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

The Catholic Encyclopedia, Volume I

Nihil Obstat, March 1, 1907. Remy Lafort, S.T.D., Censor

Imprimatur. +John Cardinal Farley, Archbishop of New York

The Catholic Encyclopedia: NewAdvent.org