Sacred and legendary art, volume 1 (of 2): Containing legends of the angels and archangels, the evangelists, the Apostles, the doctors of the church, and St. Mary magdalene, as represented in the fine arts.Jameson, Mrs. (Anna)
Religion
Sacred and legendary art, volume 1 (of 2): Containing legends of the angels and archangels, the evangelists, the Apostles, the doctors of the church, and St. Mary magdalene, as represented in the fine arts.
Jameson, Mrs. (Anna)
Christian art and symbolism; Christian saints in art
In relating ‘the expulsion of Adam and Eve from Paradise,’ it is not
said that an angel was the immediate agent of the divine wrath, but it
is so represented in works of Art. In the most ancient treatment I have
met with,[36] a majestic armed angel drives forth the delinquents, and
a cherub with six wings stands as guard before the gate. I found the
same _motif_ in the sculptures on the façade of the Duomo at Orvieto,
by Niccolò Pisano. In another instance, an ancient Saxon miniature, the
angel is represented not as driving them forth, but closing the door
against them. But these are exceptions to the usual mode of treatment,
which seldom varies; the angel is not represented in wrath, but calm,
and stretches forth a sword which is often (literally rendering the
text) a waving lambent flame. I remember an instance in which the
preternatural sword, ‘turning every way,’ as the form of a wheel of
flames.
An angel is expressly introduced as a minister of wrath in the story
of Balaam, in which I have seen no deviation from the obvious prosaic
treatment, rendering the text literally, ‘and the ass saw the angel of
the Lord standing in the way and his sword drawn in his hand.’
‘The destroying angel, leaning from heaven, presents to David three
arrows, from which to choose—war, pestilence, or famine.’ I have found
this subject beautifully executed in several MSS., for instance, in the
‘Heures d’Anne de Bretagne;’ also in pictures and in prints.
‘The destroying angel sent to chastise the arrogance of David, is
beheld standing between heaven and earth with his sword stretched over
Jerusalem to destroy it.’ Of this sublime vision I have never seen
any but the meanest representations; none of the great masters have
treated it; perhaps Rembrandt might have given us the terrible and
glorious angel standing like a shadow in the midst of his own intense
irradiation. David fallen on his face, and the sons of Ornan hiding
themselves by their rude threshing-floor, with that wild mixture of the
familiar and the unearthly in which he alone has succeeded.
Public-domain text, read in full here on John Shaqi.
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