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