In the Last Judgment of Orcagna, in the Campo Santo at Pisa (31), the Seven Angels are active and important personages. The angel who stands in the centre of the picture, below the throne of Christ, extends a scroll in each hand; on that in the right hand is inscribed ‘Come, ye blessed of my Father,’ and on that in the left hand, ‘Depart from me, ye accursed:’ him I suppose to be Michael, the angel of judgment. At his feet crouches an angel who seems to shrink from the tremendous spectacle, and hides his face: him I suppose to be Raphael, the guardian angel of humanity. The attitude has always been admired—cowering with horror, yet sublime. Beneath are other five angels, who are engaged in separating the just from the wicked, encouraging and sustaining the former, and driving the latter towards the demons who are ready to snatch them into flames. These Seven Angels have the garb of princes and warriors, with breastplates of gold, jewelled sword-belts and tiaras, rich mantles; while the other angels who figure in the same scene are plumed, and bird-like, and hover above bearing the instruments of the Passion (32). Again we may see the Seven Angels in quite another character, attending on St. Thomas Aquinas, in a picture by Taddeo Gaddi.[58] Here, instead of the instruments of the Passion, they bear the allegorical attributes of those virtues for which that famous saint and doctor is to be reverenced: one bears an olive-branch, i.e. Peace; the second, a book, i.e. Knowledge; the third, a crown and sceptre, i.e. Power; the fourth, a church, i.e. Religion; the fifth, a cross and shield, i.e. Faith; the sixth, flames of fire in each hand, i.e. Piety and Charity; the seventh, a lily, i.e. Purity. [Illustration: 32] In general it may be presumed when seven angels figure together, or are distinguished from among a host of angels by dress, stature, or other attributes, that these represent the ‘Seven Holy Angels who stand in the presence of God.’ Four only of these Seven Angels are individualised by name, Michael, Gabriel, Raphael, and Uriel. According to the Jewish tradition, these four sustain the throne of the Almighty: they have the Greek epithet _arch_, or chief, assigned to them, from the two texts of Scripture in which that title is used (1 Thess. iv. 16; Jude ix.); but only the three first, who in Scripture have a distinct personality, are reverenced in the Catholic Church as saints; and their gracious beauty, and their divine prowess, and their high behests to mortal man, have furnished some of the most important and most poetical subjects which appear in Christian Art.