CHERUBIM AND SERAPHIM
The red-robed angels (they were painted red of face as well as of robe) were the Seraphim, the angels of love, and nearest to God. Often with the early painters only their heads were shown, with wings crossed in front of them, sometimes with four, six, or eight wings. The blue-robed angels were the Cherubim, the angels of knowledge, and they too were shown in their heads only, with many crossed wings. They appeared in groups and halos surrounding the presence of the Father, the Son, or the Virgin. The cherubs or putti of later Italian art, so frequently seen with the Madonna and Child, are the artistic descendants of the Seraphim and Cherubim. They are seen in the large aureoles of light that surround the Madonna; for instance, in Raphael's "Sistine Madonna" and Titian's "Assumption of the Virgin." They recede into the background or come forward in clouds as the countless hosts of heaven.
DOMENICHINO. MADONNA OF THE ROSARY (detail)
Frequently the Cherubs are given enlarged childlike or feminine forms with individual features, elongated wings, variegated colors. They are then shown hovering or standing or seated near the Madonna, and are usually playing on musical instruments—making music for the glory of the Madonna and Child. They are seen in the pictures of Bellini (bel-lee´-nee) and Carpaccio (kahr-pah´-cho) near the foot of the throne; with Melozzo da Forlì (for-lee´) they soar in the air; with Duccio (doo´-cho) and Cimabue (chee-mah-boo´-ah) they stand about the throne, dressed in rich robes, singing, playing, or worshiping. Music and color were associated in the minds of the early Italians as though both were manifestations of sentiment in art. Especially was this true at Venice,—the one great color spot in Italian art.