II. GABRIEL (i.e. God is my strength), guardian of the celestial treasury, and preceptor of the patriarch Joseph. III. RAPHAEL (i.e. the Medicine of God), the conductor of Tobit; thence the chief guardian angel. IV. URIEL (i.e. the Light of God), who taught Esdras. He was also regent of the sun. V. CHAMUEL (i.e. one who sees God?), who wrestled with Jacob, and who appeared to Christ at Gethsemane. (But, according to other authorities, this was the angel Gabriel.) VI. JOPHIEL (i.e. the Beauty of God), who was the preceptor of the sons of Noah, and is the protector of all those who, with an humble heart, seek after truth, and the enemy of those who pursue vain knowledge. Thus Jophiel was naturally considered as the guardian of the tree of knowledge and the same who drove Adam and Eve from Paradise. VII. ZADKIEL (i.e. the Righteousness of God), who stayed the hand of Abraham when about to sacrifice his son. (But, according to other authorities, this was the archangel Michael.) The Christian Church does not acknowledge these Seven Angels by name; neither in the East, where the worship of angels took deep root, nor yet in the West, where it has been tacitly accepted. Nor have I met with them as a series, _by name_, in any ecclesiastical work of art, though I have seen a set of old anonymous prints in which they appear with distinct names and attributes: Michael bears the sword and scales; Gabriel, the lily; Raphael, the pilgrim’s staff and gourd full of water, as a traveller. Uriel has a roll and a book: he is the interpreter of judgments and prophecies, and for this purpose was sent to Esdras:—‘The angel that was sent unto me, whose name was Uriel, gave me an answer.’ (Esdras, ii. 4.) And in Milton— Uriel, for thou of those Seven Spirits that stand In sight of God’s high throne, gloriously bright, The first art wont his great authentic will Interpreter through highest heaven to bring. [Illustration: 31 The Archangels Michael and Raphael (Campo Santo)] According to an early Christian tradition, it was this angel, and not Christ in person, who accompanied the two disciples to Emmaus. Chamuel is represented with a cup and a staff; Jophiel with a flaming sword. Zadkiel bears the sacrificial knife which he took from the hand of Abraham. But the Seven Angels, without being distinguished by name, are occasionally introduced into works of art. For example, over the arch of the choir in San Michele, at Ravenna (A.D. 545), on each side of the throned Saviour are the Seven Angels blowing trumpets like cow’s horns:—‘And I saw the Seven Angels which stand before God, and to them were given seven trumpets.’ (Rev. viii. 2, 6.) In representations of the Crucifixion and in the Pietà, the Seven Angels are often seen in attendance, bearing the instruments of the Passion. Michael bears the cross, for he is ‘the Bannerer of heaven;’ but I do not feel certain of the particular avocations of the others.