In a Coronation of the Virgin,[22] a glory of Seraphim over-arches the principal group. Here the angelic beings are wholly of a bright red colour: they are human to the waist, with hands clasped in devotion: the bodies and arms covered with plumage, but the forms terminating in wings; all uniformly red. In the same collection is a small Greek picture of Christ receiving the soul of the Virgin; over his head hovers a large, fiery-red, six-winged Seraph; and on each side a Seraph with hair and face and limbs of glowing red, and with white draperies. Vasari mentions an Adoration of the Magi by Liberale of Verona, in which a group of angels, all of a red colour, stand as a celestial guard round the Virgin and her divine Infant.[23] The distinction of hue in the red and blue angels we find wholly omitted towards the end of the fifteenth century. Cherubim with blue, red, green, and variegated wings we find in the pictures of Perugino and other masters in the beginning of the sixteenth century, also in early pictures of Raphael. Liberale di Verona has given us, in a Madonna picture, Cherub heads without wings, and of a blue colour, emerging from golden clouds. And in Raphael’s Madonna di San Sisto the whole background is formed of Cherubim and Seraphim of a uniform delicate bluish tinge, as if composed of air, and melting away into an abyss of golden glory, the principal figures standing relieved against this flood of living love and light—beautiful! So are the Cherubim with many-coloured wings which float in the firmament in Perugino’s Coronation of the Virgin; but none of these can be regarded as so theologically correct as the fiery-red and bright-blue Seraphim and Cherubim, of which are formed the hierarchies and glories which figure in the early pictures, the stained glass, the painted sculpture, and the illuminated MSS. from the tenth to the sixteenth century. [Illustration: 7 Cherubim (Liberale di Verona)]