Representations of the Archangel in the various epochs
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3. Iconography and Sacred Art
3.1 Representations of the Archangel in the various epochs
3.1.1 - Early Christian depictions
• Frescoes and graffiti in the catacombs
Roman catacombs, such as those of Priscilla and Saints Marcellinus and Peter, preserve some of the oldest artistic evidence of early Christianity. Although direct representations of St Michael the Archangel are rare in this context, early Christian art uses symbols and figures that prefigure his iconography. For example, the frequently depicted figure of the Good Shepherd symbolises divine guidance and protection, attributes that would later be associated with St Michael .
In addition, graffiti in the catacombs provide valuable information on the religious practices and devotions of the early Christians. These signs engraved on the walls, often accompanied by Christian symbols such as the cross or the fish, testify to the veneration of angelic figures and saints, including the Archangel Michael .
Symbolism of the Archangel as guardian and psychopomp
In early Christian art, the Archangel Michael is often depicted as a psychopomp, i.e. a guide of the souls of the dead to the afterlife. This function is highlighted in scenes depicting him with scales, an instrument used to weigh souls during the Last Judgement. Such representations emphasise St Michael's role as an intermediary between the earthly and heavenly worlds, highlighting his importance in the salvation of souls.
First armed performances
The first images of St Michael as a celestial warrior emerge in Byzantine and early medieval art. In these representations, the Archangel is depicted with armour, sword and shield, symbolising his function as defender of the faith and fighter against the forces of evil.
This iconography developed further in the Romanesque period, where St Michael is often depicted in the act of defeating the dragon, symbol of the devil, consolidating his image as protector and divine avenger.
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Images
• Fresco of St Michael Archangel
Video
Sources and references
• "MICHELE Archangel, saint" - Encyclopaedia of Medieval Art, Treccani. (treccani.it)
• "Graffiti as a source for the history of medieval religious practices" - Ca' Foscari
University Venice (iris.unive.it)Liturgical Arts JournalTreccaniIris+1
3.1.2 - Byzantine iconography (5th-17th century)
• The Archangel as imperial dignitary
In Byzantine art, Saint Michael the Archangel is frequently depicted in the robes of a court dignitary, wearing the loros, a long embroidered stole symbolising imperial power. This iconography emphasises his role as a high heavenly official and protector of the Empire. A significant example is the Archangel Diptych, a 6th-century ivory panel preserved in the British Museum, which shows Michael with a sceptre and cruciger globe, attributes of imperial power .
Iconographic canons and celestial symbolism
Byzantine iconography of St Michael follows precise stylistic canons: frontality, hieraticism, absence of perspective and golden backgrounds symbolising divine light. Often, the Archangel is depicted with a transparent sphere in his hands, a symbol of foresight and divine power. Other common attributes include outstretched wings, a spear and scales, the latter associated with his role in the Last Judgement.
Mosaics and icons on a gold background
Byzantine mosaics on a gold background are among the highest expressions of sacred art of the time. An emblematic example is the mosaic of the triumphal arch of the Basilica of Sant'Apollinare in Classe in Ravenna (c. 549), where St Michael is depicted next to Gabriel, both in ceremonial dress. Other notable examples can be found in the Basilica of St Euphrasiana in Porec and in the Church of St Michael in Africisco in Ravenna, where the use of gold and the refinement of details give the figures an aura of majesty and transcendence.
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Images
• Byzantine Icon of St Michael Archangel
• Mosaic of St Michael in imperial robes
Video
Sources and references
• "St Michael's images in the Byzantine world" - St Michael's Path. (camminodisanmichele.org)
• "Saint Michael the Archangel" - Cathopedia. (cathopedia.org)
• "Archangel diptych" - Wikipedia. (en.wikipedia.org)
• "Saint Michael the Archangel and Archist and the Celestial Militias" - Ukrainian Parish in Rome. (ukr-parafia-roma.it )
3.1.3 - Early mediaeval representations in the West
• Carolingian and Ottonian Miniatures
During the Carolingian period (8th-9th centuries), illuminated art reflected imperial authority and the sacredness of power. St Michael the Archangel was often depicted in ceremonial robes, with attributes such as a sword and scales, symbols of his role as defender of the faith and judge of souls. Ottonian miniatures (10th-11th century) continued this tradition, emphasising the majesty and heavenly function of the Archangel, often depicted in scenes of combat against evil or in acts of protection towards the faithful.
The Archangel as knight and defender of the Church
As early medieval iconography evolved, St Michael took on the appearance of an armed knight, symbolising the struggle between good and evil. This representation showed him in armour, often on horseback, in the act of defeating the dragon or Satan, reinforcing his image as protector of the Church and its faithful. This iconography spread widely, influencing sacred art and popular devotion throughout Western Europe.
Influence of the Lombard cult
The Lombards, after their conversion to Catholicism, adopted St Michael as their patron saint, associating his warrior virtues with those of the Germanic god Odin. The sanctuary of Monte Sant'Angelo on the Gargano became a nerve centre of the micaelic cult, promoted by Lombard rulers such as Cuniperto, who made it a symbol of national identity. The iconography of the Archangel spread through coins, architecture and works of art, consolidating his figure as protector and spiritual guide of the Lombard people.
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Images
• Saint Michael Archangel Knight of the Apocalypse
• Mosaic of the Sanctuary of St Michael Archangel
Video
Sources and references
• "Micaelic cult among the Lombards" - Wikipedia. (en.wikipedia.org)
3.1.4 - Romanesque and Gothic art
• Michael in the Last Judgement scene
During the Romanesque and Gothic periods, the Archangel Michael assumed a central role in representations of the Last Judgement, depicted as the weigher of souls and the defender of divine justice. An emblematic example is the tympanum of Autun Cathedral, sculpted by Gislebertus between 1135 and 1140, where Michael is portrayed in the act of weighing souls, opposed by a demon attempting to influence the scales.
Another significant example can be found in the Basilica of San Michele in Oleggio, where a Romanesque fresco depicts the Archangel with sword and scales, symbols of his role in judgement.
The theme of psychostasy (weighing of souls)
Psychostasy, or the weighing of souls, is a recurring theme in medieval art, with St Michael often depicted in the act of weighing the souls of the dead to determine their eternal destination. A notable example is the fresco in the church of San Nicolò in Jesi, where Michael is depicted with scales while a demon attempts to alter the judgement.
Another representation is found in the Pieve di Cabriolo, where a fresco shows the Archangel in the act of weighing souls, emphasising his role as judge and guide of souls.
Sculptures in cathedral portals
The sculptures on the portals of Romanesque and Gothic cathedrals often depict St Michael in scenes of judgement or the fight against evil. A significant example is the Zodiac Portal of the Sacra di San Michele in Piedmont, where the Archangel is sculpted in relief, surrounded by zodiac symbols and allegorical figures.
Another example is found in the Cathedral of San Michele Arcangelo in Casertavecchia, where the central portal is decorated with sculptures depicting fantastic animals and symbols of sin, with the Archangel Michael represented as the defender of the faith.
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Images
• THE LAST JUDGEMENT IN CHRISTIAN ART
• Psychostasy fresco - Church of San Nicolò in Jesi
• Portal of the Zodiac - Sacra di San Michele
Video
Sources and references
• "The Last Judgement in Christian Art" - Diocese of Pistoia.
• "An unusual psychostasis discovered in the church of San Nicolò in Jesi" - Mediterraneo Antico.
• "The Archangel Michael and Psychostasis" - In the Footsteps of St Michael.
3.1.5 - Renaissance and Mannerism
• Humanising the figure of the Archangel
During the Renaissance, the iconography of Saint Michael the Archangel evolved towards a more human and idealised representation. The Archangel is depicted with harmonious features and classical proportions, embodying the beauty and perfection of Renaissance man. This transformation reflects the influence of humanism, which emphasises the dignity and centrality of the human being. St Michael thus assumes an appearance closer to man, while retaining his majesty and his role as defender of the good.
The Great Altarpieces
During the Renaissance, numerous artists produced works depicting St Michael, including:
• Pietro Perugino: in the 'Vallombrosa Altarpiece', St Michael is depicted with elegance and serenity, highlighting the influence of the classical ideal.
• Raphael Sanzio: in the painting 'Saint Michael Defeats Satan' (1518), kept in the Louvre, the Archangel is depicted in a dynamic pose, with a balanced composition combining strength and grace.
• Dosso Dossi: In his work 'Saint Michael the Archangel Fights the Devil and the Assumed Virgin among Angels' (1533-1534), exhibited at the National Gallery in Parma, the artist combines celestial and terrestrial elements, creating a scene rich in symbolism and movement.
Fusion of classical idealisation and spiritual tension
In the Mannerist period, the iconography of St. Michael is enriched with emotional tension and compositional complexity. The artists, while maintaining the ideal of classical beauty, introduce elements of drama and movement, reflecting the spiritual anxieties of the time. The figures become more elongated and the compositions more complex, highlighting the struggle between good and evil not only as a physical battle, but also as an inner conflict.
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Images
• Saint Michael Archangel - Pietro Perugino
• St Michael defeats Satan - Raphael Sanzio
• St Michael the Archangel fights the devil - Dosso Dossi
Video
Sources and references
• "St. Michael the Archangel fights the devil and the Virgin Assumed among angels" - Artsupp.
3.1.6 - Baroque and Counter-Reformation
Dramaticity and theatricality of the fight with the devil
In the Baroque period, the iconography of St. Michael the Archangel was enriched with dramatic and theatrical elements, in line with the Counter-Reformation's goals of emotionally involving the faithful. Depictions of the Archangel defeating the devil are characterised by dynamic compositions, contrasts of light and shadow and intense expressiveness. An emblematic example is Guido Reni's painting 'Saint Michael Archangel' (1636), preserved in the Capuchin Church in Rome, where the Archangel is depicted in the act of crushing Satan with a solemn and majestic pose. Other artists, such as Luca Giordano and Guercino, contributed to this iconography with works emphasising the victory of good over evil through scenes of great visual impact.
St Michael as Defender of the Catholic Faith
During the Counter-Reformation, Saint Michael the Archangel was exalted as a symbol of the fight against heresy and defender of the Catholic faith. His depictions take on a propagandistic significance, aimed at reaffirming the authority of the Church and the need for strong spiritual guidance. Works of art from this period present the Archangel in triumphant poses, often surrounded by symbols of the faith and the Church, such as the cross, scales and the sword.
Churches and dedicated chapels in urban areas
In the urban context, numerous churches and chapels are dedicated to St Michael the Archangel, reflecting his importance in Catholic worship and the daily lives of the faithful. These include:
• Church of San Michele Arcangelo in Solofra (AV): an authentic jewel of the Irpinian Baroque, with a wooden coffered ceiling decorated with 42 canvases and rich gold panelling.
• Church of San Michele in Alghero (SS): located in the historical centre, it has a Baroque façade and a richly decorated interior, with side chapels decorated with stuccoes and monumental altars.
• Church of San Michele Arcangelo in Cagliari (CA): a significant example of Sardinian Baroque, with an imposing façade and an interior decorated with stuccoes and frescoes.
• Church of San Michele Arcangelo in Castiglione Messer Marino (CH): the town's parish church with a three-nave interior and Baroque decorations, including frescoes and sculptures by local artists.
Recommended multimedia content
Images
• Saint Michael Archangel - Guido Reni
• Saint Michael Archangel - Luca Giordano
• Saint Michael Archangel - The Guercino
Video
Sources and references
• "Baroque and Counter-Reformation: Churches" - Marialuisa Barbuti MarialuisaBarbuti
• "Church of San Michele in Alghero" - Wikipedia Wikipedia+2Wikipedia+2Summer in Sardinia+2
• "Church of San Michele Arcangelo in Cagliari" - FAI. FAI
• "Church of San Michele Arcangelo in Castiglione Messer Marino" - Wikipedia. Wikipedia
3.1.7 - Modern and Contemporary Age
• New symbolic and stylistic interpretations
In the 20th and 21st centuries, the image of Saint Michael the Archangel has been reinterpreted by numerous contemporary artists, who have fused tradition and innovation. A significant example is the painting by Alessandro Siviglia, which depicts the Archangel in a modern, symbolic style, emphasising the victory over evil through a contemporary visual language.
Similarly, the painter Ricci, active in the 20th century, depicted St. Michael with delicate strokes and a luminous aura, maintaining a strong link to traditional iconography but introducing a modern sensibility.
Neo-Gothic revivals and 19th century revivals
The 19th century saw a revival of Gothic art, also influencing representations of St Michael. One example is the neo-Gothic St. Michael's fresco, characterised by elegant lines and intense colours, reminiscent of medieval aesthetics.
In terms of architecture, the Abbey Church of San Michele Arcangelo in Poggio Renatico, built in the early 20th century, features a neo-Gothic style with a tripartite façade and a mosaic depicting Christ Blessing, donated by Pope Pius X.
The Archangel in 20th-21st Century Sacred Art
Contemporary sacred art continues to celebrate Saint Michael through various forms of expression. The Museum of Sacred Art of San Michele Arcangelo in Busto Arsizio preserves paintings and liturgical objects from the 16th century onwards, including frescoes and ancient manuscripts, testifying to the persistent devotion to the Archangel.
In addition, contemporary artists have explored new representations of the Archangel, as in the case of the 20th century Russian icon showing St. Michael on horseback, armed with sword and scales, symbols of divine justice.
Recommended multimedia content
Images
• Saint Michael Archangel - Ricci (20th century)
• St Michael Archangel - Alexander Seville
• Russian icon of St. Michael the Archangel (20th century)
Video
Sources and references
• "Museum of Sacred Art of St Michael Archangel" - Wikipedia. Wikipedia
• "Abbey church of St Michael Archangel" - Wikipedia. Wikipedia
3.1.8 - St Michael in the minor arts
• Jewellery, votive offerings and devotional objects
The Devotional Museum of the Basilica of San Michele Arcangelo in Monte Sant'Angelo houses a rich collection of votive offerings, including painted tablets, silver foils and liturgical objects donated by pilgrims, popes and sovereigns. Among the most significant pieces is a Byzantine icon in gilded copper from the 6th-7th century, considered to be one of the oldest depictions of the Archangel.
Coins, seals and medals
The image of St Michael was frequently used in Lombard coinage. King Cunipertus (688-700) was among the first to depict the Archangel on gold tremisses, marking an important iconographic innovation. Later, princes such as Sicon (817-832) and Adelchi (853-878) issued silver denarii with legends dedicated to St. Michael, emphasising his role as protector and symbol of power.
Portable icons and travel objects
Portable icons of St. Michael, often made of wood and decorated with gold leaf, were created to accompany the faithful on their journeys, offering spiritual protection. Examples of these icons, inspired by Byzantine art, are available at specialised shops.
Multimedia content
Images
Jewellery, votive offerings and devotional objects
• Devotional Museum of the Basilica of St Michael Archangel
The museum houses a rich collection of ex-votos, including painted tablets and liturgical objects, evidence of popular devotion.
• Modern commemorative coin of St. Michael the Archangel
A contemporary coin celebrating the traditional iconography of the Archangel. Ma-Shops
Portable icons and travel objects
• Byzantine icon on wood of St. Michael the Archangel
A Byzantine-style icon hand-painted on wood, a traditional representation of the Archangel.
• 19th century Russian icon of St. Michael the Archangel
A 19th century Russian icon depicting the Archangel Michael on horseback, symbol of divine justice.
Sources and references
• Museum of the Basilica of St. Michael Archangel - Wikipedia
• Longobard coinage of Benevento - Wikipedia
• Coinage of Adelchi of Benevento - Wikipedia
• St. Michael the Archangel icons - Etsy Italy WikipediaRoyal Museums+2Wikipedia+2WikipediaEtsy