Читать книгу: «Fictitious & Symbolic Creatures in Art», страница 3

Mediæval Art Treatment of Angels

According to ecclesiastical legend and tradition there are nine degrees of angelic beings. St. Dionysius relates that there are three hierarchies of angels and three orders in each; and by wise allegories each had his special mission, and they were each depicted with certain insignia by which they were recognised in art representations, which vary somewhat in examples of different periods.

The nine choirs of angels are classed as follow, with the name of the chief of each, according to ancient legend:

According to A. Welby Pugin’s “Glossary of Architectural Ornament and Costume,” and other authorities, we learn the mediæval conception of these beings.

The following emblems are borne by angels: Flaming Swords, denoting “the wrath of God”; Trumpets, “the voice of God”; Sceptres, “the power of God”; Thuribles, or censers, the incense being the prayers of saints; Instruments of Music, to denote their felicity.

The Apparels, or borders of their robes, are jewelled with Sapphire for “celestial contemplation”; Ruby, “divine love”; Crystal, “purity”; Emerald, “unfading youth.”

Archangels are the principal or chief angels, and are extraordinary ambassadors. Among these the name of Gabriel—the angel of the annunciation, the head of the entire celestial hierarchy—denotes “the power of God”; Michael, “who is like God”; Raphael, “the healing of God”; Uriel, “the fire of God.”

Angel is the name, not of an order of beings, but of an office, and means messenger: wherefore angels are represented young to show their continued strength, and winged to show their unweariedness; without sandals, for they do not belong to the earth; and girt, to show their readiness to go forth and execute the will of God. Their garments are either white, to denote their purity, or golden, to show their sanctity and glory, or they are of any of the symbolical colours used in Christian Art.

A writer in the Ecclesiastical Art Review, May 1878, I. Lewis André, architect, says that “we seldom find angels clad in any other ecclesiastical vestments than the Alb (or tunic of various colours), and the amice. The Amice is sometimes like a mere loose collar; at other times it has richly embroidered Apparels (or borders), and is exactly like the priestly vestment as worn in the Middle Ages. Instead of the amice we sometimes find a scarf or cloth tied in a knot around the neck, the ends falling down in front.

“In Anne of Brittany’s prayer-book is a beautiful figure of St. Michael. He has a rayed nimbus, a cross on a circlet round his head, a richly embroidered dalmatic (a long robe with sleeves partly open at the sides), and holds a sword in his left hand. The emblems of St. Michael are a crown, a sword, a shield charged with a cross of St. George, or a spear with the banner of the cross, or else with scales in his hand. Sometimes, as at South Leigh, Oxon., he is in complete armour.

“The archangels are often figured with a trumpet in the right hand, scarfs round neck and loins; six wings, sometimes four at the shoulders and two at the hips, the legs bare from the thighs. The four archangels are frequently represented in complete armour and with swords.

“The angels in the Benedictional of St. Ethelwold nearly resemble much later representations; they have wings and the nimbus or aureole, long hair and girded loins, whilst the feet are bare, as is generally the case at all periods of Gothic Art; but the characteristic drapery is loose and flowing as in the Saxon figures of saints; the wings are short and broad, the nimbus is generally rayed like the spokes of a wheel (a form seen in the work of Giotto, with whom it seems to have been a favourite). The alb or vesture has loose sleeves, and at times a mantle or cope envelops the figure; both sleeves and mantles have embroideries or apparels.”

“The modern taste,” says the same writer, “for giving angels pure white vesture does not appear to be derived from the Middle Ages, and certainly not from the best period when angels were clad in every brilliant colour, as a beautiful example at St. Michael’s, York, shows. Here an angel swinging a golden censer has a green tunic covered with a white cloak or mantle. The nimbus is bright blue, and the wings have the upper parts yellow, and are tipped with green. At Goodnestowe church, St. Michael has a deep crimson tunic, a white mantle edged with a rich gold border, green wings, and a light crimson nimbus,” and mention is here made of the white vesture of the angel at the Sepulchre, and that nowhere else does the Gospel mention any angel clad in white but in the narratives of Our Lord’s resurrection.

Angel with Cloud Symbol.

“Often the angels’ wings are feathered red and blue alternately, as on the pulpit at Cheddar, Somerset. Sometimes the wings have feathers like those of a peacock, on the Chapter House, Westminster; round the Wall Arcade, angels have their wings inscribed with a text on every feather. This corresponds with the French ‘hours’ of Anne of Brittany, where an angel (St. Gabriel) wears a mantle with a text running along the border.”

It was not uncommon to represent angels in carving and stained glass in the latter part of the fifteenth century as feathered all over like birds.

Cloud Symbol of the “Sky” or “Air.”—Artists of the Mediæval and Renaissance periods, following classical authority, employed the cloud symbol of the sky or air in their allegories and sacred pictures of divine persons, saints, and martyrs, to denote their divine or celestial condition, as distinguished from beings “of the earth—earthy.” The adoption of the little cloud underneath the feet, when the figure is not represented flying, naturally suggested itself as the most fitting emblem for a support, and avoided the apparent incongruity of beings in material human shape standing upon nothing. The suggestion of the aerial support here entirely obviates any thought of the outrage on the laws of gravity.

Another distinguishing attribute is the Nimbus—an emblem of divine power and glory—placed behind or over the head. The crown is an insignia of civil power borne by the laity; the nimbus is ecclesiastical and religious. The pagans were familiar with the use of the nimbus, which appears upon the coins of some of the Roman Emperors. It was widely adopted by the Early Christian artists, and up till the fifteenth century was represented as a circular disc or plate behind the head, of gold or of various colours, and, according to the shape and ornamentation of the nimbus, the elevation or the divine degree of the person was denoted. It was displayed behind the heads of the Persons of the Trinity and of angels. It is also worn as a mark of honour and distinction by saints and martyrs. At a later period, when the traditions of early art were to some extent laid aside, i.e., from the fifteenth century until towards the end of the seventeenth century, as M. Dideron informs us, a simple unadorned ring, termed a “circle of glory,” “takes the place of the nimbus and is represented as hovering over the head. It became thus idealised and transparent, showing an outer circle only; the field or disc is altogether omitted or suppressed, being drawn in perspective and formed by a simple thread of light as in the Disputer of Raphael. Sometimes it is only an uncertain wavering line resembling a circle of light. On the other hand, the circular line often disappears as if it were unworthy to enclose the divine light emanating from the head. It is a shadow of flame, circular in form but not permitting itself to be circumscribed.”

Angel Supporter.

Although the forms of angels are of such frequent occurrence in Mediæval Art they seem to abound more especially in the fifteenth century. Angels are seen in every possible combination, with ecclesiastical and domestic architecture, and form the subject of many allusions in heraldry. They are frequently used as supporters.

Charles Boutell, M.A., “English Heraldry,” p. 247, says, regarding angels used as supporters to the armorial shield: “The introduction of angelic figures which might have the appearance of acting as ‘guardian angels’ in their care of shields of arms, was in accordance with the feelings of the early days of English heraldry; and, while it took a part in leading the way to the systematic use of regular supporters, it served to show the high esteem and honour in which armorial insignia were held by our ancestors in those ages.” And reference is made to examples sculptured in the noble timber roof of Westminster Hall and elsewhere. As an example we give the shield of arms of the Abbey of St. Albans.

Kneeling Angel Supporter.

Figures of angels holding shields of arms, each figure having a shield in front of its breast, are frequently sculptured in Gothic churches. They appear on seals, as on that of Henry of Lancaster about 1350, which has the figure of an angel on each side of it. The shield of Richard II. at Westminster Hall, bearing the arms of France ancient and England quarterly, is supported by angels, which, if not rather ornamental than heraldic, were possibly intended to denote his claim to the crown of France, being the supporters of the Royal arms of that kingdom. Upon his Great Seal other supporters are used. There are also instances of the shield of Henry VI. being supported by angels, but they are by some authorities considered as purely religious symbols rather than heraldic.

Arms of the Abbey of St. Albans.

The supporters of the King of France were two angels standing on clouds, all proper, vested with taberts of the arms, the dexter France, the sinister Navarre, each holding a banner of the same arms affixed to a tilting-spear, and the cri de guerre or motto, “Mont-joye et St. Denis.” The shield bears the impaled arms of France and Navarre with several orders of knighthood, helmet, mantling and other accessories, all with a pavilion mantle.

Although Francis II., Charles IX., Henry III. and IV. and Louis XIII. had special supporters of their arms, yet they did not exclude the two angels of Charles VI., which were considered as the ordinary supporters of the kingdom of France. Louis XIV., Louis XV. and Louis XVI. never used any others.

Verstegan quaintly says that Egbert was “chiefly moved” to call his kingdom England “in respect of Pope Gregory changing the name of Engelisce into Angellyke,” and this “may have moved our kings upon their best gold coins to set the image of an angel.”⁴

 
“… Shake the bags
Of hoarding abbots; their imprisoned angels
Set them at liberty.”
 

Shakespeare, King John, iii. 3.

The gold coin was named from the fact that on one side of it was a representation of the archangel in conflict with the dragon (Rev. xii. 7). The reverse had a ship. It was introduced into England by Edward IV. in 1456. Between his reign and that of Charles I. it varied in value from 6s. 8d. to 10s.

Cherubim and Seraphim in Heraldry

 
“On cherubim and seraphim
Full royally he rode.”
 

Steenhold.

 
“What, always dreaming over heavenly things,
Like angel heads in stone wish pigeon wings.”
 

Cowper, “Conversation.”

Cherubs’ Heads.

In heraldry A Cherub (plural Cherubim) is always represented as the head of an infant between a pair of wings, usually termed a “cherub’s head.”

A Seraph’s Head.

A Seraph (plural Seraphim), in like manner, is always depicted as the head of a child, but with three pairs of wings; the two uppermost and the two lowermost are contrarily crossed, or in saltire; the two middlemost are displayed.

Clavering, of Callaby Castle, Northumberland, bears for crest a cherub’s head with wings erect. Motto: cœlos volens.

On funereal achievements, setting forth the rank and circumstance of the deceased, it is usual to place over the lozenge-shaped shield containing arms of a woman, whether spinster, wife, or widow, a cherub’s head, and knots or bows of ribbon in place of crests, helmets, or its mantlings, which, according to heraldic law, cannot be borne by any woman, sovereign princesses only excepted.

Arms—Azure a chevron argent between three cherubs’ heads of the last.

In representing the cherubim by infants’ winged heads, the early painters meant them to be emblematic of a pure spirit glowing with love and intelligence, the head the seat of the soul, and the wings attribute of swiftness and spirit alone retained.

The body or limbs of the cherub and seraph are never shown in heraldry, for what reason it is difficult to say, unless it be from the ambiguity of the descriptions in the sacred writings and consequent difficulty of representing them. The heralds adopted the figure of speech termed synecdoche, which adopts a part to represent the whole.

Sir Joshua Reynolds has embodied the modern conception in his exquisite painting of cherubs’ heads, Portrait Studies of Frances Isabella Ker, daughter of Lord William Gordon, now in the National Collection. It represents five infants’ heads with wings, in different positions, floating among clouds. This idea of the cherub seems to have found ready acceptance with poets and painters. Shakespeare sings:

 
“Look how the floor of heaven
Is thick inlaid with patines of bright gold:
There’s not the smallest orb which thou beholdest
But in his motion like an angel sings,
Still quiring to the young-eyed cherubim—
Such harmony is in immortal souls:
But while this muddy vesture of decay
Doth grossly close it in, we cannot hear it.”
 

Many of the painters of the period of the Renaissance represented the cherub similarly to those in Reynolds’ picture. They were also in the habit of introducing into their pictures of sacred subjects nude youthful winged figures, “celestial loves,” sporting in clouds around the principal figure or figures, or assisting in some act that is being done. Thus Spenser invests “The Queen of Beauty and of Love the Mother” with a troop of these little loves, “Cupid, their elder brother.”

 
“And all about her neck and shoulders flew
A flock of little loves, and sports and joys
With nimble wings of gold and purple hue;
Whose shapes seemed not like to terrestrial boys,
But like to angels playing heavenly toys.”
 

Faerie Queen, Book x. cant. x. p. 153.

These must not, however, be confounded with the cherub and seraph of Scripture. It was a thoroughly pagan idea, borrowed from classic mythology, and unworthy of Christian Art. It soon degenerated into “earthly loves” and “cupids,” or amorini as they were termed and as we now understand them.

Cherubim and Seraphim of Scripture

In Ecclesiastical Art literal renderings of the descriptions contained in the Old Testament and the Apocalypse are not of unfrequent use. A more lengthened reference to these great Hebrew symbolic beings will not be considered out of place, as there is great doubt and uncertainty as to their forms.

These mystic symbolic beings were familiar to all the patriarchs—from Adam, who gazed upon them in Paradise, and against whom on his expulsion they stood with flaming sword, turning every way to bar his return—to Moses, who trembled before it on Mount Sinai; while to the Priests and Levites, the custodians of the Ark of the Covenant in the Tabernacle, the cherubim remained the sacred guardians in the Holy of Holies of the palladium of the national faith and liberties during the brightest and, as it has been termed, the most heroic period of Jewish history.

Angel crest of Tuite, Bart. co. Tip.

Josephus, the more effectually to excite respect for the great Hebrew symbol in the minds of his readers, purposely throws over it the veil of obscurity. He says: “The cherubim are winged creatures, but the form of them does not resemble that of any living creature seen by man.” In the works of Philo Judæus there is an express dissertation upon the cherubim. The learned Brochart and many others have attempted to elucidate the subject to little purpose. The ambiguity which always accompanies a written description of objects with which we are imperfectly acquainted applies with greater force to this mysterious being combining so many apparently conflicting attributes.

To the prophetic vision of Ezekiel, the description of which, in the opinion of competent critics, excels in grandeur of idea and energy of expression the most celebrated writers of ancient and modern times, the reader is referred, as it supplies at first hand almost all that can be known concerning the fearful form of the cherubim.

The four living creatures that support the throne of God exhibited to Ezekiel a fourfold aspect; they had each the face of a man, the face of a lion, and the face of an ox; they also had the face of an eagle. They had each four wings; they had the hands of a man under their wings. “Two wings of every one were joined one to the other, and two covered their bodies.” They were accompanied by wheels which “went upon their four sides, and they turned not when they went”; “and their whole body, and their backs, and their hands, and their wings, and their wheels were full of eyes”; “and the living creatures ran and returned as the appearance of a flash of lightning.” Such is a concise description of their appearance as set forth in Ezekiel (chap. i.).

“This wonderful and mysterious hieroglyph must be considered as a striking and expressive emblem of the guardian vigilance of providence, all-seeing and omniscient; while the number of wings exhibit to us direct symbols of that powerful, that all-pervading spirit which, while it darts through nature at a glance, is everywhere present to protect and defend us” (Dideron).

So attached were the Jews to this celestial symbol that when Solomon erected that stupendous temple which continued the glory and boast of the Hebrew nation for so many ages, we are told (1 Kings, vi. 29, viii. 6, 7), he carved all the walls of the house round about with the sculptured figures of the cherubim, and on each side of the ark was a cherub of gold plated upon olive wood fifteen feet high, with their faces to the light, their expanded wings embracing the whole space of the sacred enclosure, serving as a visible sign or symbol of God’s immediate presence, whence the saying of David, “God sitteth between the cherubim” (Ps. xcix. 1). In this place God perpetually resided in the form of a bright cloud or shining luminous body, termed “shechinah,” whence the divine oracles were audibly delivered.

Milton gives the following description of the Seraph Raphael:

 
“At once on the eastern cliff of Paradise
He lights, and to his proper shape returns
A seraph wing’d; six wings he wore to shade
His lineaments divine; the pair that clad
Each shoulder broad came mantling o’er his breast
With regal ornament: the middle pair
Girt like a starry zone his waist, and round
Skirted his loins and thighs with downy gold
And colours dipped in heaven; the third, his feet
Shadows from either heel with feather’d mail
Sky tinctured grain. Like Maia’s son he stood
And shook his plumes, that heavenly fragrance fill’d
The circuit wide.”
 

Paradise Lost, Book v.

The cherub is traditionally regarded as a celestial spirit which in the hierarchy is placed next in order to the seraphim. All the several descriptions which the Scripture gives us of cherubim differ from one another, as they are described in the shapes of men, eagles, oxen, lions, and in a composition of all these figures put together. The hieroglyphical representations in the embroidery upon the curtains of the tabernacle were called by Moses (Ex. xxvi. 1) “cherubim of cunning work” (Calmet).

The seraphim are regarded as an order of angels distinguished for fervent zeal and religious ardour. The word means “burning,” i.e., with Divine Love.

The seraphim are described by Isaiah (vi. 1-3): “I saw also the Lord sitting upon a throne, high and lifted up, and his train filled the temple. Above it stood the seraphim: each one had six wings; with twain he covered his face, and with twain he covered his feet, and with twain he did fly. And one cried to another and said, Holy, Holy, Holy, is the Lord of Hosts: the whole earth is full of his glory.” And in Revelation (iv. 6): “Round about the throne were four beasts full of eyes before and behind, and the first beast was like a lion, and the second beast like a calf, and the third beast had a face as a man, and the fourth beast was like a flying eagle. And the four beasts had each of them six wings about him, and they were full of eyes within.” It will be noticed that these descriptions differ from that of Ezekiel, not only in the number of wings, but also in the individuality of each beast being separate and independent, not compounded of the four.

Tetramorph.

Several forms of these mystical creatures, says Audsley, have been devised by the early mediæval artists; those which display the entire forms of the man, the lion, the ox, and the eagle, all winged and invested with the nimbus, appear to have been most frequently made use of. They are to be met with formed of the heads of the mystical creatures on bodies or half-bodies of winged human figures; at other times we find them comprised in the heads and wings only of the four symbolic creatures. Sometimes they are found united and forming one mysterious being called the Tetramorph with four heads and numerous wings covered with eyes, the feet resting on wheels, which are also winged. The example is taken from a Byzantine mosaic in the convent of Vatopedi, on Mount Athos.

Pugin’s “Glossary of Ecclesiastical Ornament and Costume” says the cherubim are frequently represented of a bright red colour to set forth the intensity of divine love, and usually standing upon wheels, in reference to the vision of the prophet Ezekiel.

Cherubim and seraphim seem always vested in the alb or tunic, and a scarf tied in a knot round the neck.