By Waters, Clara Erskine Clement
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Additional info for Angels
3 cm The Metropolitan Museum of Art, New York 42 43 Angelic symbolism in its purity makes the “blue-eyed seraphim” and the “smiling cherubim” equally unconventional, since the seraph should be glowing with divine love, and the face of the cherub should be expressive of serious meditation. The familiar cherubim beneath Raphael’s famous Madonna di San Sisto in the Dresden Gallery are exquisite illustrations of this attention to detail. The colours of the oldest pictures, illuminated manuscripts, stained glass and painted sculptures were most carefully considered.
They are represented as having human forms and faces, young, beautiful and perfect, with an expression of divine nature. Artists see them as created beings, therefore not eternal, but they are never old, and should not be infantile. Such representations are referred to as infant angels and symbolise the souls of regenerate men or the spirits of dead infants, those of whom Jesus Coronation of the Virgin Fra Angelico, 1434-1435 Tempera on panel, 209 x 206 cm Musée du Louvre, Paris 50 said that “in heaven their angels do always behold the face of my Father”.
Raphael’s world-renowned Madonna exemplifies this very change. The entire background of the painting is composed of lightly-painted seraphs and cherubs that almost blend into the golden-tinted background of the painting. The five angelic choirs which follow the seraphim and cherubim are not illustrated in The Expulsion from the Garden of Eden Tommaso Masaccio, 1426-1427 Fresco, 208 x 88 cm Brancacci Chapel of Santa Maria della Carmine, Florence 46 47 works of art, although they were described with great accuracy by medieval theologians.
Angels by Waters, Clara Erskine Clement