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
Virgin and Child, in an attitude of adoration. According to the Greek
formula, the three in combination represent the triple power, military,
civil, and religious, of the celestial hierarchy: St. Michael being
habited as a warrior, Gabriel as a prince, and Raphael as a priest.
In a Greek picture, of which I give an outline, the three Archangels
sustain in a kind of throne the figure of the youthful Christ, here
winged, as being Himself _the_ supreme Angel (ἂγγελος), and with both
hands blessing the universe. The Archangel Raphael has here the place
of dignity as representing the Priesthood; but in Western Art Michael
takes precedence of the two others, and is usually placed in the centre
as Prince or Chief: with him, then, as considered individually, we
begin.
ST. MICHAEL.
_Lat._ Sanctus Michael Angelus. _Ital._ San Michele, Sammichele.
_Fr._ Monseigneur Saint Michel. (Sept. 29.)
‘Michael, the Great Prince that standeth for the children of thy
people.’—_Dan._ xii. 1.
It is difficult to clothe in adequate language the divine attributes
with which painting and poetry have invested this illustrious
archangel. Jews and Christians are agreed in giving him the
pre-eminence over all created spirits. All the might, the majesty,
the radiance, of Thrones, Dominations, Princedoms, Virtues, Powers,
are centred in him. In him God put forth his strength when He exalted
him chief over the celestial host, when angels warred with angels
in heaven; and in him God showed forth his glory when He made him
conqueror over the power of sin, and ‘over the great dragon that
deceived the world.’
To the origin of the worship paid to this great archangel I dare not do
more than allude, lest I stray wide from my subject, and lose myself,
and my readers too, in labyrinths of Orientalism. But, in considering
the artistic representations, it is interesting to call to mind that
the glorification of St. Michael may be traced back to that primitive
Eastern dogma, the perpetual antagonism between the Spirit of Good and
the Spirit of Evil, mixed up with the Chaldaic belief in angels and
their influence over the destinies of man. It was subsequent to the
Captivity that the active Spirit of Good, under the name of Michael,
came to be regarded as the especial protector of the Hebrew nation: the
veneration paid to him by the Jews was adopted, or rather retained,
by the Oriental Christians, and, though suppressed for a time, was
revived and spread over the West, where we find it popular and almost
universal from the eighth century.
Public-domain text, read in full here on John Shaqi.
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