few words on the characteristic style in which the principal painters have set forth the angelic forms and attributes.

It appears that, previous to the end of the fourth century, there were religious scruples which forbade the representation of angels, arising perhaps from the scandal caused in the early Church by the worship paid to these supernatural beings, and so strongly opposed by the primitive teachers. We do not find on any of the Christian relics of the first three centuries, neither in the catacombs, nor on the vases or the sarcophagi, any figure which could be supposed to represent what we call an angel. On one of the latest sarcophagi, we find little winged figures, but evidently the classical winged genii, used in the classical manner as ornament only. In the second council of Nice, John of Thessalonica maintained that angels have the human form, and may be so represented; and the Jewish doctors had previously decided that God consulted his angels when he said, "Let us make man after our image," and that consequently we may suppose the angels to be like men, or, in the words of the prophet, "like unto the similitude of the sons of men." "2 (Dan. x. 16.)

But it is evident that, in the first attempt at angelic effigy, it was deemed necessary, in giving the human shape, to render it as superhuman, as imposing, as possible: colossal proportions, mighty overshadowing wings, kingly attributes, these we find in the earliest figures of angels which I believe exist - the mosaics in the church of Santa Agata at Ravenna (A. D. 400). Christ is seated on a throne (as in the early sarcophagi): he holds the Gospel in one hand, and with the left gives the benediction. An angel stands on each side: they have large wings, and bear a silver wand, the long sceptre of the Grecian kings; they are robed in classical drapery, but wear the short pallium (the garb succinct for flight"); their feet are sandaled, as prepared for a journey, and their hair bound by a fillet. Except in the wings and short pallium, they resemble the figures of Grecian kings and priests in the ancient bas-reliefs.

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This was the truly majestic idea of an angelic presence (in contradistinction to the angelic emblem), which, well or ill executed, prevailed during the first ten centuries. In the MS.3 already referred to as con

↑ Ciampini, p. 131. A.D. 394.

Greek MS. A.D. 867. 3 Paris, Bib. Nat., No. 510.

taining such magnificent examples of this Godlike form and bearing, I selected one group less ruined than most of the others; Jacob wrestling with the angel. The drawing is wonderful for the period, that of Charlemagne; and see how the mighty Being grasps the puny mortal, who was permitted for a while to resist him!" He touched the hollow of Jacob's thigh, and it was out of joint,"-the action is as significant as possible. In the original, the drapery of the angel is white; the fillet binding the hair, the sandals, and the wings, of purple and gold.

This lank, formal angel is from the GrecoItalian school of the eleventh century. From the eleventh to the thirteenth century the forms of the angels became, like all things in the then de

graded state of Byzantine Art, merely conventional. They are attired either in the imperial or the sacerdotal vestments, as already described, and are richly ornamented, tasteless and stiff, large without grandeur, and in general ill drawn: as in these figures from Monreale (24.).

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Greek Angels. (Cathedral of Monreale. Eleventh century.)

On the revival of Art, we find the Byzantine idea of angels everywhere prevailing. The angels in Cimabue's famous "Virgin and Child enthroned" are grand creatures, rather stern; but this arose, I think, from his inability to express beauty. The colossal angels at Assisi (A. D. 1270), solemn sceptred kingly forms, all alike in action and attitude, appeared to me magnificent (30.).

In the angels of Giotto (A. D. 1310) we see the commencement of a softer grace and a purer taste, further developed by some of his scholars. Benozzo Gozzoli and Orcagna have left in the Campo Santo examples of the most graceful and fanciful treatment. Of Benozzo's angels in the Riccardi palace I have spoken at length. His master Angelico (worthy the name !) never reached the same power of expressing the rapturous rejoicing of celestial beings, but his conception of the angelic nature remains unapproached, unapproachable (A. D. 1430); it is only his, for it was the gentle, passionless, refined nature of the recluse which

stamped itself there. Angelico's angels are unearthly, not so much in form as in sentiment; and superhuman, not in power but in purity. In other hands, any imitation of his soft ethereal grace would become feeble and insipid. With their long robes falling round their feet, and drooping many-coloured wings, they seem not to fly or to walk, but to float along, "smooth sliding without step." Blessed, blessed creatures! love us, only love us for we dare not task your soft serene Beatitude by asking you to help us!

There is more sympathy with humanity in Francia's angels: they look as if they could weep, as well as love and sing.

Most beautiful are the groups of adoring angels by Francesco Granacci', so serenely tender, yet with a touch of grave earnestness which

gives them a character apart: they have the air of guardian angels, who have discharged their trust, and to whom the Supreme utterance has voiced forth, "Servant of God, well done!"

The angels of Botticelli are often stiff, and those of Ghirlandajo

In the Academy at Florence: they must have formed the side wings to an enthroned Madonna and Child.

sometimes fantastic; but in both I have met with angelic countenances and forms which, for intense and happy expression, can never be forgotten. One has the feeling, however, that they used human models— the portrait face looks through the angel face. This is still more apparent in Mantegna and Filippo Lippi. As we might have expected from the character of Fra Filippo, his angels want refinement: they have a boyish look, with their crisp curled hair, and their bold beauty; yet some of them are magnificent for that sort of angel-beings supposed to have a volition of their own. Andrea del Sarto's angels have the same fault in a less degree: they have, if not a bold, yet a self-willed boyish expression.

Perugino's angels convey the idea of an unalterable sweetness: those of his earlier time have much natural grace, those of his later time are mannered. In early Venetian Art the angels are charming: they are happy affectionate beings, with a touch of that voluptuous sentiment afterwards the characteristic of the Venetian school.

In the contemporary German school, angels are treated in a very extraordinary and original style (26). One cannot say that they are earthly, or common-place, still less are they beautiful or divine; but they have great simplicity, earnestness, and energy of action. They appear to me conceived in the Old Testament spirit, with their grand stiff massive draperies, their jewelled and golden glories, their wings "eyed like the peacock, speckled like the pard," their intense expression, and the sort of personal and passionate interest they throw into their ministry. This is the character of Albert Durer's angels especially; those of Martin Schoen and Lucas v. Leyden are of a gentler spirit.

Leonardo da Vinci's angels do not quite please me, elegant, refined, and lovely as they are:-" methinks they smile too much." By his scholar Luini there are some angels in the gallery of the Brera, swinging censers and playing on musical instruments, which, with the peculiar character of the Milanese school, combine all the grace of a purer, loftier nature.

Correggio's angels are grand and lovely, but they are like children enlarged and sublimated, not like spirits taking the form of children : where they smile it is truly, as Annibal Caracci expresses it, " con una