By Waters, Clara Erskine Clement
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Deposition from the Cross (Pala di Santa Trinità) Fra Angelico, 1437-1440 Tempera on panel, 176 x 185 cm Museo Nazionale di San Marco, Florence 56 57 Their effectiveness has appealed to many Christian architects who have fully profited by the example of Solomon, who “carved all the walls of the house temple with carved figures of cherubim,” and he made the doors of olive-tree, depicting carved cherubim. In the same manner, in many old churches, angels carved in marble, stone or wood, and painted on glass, in frescoes on walls, and in smaller pictures, fill all spaces, Madonna of the Rose Bush Stephan Lochner, c.
Contrary to the portrayal of angelic orders, the representation of seraphs and cherubs often follows a uniform colour scheme. In a Glory, for example, the inner circle should be glowing red, the symbol of love; and the second should be blue, the shade of light, symbolising knowledge. The Annunciation Triptych (Mérode Triptych) Robert Campin (Master of Flémalle) and workshop, c. 3 cm The Metropolitan Museum of Art, New York 42 43 Angelic symbolism in its purity makes the “blue-eyed seraphim” and the “smiling cherubim” equally unconventional, since the seraph should be glowing with divine love, and the face of the cherub should be expressive of serious meditation.
3 cm The Metropolitan Museum of Art, New York 42 43 Angelic symbolism in its purity makes the “blue-eyed seraphim” and the “smiling cherubim” equally unconventional, since the seraph should be glowing with divine love, and the face of the cherub should be expressive of serious meditation. The familiar cherubim beneath Raphael’s famous Madonna di San Sisto in the Dresden Gallery are exquisite illustrations of this attention to detail. The colours of the oldest pictures, illuminated manuscripts, stained glass and painted sculptures were most carefully considered.