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when christianity first arose it was without images it had only words only script images were first introduced into the christian's assembly rooms where they were concentrated at the far end of the simple hole told the clays yes but once the walls were adorned with images they told a story. how did these images arise out of these stories come a badge and what role did angels play in the stories of conflict between power and order heaven and.

angels on the messengers of the one god of whom no image exists and upon who no schumann will ever set eyes people worship gods words words that were brought by angels who were closest to him. they are spiritual beings like him beams of light. the angels proclaim what god wishes to tell people. that is their calling.

they were imagined to be all new present always talking guiding advising and judging people and so they became a central theme of the pictorial history that week old western alt. christianity became the state religion of the roman empire at a time when it was already beginning to collapse the city of rome the capital was a civilized metropolis of millions whose standards of living and ops represented the pinnacle of human history.

the roman empire has placed themselves on the same level as the gods even today we talk of their buildings and legacies as monumental which also means overwhelming. different baptist because two of the christianity whether it lines at all not is also an add to the roman empire they were temporally contingents the roman empire had a claim to universality to christianity also claims universality and translated it into the commandment to go into the world and preach the gospel to all creation because didn't defend. the first images the first picture oriel symbols arose alongside the script when the christian or a trees in rome was still hidden underground in the catholic or. these pictures

were different from those of pre-christian antiquity and put trade angels wearing halos instead of winged messengers with laurel reeds but in the beginning there were very few specifically christian image issues. i think are most let your hats kind of dogmatic the antique roman religion didn't develop any dogma and for that reason provided no order from our border first becomes apparent in christianity for instance in the hierarchy of the angels who we can see as the successor to the mynah functional gods of the romans one of those but continuity and transformation volatile. but what were the models for the superhuman images in christendom where they the heroes of antiquity early christian imagery has its roots in the assyrian babylonian period with its anthropomorphic creatures for example the firy and winged cherub.

but this isn't because if let's take. the concept of demons which in the greek hero were neither good nor bad the morning demons were only intermediaries between the dead is and humanity in christianity they are eco defined as unclean spirits the new testament teaches us that they are the repudiated and resentful gods of the greeks for rick give us an incomplete lightish didn't get a declaration. instead of adopting the pictorial world of antiquity christianity chose to take a detour through demonic beings which took on an idealized human form copied from the antique god's angels are based on models taken from antiquity and the babylonian demons even their name reflects these roots anger loss is greek for

messenger and the chair of bears a resemblance to the early demon. so don't use your sister suitor dionysius is the ideal author because he imagines the angels heaven as a world organized according to three sets of three it's made up of spheres nested in each other until they reach the highest mystery of who's gotten the got. one from decent person to hand from his highest mystery received only as a sea of light divine glory is radiated to the world beloved so now it consists not just of visible light but also of the knowledge of who god actually is this is based on the first level of angels the seris from them to the cherubs who pass it on via an almost visible spiritual connection to the throne of the political masters and self survived. and thus the portrayal of angels in the late middle ages

is above all an indication of the primary thing communicated by christian images order. less and less lethal one of these are reflections on. asked jensen how can i portray god how can i portray what is holy and purely spiritual without it becoming sensual and being dragged down to the level of antiquity which the christians termed paganism. the son because. the picture of a hierarchical order in heaven is the keynote a christian imagery order is the prerequisite for perfection. the first step towards a self-contained christian iconography of angels didn't take place in rome in the

fourth century a.d. the roman empire collapsed into two hobs rome and the western part of the empire was overrun by the goths then reconquered by eastern roman by xantia in the mid six century rome became a provincial city of the buys and time empire with as its capital. this is where the first systematic pictorial history of the still young christendom as a synthesis of greek philosophy and the christian doctrine of salvation was developed. to drive that my love as it is of youth as good as the simple whitaker to tie it up of the how the number three is normally reserved as a symbol of the day it is this but in the old testament we also have angel often it is silent when a prophet izzie kill or allow to look up to heaven they see being surrounding god or fit they are either ordered in groups of four or have four facets for example

eagle like lion like all human like beings and all of figures. equally are feeling it is something that was imported from the babylonian iconography and integrated into christendom god is surrounded by groups of four figures seated on. his throne and that's why alongside the number three which symbolizes gaunt there is a number for an extension symbolizing his rule in all four worldly speeches and eras so i figure since that's also why the derivatives of three and four twelve and twenty four were also endowed with a holy systematic significance high systematically door to. the oldest mosaics of christian iconography out to be found in the sacred buildings of ravenna opposite a series of martyrs there's a series of holy virgins that individual expressions are not important but the series and the number. sixteen prophet stand above them which signifies twelve

plus four and the fact that they are placed above the virgins in the martyrs expresses their place in the hierarchy and they're all foraging within christendom . even higher up scenes portraying christ's passion even this position denotes hierarchy order here in revenge of the hierarchy is formulated and translated into a system of images. the beginning and end of this mural are reserved for the key figures of holy scripture mary and christ they are positioned formally alongside each of them are two angels that look out directly on the viewer. the angels are the courtroom this whole body guards of mary and jesus christ. are here.

this simple pictorial system became a camera upon which everything else was based from then on the churches became larger and the at ces and jones expressed the unity and perfection of the christian kos-mos. in the way it. rangely its image of the christian pictorial system took over and transcended the by sam time court order and its portrayal of power and representation. as the when you read the thirty eight jubilee unity on constantine the great we can discern a formula for order in the wild one god one empire one emperor constantine was an advocate of an eagle a tarion god in a clear hierarchy order this system of subservience this reflected socio political relationships as an. interest. are our

revenue now is where the synthesis between the systematic thinking of the greeks and the christian doctrine of salvation became translated into imagery. amidst the ruins of rome new churches were built and the ancient roman buildings repurposed by christians the pictorial kamin of ravenna made itself felt in some time out here in trust there where the larger the church was the more imagery could be depicted. here for the first time mary was depicted directly alongside jesus christ as his companion the mosaic still expresses representation directly but the angels are

missing. thus the picture clearly indicates that the central figure of the new testament jesus christ the redeemer is superior to the angels in the hierarchy even though he was a human being. the upper basilica of san clemente in rome was built at the beginning of the twelfth century in the by zen time courtly order is abandoned the christian cross dominates the ordering of the spheres still expresses numba and order but more important is the concentration on the christian visual symbols they signify the offices of power christ as the holy land in the center of his flock. this is god as the angel of peace among us a full god it's a different pictorial message from those of antiquity all the buys and time empire

. will. around the turn of the millennium the church order as expressed in images went through a profound crisis of increasing worldliness and corruption the authority of the pope and with it the message of salvation through the one church was substantially shaken. the radical return of the liturgy to the original message of salvation took place not initially but in france am in a small chapel near only on the founding motifs of that message of salvation are represented on it's by sand time or sanders. above two small six winged chairs two of the angels dominate the down. they represent the old and the new testament which in the language of the mosaic were

delivered by angels to humankind. the suggestion of a hand tells us that they have delivered the scripture upon god's command and that the path to salvation can only lie in following god's will. this new system of christian liturgy and message of salvation comes from cluny abbey founded in one nine hundred ten by the juke of aquitaine as a benedictine abbey clooney was not only the center of the christian cosmos during the middle ages but the largest and most powerful church of the christian world it was only supposed later by st peter's basilica during the french revolution almost nine hundred years later cluny was destroyed as being a symbol of an absolute monarchy that claimed divine legitimation. but today

even amid the ruins the pattern significance of this order with its many of the churches and monasteries throughout burgundy is still palpable it's no accident the burgundy was home to the most significant monastic orders and of the biggest cathedrals of the eleventh and twelfth centuries the most important pilgrims way to santiago de compostela took them through here. ton cathedral houses the most significant pictorial example of the transformation of christian iconography joining that period it was carved in stone biogas labatt to a spittoon eleven twenty and eleven thirty five. the main portal through which millions of pilgrims ends of the church no longer depicted the power of god but the last judgment christ and the elders the angels

that god's throne sits and judge over human souls which in line with the general understanding of this period threatened by evil more than ever. in order to uphold order and the perfection of salvation christ and the angels have to demonstrate that they can differentiate between good and evil from this point on the rank of the angels changes dramatically in the imagery from now on they become the most important representatives of the ruler of old things a god that rewards good behavior. not as christ companions the angels are a lot at the role of completing salvation the angels are once again the mediators between god and humanity they fight for god had full humanity against evil. the pilgrims moved within the great knaves as though they were in

a parade and looked up into the capitals with a vivid illustrations of the evil in all its incarnations. the second temptation of christ taken from the gospel of luke makes it clear what's happening here christ's determination to resist heresy and back to. the suicide of judas shows what happens when someone turns away from god the monumentally impressive knave signified to the believers that only god's words could help against old least temptations and human weaknesses. hand. to tap home. was a habit heading southwards with the mansions just visible on the horizon lies one of the most important cities of the middle ages the peace of the modern

day said emirati was originally a burial place beyond the city wools the whole complex with its cathedral baptistry and compost some toll was bigger. in thirteen hundred. zero zero a have the campo son joe was the knowledge a cemetery of the christian middle ages and that's a place where death damnation and redemption played a prominent role here we find a monumental representation of the last judgment. this powerful fresco must have shocked its contemporaries it begins with the last judgment under ruffo christ who reveals his wounds and flings his outrage like lightning in the direction of hal this anger is offset by the gentle virgin mary to his left. beneath them is an angel with us at high level with the viewer is the warrior archangel michael with his sword.

another angel hurts frightened citizens of peace or towards damnation the faces are terrified and pleading but no one can escape divine judgment this is a recurring motif in christendom in the face of the might of the last judgment the wealth and grant of bishops and even the power of mana use all to no avail. in the frescoes pictorial arrangement the artist has paid tribute to social status the kings occupy the top ten even one of the angels reveals its fear in the face of the past and unavoidable ity of the last judgment announced by trumpets on the left we can see the saved these two are portraits of real life citizens of. their facial

expressions a calm and they all look up to the must of all figure of the virgin mary into seso before the judge their body language is relaxed the face is a clear although their expressions reveal intense concentration. pease's pious citizens are expressing their heartfelt gratitude for the victory of good over evil . the struggle trying to. receive the souls who have already been saved. it's as if in addition to the widely understood concepts of the apocalypse in the last judgment a new orientation is taking place towards the end of the twentieth century not far from the russian pass on the edge of the southern alps the monastery of muddy and

back was established to this day the benedictine monks there assemble in a narrow vault there are a tree. where all that is. the. marion barry ministry is famous for its roman frescoes in a symbolic series of images they reinterpret human beings path to salvation they are brought closer to the angels by pursuing their battle against evil. the more. humans can rise in the heavenly hierarchy by successfully overcoming evil that is the message of these frescoes. we see the end gen xers if some cherubs recognizable by their six wings that. alongside them is the apostle peter who holds the key to heaven in paradise and on his right is a protective angel. this constellation indicates

a new link between apostle and heavenly beings man and angel again come closer to one another despite the evil in the world planet. earth. who. is the most important message those communicated in the arrangement of angels above the almighty in the mandorla in jesus christ appears to be standing on his hand. the real focus is this small angel smaller than all the other have ne figures it represents the new human who are to fighting a lifelong battle against evil is seen by christ to be deserving of redemption and thus as a small angel is taken into the communion of the big angels human beings can rise into the sphere of the heavenly beings and can be redeemed heaven awaits them

that's what this fresco expresses the small angel is both messenger and message a new era in the relationship between humanity and the heavenly smear has begun. further southwards we reach a place of great importance in christian iconography assisi. in burgundy joining the twelfth century monasteries have adopted a strict the organized liturgy and had almost completely rejected imagery. in the thirteenth century new waters arose in central italy this one in assisi was to be a purely mendicant told up completely dedicated to charity and neighborly love as the most direct path to redemption. the building of the lower church began in the early thirteenth century together with thomas aquinas francis of assisi was considered the main renewal of the christian

doctrine of salvation no building from the late middle ages bad as great a testament to the spirit of renewal as that of the highest church of assisi. its name is dominated by giotto's world famous francisco's but the real secret is to be found in the older decorated transepts of the name of what is here translated pictorially is the virgin mary is bodily ascension to heaven and her final exaltation of the angels. in one of the men dollars held up by for an angels jesus and mary are in friend in loving devotion one of the angels is said to have called out who is she she who is

raised up from the desert nestling on her love on. pain jewels profits on the saints assemble around the heavenly throne on which the virgin mary sits alongside her son as an intercessor on behalf of humanity. what is important here of the protectionists hands sent francis whose face can no longer be recognized pleads for redemption on behalf of his brothers is please convey primary to her son who listens and gives his blessings of the franciscans. the virgin mary's role in the heavenly hierarchy is in this franciscan church newly defined. she is jesus companion and on par with the angels at the same time she remains a human being that signifies that she is the first human being to be redeemed and raised to heaven.

the rose when they're in the outer world is like a final symbol of this new order. the shape of the sun can be construed as referring to jesus the rose to the virgin mary both forms are united as part of a circle that has only one center god. at the close of the middle ages towards the end of the fourteenth century tuscany became a european stronghold of progress the dominican monk from an jellicoe came from the area around florence and achieved world renown with his portrayals of angels. there. than in the conspicuous chapel nicko tona is home to the

enunciation a popular motif. the messages depicted in the form of visible words the virgin mary is face still has a generic madonna like quality but is also individually defined and this image symbolizes not only the metaphorical line between the middle ages and the modern era it also makes clear what will become more and more important. him and so on now represented as emotional and individual beings in the story of salvation. the lower part of the painting depicts the marriage between mary and joseph. graham breaking in this wet by front and jenna co is the expression with which he has endowed the figure of mary reserve the archangel gabriel she is his equal she

represents the human striving for salvation the face expresses humility and dignity yet is still powerful she remains self-conscious and had gesture expresses not subservience but surprise and also knowledge awareness of what is happening she has been endowed with an individual soul and it is for that reason that we still describe her as beautiful. the impact of from a angelic owes work remained basically limited to tuscany he traveled little his main ambition was to embellish the sacred places of worship for the brothers of his own order. once again the relationship between the history of god. salvation and the world of the profane changed dramatically. the renaissance

emerged first in tuscany then in rome it was a blossoming of trade and dot and no since the downfall of the classical world had been so prosperous that of course also influenced the depiction of the angel of. the vilified in rome was commissioned by the bank i grossly know cheap and built by . it is seen as the ultimate expression of the high renaissance and with its perspectives hole it features a room of tom boy painting. the walls soft covered with scenes from the life of an example of a great book first catches the eye is a writing messenger with flowing cloaks in the form of

a white friend giving the impression of wings. the messenger is part of a historical allegorical depiction of the wedding of alexander to the persian princess roxanne that at the center alexander appears and hands the princess the crowd the real focus that was the heavenly messenger half and half archangel gabriel. alexander is typical of the newly awakened interest in mythical historical figures during the sixteenth century the small angels which look like baroque cupid's a borrowed from the pagan classical era. in classical times cupid's when love calls to picture the small voice. the author of christendom. makes them into anonymous angels and and celery figures they reveal the meaning and intention of the miral

its aim is to move the view ascension not spiritual. the villa funny siena is the high point of the renaissance this work shows how far images from the classical era survived into christendom the godlike figures in the hero's return in allegorical form complementing the christian images. at the beginning of the sixteenth century the foundation was laid for the new st peter's basilica in rome it was intended as a proof that christendom the classical era. in the mid seventeenth century a sculpture was made for the church of santa vittoria it had the same aim to

illustrate the ultimate triumph of christendom. the sculpture. was a successor to me. whose late work marked the end of the renaissance and the beginning of the baroque. motif of the ecstasy of saint teresa is a variation of the enunciation also depicted by frau angelica but with benny there was a decisive transformation. to rezone is portrayed in dramatic film many many attempts to make tangible the mits a grown up twisted the body is open. from now on the story of salvation and the motifs derived from it were presented theatrically utilizing old visual tools available. that included classical heroes and an agrees.

precisely at the moment when st peter's basilica symbolized the victory of christian imagery of a pagan antiquity the latter returned in full force into the christian world. in the immense scope of st peter's we find the legend of its foundation expressed in the sentence and so i say to you peter and upon this rock i will build my church. the new building claim to be nothing less than the greatest monument in the history of the world time and again the builders dishpan it and down to it whether the immense vault would be capable of bearing the enormous coppola but will. the spirit of the age demanded a massive triumphant.

as an old man received a commission from pope clement the nine to design the entrance to the cast as some tangent of. the building was the most a limb of emperor hadrian and the triumphant entrance way over the bridge was lined with statues of the classical dogs of victory many replace these with angels converting a pagan monument and who christian. the angels honed the instruments of the passion. in their hands the road becomes a symbolic way of the cross or via dolorosa like the one walked by the pilgrims in jerusalem many converted it into a triumphal procession and the angels bear with. as to it with the symbols of christ's passion. the angel with

a crown of forms was sculpted by many himself the newly sculpted angel stood in the sequence of statues with the apostles peter and paul who were on it as martyrs and he had to proclaim the victory of christendom. the muslim of cast down sometimes yellow but always dominated the entranceway to rome if people look around now they saw the miracle of saint peter dedicated to the triumph of the holy roman church but this trial was soon called into question by knowledge and science. the battle began for the right to interpret imagery and after bernie's death it was no longer fought in italy but in the hapsburg empire on the other side of the house . nancy understood how

but here there are the house books if you visit the headquarters of the hapsburgs in piano the hoff org you'll see on the left and right a representation of how austria ruled the world's oceans and much of the won't. do that didn't be has done since the you can see it as a plagiarized version of the form of the rebel angles associated with michael for it seemed as if this is all personifying defeating the enemy forces with a lance exactly as we know it from my clients this was the frosts lucifer into the jaws of hell and nowhere is this triumph ass clear as in the michael motif of the christian tradition the church is celebrating its own triumph that's why the church directly adjoining the hoff org is dedicated not just to any old saint but to michael the hero the general of the angels with his soldierly demeanor dame hayden . james i doubt it. any skin at all. this

full of the revelation jewels was completed in seven hundred twenty six during the reign of the austrian emperor col the six. the michael motif had become much more than merely a central christian motif it also signified gaunts forgiveness and the emperor as grand. the church of saint col as the most significant brought edifice in vienna makes that very clear. it is a sacred building with imperial aspirations the church was intended to symbolize the connection between rome and by send him between the west and the east roman churches that is why it looks rather like the hardiest sophia in istanbul and contains its imitation trojan columns this too has to be understood in an allegorical way the absolute monarchs of the modern era wanted to appear as glorious as the roman emperors. in the

coppola is the ecclesia with an allegorical figure representing the one true church she wears a gorgeous cloak as the holy grail in her hand and holds the eucharist over the ground having the last supper positioned at the center of the coppola in the patron church of emperor charles the six was intended to signify that his empire would uphold the supremacy of the christian world view. as an borg abbey is only one as journey away from vienna towards the end of the reign of kala six the baroque painter paolo talk was commissioned to decorate the central rooms of the abbey with frescos. even the architecture of the imperial stack case has symbolic significance two flights of steps merge into a single one that implies that two separate spheres can be seen as

a unity. religion with its halos sits alongside science as allegorical figures on the heavenly coppola and they are reconciled with one another. all figures on the arched roof have both allegorical and sacred meaning the heavenly virtues of love and hope are depicted as symbolic female figures faith is shown as masculine and posing victoriously. the angels fill this heaven and serve as an ordinance they seem as though they're about to applaud the harmonious order the happy dance and. the painting above the imperial stack aes tries to illustrate to the viewer the

reconciliation between the sacred and the scientific worlds angels have no significant role anymore in this harmony. that's the end of this history of angels more than one and a half thousand years of a dominant religious interpretation of the world with a single center. gave way to an age of absolutism succeeded by the age of reason and the era of industrialization. be angels as messengers of an inscrutable god lost their significance but his advocates for and counsel as to humanity they are an eternal reminder of humans yearning not to be alone and as a perpetual changing motif of bombs they are a central aspect of western religious culture.

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