the angels round the choir of Lincoln Cathedral, of which there are fine casts in the Crystal Palace at Sydenham; and in some of the old churches in Saxony which clearly exhibit the influence of Byzantine Art—for instance, at Freyberg, Merseburg, Naumburg—angels with outspread wings fill up the spandrils of the arches along the nave. But, in the best ages of Art, angels were not merely employed as decorative accessories; they had their appropriate place and a solemn significance as a part of that theological system which the edifice, as a whole, represented. As a celestial host, surrounding the throne of the Trinity; or of Christ, as redeemer or as a judge; or of the Virgin in glory; or the throned Madonna and Child; their place is immediately next to the Divine Personages, and before the Evangelists. In what is called a Liturgy of Angels, they figure in procession On each side of the choir, so as to have the appearance of approaching the altar: they wear the stole and alba as deacons, and bear the implements of the mass. In the Cathedral of Rheims there is a range of colossal angels as a grand procession along the vaults of the nave, who appear as approaching the altar: these bear not only the gospel, the missal, the sacramental cup, the ewer, the taper, the cross, &c., but also the attributes of sovereignty, celestial and terrestrial: one carries the sun, another the moon, a third the kingly sceptre, a fourth the globe, a fifth the sword; and all these, as they approach the sanctuary, they seem about to place at the feet of Christ, who stands there as priest and king in glory. Statues of angels in an attitude of worship on each side of the altar, as if adoring the sacrifice—or bearing in triumph the instruments of Christ’s passion, the cross, the nails, the spear, the crown of thorns—or carrying tapers—are more common, and must be regarded not merely as decoration, but as a _presence_ in the high solemnity. [Illustration: 16 Angel bearing the Moon (Greek, 12th century)] In the Cathedral of Auxerre may be seen angels attending on the triumphant coming of Christ; and, which is most singular, they, as well as Christ, are on horseback (17). [Illustration: 17 Two angels on horseback] When, in subjects from Scripture history, angels figure not merely as attendants and spectators, but as personages necessary to the action, they are either ministers of the divine wrath, or of the divine mercy; agents of destruction, or agents of help and good counsel. As all these instances belong to the historical scenes of the Old or the New Testament, they will be considered separately, and I shall confine myself here to a few remarks on the introduction and treatment of angels in some subjects of peculiar interest. * * * * * [Illustration: 18 Adam and Eve expelled (N. Pisano)]