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
But the single devotional figures of St. Michael usually represent
him as combining the two great characters of captain of the heavenly
host, and conqueror of the powers of hell. He stands armed, setting
his foot on Lucifer, either in the half-human or the dragon form, and
is about to transfix him with his lance, or to chain him down in the
infernal abyss. Such, however varied in the attitude, expression, and
accessories, is the most frequent and popular representation of St.
Michael, when placed before us, as the universally received emblem of
the final victory of good over evil.
[Illustration: 34 St. Michael. (Angelico, Fl. Acad.)]
In those churches of Christendom which have not been defaced by a
blind destructive zeal, this image meets us at every turn: it salutes
us in the porch as we enter, or it shines upon us in gorgeous colours
from the window, or it is wreathed into the capitals of columns, or it
stands in its holy heroic beauty over the altar. It is so common and
so in harmony with our inmost being, that we rather feel its presence
than observe it. It is the visible, palpable reflection of that great
truth stamped into our very souls, and shadowed forth in every form
of ancient belief,—the final triumph of the spiritual over the animal
and earthly part of our nature. This is the secret of its perpetual
repetition, and this the secret of the untired complacency with which
we regard it; for even in the most inefficient attempts at expression,
we have always the leading _motif_ distinct and true, the winged virtue
is always victorious above, and the bestial vice is always prostrate
below: and if to this primal moral significance be added all the charm
of poetry, grace, animated movement, which human genius has lavished
on this ever blessed, ever welcome symbol, then, as we look up at
it, we are ‘not only touched, but wakened and inspired,’ and the
whole delighted imagination glows with faith and hope, and grateful
triumphant sympathy,—so at least I have felt, and I must believe that
others have felt it too.
Public-domain text, read in full here on John Shaqi.
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