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.
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.
The earliest instance I have met of the Archangels introduced by name into a work of art is in the old church of San Michele at Ravenna (A.D. 545). The mosaic in the apse exhibits Christ in the centre, bearing in one hand the cross as a trophy or sceptre, and in the other an open book on which are the words ‘Qui videt me videt et Patrem meum.’ On each side stand Michael and Gabriel, with vast wings and long sceptres; their names are inscribed above, but without the Sanctus and without the Glory. It appears, therefore, that at this time, the middle of the sixth century, the title of Saint, though in use, had not been given to the Archangels.
When, in the ancient churches, the figure of Christ or of the Lamb appears in a circle of glory in the centre of the roof; and around, or at the four corners, four angels who sustain the circle with outspread arms, or stand as watchers, with sceptres or lances in their hands, these I presume to be the four Archangels who sustain the throne of God. Examples may be seen in San Vitale at Ravenna; in the chapel of San Zeno, in Santa Prassede at Rome; and on the roof of the choir of San Francesco d’Assisi.
So the four Archangels, stately colossal figures, winged and armed and sceptred, stand over the arch of the choir in the Cathedral of Monreale, at Palermo.[59]
So the four angels stand at the four corners of the earth and hold the winds, heads with puffed cheeks and dishevelled hair.[60] (Rev. vii. 1.)
