On the other hand, certain deeds to be done were given to certain angels who had definite names. These were the seven archangels. It was Michael, captain of the Hosts of Heaven, that overcame the Demon and drove him into the Bottomless Pit; it was Jophiel with the flaming sword that drove Adam and Eve out of Paradise; it was Zadkiel that stayed the hand of Abraham, and Chamuel that wrestled with Jacob. These were all archangels who appeared with their various symbols in Christian art. Uriel, guardian of the sun, is seen less frequently than the others; but Raphael, the chief guardian angel, is often seen in company with Tobit, and occasionally in the pictures of the Last Judgment with Michael, blowing the dread blast of the great resurrection. [Illustration: GUIDO RENI: ST. MICHAEL AND THE DEMON] But the angel Gabriel appears in art oftener than all the other angels put together. This is because he was the angel of the Annunciation and foretold the coming of Christ. He is seen a thousand times in Italian art, lilies in hand, kneeling and repeating the message to the Madonna. The theme was the most popular of all, and a thousand different types of beauty were created to impersonate Gabriel. Many of them are still existent, and some of them are the most lovely creations of the old masters. ANGEL IDEALS OF THE OLD MASTERS [Illustration: VEROCCHIO (School of) ARCHANGEL RAPHAEL (detail)] Of course the ideal of angelic beauty varied with each painter. Each chose for a model the fairest type he could find, and each differed from his fellow. Perhaps the most popular types of angels in the early Renaissance were painted by Melozzo da Forlì. A notable group of them was painted in a cupola of the Church of the Apostles in Rome. They were angels of the Ascension, and surrounded the rising figure of Christ. The fresco afterward became so damaged that it was taken down, and some of the angels were transferred to the Sacristy of St. Peter's, where they are now to be seen. Our reproduction shows a detail of one of them,--one with a fair face, abundant hair, a halo about the head made up of golden cubes of mosaic, and large expanded wings. The figure is seen slightly foreshortened, and this, with the spread wings that seem really large enough to support an angel, gives the impression of flight, or at least a hovering movement. The wings are upraised, and seem to frame the beautiful head and its halo. This upward swing of the wings is counterbalanced by the downward sweep of the drapery from the waist line. Between the upward and the downward curves is a swirling cross line, made up by the shoulder, the arm, and the violin bow. All this is shrewdly worked out, and gives force and movement to the figure. The whole composition has nobility and loftiness about it, and is not a mere sweet-faced affair of the Carlo Dolci (dol´-chee) kind. [Illustration: VERONESE: ANNUNCIATION (detail)] [Illustration: BOTTICELLI: MADONNA, CHILD, AND ANGELS]