning in the fullness of power, and 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, in which the Virgin kneels to be crowned, has
a group of musical angels on each side. One of the most interesting
pictures of this subject that I have seen is in the Academy of Venice,
by Vivarini, an artist of the island of Murano, who lived in the
fifteenth century.
It is a very large picture, having a throne in the centre, magnificently
ornamented and upheld by six pillars on a splendid pedestal. Christ and
the Virgin are seated on the throne, he already crowned, and engaged in
placing the crown on the head of Mary. The celestial dove hovers between
them, and the Heavenly Father appears above, and rests a hand on the
shoulder of each. Above are nine choirs of angels; nearest are the
glowing seraphim and cherubim having wings but otherwise so indistinct
as to be formless; above these are thrones, holding the globe of
sovereignty; to the right are dominations, virtues, powers, and to the
left princedoms, archangels, and angels. In the lower portion of the
same picture are prophets and Patriarchs with the Hebrew Scriptures, the
Apostles with the Gospel, saints and martyrs, virgins and holy women,
lovely children bearing the cross, nails, spear, and crown of thorns,
and the Evangelists and Fathers of the Church. There are at least
seventy heads in this picture without the angels; the children are
beautiful, and all are finished with great delicacy and care. It is an
invaluable example of symbolic art, as well as an exponent of an entire
system of theology.
The Coronation was often a most splendid picture, as it warranted the
use of magnificent draperies and other accessories. It was also a joyous
picture. Every figure introduced had an air of happiness, and the angels
were especially glad.
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.
Very often in this picture the Virgin holds the Infant Jesus in her
arms. In other fine examples,--notably in the masterpiece of Fra
Bartolommeo, in the Church of St. Romano, in Lucca,--the figure of
Christ surrounded by angels is seen in the clouds, as if he aided in
these works of compassion. Such pictures are numerous in hospitals and
charitable institutions, especially in those that are in the care of the
Order of Mercy, where they are singularly appropriate. A bas-relief
above the entrance to the Scuola della Caritas, in Venice, is a fine
example of this subject.
Pictures of the so-called Pietà, represent the Virgin holding the body
of the dead Christ on her knees. The greatest artists whose works are
known to us have represented this subject in sculpture and painting.
When it is a strictly devotional work, the Virgin, the Christ, and
mourning angels are the only figures admissible. There are many examples
in which there are no angels, the Mother being alone with the dead
Christ.
The Pietà by Francia, in the National Gallery, is very beautiful in
sentiment, and in execution is full of the tenderness of this master.
The Christ is supported by two angels, and the Virgin, with an
expression of anguish, seems to look at the beholder as if beseeching
sympathy.
In the sublimely pathetic 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, seated lower down, and leaning against the
knees of the Virgin. According to the custom of Michael Angelo, these
angels have no wings, but their expression is such as would make it
impossible to mistake them for earthly children.
There were no pictures of the Immaculate Conception of the Virgin Mary
until the seventeenth century, when Spanish and Italian artists vied
with each other in representing this subject, and these works may be
said to abound in angels.
When the Virgin stands on the moon with full sunlight surrounding her,
and wearing the crown of twelve stars, she is the personification of the
woman described in the twelfth chapter of the Book of Revelation.
[Illustration: FRANCESCO FRANCIA.--A PIETÀ.]
The dogma of the Immaculate Conception of the Virgin was much in favor
with 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.
Even now, almost three centuries after this event, it is not unusual for
Spaniards to use the salute, “Ave Maria purissima!” the response being,
“Sin peccado concepida!”
Not long after the publication of the bull, Pacheco laid down rules for
the representation of this subject in Art, which have been
conscientiously followed. The Virgin is very young, her hair golden, her
robe white, and her mantle blue. The angels near her bear roses,
lilies, and palms. She stands on the moon, wears the starry crown, and
the vanquished dragon is beneath her. As the Franciscans were always
enthusiastically devoted to this dogma, it was usual to represent the
girdle of the Virgin by the cord of the Franciscans.
Murillo, the painter of this subject _par excellence_, was not strictly
bound by Pacheco’s rules. He adhered to the colors prescribed for the
drapery; he varied the tint of the hair, and often was not careful to
represent the cord of St. Francis. He never omitted the moon, but it was
sometimes full rather than in the crescent, and he pointed the horns
upward, while Pacheco directed them to point downward; and he usually
omitted the starry crown. But so satisfactory were Murillo’s Immaculate
Conceptions that he was never accused of being unorthodox.
[Illustration: MURILLO.--THE IMMACULATE CONCEPTION.]
Other pictures of the Madonna, by this great Spanish master, are wanting
in the characteristics which 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 are 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 about her, but
all unsuited to the sufferings of the life before her.
Murillo painted this picture twenty-five times, and no two of these
works are exactly the same, although the differences are sometimes
slight. The angels are so numerous that they seem to fill all space, and
to be coming forward in still greater numbers out of the depths of the
sky. If the dragon is there, he is concealed by these lovely, spiritual
attendants on the queen of their order.
Guido Reni painted several pictures of this subject which was well
suited to the master of the Aurora, and afforded full play to his ideal
of beauty, and his delicacy of execution.
But it was in the Spanish school that these pictures were multiplied,
and this is not strange when we remember that every candidate admitted
to the academy of painting in Seville was required to declare his full
belief in “the most pure conception of Our Lady.”
Mr. Stirling, in his handbook of Spain, speaks of a Conception by
Roelas, painted before the time of Murillo, which he calls “equal to
Guido.” Velasquez also painted a fine Conception, probably before the
rules of Pacheco were known, as the Virgin’s robe is violet, and she has
no unusual beauty. It is, however, a solemn and remarkable work in the
bold, early style of this great artist.
In the ancient pictures of the Enthroned Madonna there are always
attendant angels; in some later works they are omitted. In this subject
the Madonna holds the Infant Jesus on her lap, and is surrounded by
angels. The earliest Enthroned Madonnas represent the Virgin seated
between the Archangels St. Michael and St. Gabriel, as symbolic of 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 during six or seven hundred years.
Later St. Gabriel appears in the Annunciation only, 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. Perugino presents both these guardian archangels in his
lovely picture in the National Gallery.
This is one of the rare examples in which the three archangels are seen
together, each with his appropriate symbol.
In the usual picture of this subject the Madonna is literally enthroned,
her throne being rich and decorative. Raphael, however, placed her on
the clouds, the child standing beside her, and the angels below, rather
than above them. This might be called the Madonna in Glory, although she
is seated on the clouds as on a throne.
Angels were represented as attendant upon the Virgin very early in the
history of Art. Even the ancient mosaics of Ravenna show them about her
throne, and as her office of Queen of Angels
[Illustration: SANDRO BOTTICELLI.--MADONNA AND ANGELS.]
came to be more and more considered, angels were represented as adoring
her, sustaining her throne, and performing a variety of services, the
most charming being that of the musical angels.
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 as only angels can.
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 here
given, after Botticelli.
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 recognize his superiority, it is a
purely devotional picture, while a great number of others are simply
domestic, friendly scenes. In all of these angels appear in varying
numbers.
An exquisite picture, by Filippino Lippi, shows the kneeling Virgin
adoring the Child, who rests on the ground, while near by the little St.
John also kneels. The group is surrounded by five angels, one of whom
scatters roses over the Infant, while the others worship him with folded
hands.
Among the historical and legendary subjects illustrative of the life of
the Virgin, are those connected with her parents, Joachim and Anna, her
Nativity and Presentation in the Temple, and her life there,--her
Marriage and all the scenes preceding the Annunciation. Of the latter I
have written in connection with the Angel Gabriel. Many of these
pictures are very beautiful, and angels are frequently introduced in
them.
After the Annunciation follows the Visitation, or the Salutation of
Elizabeth. I know of but one fine picture of this scene--by
Pinturicchio--in which angels are present at the meeting of the Holy
Women. It is a poetic conception, and the humility of the two angels,
with downcast eyes and folded hands, gives them the appearance of
attendants on the journey of the Virgin, rather than that of witnesses
of the Salutation.
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 are subjects easily distinguished. The first two are most
effective when treated with perfect simplicity, with no accessories
unsuited to the humble condition of Joseph and Mary and the Shepherds;
with such scenes the presence of the angels is in perfect harmony. The
Nativity by Albertinelli, in the Uffizi Gallery, and the Adoration of
the Shepherds by Correggio, in the Dresden gallery, are fine examples of
these subjects.
The Adoration of the Magi, or Kings, as the legends call them, admits of
all the splendor that an artist desires to depict. 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, are as gorgeous in texture and color as Veronese, Rubens,
Rembrandt, and other artists could make them. Veronese perhaps excelled
all others in making his Adoration of the Kings, in the Dresden gallery,
an imposing and gorgeous pageant.
Angels are by no means a necessary part of this scene, but are always
present in the earliest representations of it. A poetic element is
imparted to 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 an angel in a dream, these heavenly attendants are
seen bringing fruits and flowers to the travellers, pitching their
tents, leading the ass on which the Virgin rides, watching over them by
night, and serving them by day.
So 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.
For example, Van Dyck, in his picture in the Ashburton collection, has
represented the Virgin seated under a spreading tree, holding the Child,
while a number of angels dance in a round to the music made by other
angels in the clouds above.
Lucas Cranach shows the angels washing linen; Albert Dürer represents
St. Joseph as shaping a piece of wood with his axe; some of the many
angels present gather up the chips and put them in baskets; others dance
and frolic merrily
[Illustration: VAN DYCK.--THE REPOSE IN EGYPT.]
about the group, while still other more serious angels,--probably
guardian spirits,--devoutly folding their hands, stand or kneel around
the cradle of the Infant Jesus.
Titian, in one of his pictures of this subject, introduced a little
angel who waters the ass in a stream. Rembrandt gives his Repose the air
of a gipsy camp, which is emphasized by the fact that the only light
comes from a lantern hung on a tree. I do not know who painted a Repose
that I have seen, to which a very human feeling is imparted by St.
Joseph; he is shaking his fist at the ass, which has opened its mouth to
bray.
In the almost numberless representations of the Madonna and Child, and
of the Holy Family, angels are frequently introduced. These subjects are
so easily recognized, and, speaking generally, are so simply treated as
to require no comment here.
I have referred to the legend that an angel announced the approach of
death to the Virgin Mary, and have explained the difference between the
symbolism of this subject, and that of the Annunciation of the birth of
Jesus, all of which is made clear by our illustration.
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 in the magnificent Assumption by Titian, which is the pride of the
Academy in Venice.
In the purely devotional Assumptions such as that sculptured above the
portal of the Cathedral of Florence,--the Santa Maria del Fiore,--the
Virgin is within the mandorla, or almond-shaped aureole. She is clothed
in white and wears a veil
[Illustration: TITIAN.--THE ASSUMPTION OF THE VIRGIN.]
and crown; her hands are joined and she ascends in a glory of light,
surrounded by angels. The only special difference in these sculptures is
the position of the Virgin, who sometimes sits, and again stands
upright, in the mandorla. When the representation corresponds to this,
except that the Virgin has no crown, it may more properly be called the
Glorification of the Virgin.
* * * * *
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, that of
St. Cecilia, whose music charmed even the angelic choirs, so that the
angels brought to her the roses of Paradise, is one of the most
beautiful.
After the death of St. Catherine of Alexandria, angels bore her body to
the top of Mount Sinai, as represented in our illustration by Mücke.
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 to me to be that
angels represent our highest ideal of created beings,--beings that we
can only realize 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, rendering his own ideal, helps us to see with his eyes and
to accept or reject his work as it appeals to, or repels us.
This recalls the words of Ruskin when he says that the noblest use of
imagination is to “enable us to bring sensibly to our sight the things
which are recorded as belonging to our future state, or as invisibly
surrounding us in this. It is given us, that we may 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, 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 and
sincerity as make them appear to reproduce actual scenes, and, for the
time, 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 END.
INDEX.
A
Abraham, 50.
Academy of Florence, 125, 215.
Acts of the Holy Angels, The, 130.
Adoration of the Magi, The, 248.
Adoration of the Shepherds, The, 248.
Agatha, St., 258.
Agony; in Gethsemane, Pictures of the, 186, 187, 208.
Albani, Francesco, 39, 178.
Albertinelli, 248.
Allori, Alessandro, 98.
Almasio, Lippo d’, 185.
Ambrose, Hymn of St., 17.
Andrea del Sarto, 110, 159.
Angel Wings, 19-25.
Angels, Orders of, 15-19.
Angelic Drapery, 32.
Angelico, Fra, 36, 59, 99, 100, 103, 150, 151, 198, 199, 216, 227.
Angelo, Castle of Sant’, 77.
Annunciation, The, 86-104.
Archangels, Office of the, 18.
Arena Chapel, Padua, 217.
Arezzo, Spinello d’, 66.
Ascension of Christ, Pictures of the, 216-220.
Ashburton Collection, The, 250.
Assumption of the Virgin, Pictures of the, 70, 149, 254.
Aubert, St., 78.
Avanzi, Jacopo, 185.
Avranches, Normandy, 78.
B
Babylon, 25.
“Bannerer of Heaven,” 55.
Baptism of Christ, Pictures of the, 178.
Bartolommeo, Fra, 230.
Bel and the Dragon, Story of, 76.
Bellini, Gian, 150, 246.
Belvedere, The, Vienna, 110, 163, 177.
Benozzo, Gozzoli, 39.
Biliverti, Giovanni, 119.
“Bird of God,” 45.
Blake, William, 167.
Botticelli, Sandro, 125, 151, 245.
Brera, The, 163.
Brescia, Museo Tosi, 209.
Burne-Jones, Sir Edward, 190.
C
Campo Santo, The, Pisa, 23, 192, 199.
Caracci, Annibale, 191.
“ Ludovico, 185.
“ The, 39.
Carotto, Pictures by, 120-125.
Catherine of Alexandria, St., 73, 203, 258.
Cavallini, 210.
Cecilia, St., 257.
Chaldeans, The, 13, 52.
Chamuel, 49.
Cherubim, The, 16-19.
Choirs of Angels, The Nine, 16.
Choristers, Angelic, 17.
Christina, St., 258.
Comforting of Elijah, The, 166, 167.
Conca, Sebastian, 185.
Coronation of the Virgin, Pictures of the, 28, 227-229.
Correggio, 39, 218, 219, 248.
Cortona, Cathedral of, 57.
“ Pietro da, 163.
Councillors, Angelic, 17.
Cranach, Lucas, 250.
Credi, Lorenzo di, 179.
Crucifixion, Pictures of the, 210-214.
Cyrus, King, 76.
D
Dante, 17, 41, 45, 87, 130, 259.
Della Robbia, 150.
Dionysius the Areopagite, 16, 17.
Dominations, 17.
Drapery of Angels, 32.
Dream of Joseph, Picture of the, 177.
Dresden Gallery, 27, 159, 248, 249.
Duccio da Siena, 191, 218.
Dulwich Gallery, 166.
Dürer, Albert, 189, 250.
E
Ecce Homo, Pictures of, 208, 209.
Egypt, 25.
Enthroned Madonna, Pictures of the, 241-245.
Ercolani, Count, 168.
Escurial, The, 128.
Etruria, 25.
Expulsion of Heliodorus, The, 40.
F
Ferrari, Gaudenzio, 214.
Flight into Egypt, The, 249.
Florence, Academy of, 59, 149, 199, 223.
Florence, Cathedral of, 254.
Florentine Academy, The, 81, 88, 99.
Fontainebleau, 60.
Four Beasts, The, 170, 171.
Francia, 231.
Francis I., 60.
G
Gabriel, 48.
Galgano, Monte, 78.
Garden of Eden, 49.
Gaudenzio Ferrari, 214.
Ghiberti, 149.
Ghirlandajo, 150.
Giorgio, Church of San, Bologna, 185.
Giotto, 35, 39, 210, 213, 215, 217, 227.
Giovanni, Church of San, Padua, 218.
Glorification of the Virgin, Pictures of the, 70.
Glory of Angels, A, 25.
Gnostics, The, 52.
Governors, Angelic, 17.
Granacci, Francesco, 151.
Great Litanies, The, 77.
Gregorio, Church of San, Rome, 70.
Guercino, 163.
Guido Reni, 39, 62, 65, 156, 240.
H
Habakkuk, The Prophet, 76, 77.
Hadrian, Mausoleum of, 77.
Heliodorus, The Expulsion of, 40.
Hemshirk, 77.
Henry VII., Tomb of, 73.
Hermitage, The, 160, 165, 191.
Hierarchies of Angels, 16-19.
Holy Family, Pictures of the, 253.
Hymn of St. Ambrose, 17.
I
Immaculate Conception of the Virgin Mary, Pictures of the, 232-240.
J
Jameson, Mrs., 24, 68, 167.
John of Thessalonica, 139.
Jophiel, 49.
L
Landelle, 209.
Last Judgment, Pictures of the, 73, 151, 191-199.
Leonardo, 39, 69, 121.
Lily, Symbolism of the, 94.
Lippi, Filippino, 246.
“ Fra Filippo, 88, 99.
Litanies, The Great, 77.
Liturgy of Angels, A, 34.
Loggie of the Vatican, The, 134, 165.
Lord of Souls, The, 68, 70, 83, 121.
Lorenzo dei Medici, 60.
Louis, St., 78.
Louvre, The, 60, 129, 202, 227.
Lucca, Church of St. Romano, 230.
Lucifer, 55, 57, 58, 66, 85.
Luini, 208, 214.
M
Madonna, Pictures of the, 223.
“ del Pesce, 125-129.
“ di Fuligno, 129.
“ di San Sisto, 27, 127, 129.
Madonna in Glory, The, 242.
Madrid Gallery or Museum, 125, 129, 159.
Mantegna, 120, 189.
Marco, Covenant of San, 100.
Maria Maggiore, Church of Santa, 91.
Marziale, Church of St., 125.
Mater Amabilis, The, 245.
Maximin, The Emperor, 204.
Medina, Duke of, 128.
Melozzo da Forli, 150.
Mengs, Anton Raphael, 177.
Messengers, Angelic, 17.
Michael, St., 48, 156, 199, 213, 241.
Michael Angelo, 39, 199, 231, 232.
Michael, Mount Saint, 78.
Milan, The Brera, 163.
“ Monasterio Maggiore, 208.
Milton, 20, 27, 104, 105, 119, 131, 132, 140, 259.
Ministers, Angelic, 17.
Monasterio Maggiore, Milan, 208.
Monreale, Cathedral of, 133.
Moretto, 209.
Moses, The Prophet, 75.
Mother of Mercy, The, 229.
Mücke, 258.
Murillo, 164, 165, 183, 184, 236-239.
Museo Tosi, Brescia, 209.
N
Naples, Church of San Dominico Maggiore, 128.
National Gallery, London, 231, 242.
Nativity of Christ, Pictures of the, 247.
Nineveh, 25, 115.
Noah, 49.
O
Orcagna, 23, 192, 198, 199.
Orders of Angels, 15-19.
Orvieto, Cathedral of, 199.
Oxford Collection, The, 216.
P
Pacheco, 235, 240.
Palma, 150.
Passavant, 126.
Paul, Words of St., 74, 263.
“ V., Pope, 235.
Perugino, 28, 149, 178, 180, 216, 242.
Petersburg, St., 160, 191.
Philip IV., of Spain, 128.
Pietà, The, 51, 231.
Pinturicchio, 247.
Pisa, Campo Santo, 192.
“ Cathedral of, 160.
Pitti Gallery, The, 119, 168.
Pool of Bethesda, Pictures of, 183-185.
Potter, Paul, 167.
Powers, The, 17, 25.
Princedoms, Angelic, 18, 25.
Q
Queen of Angels, 93, 223, 242.
Queen of Heaven, 93.
R
Raphael, 24, 27, 40, 60, 62, 93, 125, 134, 150, 156,
164, 165, 168, 169, 178, 179, 216, 242.
Ravenna, Mosaics of, 242.
Rembrandt, 41, 129, 159, 164, 166, 189, 249, 253.
Reni, Guido, 39, 62, 65, 156, 240.
Repose in Egypt, The, 250, 251.
Resurrection of Christ, Pictures of, 215.
Richard of Normandy, 78.
Romano, Church of St., 230.
Rubens, 66, 163, 167, 178, 249.
Ruskin, Mr., 42, 259.
S
Sala del Incendio, The, 180.
Santa Croce, Church of, Florence, 215, 223.
Santa Maria Novella, Church of, 51, 223.
Santa Maria della Salute, Church of, Venice, 160.
Sarto, Andrea del, 110, 159.
Scheffer, Ary, 180, 189.
Schoen, Martin, 65.
Scuola della Caritas, Venice, 230.
Seraphim, The, 16-19.
Seville, 235.
Shakespeare, 155.
Signorelli, 69, 75, 199.
Sinai, Mount, 73, 75.
Sistine Chapel, The, 75, 199.
Sodoma, Il, 160.
Soult, Marshal, 184.
Spenser, 14.
Stanza della Signatura, 40.
Stirling, Handbook of Spain, 240.
Symbols of Angels, 19.
T
Taddeo Gaddi, 51.
Temptation of Christ, Pictures of the, 179-183, 208.
Thomas Aquinas, St., 51.
Thrones, Angelic, 18.
Tintoretto, 178.
Titian, 39, 125, 160, 253, 254.
Tobias, 49, 107-127.
Tree of Knowledge, 49.
U
Uffizi Gallery, 248.
Uriel, 49, 132.
Ursula, St., 230.
V
Van Dyck, 250.
Varallo, Church at, 214.
Vatican, The, 24, 40, 164, 165, 180, 216, 231.
Velasquez, 208, 240.
Venice, 125, 160, 230.
“ Academy of, 228, 254.
Verona, Church of St. Euphemia, 120.
Veronese, Paul, 178, 189, 249.
Verrocchio, 178, 179.
Vienna, Belvedere Gallery, 110, 163, 177.
Vinci, Leonardo da, 69.
Virtues, Angelic, 17.
Visit of Women to the Sepulchre of Christ, Pictures of the, 190, 191.
Vision of Ezekiel, The, 168, 170.
Visitation, Pictures of the, 247.
Vivarini, 150, 228.
W
Westminster Abbey, 73.
William the Conqueror, 78.
Wings, Angel, 19-25.
Z
Zadkiel, 50.
Zoroaster, 13.