Entry 21

Heliodorus Driven From the Temple

Eugene Delacroix

Oil and wax on plaster

714 x 485 cm

The Church of Saint-Sulpice, Paris, France

This image which is found in the Church of Saint-Sulpice in the Delacroix chapel is located on the opposite wall from Jacob Wrestling the Angel. According to the second book of Maccabees, Heliodorus the general was sent to take the treasure from the Temple of Jerusalem by the King of Syria. While in the act of confiscating the sacred treasure a horseman and two young men, the messengers of God, arrived and flogged Heliodorus and clearing the Syrian troops out of the temple.

Sources

Image Description from the Church of Saint-Sulpice
Web Gallery of Art, Image Collection, Virtual Museum, Searchable Database of European Fine Arts (1000-1850). Web. 12 Apr. 2010. .

Entry 20

“Saint Francis of Assisi in Ecstasy”

By: Caravaggio

1595

Size: 36 x 50 inches

Location: Hartford, Connecticut

Caravaggio’s depiction of St. Francis receiving the stigmata is very peculiar in the way it is portrayed. Both the angle and the saint have a very serious look on their face and it seems to be a very private almost intimate encounter. A stigmata is a bodily mark or sore that is linked with the crucifixion of Jesus. This new understanding helps us interpret the reason for the angels touch at the side of the saint. According to John 19: 34 “Instead, one of the soldiers pierced Jesus' side with a spear, bringing a sudden flow of blood and water.” This is symbolic of the stigmata St. Francis is receiving in this painting on his side. Along with the angel and St. Francis there is a sarcophagus in the back left which is St. Francis brother Leo. He was with St. Francis during the stigmatization.

Resources

http://www.absoluteastronomy.com/topics/Saint_Francis_of_Assisi_in_Ecstasy_(Caravaggio)

Entry 19

“Saint Mathew and the Angel”

By: Caravaggio

1602

Oil Canvas

Size

Bottom: 87 x 72 inches

Top: 116 x 77 inches

Location

Bottom: Formerly in Berlin

Top: Rome, Church of San Luigi dei Francesi

If you notice both of Caravaggio’s paintings of Saint Matthews’s inspiration to write are drastically different in their presentations. The painting on the Bottom is his first attempt which was rejected for lacking respect and religious context by it commissioners. If you notice the painting on the bottom portrays Matthew as an average everyday person. His attire and his posture offer that he is of working class and gives no hint of nobility or respect. This picture was rejected and made its way to Berlin and was in Kaiser Friedrich Museum, but was destroyed in 1945 during World War II. The picture on the top is Caravaggio’s second attempt at the painting and this piece of art work is a much different representation of the encounter. Matthew sees the angel over his shoulder and is in a surprised state. He is receiving verbal guidance from the angel opposed to physical. He is also given a halo around his head which gives more respect to the saint. This image was accepted by the commissioners because it granted more respect to the saint.

Resources

Caravaggio The Complete Works

by Alessandro Guasti and Franchesca Neri

Entry 18

Jacob Wrestling with the Angel

Oil and wax on plaster

751 x 485 cm

Saint-Sulpice, Paris, France

This painting is a representation of Jacob’s struggle with the angel. Before meeting with his brother Esau for the first time in many years Jacob sends his family across the river, notice Laban and Rachel in the right corner, to be alone and to pray. While there a man came and wrestled with him, however, it is debated whether it was really a man, God, or an angel. This image depicts the visitor as an angel. They wrestled until a standpoint came when the angel put Jacob’s hip out of place. Jacob refused to let the angel go unless he could be blessed. The visitor did so and said, “Your name will no longer be Jacob. Your name will now be Israel, because you have wrestled with God and with people, and you have won” (Genesis 34:28). The name Israel means “he wrestles with God.” Jacob named this place Peniel which means “the face of God” because he said, “I have seen God face to face, but my life was saved” (Genesis 34:30). In this painting notice the pile of clothing which appears to have been discarded in a hurry. The angel also possesses the disorderly struggle of a man who does not want to submit. This image can be translated to our own interior struggles.

Sources
Church of Saint-Sulpice Painting Inscription
Holy Bible. New Living Translation. Wheaton, Ill.: Tyndale House, 2005. Print.

Entry 17

Victoria Memorial

By: Sir Aston Webb and Thomas Brock

White marble and bronze

82’ tall in total; Bronze statues stand 13’ high

London, England; Buckingham Palace

The Queen Victoria memorial is settled at the center of Queen’s Gardens directly in front of Buckingham Palace’s entrance. Completed in 1911, it was made of more than 2,300 tons of white marble. The large state of Queen Vitoria rests at the top facing north-eastwards toward The Mall. On either side of the monument feature dark bronze statues of three angels: the Angel of Justice, the Angel of Truth and the Angel of Charity. On the pinnacle is Victory with two seated figures, Courage and Constancy, the figures were a gift from the people of New Zealand. Because of this topping, the memorial has become known as the “wedding cake” by its illustrious decoration. The entire sculpture displays a nautical theme that matches the rest of the mall, which suggest the United Kingdom’s naval power. Standing around 82’ tall, the structure was underway in 1911 soon after the death of the queen and completed in 1911. It is the largest monument to a monarch in England. The Angel of Truth may be Amitiel, known for assisting in encouraging humans to find the truth in our desires and experiences and to use these truths as learning experiences rather than to be in denial. The Angel of Justice may be Nemamiah, who some consider to be an archangel, the protector of those who struggle for justice and for the right of those who cannot defend themselves. Nemamiah also inspires empathy into our hearts. Finally, the Angel of Charity may be Zadkiel, who radiates comfort to those who are in grieving, afraid or abounded. He is considered an Archangel and is said to be the angel in the Bible who prevented Abraham from sacrificing his own son to God. The memorial is best seen at night, when it is lit up and the contrasting metal and marble shows the magnificent statue in its full glory.

Resources:

http://www.aviewoncities.com/london/victoriamemorial.htm

http://www.royal.gov.uk/HistoryoftheMonarchy/The%20House%20of%20Windsor%20from%201952/QueenElizabethTheQueenMother/MemorialProject/TheProject/FamousRoyalmemorials.aspx

http://www.triumphantchurch.org/beitmidrash/angelology.pdf

Entry 16

Abraham, Sarah, and the Angel

Jan Provost

1520

Oil on wood

71cm x58cm

Musée du Louvre, Paris

Abraham and Sarah are seen here as visited by an angel who expresses to them that Sarah would be giving birth to nations. The angel was sent to them by God to inform the couple of the impending birth of their son Isaac. The panel is incomplete since two of the three angels that came to announce the birth are missing. The lion at Abraham’s feet represents power, wisdom and justice. It is the symbol of the father, a master and guardian. The flowers seen at the bottom left of the painting represent the growing of new life in the mature soon-to-be-mother. Both Abraham and Sarah are dressed in red clothing which represents blood, the symbol of the life-principle. Red also represents the brilliant sun with its astounding strength and power. Abraham points to himself and to Sarah in disbelief as he is listening to the angel’s message. Sarah, standing in the doorway, has a faint smile on her face.

Resources:

http://cartelen.louvre.fr/cartelen/visite?srv=car_not_frame&idNotice=24007

Entry 15

Le murmure de l’ange (The Angel’s Whisper)

By: Benjamin Spence, 1857

68cm x 72cm

White Marble

Musseo d’Orsay

Based on a poem by Samuel Lover, Le murmure de l’ange tells of an Irish belief that when a baby smiles in their sleep, they are talking to an angel as the mother watches. “Her beads while she numbered, The baby still slumbered, And smiled in her face as she bended her knee; Oh! blessed be that warning, My child, thy sleep adorning, For I know that the angels are whispering with thee.” This classical piece of work is graceful and softened by a delicate romanticism. Spence portrays the baby on a draped mattress and the adoring angel with a precise knowledge of human composition in which the infant shows a natural sleeping pose and the angel lingers quietly forming a solid and balanced structure. Spence was an admirer of Neoclassicism and gained this passion from fellow sculpter John Gibson. Carefully watching Gibson’s techniques, Spence was able to create sculptures that accurately defined form smoothly enclosed by the light. Where Gibson was rigid, Spence styled his work to encompass sentimentality. Most of his works were not like his predecessors of mythology, but rather of Shakespearean characters, romantic English literature, and the Bible.

Resources:

http://www.musee-orsay.fr/en/collections/works-in-focus/sculpture/commentaire_id/the-angels-whisper-3140.html?tx_commentaire_pi1[pidLi]=842&tx_commentaire_pi1[from]=729&cHash=46bac0b6b2

http://books.google.it/books?id=FUBCGO85uygC&pg=PA43&lpg=PA43&dq=samuel+lover+"angels+whisper"&source=bl&ots=7k-x544ILM&sig=BtYjgZpMn90iTKukh-VtF-zsFwU&hl=en&ei=L929S8DnIYaMOMLLqYkK&sa=X&oi=book_result&ct=result&resnum=1&ved=0CAYQ6AEwAA#v=onepage&q=samuel%20lover%20%22angels%20whisper%22&f=false

Entry 14

St. Michael Defeats the Devil

By: Eugéne Delacroix (1798-1863)

Oil and virgin wax on plaster

Church of Saint-Sulpice, Paris, France

This painting is found on the ceiling of a chapel in the Church of Saint-Sulpice which contains three paintings by this artist (two on the wall as well as this one which is found on the ceiling). The central and dominant figure in this image is St. Michael the Archangel. He can be seen surrounded in light as he defeats the figures of the darkness He is chief of the heavenly host and is leading the celestial army which defends the church. Here he is seen fighting the rebel angels and defeating the dragon of Revelations and driving them from heaven. It is appropriate that he would be found doing so in this painting due to the fact that he is the patron saint of knights, who are known as defenders, and to trades related to the production of weapons and arms.

Sources:

"St. Michael, the Archangel - Saints & Angels." Catholic Online. Web. 12 Apr. 2010. .

Church of Saint-Sulpice Painting Inscription

Entry 13

“The Rest on the Flight into Egypt”

By: Caravaggio

1599

Oil Canvas

52.6 x 65.6 inches

Rome, Galleria Doria Pamphili

First, when looking at this painting you must look at the center of the artwork and notice that the angel is the center of the piece. We find a Madonna and Child to the right sleeping and an older Joseph on the left. This painting was peculiar for this time because it shows the angel playing an instrument. The angel is playing a song derived from the Bible book song of songs. The lyrics are a love story between bride and groom, Mary and Joseph. Along with the angel there is other symbolism going on. In the background there is a black lamb that symbolizes Jesus Christ coming into a dirty world. Along with the lamb is a dying tree, which is what the lamb hung on to die for our sins. In addition, Mary is wearing a red garment that takes your eye and she also has red hair. This could possibly be symbolic of Jesus’ blood covering her, but it is juxtaposed with her holding him. The music acts as a melody that carries the reader’s eye throughout the piece as the angel stands in the middle of the painting as a center piece you have to keep focus on it.

Resources

Caravaggio The Complete Works

by Alessandro Guasti and Franchesca Neri

Entry 12

Angel Mosaics

Artist Unknown

San Giovanni (Baptistry), Florence

Mosaic

90 feet

The detailed ceiling of the Baptistery depicts many biblical scenes and images. The second ring of figure depictions is of the angels. The ring is composed of eight trapezoids. In the trapezoid which sits above Christ and a depiction of the last judgment there is another scene where Christ is surrounded by two cherubim and two seraphim. Here Christ holds a text which states “I, God, created the Angels.” The remaining seven trapezoids are filled with the seven orders of angels: Dominions, Powers, Archangels, Angels, Principalities, Virtues, and Thrones. All of the angel’s heads are tilted down in adoration and turned towards the depiction of Jesus showing their respect and Jesus’ authority over them. The angels are the closest depiction to the light showing their closeness to God Almighty.



Resources

Tours of Tuscany, Italy. Web 12 Apr 2010.

Piazza del Duomo Informational Pamphlet

Entry 11

Annunciazione (1603)

Allessandro Allori

Accademia, Florence

Oil on canvas

Approximately 4'x7'

This painting is found in the Tribuna del David room in the Accademia Gallery. While Michelangelo’s David tends to captivate art viewers, paintings such as the Annunciazione or the Annunciation are fine pieces in their own which tend to be overlooked. In this depiction of the annunciation, Mary and the angel alone are present. Mary gives the appearance of being startled by the presence of the angel with her raised arms and the position of her cape which appears to be falling off of her. The manner of the cape suggests that Mary rose suddenly from her chair at the presence of the angel and it is falling towards the floor. Mary appears to have been reading the open book which rests on the chair and was probably discarded with the sudden surprise. The open angle of Mary’s body towards the viewer tends to invite the observer of the image into the painted scene. The angel appears to Mary in a ray of light holding a lily to represent her purity and innocence.

Resources

"Art Symbol Dictionary - Flowers and Plants Symbols." About.com Painting -- Learn How to Paint, Painting Tips, Creativity. Web. 12 Apr. 2010.

Entry 10

Tabernacle, Cavalcanti Annunciation (1433-1435)

Donatello

Santa Croce, Florence

Stone

approximately 6'x6'

This beautiful stone representation of the Annunciation was commissioned by Nicolo Cavalcanti for a now-destroyed chapel in Santa Croce. Donatello gave a unique interpretation of the Annunciation through this piece. The gold detailing subtly accents the background, as well as the garments worn by Mary and Gabriel. Unlike many paintings of this scene, Mary and Gabriel fill the frame almost completely. Donatello most likely intended this to show their importance in this scene, and to reduce distractions due to background or things Mary might be holding that are present in so many other depictions of the Annunciation. In addition, this type of life-size depiction pulls the viewer into the scene, so to speak. This is especially important in a stone relief, where the artist cannot use color to make the scene more realistic. Both figures are tilted towards the front, to continue to draw the viewer into the scene. The warmth of the gold contrasts interestingly with the cold stone, intriguing the viewer and causing the eye to linger on this magnificent piece of art.

Resources

Santa Croce information placard

Entry 9

Angel with a Sponge (1667-1672)

Gian Lorenzo Bernini

Marble

Sant’ Angelos Bridge

approximately 6'

This sculpture is one of the most notable pieces on the bridge which leads fromm the Vatican to Castle Sant’ Angelos, which is located on Sant’ Angelos bridge, Bernini’s exhibit in Rome. Sant’ Angelos Bridge was built over the Tiber River during the reign of Hadrian in 135 A.D. The bridge consists of seven stone arches and five main spans of about 60 feet. In the 17^thcentury Bernini placed ten of his angel sculptures on the bridge. There is an interesting inscription on the angel with a sponge that says “They gave me vinegar to drink”. This Angel is holding a sponge which is symbolic of an instrument that resembles the passion of Christ. The holy sponge was used to wipe vinegar over the wounds of people during there crucifixion because it would stanch the blood which would intern allow the criminal to continue persecution for longer. This angel is symbolic of the agony and pain Jesus Christ went through to cover our sins with his blood.

Resources

http://www.britannica.com/EBchecked/topic/523159/SantAngelo-Bridge

http://www.catholictreasures.com/articles/oninstrm.html

Entry 8

Baldacchino (1624-1633)

Bernini

St. Peter's Basilica

Gilt bronze

About 100 feet high

St. Peter’s Basilica is designed to be centered around the Papal Altar, which is where only the Pope celebrates Mass. The ancient tomb of St. Peter lies directly below the altar. Rising above the altar is the magnificent bronze baldacchino, which was Bernini’s first piece of work in St. Peter’s. In total, it took nine years for Bernini to create the monument. The canopy rests atop four massive spiral columns, around 66 feet high, which are ornamented with branches of olive and bay along with cherubs. The twisted columns suggest upward movement towards the canopy. Above the frieze on each capital are four life-size angels offering garlands. Between the four main angels are couples of smaller angels that support the Pope’s emblems: the keys, the tiara, the book and the sword. The structure is detailed with motifs including heraldic emblems of the Barberini family, including bees and laurel leaves. The underside of the canopy directly above the pope is a radiant sun, which is another symbol of the Barberini family.

Resources

http://en.wikipedia.org/wiki/St._Peter's_baldachin

http://saintpetersbasilica.org/Altars/PapalAltar/PapalAltar.htm

Entry 7

Altar of St. Michael the Archangel

Artist Unknown

Duplicate of the 1642 painting by Guido Reni, Archangel Michael

St. Peter's Basilica, Rome, Italy

Mosaic

293 x 202cm

Artist Guido Reni was born in Bologna on November 4, 1575. At the age of 10, Reni began his apprenticeship under mannerist painter Denis Calvaert. His style was greatly influenced by the novel naturalism because of his time spent studying at a progressive art school run by the Carracci family, frescoes created by Raphael, and ancient Greco-Roman sculptures. In his religious and mythological works, Reni displayed Baroque liveliness and complexity with classical moderation, affectionate emotion, and delicate coloring. Reni’s painting of the Archangel Michael hangs in the Santa Maria della Concezione dei Cappuccini. A mosaic copy, dated 1757, of the painting was created a mere 125 years later and is in St Peter’s Basilica in the Vatican above the Altar of St Michael the Archangel. The duplicate is executed directly from the original, fully preserving the perfect beauty expressed by the artist. In his creation of the Archangel Michael, Reni depicts the angel as the armed and prepared guardian of Heaven and Earth against the eternal hostility of the challenger. It shows Michael trampling Satan, who has recognizable features to that of Giovanni Battista Pamphili, who was later elected as Pope Innocent X. The work was commissioned by Antonio Cardinal Barbernini, who was a fierce rival of Pamphili.

Resources

http://saintpetersbasilica.org/Altars/StMichaelArchangel/StMichaelArchangel.htm http://www.britannica.com/EBchecked/topic/498122/Guido-Reni

Entry 6

Psalter No. 13 (15th century)

Girolamo da Cremona, Venturino da Milano

Piccolomini Library, Duomo Cathedral, Siena, Italy

Illuminated manuscript

approximately 36 square in

This particular manuscript page contains a depiction of the Annunciation. Vivid colors adorn the border of this image, while the colors in the picture, such as the pink of the angel's wings and Mary's gown, are complementary. As in many other depictions of the Annunciation, God the Father can be seen at the top left corner. In this particular image, a dove, which represents the Holy Spirit, seems to be floating down to Earth on the breath of God. The figures of Mary and the angel Gabriel embody the more realistic Renaissance style of depicting the human figure. Mary is leaning to the left, and her dress falls in such a way to give her a figure, rather than a flat, dimensionless body. Gabriel has clear legs and an arm that appears to have real bones and flesh beneath his simple garments. Unlike the Tisi painting of the Annunciation, in which the angel wears garments adorned with gold trimmings, in this depiction Gabriel is dressed in a simple white garment. As he bows to Mary, he offers her a lilly. Lilies symbolize purity and chastity, which is appropriate given that Mary was a virgin mother. Mary is depicted here with a golden halo around her head. The halo was a typical medieval device; it usually indicated sainthood or holiness.

Entry 5

Last Judgement (1367)

anonymous Venetian artists

St. Vitus Cathedral, Prague, Czech Republic

mosaic

approximately 27 square meters (section)

This photograph is of a section of a large mosaic which adorns the side of the St. Vitus Cathedral in Prague. Angels reach into coffins, assisting the dead to rise from the grave and go to be with Christ in glory. The center panel (not pictured) is adorned with the figure of Christ being adored by king Charles IV, who ordered construction of the cathedral, and various saints. The far right panel shows Satan and sinners in hell. Because this mosaic was created in the late 1300s, the figures seem to be in an almost transitional style. While they lack the flat forms popular in Byzantine art, they also fall a bit short of the literal and realistic depiction of the human form that became popular during the Renaissance. Each angelic figure, as well as the saints already risen, has a halo around their heads; however, the dead rising from their graves do not. In addition, the dead are naked, while the angels are clothed in rich garments. These details may be intended to demonstrate the superiority of heavenly beings over earthly ones. The implication is that the dead who are rising will soon be clothed in heavenly garments and have their own halos. Both symbolically and visually, this mosaic makes a stunning addition to a massive and beautiful cathedral.

Resources

http://www.radio.cz/en/article/47319

http://www.sacred-destinations.com/czech-republic/prague-cathedral

http://www.hrad.cz/en/prague-castle/guidepost-for-visitors/st-vitus-cathedral.shtml

http://www.prague.net/st-vitus-cathedral

Entry 4

Holy Water Font (1722-1725)

Giuseppe Lironi and Francesco Moderati

St. Peters Basilica

Marble

Approximately 5ft high x 6ft wide

Once you enter the basilica you are greeted by two children angels that are holding a flower which is the holy font. This sculpture was created over a period of time from 1722 to 1725 and stands two meters tall. The font was created by Giuseppe Lironi and Francesco Moderati. The children angels are adult size which allows the font to be magnificent in a sculpture not just a font. Taking a closer look at the sculpture we see two angels that seem to be resting on the walls of the church and are creating an invitation to receive the water. The contrast that the yellow flower gives to the purity of the white angels is exceptional because it really narrows in on the central them which is holiness in the water. I saw this sculpture and thought it was intriguing because it just stood out to me as being pure and inviting.

Resources

http://saintpetersbasilica.org/Docs/SPB-VirtualTour3.htm#enter

http://chestofbooks.com/travel/italy/rome/John-Stoddard-Lectures/Rome-Part-17.html

Entry 3

Annunciation (early 16th century)

Malozzo da Forli

Pantheon, Rome, Italy

Fresco

approximately 3ft by 6ft

The Pantheon, home to Malozzo da Forli's Annunciation, demonstrates a great deal about ancient Roman culture. This gargantuan structure, originally a pagan temple, seems to dwarf the surrounding buildings. The size and majesty of the Pantheon perfectly demonstrates the Romans' love of power. They highly valued the power and majesty of the state and the empire, and they built grandiose buildings to proclaim the grandeur of the empire. Another ancient Roman attribute can be seen in the columns supporting the front porch of the church. These columns came from Egypt to adorn the Pantheon's portico; an Egyptian obelisk is placed in the square in front of the Pantheon. Using Egyptian objects in the design of a great Roman temple recognized Rome's mastery over what was previously one of the greatest powers in the world. In addition, the oculus, a hole in the ceiling with a diameter of 27 feet, is an engineering triumph that exemplifies the "adopt and adapt" principle. The builders of the Pantheon took current dome technology and made it larger, sturdier, and more fantastic. Although this structure was built originally to honor the Roman gods, this fresco depicts a specifically Christian image. While this may seem confusing, this fresco is much younger, and is a testimony to how, ironically, many centuries after the Pantheon was built, early Christians adopted it and adapted it into a Christian church; it continues in that function to the modern day.

Resources

Ramage, Nancy H. and Andrew Ramage. Roman Art (Fourth Edition). Pearson Prentice Hall, 2005. Print. pp 219-222.

http://www.monolithic.com/stories/the-pantheon-rome-126-ad

Photo taken from: http://commons.wikimedia.org/wiki/File:Annunciation_Melozzo_da_Forli_Pantheon.jpg