All angels are said to be masculine. They are represented as having human forms and faces, young, beautiful, perfect, with an expression of other-worldliness. They are created beings, therefore not eternal, but they are never old, and should not be infantile. Such representations as can be called infant angels should symbolize the souls of regenerate men, or the spirits of such as die in infancy,--those of whom Jesus said that “in heaven their angels do always behold the face of my Father.” Angels are changeless; for them time does not exist; they enjoy perpetual youth and uninterrupted bliss. To these qualities should be added an impression of unusual power, wisdom, innocence, and spiritual love. In the earliest pictures of angels the drapery was ample, and no unusual attitudes, no insufficient robes, nor unsuitable expression was seen in such representations so long as religious art was at its best. White should be the prevailing color of angelic drapery, but delicate shades of blue, red, and green were frequently employed with wonderful effect. The Venetians used an exquisite pale salmon color in the drapery of their angels; but no dark or heavy colors are seen in the robes of angels in the pictures of the old Italian masters. The early German painters, however, affected angelic draperies of such vast expanse and weighty coloring, embroidery, and jewels, that apparently their angels must perforce descend to earth, and never hope to rise again without a change of toilet. I shall presently speak of angels in their offices of messengers, guardians, choristers, and comforters. At present I am thinking of the multitudes of angels which were introduced into early religious pictures to indicate a “cloud of witnesses.” They lend an element of beauty and of spiritual emotion to the scenes honored with their presence. Their effectiveness has appealed to many Christian architects who have fully profited by the example of Solomon, who “carved all the walls of the house--temple--with carved figures of cherubim,” and he made the doors of olive-tree, and he carved on them figures of cherubim. In the same manner, in many old churches, angels carved in marble, stone or wood, and painted on glass, in frescoes on walls, and in smaller pictures, fill all spaces, and are everywhere beautiful. So long, however, as the stricter theological observances prevailed, angels were not permitted as mere decorations, but were so placed as to illustrate some solemn and significant portion of the belief and teaching of the Church. Angels were only second to the persons of the Trinity at this period, and preceded the Evangelists. They were represented as surrounding divine beings, and the Virgin Enthroned, or in Glory.