Description
Historical Context
Michael, whose Hebrew name means “Who is like God?” (in Latin, Quis ut Deus?), is the most celebrated archangel in Christianity. Known as the leader of the Celestial Armies during the great battles against the rebellious angels, he defeated Lucifer and became the Prince of Angels.
The theme of Saint Michael slaying the dragon originates in the West and emerged during the Carolingian period (8th–9th century) around the sanctuary of Mount Gargano in the Apulia region. It illustrates both a passage from the Book of Revelation (12:7) and an ancient legend of the archangel defeating a monster, a tale brought to Mont-Saint-Michel, where relics of the battle were preserved in the Treasury.
Over time, the depiction of Saint Michael evolved. Initially shown as an angel in a long tunic covered by a large mantle and armed with a lance, he transitioned to a warrior in armor bearing a sword. Before this martial attire became predominant in the 15th century, Saint Michael was sometimes depicted in liturgical garments, possibly influenced by religious theater.
Description
Saint Michael: The Winged Warrior Archangel Slaying the Dragon.
Saint Michael is depicted here standing in a gentle contrapposto, with fine, youthful features. His domed forehead and elongated eyes give him a downcast gaze. His full face is framed by beautifully defined, tight curls. Traditional attire includes a chainmail shirt beneath a surcoat, itself covered by a flowing cape fastened at the front with an ornate chest clasp.
The delicate features of his face harmonize with his tall, slender figure. With elegance, he pierces the gaping mouth of the dragon he tramples underfoot. In a calm yet victorious stance, he triumphantly treads upon the defeated devil. The position of his right arm, which once held a lance, aligns naturally with his left arm, poised to subdue Satan, the fallen angel.
The peaceful charisma of the archangel distinguishes him as a being of divine power. His mere gesture of threat suffices to conquer the enemy. The contrast between the spirited face of the archangel and the bewildered expression of the monster emphasizes the triumph of Good over Evil.
The devil, lying on his back, appears paralyzed yet desperately attempts to fend off the blow with his splayed limbs. With an open mouth and head thrown back, his only remaining strength allows him to clutch Saint Michael’s cape with a hind claw. The demon’s bat-like wings, a symbol of his infernal nature, are stylized to envelop the upper part of his forelimbs, leaving no doubt about the identity of the creature clinging to the cape of the Celestial Militia.
The combination of this elegant composition and the remarkable beauty of its form confirms the exceptional quality of this depiction of Saint Michael. He is not only the patron saint of Brussels but also of armorers and swordsmen.
Bibliography :
Jean-Pie Lapierre, Le Musée Chrétien, II/2, édition du Seuil, Paris, 2014.
Louis Réau, Iconographie de l’Art chrétien, II/2, Presses Universitaires de France, Kraus Reprint, Millwood, 1988.