According to ecclesiastical legend and tradition there are nine degrees of
angelic beings. St. Dionysius relates that there are three hierarchies of
angels and three orders in each; and by wise allegories each had his
special mission, and they were each depicted with certain insignia by
which they were recognised in art representations, which vary somewhat in
examples of different periods.
The nine choirs of angels are classed as follow, with the name of the
chief of each, according to ancient legend:
_Cherubim_ Jophiel
_Seraphim_ Uriel
_Thrones_ Zaphkiel
_Dominions_ Zadchiel
_Virtues_ Haniel
_Powers_ Raphael
_Principalities_ Camiel
_Archangels_ Michael
_Angels_ Gabriel
According to A. Welby Pugin's "Glossary of Architectural Ornament and
Costume," and other authorities, we learn the mediæval conception of these
beings.
The following emblems are borne by angels: FLAMING SWORDS, denoting "the
wrath of God"; TRUMPETS, "the voice of God"; SCEPTRES, "the power of God";
THURIBLES, or censers, the incense being the prayers of saints;
INSTRUMENTS OF MUSIC, to denote their felicity.
The APPARELS, or borders of their robes, are jewelled with SAPPHIRE for
"celestial contemplation"; RUBY, "divine love"; CRYSTAL, "purity";
EMERALD, "unfading youth."
ARCHANGELS are the principal or chief angels, and are extraordinary
ambassadors. Among these the name of GABRIEL--the angel of the
annunciation, the head of the entire celestial hierarchy--denotes "the
power of God"; MICHAEL, "who is like God"; RAPHAEL, "the healing of God";
URIEL, "the fire of God."
ANGEL is the name, not of an order of beings, but of an office, and means
messenger: wherefore angels are represented YOUNG to show their continued
strength, and WINGED to show their unweariedness; WITHOUT SANDALS, for
they do not belong to the earth; and GIRT, to show their readiness to go
forth and execute the will of God. Their garments are either WHITE, to
denote their purity, or GOLDEN, to show their sanctity and glory, or they
are of any of the symbolical colours used in Christian Art.
A writer in the _Ecclesiastical Art Review_, May 1878, I. Lewis André,
architect, says that "we seldom find angels clad in any other
ecclesiastical vestments than the ALB (or tunic of various colours), and
the amice. The AMICE is sometimes like a mere loose collar; at other times
it has richly embroidered APPARELS (or borders), and is exactly like the
priestly vestment as worn in the Middle Ages. Instead of the amice we
sometimes find a scarf or cloth tied in a knot around the neck, the ends
falling down in front.
"In Anne of Brittany's prayer-book is a beautiful figure of St. Michael.
He has a rayed nimbus, a cross on a circlet round his head, a richly
embroidered _dalmatic_ (a long robe with sleeves partly open at the
sides), and holds a sword in his left hand. The emblems of St. Michael are
a crown, a sword, a shield charged with a cross of St. George, or a spear
with the banner of the cross, or else with scales in his hand. Sometimes,
as at South Leigh, Oxon., he is in complete armour.
"The archangels are often figured with a trumpet in the right hand, scarfs
round neck and loins; six wings, sometimes four at the shoulders and two
at the hips, the legs bare from the thighs. The four archangels are
frequently represented in complete armour and with swords.
"The angels in the Benedictional of St. Ethelwold nearly resemble much
later representations; they have wings and the nimbus or aureole, long
hair and girded loins, whilst the feet are bare, as is generally the case
at all periods of Gothic Art; but the characteristic drapery is loose and
flowing as in the Saxon figures of saints; the wings are short and broad,
the nimbus is generally rayed like the spokes of a wheel (a form seen in
the work of Giotto, with whom it seems to have been a favourite). The alb
or vesture has loose sleeves, and at times a mantle or cope envelops the
figure; both sleeves and mantles have embroideries or apparels."
"The modern taste," says the same writer, "for giving angels pure white
vesture does not appear to be derived from the Middle Ages, and certainly
not from the best period when angels were clad in every brilliant colour,
as a beautiful example at St. Michael's, York, shows. Here an angel
swinging a golden censer has a green tunic covered with a white cloak or
mantle. The nimbus is bright blue, and the wings have the upper parts
yellow, and are tipped with green. At Goodnestowe church, St. Michael has
a deep crimson tunic, a white mantle edged with a rich gold border, green
wings, and a light crimson nimbus," and mention is here made of the white
vesture of the angel at the Sepulchre, and that nowhere else does the
Gospel mention any angel clad in white but in the narratives of Our Lord's
resurrection.
[Illustration: Angel with Cloud Symbol.]
"Often the angels' wings are feathered red and blue alternately, as on the
pulpit at Cheddar, Somerset. Sometimes the wings have feathers like those
of a peacock, on the Chapter House, Westminster; round the Wall Arcade,
angels have their wings inscribed with a text on every feather. This
corresponds with the French 'hours' of Anne of Brittany, where an angel
(St. Gabriel) wears a mantle with a text running along the border."
It was not uncommon to represent angels in carving and stained glass in
the latter part of the fifteenth century as feathered all over like birds.
_Cloud Symbol of the_ "Sky" _or_ "Air."--Artists of the Mediæval and
Renaissance periods, following classical authority, employed the cloud
symbol of the sky or air in their allegories and sacred pictures of
divine persons, saints, and martyrs, to denote their divine or celestial
condition, as distinguished from beings "of the earth--earthy." The
adoption of _the little cloud_ underneath the feet, when the figure is not
represented flying, naturally suggested itself as the most fitting emblem
for a support, and avoided the apparent incongruity of beings in material
human shape _standing_ upon _nothing_. The suggestion of the aerial
support here entirely obviates any thought of the outrage on the laws of
gravity.
Another distinguishing attribute is the Nimbus--an emblem of divine power
and glory--placed behind or over the head. The crown is an insignia of
civil power borne by the laity; the nimbus is ecclesiastical and
religious. The pagans were familiar with the use of the nimbus, which
appears upon the coins of some of the Roman Emperors. It was widely
adopted by the Early Christian artists, and up till the fifteenth century
was represented as a circular disc or plate behind the head, of gold or of
various colours, and, according to the shape and ornamentation of the
nimbus, the elevation or the divine degree of the person was denoted. It
was displayed behind the heads of the Persons of the Trinity and of
angels. It is also worn as a mark of honour and distinction by saints and
martyrs. At a later period, when the traditions of early art were to some
extent laid aside, _i.e._, from the fifteenth century until towards the
end of the seventeenth century, as M. Dideron informs us, a simple
unadorned ring, termed a "circle of glory," "takes the place of the nimbus
and is represented as hovering over the head. It became thus idealised and
transparent, showing an outer circle only; the field or disc is altogether
omitted or suppressed, being drawn in perspective and formed by a simple
thread of light as in the _Disputer_ of Raphael. Sometimes it is only an
uncertain wavering line resembling a circle of light. On the other hand,
the circular line often disappears as if it were unworthy to enclose the
divine light emanating from the head. It is a shadow of flame, circular in
form but not permitting itself to be circumscribed."
[Illustration: Angel Supporter.]
Although the forms of angels are of such frequent occurrence in Mediæval
Art they seem to abound more especially in the fifteenth century. Angels
are seen in every possible combination, with ecclesiastical and domestic
architecture, and form the subject of many allusions in heraldry. They are
frequently used as supporters.
Charles Boutell, M.A., "English Heraldry," p. 247, says, regarding angels
used as supporters to the armorial shield: "The introduction of angelic
figures which might have the appearance of acting as 'guardian angels' in
their care of shields of arms, was in accordance with the feelings of the
early days of English heraldry; and, while it took a part in leading the
way to the systematic use of regular supporters, it served to show the
high esteem and honour in which armorial insignia were held by our
ancestors in those ages." And reference is made to examples sculptured in
the noble timber roof of Westminster Hall and elsewhere. As an example we
give the shield of arms of the Abbey of St. Albans.
[Illustration: Kneeling Angel Supporter.]
Figures of angels holding shields of arms, each figure having a shield in
front of its breast, are frequently sculptured in Gothic churches. They
appear on seals, as on that of Henry of Lancaster about 1350, which has
the figure of an angel on each side of it. The shield of Richard II. at
Westminster Hall, bearing the arms of France ancient and England
quarterly, is supported by angels, which, if not rather ornamental than
heraldic, were possibly intended to denote his claim to the crown of
France, being the supporters of the Royal arms of that kingdom. Upon his
Great Seal other supporters are used. There are also instances of the
shield of Henry VI. being supported by angels, but they are by some
authorities considered as purely religious symbols rather than heraldic.
[Illustration: Arms of the Abbey of St. Albans.]
The supporters of the King of France were two angels standing on clouds,
all proper, vested with taberts of the arms, the dexter _France_, the
sinister _Navarre_, each holding a banner of the same arms affixed to a
tilting-spear, and the _cri de guerre_ or motto, "Mont-joye et St. Denis."
The shield bears the impaled arms of France and Navarre with several
orders of knighthood, helmet, mantling and other accessories, all with a
pavilion mantle.
Although Francis II., Charles IX., Henry III. and IV. and Louis XIII. had
special supporters of their arms, yet they did not exclude the two angels
of Charles VI., which were considered as the ordinary supporters of the
kingdom of France. Louis XIV., Louis XV. and Louis XVI. never used any
others.
Verstegan quaintly says that Egbert was "chiefly moved" to call his
kingdom England "in respect of Pope Gregory changing the name of Engelisce
into Angellyke," and this "may have moved our kings upon their best gold
coins to set the image of an angel."[4]
[Illustration: Gloria Excelsis Deo]
"... Shake the bags
Of hoarding abbots; their imprisoned _angels_
Set them at liberty."
SHAKESPEARE, _King John_, iii. 3.
The gold coin was named from the fact that on one side of it was a
representation of the archangel in conflict with the dragon (Rev. xii. 7).
The reverse had a ship. It was introduced into England by Edward IV. in
1456. Between his reign and that of Charles I. it varied in value from
6_s._ 8_d._ to 10_s._