Early Christian Representations of Angels
Angels were seldom represented in Christian art before
Constantine. The oldest fresco in which an angel appears is the
Annunciation scene (second century) of the cemetery of St.
Priscilla. A third-century painting of the same subject was
discovered by Wilpert in the cemetery of Sts. Peter and
Marcellinus; in both representations the Archangel Gabriel is
depicted in human form, robed in tunic and pallium. The "Good
Angel" (angelus bonus) of the fourth-century syncretistic fresco
representing the judgment of Vibia is also depicted in human form,
dressed as a sacred personage. The winged angel, for which
abundant scriptural references could be adduced, does not appear
in pre-Constantinian Christian art, for the reason, probably, that
such figures might too readily recall certain favourite subjects
of classic art. Another fact worthy of note in this regard is that
angels in this first period of Christian art are never represented
unless historically necessary, as in the Annunciation scene
referred to -- and not always even then. In a third-century fresco
of the Hebrew children in the furnace, for instance, in the
cemetery of St. Priscilla, a dove takes the place of the angel,
while a fourth-century representation of the same subject, in the
coemeterium majus, substitutes the hand of God for the heavenly
messenger.
From the reign of Constantine a new type of angel, with wings,
appears in Christian art. The four angels with spears on the
ciborium of the Lateran Basilica (Lib. Pont., I, 172) were
probably of this order. This innovation was evidently suggested by
the "Victories", and similar figures of classic art; but the
danger of idolatrous suggestion in such figures was now remote,
and historic art, which gradually replaced symbolic, demanded
angels with wings. Certain Gnostic sculptures seem to mark the
transition from the classic Victory to the winged angel (Cabrol,
Dict. d'Arch. Chret., col. 2116 sqq). The oldest existing examples
of winged angels are seen in some bas-reliefs of Carthage and a
representation on ivory of St. Michael, both attributed to the
fourth century. The latter, part of a diptych in the British
Museum, shows the Archangel Michael standing on the upper steps of
an architectonically adorned doorway, with a staff in one hand and
a globe surmounted by a cross in the other. The figure is
admirably executed.
A second development in the artistic conception of angels is
marked in the Annunciation scene (fifth century) depicted on the
triumphal arch of St. Mary Major's. Unlike the same subject in the
catacombs, the Angel Gabriel is soaring through the air towards
Mary, who is seated in the midst of attendant winged angels. From
the fifth century angels became a favourite subject in Christian
art, no longer merely as figures demanded to complete a historical
scene, but very often as attendants on Our Lord and the Blessed
Virgin. The mosaic of St. Mary Major's mentioned above, as well as
two mosaics of St. Apollinare Nuovo and St. Vitale (sixth
century), Ravenna, are examples of angels in this character. The
Archangels Michael and Gabriel dressed in the military chlamys and
bearing military standards inscribed with the word Agios (holy)
are represented in mosaics at St. Apollinare in Classe, Ravenna.
The Hierarchia coelestis of pseudo-Dionysius exercised an
important influence on the artistic conception of angels from the
sixth century. Prior to that time, it is true, a distinction was
made between different categories of the angelic host, but now the
relations of angels to God were represented in the East after the
manner of the various grades of court functionaries rendering
their homage to the Emperor.
Cults of Angels
Early Christian literature, like early Christian art, contains few
references to angels. This fact is easily accounted for by the
circumstances of the time, for with the popular belief in a
multitude of deities it was necessary to lay particular emphasis
on the unity of God. An official cult in honour of the angels in
the first centuries of Christianity would have made imminent the
danger of their being regarded as inferior divinities. Witness the
vagaries of Gnosticism. Still, there is sufficient evidence to
show that the relations of angels to God were not excluded from
Christian teaching. Justin Martyr (Apol., I, vi) states that the
"host of Good angels" was held in the greatest veneration, and his
contemporary, Athenagoras, refers to the duties of angels "whom
God appointed to their several posts, to occupy themselves about
the elements, and the heavens, and the world" (Legatio, x). In the
fourth century we find Eusebius of Caesarea distinguishing
accurately between the cult rendered to angels and the worship
paid to God (Demonstratio evang., III, 3), and St. Ambrose
recommended prayers to them. From the fifth century, churches were
frequently dedicated to the angels; Umbria was especially noted in
this respect, and in the East churches erected in honour of St.
Michael were numerous. In the most ancient litanies the Archangels
Michael and Gabriel are invoked after the persons of the Trinity
and immediately before the Blessed Virgin.
MAURICE M. HASSETT
Transcribed by Jim Holden
From the Catholic Encyclopedia, copyright � 1913 by the
Encyclopedia Press, Inc. Electronic version copyright � 1996 by
New Advent, Inc., P.O. Box 281096, Denver, Colorado, USA, 80228.
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(www.knight.org/advent).
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