By Joynel Fernandes –
‘At that time shall arise Michael, the great prince who has charge of your people….(and) your people will be delivered’ – Daniel 12: 1
Among the heavenly host and the celestial choirs, the three Archangels namely Michael, Raphael and Gabriel are well – known. As mentioned in the Bible, each is attributed with a different mission – Michael protects, Gabriel announces while Raphael guides.
The first reading of today, taken from the book of Daniel chapter 12, dwells on St. Michael, the Archangel. The word ‘Michael’ is derived from its Hebrew origin ‘mi kuhl’ meaning ‘who is like God?’ In sacred scripture, the Archangel is mentioned in three books namely the book of the prophet Daniel, the Epistle of St. Jude and in the book of Revelation. According to Christian tradition the primary office of St. Michael is to fight against Satan and rescue faithful souls from the fires of hell, especially at the hour of death.
The war-cry of this ambassador of the army of God and the ‘prince of peace’ resounds through today’s art-work executed by none other than the ‘prince of painters’ – Raffaello Sanzio (1483 – 1520). Raphael idealized the period of High Renaissance art through his effortless grace and harmonious balance. His search for beauty led to an explosion of creative energy that changed the world. Today’s painting titled ‘Saint Michael’, housed in the Louvre, stands a testimony to the painter’s absolute genius.
An early work of the artist, the painting was produced for Guidobaldo da Montefeltro, the Duke of Urbino as an expression of appreciation towards King Louis XII of France for conferring upon the Duke’s nephew and heir the Order of Saint Michael, a dynastic order of chivalry.
Against the background of a bleak burning city scorched by flames and sulphurous fumes, Raphael presents a youthful St. Michael threading and trampling over the squirming Satan beneath his feet. With the agility of an eagle and the grace of a ballet-dancer, St. Michael pirouettes his sword, in a lighting-like gesture to cast his final thrust upon his enemy.
The enemy is a grotesque ghoulish creature with the head of a goat, the wings of a bat and the tail of a serpent. The weight of divine power crushes its bogus being even as its eyes bulge and tongue swags out of its mouth in distress. The scene threatens its fiendish friends around. As the malicious monsters crawl in from all sides, the characteristics of northern art creeps in. At once, we are reminded of our dear Dutch artist Hieronymus Bosch (1450 – 1516) and the crazy phantasmagorical creatures he conceived in most of his paintings.
As we journey to the background of the painting we encounter several hypocrites clothed with gilded cloaks parading the charring city while on our right are a series of naked demons devoured by snakes and belligerent black birds. This scene is certainly influenced by Dante’s Divine Comedy which recounts the painful punishment that awaits transgressors and the guilty.
To a contemporary viewer the depiction may typify fiction and fantasy and yet is modern human less hassled by the transgressor or by temptations? As C.S. Lewis sums it, ‘There are two equal and opposite errors into which our race can fall about the devils. One is to disbelieve in their existence. The other is to believe and to feel an excessive and unhealthy interest in them.’ According to him, if we ever saw evil in its unabashed ugliness (like in the painting), we would be so completely reviled and repulsed that we would never choose it. And so the master of deceit convinces our lukewarm credence by riding on the coat-tails of so called ‘goodness.’
Pope Leo XIII provides an excellent solution to our conscious or un-conscious deceptions in our battle against corruption. It is a staple prayer of devotion that reads:
‘Saint Michael the Archangel, defend us in battle, be our protection against the wickedness and snares of the devil. May God rebuke him we humbly pray and do thou, O Prince of the Heavenly host, by the power of God, cast into hell Satan and all evil spirits who wander through the world seeking the ruin of souls. Amen.’
@ The Archdiocesan Heritage Museum, Mumbai holds the copyrights for this article .
Joynel Fernandes is the Assistant Director of the Archdiocesan Heritage Museum, Mumbai. She is currently pursuing her Masters in History. Researching on Church History and Church art is her passion. She hopes to make its understanding more approachable to the younger generation.
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