I thought this treatise written by an anonymous writer was interesting in the presentation of guardian angels at the time. The treatise draws on scriptural anecdotes and stories to convince its reader that guardian angels are real. The writer argues to the question put to him: “whether it may not be probable that every Man hath his Guardian Angel?” strongly to the confirmation that we do using religious sources as his evidence. The writer quickly moves on to talk about how: “there are several orders of Angels” and to talk about “what concerns the Cafe of a Guardian Angel”. He confidently asserts how “every man” has a particular “Genius, or Guardian Angel”. The guardian angel is presented as an aerial form sent by God to do specific duties and some of these are given: “to take care of the Fruits of the Earth for the ufe and benefit of Men.. Invifible Husbandmen Some they will have to cure Difeafes, others to counsel and advife, and exreicate Men out of Ambiguous and perplex Affairs; fome afford Men their affiftance in the inventions of Arts”. This suggests that guardian angels not only protect but help with providing food. They go further than the basic necessities and even give counsel as well as inspiring genius. This strongly suggests that the boundaries are blurred as angels can actively affect man’s behaviour as well as guarding his person.  They are presented as important and crucial for mankind, explaining how not only does every man have one but there are “Angels of Kingdoms too”. This continuously puts the Guardian Angel on a wider scale reminding the reader they are sent from the divine. Indeed, the takeaway message or conclusion at the end is didactic as it reminds its reader to be good. This is seen in “whenever thou thinkest thy self most alone, there remember God is present, and thy Angel stands by and beholds thee, and takes notice of thy behaviour either for Virtue or Vice.”  It can be seen as a panegyric on guardian angels “and in every Corner reverence thy Angel”. The finishing reminder is a complement to guardian angels and that we are “honoured and assisted with a Guardian angel”. Therefore, unlike in the section ‘angel as a compliment’ where human females are praised, here we have what is titled ‘a modest enquiry’ that turns out to be strongly extolling the virtues and surety of guardian angels and complimenting them. It uses a religious framework to support itself. 

 

 

 

 

In The New Sylph Or, Guardian Angel, A story, there is an interesting and unique presentation of the guardian angel. It is intelligently done as the reader whilst reading the story is like, the narrator, Charles, supposed to believe that the girl he falls in love with is in fact a real guardian angel: “but with a heart full of gratitude to my guardian angel.” Also, “I often thought of my aerial friend”. This shows Charles takes her for an actual supernatural angel.

 

Therefore, the presentation of an actual angel is given the spectral elements of “a blaze proceeding from a number of elegant lustres and festoons” (really a farce that we do not find out till the end) that the narrator sees as evidence for the supposed angel. The way Charles presents a guardian angel is given a certain degree of credibility throughout. The tenderness that Charles feels towards who he thinks is his guardian angel is strong and causes him to be devoted to Rose Rosseau. He is willing to unquestioningly obey her commands, “she then with a manner peculiar to herself, laid down the wisest rules for my future conduct”, and remain devoted to this “phantom, a being that befriended me to be sure; but that seemed of another world.” This presents a guardian angel as a powerful being capable of influence and as imposing order on the human. It is presented as wise suggesting noble intentions. The running theme throughout the story is Charles’ attachment to the one whom he thinks is his protecting angel. This enhances how guardian angels were commonly see as protecting especially as later with a regiment in Italy, Charles is saved by his guardian angel: “but when I looked at my deliverer, I beheld, under the form of a beautiful youth, my Rose! my GUARDAIN ANGEL!”. The capital locks show his depth of emotion for his saviour.

 

The idea of physical beauty, as with Evelina and Pamela is also played upon here. It is no surprise that this guardian angel is visually beautiful: “the most beautiful vision the fancy could imagine. It was a woman bearing an exact resemblance to Rose-her flowing hair and white drapery were bound by a crown and belt of roses; she smiled at me”. This description of her dressed in white and with flowers suggests modesty of virtue and a link to the rural and nature. This reflects on how the conduct of the guardian angel must therefore be for good purposes. She is also later “was playing upon the harp and to add to the enchantment of her appearance, was singing the song I had heard in the wood in Burgundy”. This is quite an idyllic image for an angel to be playing a sophisticated instrument like the harp and with this woodland sylvan quality. It is a story with many disguises as ‘Rose’ dresses up first as a peasant girl, then as Frederick, a male soldier, then as a physical representation of a guardian angel before we finally discover her real identity. This is her identity as Adelaide, princess of Zelve. This attaches to the presentation of a guardian angel therefore questions of authenticity as it has been convincingly and successfully used in this story as a form of disguise. Adelaide admits at the end: “My ambition was to strike you in different manners; to appear to you unadorned, and afterwards with all the decorations of art; to watch you in your intercourse with the world, and engage your attitude by being of service to you, and strangely to surprise your heart and mind by an appearance of witchery, easily managed by our own previous preparations.” For more on ‘witchery’ in the eighteenth century please see the wikipage on Witchcraft . However, this does not detract from a guardian angel being a creature who guides Charles in this and he does not seem upset at all at the deceit played by Adelaide. She admits she has a “romantic turn” suggesting angels are associated with fairy tales and romances. It is interesting that Charles still chooses to describe Adelaide “as handsome as an angel” and to still name the story ‘Guardian Angel’. This suggests that the qualities we associate with a real guardian angel are still valid. After all, Charles’s moral is in the final lines: “for I must have adored her; and I am certain that a real attachment to an amiable woman is the surest guardian a young man can have to defend him from every vice and to preserve him from every levity”. This is therefore a didactic panegyric on a good woman being able to reform a young man- this links back to Pamela’s role as an angel in her ability to reform Mr B. It is her virtue that he later wants to marry rather than just her beautiful appearance alone. 

 

The Guardian Angel, 1763

 

Image 6:

i

 

 

In this piece of literature that is a letter of verses to the Edward Duke of York is interesting because Guardian Angel is being used as a compliment as the writer is called Edward this. The whole set of verses could all therefore be seen as an extended metaphor for this compliment. The language used is rich: “On this, an Angel’s voice methought I heard, / And then my Guardian Angel’s form appear’d!/ A spear his hand, his head a garland grac’d, / And easy robes his comely form embrac’d./ Above the waist his glossy wings were fix’d,/ with purple fring’d, and shades of gold enmix’d./ Tho sweet’s the breath that early morn bestows,/ the op’ning lily, and the new born rose; But his more fragrant than the breath of morn”. It is also a harmonious image presented suggesting that the guardian angel is at home in nature. This may be read as Edward being a down to earth Duke who is caring and spreading good over his subjects. The presentation of the guardian angel is therefore as a benevolent protector with the spear to defend his subjects. It is interesting as ‘guardian angel’ is used as the compliment here for different purposes than how we have previously seen angel for mainly extolling the beauty of females. 

 

 

The Lady's Magazine, Volume 20, or Entertaining Companion for the Fair Sex, Appropriated Solely to their Use and Amusement:

 

"The maid returned triumphant over the bridge, and was again received as the guardian angel of the city. After performing such miracles, she convinced the most obdurate incredulity of her divine mission. Men felt themselves animated as by a superior energy, and thought nothing impossible to that divine hand, which so visibly conducted them."  

This can be read as a scene of strength and a rebirth for the maid. She now has the chance to be a leader in the form of 'guardian angel' which is depicted positively and as like a healing taking place for the city. As a result of the maid assuming the role of guardian angel she is able to change people's minds and get them on board with her 'divine mission'. Therefore, her power as a guardian angel extends further than just being physically protecting the city but also philosophically. She is able to make a sort of mental connection with the people she is to look after. This is important because with their support and 'superior energy' she can be a better guardian angel. Indeed, the guardian angel is presented as proactive here- 'performing such miracles' and still being charismatic and convincing the 'most obdurate'. It is a picture of reform and energy as it makes us confident the city will now thrive with such a guardian angel as this maid. 

 

 

The Loyal City of Bristol, 1681

 

Image 7:

 

 

 

 

 

This treatise printed by J. Davis in 1681 is interesting because as seen previously in this section, it also presents guardian angels in a heroic way. The adjective “worthy” denotes how the guardian angel in this treatise plays an important and laudable role for the city. It links nicely with the title: The loyal City of Bristol which suggests that the guardian must therefore be competent. Contextually, in the 18^th century Bristol city was receiving a lot of increased trade and I wonder if the guardian angel might then represent as a sort of reliable treasurer for the city. It is also possible to read the “worthy Angel-Guardian” as metaphorically as the model citizen who is patriotic.  

 

 

 

Dear John, The guardian angel of Lord Hill carries you this letter from me, I write you from the shades of the blessed,… 1790 

 

Image 8:

 

 

 

 

This letter written by James Bennet, who lived at Rathfryland, writes to his son John to persuade and promote Lord Hillsborough in the 1790 Downpatrick election.  It is interesting and different that the “guardian angel” in this case is the messenger, referred to as “angel” later as opposed to, as previously looked at, in this section it being the chief subject. For example, in The Guardian Angel where the Duke of York, Edward is praised and given the honourable title of ‘guardian angel’. I think this shows that everyone involved in helping to “support Lord Hill” plays a pivotal role and so “the guardian angel of Lord Hill” is singled out as he after all physically carries the letters. The religious imagery used throughout, “the true friend of your religion” Bennet calls Lord Hill, adds to the overall tone of formality and the purpose of the letter which is to get John to vote for Lord Hillsborough. Therefore, the presentation and use of calling the letter bearer the “guardian angel” adds to the eloquent register. It also serves to make Lord Hillsborough sound more important and royal; that he has ‘guardian angels’ helping to spread the message. 

 

 

The Lady’s New-years Gift: Or, Advice to a Daughter, 1699

 

Image 9: 

 

 

In this novel by George Savile, the presentation of guardian angel is an interesting one because it is being used as a theme to enhance the young daughter’s spirituality. It is effectively a conduct novel which is split into many different chapters. For more on conduct novels in the eighteenth century refer to Conduct Literature . There were two editions of this published- one without ‘the character of the trimmer’ and one with. This is a noticeable point in in itself because the chapter wherein we have the trimmer’s opinions regarding the ‘laws and governments’, ‘Protestant Religion’, ‘The Papists’ and ‘Foreign Affairs’ is more concentrated on religion. This provides a deeper link for when ‘guardian angel’ is used here in this part as opposed to in any of the other chapters (although still relevant). This is the quote found in the trimmer chapter:

 

“which no generous Mind can be guilty; a Prince that deserves to be lov'd for his own sake, even without the help of a Comparison; our Love, our Duty, and our Danger, all join to cement our Obedience to him; in short, whatever he can do, it is no more possible for us to be angry with him, than with a Bank that secures us from the raging Sea, the kind Shade that hides us from the scorching Sun, the welcom Hand that reaches us a Reprieve, or with the Guardian-Angel, that rescues our Souls from the devouring Jaws of wretched Eternity”.

 

The guardian angel is presented as someone who can do no wrong and who does things with the best intentions even if we find this hard to see at the time. It is used in a simile as is a Prince and “kind shade”, nature, to emphasise how the reader- the daughter should trust her fate to God’s will because he knows best and would only help her. The “devouring jaws” could be read as the worldly temptations to and the author is using the ‘guardian angel’ simile to encourage the reader to follow religion strictly because it will guard her from harm in this life and the afterlife. The use of ‘the trimmer’ helps to make what the author is saying more accessible and the trimmer is held up as a model exemplar of the best conduct. The use of ‘guardian angel’ in this chapter then also adds a higher registry as seen in other texts which feature guardian angels. The trimmer’s conduct may also be likened to that of a guardian angel this it serving as a way to help model a young person’s- a female in this case’s behaviour on. 

 

 

 

 

 

The History of Portugal, 1698

 

Image 10:

 

 

 

 

 

 

 

 

In this treatise, the full title being: The history of Portugal from the first ages of the world, to the late great revolution, under King John IV, in the year MDCXL, the presentation of guardian angels is quite interesting. This is because they are presented as warriors with the imagery of knights and battle. For example: “new order of Knighthood, called that of the Wing, for that in the Battle he saw a winged Arm near him fighting against the Moors, which the King supposing to be St. Michael, or his GuardianAngel, he dedicated the order to them both. The chief Rules were, that the Knights should wear a red Wing embroidered with Gold; that none but Gentlemen of Note should be admitted to the Order; that in fight they should carry the Royal Standard; that they should take the Oath of Allegiance administered by the Prior of Alcobaca, who was to be superior of the Order…”  In this case it is “the winged Arm” who is praised for his valour and is likened to St.Michael or his “guardian angel”. This suggests guardian angels were seen as closely tied to saints. Again, as seen already in this section, here we have another guardian angel protecting and in this case they are fighting against the “Moors”. It can also be seen as another imagery of fighting for King and country.  This reads as a form of propaganda to help rally support.

 

 

 

Image 11: 

 

 

There was a Sermon preached at a colony of Rhode Ireland called Westerly, dated as August the 27^th 1755. It took place in the South Meeting House. This Sermon was titled:  Angels ministering to the people of God, for their safety and comfort in times of danger and distress. The sermon was given to a group of religious people on a day of much prayer and fasting, which these people observed for the success of armed forces. This suggests that ‘Angels’, at the middle of the eighteenth century, were looked upon as spiritual beings to turn to for spiritual support and healing during turbulent times- as in the case here with war. Also, the fact these “Angels” ministered to “the people of God”- as happened here with these devout people who were actively performing acts of worship, like prayer and fasting, suggests Angels are particularly there for those who are more religious. Finally, the verb “ministered” again firmly roots the “Angels” in a purely religious framework. This short, one page sermon was published by Newport by Joseph Fish. He was Pastor of a church in Stonington. 

 

 

 

 

 

I thought this quote from The History of Nourjahad, was interesting:“but soon returned, leading in the child, who was as beautiful as a little cherub. Nourjahad melted into tears at the sight of him”. This presentation of cherubs links to children and also how angels have the power to move people and bring forth human emotions. The tears could also symbolise a sort of catharsis thus linking the image of a cherub to emotional release and healing. From a Parent and child reading, it suggests how parents might think of their own children as angels. I chose to put this in my section on guardian angels because uniquely this piece suggests the child is the guardian angel; something not seen before. The cherub, even though it is the who is physically being led, is the one to have the profound spiritual affect on Nourjahad.  By giving Nourjahad comfort the cherub in a strange way looks after him. 

 

 

 

Guardian angels garland,: composed of four delightful new songs…, 1775

 

Image(s) 13:

 

 

 

 

 

 

This composition of songs published by Darlington was interesting because it uses Guardian Angels as a main theme, explaining why it is part of the title. The entry of the song called Forsaken Nymph I found added an interesting take on guardian angels. It was refreshing because it looks at guardian angels from the angle of love and as though they have powers like that of Cupid: “Cupid with thy Bow direct me”. The “Guardian Angels” are called upon like a Muse and this adds to the dreamy language of “Oh!” showing how the speaker of this song is passionately in love. The reference to “Leander” and “Philomel” adds a history and dialogue of romance. It is interesting that the protection guardian angels are sought upon here is different to how we have previously seen it in other texts that use guardian angels. For example, it is not the protection of a city or of one’s physical person but the protection of one’s affections to another being well received that are asked for. This suggests a shift of guardian angels being used in oral traditions and folklore with songs being the form. 

 

 

Readers experience in the Eighteenth Century

 

 

It is not surprising that there were a lot of readers experience where the presentation of angels came up. This is because in the eighteenth century, particularly in the latter part the subject and discourse of spiritual autobiography was becoming increasingly popular. There were more and more people, including women (as seen with Lady Caroline Lamb here) who were reading about Evangelism and departing from mainstream ideas held by the Church of England. Therefore, questions on purity and angels and demons would become of interest. It was Protestants who were drawn to this because they believed in religion being more centred on the individual and having a more personal relationship with God. This indicates how there might be a rise in people reading about angels perhaps from the point of view of having an individual to connection to themselves. It has been seen by some critics as angels being able to almost escape out of the religious framework and come into popular culture. Therefore, there is no longer the necessity of angels being tied to any certain rules. This may also reflect how angels were thought to speak to individuals. For example, there was the belief for Protestants that in the 1820s that the Angel Moroni appeared to Joseph Smith with the Book of Mormon. This then founded the Church of Jesus Christ Latter Day Saints. This also links to Milton's angels who were of increasing interest at the time because of the way he presents them in Paradise Lost. For Milton, the angels had direct interaction with human kind and they play a pivotal role in the war between heaven and hell. His archangels, for example: Raphael and Michael are characters rather than symbols. I think spiritual autobiography enhances and helps, along with angels in art, to chart how the presentation and perception of angels has changed. 

 

A reader born in the eighteenth century (on the 13^th November, 1785) called Lady Caroline Lamb read Mathew Lewis’s The Monk and said this about it: 'I have made it [the plot of a novel she is writing] two stories--principle or the Brothers is full of events rather terrific & in Monk Lewis's style--all the people whether the Daemons or the angels male or female act from determination' (Lady Caroline Lamb). I thought her reading experience, (record number: 8666) adds an interesting point to how angels were presented. Lady Caroline Lamb’s opinion shows that she views “angels” as the antithesis of “demons” and therefore that they are wholly good beings. The word determination I thought was novel though- it almost suggests that she thinks “angels” need to make some level of effort. 

 

Another reader in the eighteenth century who was a clergyman’s wife, called Laetitia Pilkington (record number: 19936) read a text, translations of and notes on Homer, by Anne Lefevre Dacier, and she wrote: ‘Love she has wrote upon with Warmth, but then it was such as Angels might share in without injuring their original purity. Her Elegy on her Husband's Daughter, is a Proof of the Excellency and Tenderness of her own Heart, rarely met with in a Stepmother; nor could I ever read it without tears, a Proof it was wrote from her Heart.' This reader’s experience presents ‘Angels’ as synonymous with purity and that they are the only creatures that can participate in the depth of such untouched emotion without tainting it. They are therefore depicted as clean and worthy beings. 

 

 

A  Reader's Experience for 'Seraph':

 read by Hester Lynch Thrale:

 

'I have heard that Miss Cooper hearing She was to lose her Sight, set about getting the Night Thoughts by heart - so much did She delight in the Poetry of Dr Young - She kept her Eyes however & all went well. The Description of Night by Dr Young is superior to that of either Dryden or Shakespeare - & I made Johnson confess it so. [7 lines of Young are quoted]. Oh how excellent are these Lines - but as Granger sweetly says When you struck the tender String Darkness clapt her sable Wing; Aside their Harps ev'n Seraphs flung, To hear thy sweet Complaints oh Young!'

 

This reader's experience of poetry was interesting because she finds 'seraph' used in what she reads and it is a romantic and slightly melodramatic presentation. It links the seraphs with youth and also riches as "sable" was an expensive dark material worn exclusively by the rich. It shows the shift in people reading about angels from a purely religious way to more for entertainment and romance. 

 

 

 

 

 

Angels in Eighteenth Century Art:

 

 

 

A portrait from the British Museum: 

'The Dream':

The 'print' was made by John Mills using paper. He both painted and engraved it. The date is somewhere between 1800s-1830s.

 

It illustrates the contrast between a human woman and an angel- who is depicted as female. I think the image suggests angels have some sort of agency or power over humans. This is evident in the title of the picture called: 'The Dream' showing the angel is the one giving the human female a dream. The cloud shows how the angel uses the elements of nature to give the woman a dream. I think the background of the pillars is important as it puts the picture in a religious framework again linking the presentation of angels to religion. There is the suggestion that angels only come to help the wealthy have dreams because the lady in this picture is most likely to be rich-as shown by her dress and the sumptuous couch she is sleeping on. It is also worth noting how the female angel wears a shorter dress than the human- suggesting angels had more freedom and did not have to worry about the reputation. I feel like this is a benign image/presentation of an angel- she seems kind, with her hands clasped as though offering a blessing for the human, flowers crowning her hair and that she only wishes good for the human and so the dream is likely to be a peaceful one. The angel can be seen as a protective figure almost similar to a guardian angel perhaps. After all, the human looks like she is in a deep, restorative sleep. It is also possible to read this angel painting as instead of the angel giving the girl the dream, that the girl may in fact be dreaming of the angel. The painter would then be capturing the desires of a young girl as he chooses to paint this angel as part of the dream world. I wonder if it suggests that angels can only be part of the dream state and not the real world. It also questions why she is dreaming of the angel; is it a form of escapism or romanticism as in this period women are called 'angel' a lot by men. I wonder if it expresses the girl's wish to be seen closely linked with angels. 

 

This illustration from the British Museum that was made in 1780-1820, by James Northcote, used paper for this etching. I thought it was an interesting image of a winged angel that we had not come across before. The artwork on the face almost suggests harsher tones especially with all the shadowing giving this angel a slightly mean look which we are not used to. It is also interesting that we can't see her eyes as eyes are typically thought of as 'the windows to the soul' (Shakespeare). This may suggest the angel is hiding some sort of secret increasing the shadowing of this image as a whole. I think it is interesting that the angel is holding the tambourine up almost like a mirror, suggesting vanity, but questions why she is not playing it. It jars with the image we have of angels playing music as she is merely holding the tambourine. It may perhaps show a stifled creativity and inactivity- this angel sits not using her wings either. I thought the curly hair also adds to the general impression of vanity here. 

 

Cinema 1; Magic Lanterns, 1754

 

Image 14:

 

 

This quote from the booklet Magic Lanterns : " They eye one another continually as vultures regard a dying animal, in hopes that the angel of Death will carry off some of their body, and make way for the promotion of the rest" was interesting because it is one of the few actual references to the angel of death being used. It actually names the angel as the 'angel of Death' and the effect of this is bleak. It puts the focus on the comparison of animals which detracts from the people and makes us think more about the process of life. It depicts the process as quite matter of fact with the use of "promotion" whilst still putting across a negative picture. I wonder if this novel depiction of angels is a comment on this different form of art being used here as though they are trying to move towards a newer portrayal. I chose to put this in my section on angels in art as it starts to bring in ideas of spectacle and the projections of cinematic slides. 

 

 

 

Archangels

 

 

 

 

 

'Archangel Michael Binding the Devil' (1777)

 

 

This was an oil canvas painting, made by Benjamin West, and it is displayed in the Trinity College, University of Cambridge . It is interesting because it explores the depiction of male angels in the eighteenth century. In this particular painting the Archangel, Michael, is depicted as heroic as he is comfortably winning over the devil- of whom he is going to bind with the chain held in his hand. Michael is dressed richly with the gold armour and rich blue coloured garments and he has a lot of thick bright hair piled onto his crown like a halo.  For more on hair styling in the period see the wikipage on Coiffure. This evokes traditions of the epic and further gives the presentation of a male angel as heroic. This contrasts with the Devil underfoot who is virtually unclothed and has short brown hair. The red glow coming from the Devil symbolises how he represents Hell whilst the Angel's brightness and upright position is emblematic of heaven and virtue. The Angel also has bigger wings and the staff he is holding further shows the power he has over the Devil. The Angel is clearly in control of the situation. Thus this is an image of victory and strength for the archangel and the Devil's fate is certainly sealed. It is worth noting that the Devil remains an angel as he still has his wings. Interestingly, he is not depicted with horns either; for more on horns see the wikipage Horns .He is a fallen angel but one nonetheless. This draws attention to how there are different kinds of angels; the good and the bad as seen in this painting.

 

Also, it is interesting because West uses the heroic archangel figure of the Angel Michael perhaps to make a wider comment on how society values its males for their strength and ability to fight in wars. It highlights the importance of this being a male angel valued on strength and heroism whilst previously I have been looking at female angels valued on their beauty and chastity. This reflects the patriarchal society of the eighteenth century. Another possible reading of this painting is that Benjamin West could have been making a political comment and therefore using the angel imagery for visual effect to denote how England is the righteous defender defeating the rebels of America. This is plausible because at the time Britain was at war with America. In this way the Archangel is also used as a political figure of heroism and possibly propaganda. 

 

 

 

 

 

The Young Students Library: Containing Extracts and Abridgements of the Most Valuable Books, 1692

 

Image 15: 

 

 

 

 

 

 

 

I thought this text written by John Dunton was interesting in adding to the presentation of Archangels because although this compiles extracts and abridgements from other sources, what information it chooses to use adds to a new discourse. It has essentially created its own text. The reference to Archangels: “though differently, he continues thus: Serve not God neither as the Iews, for imagining they only know God, they perceive not that they adore Angels & Archangels, Months and Moons; for if the Moon appear not, they celebrate not the Sabbath, which they call the first, nor the New-Moon, nor the days of unleavened Bread, nor any Feast. In fine, he concludes in saying : As for you, learn the just and holy Doctrin, which we teach you, observe it, and adore God after a new manner by Jesus Christ”. This suggests that Archangels did have a high status at the time- the fact that people could think about worshipping them. It puts them on the same standing as the beauty of the moon or the indulgence of a feast. However, the writer cautions that people should not fall into the trap of worshipping Archangels- the highest standing of angels, and that only God should be worshipped and adored. There is no mention of any named Archangels so it presents archangels more as a collective rather than say in the Benjamin West painting, wherein the Archangel Michael is singled out for his heroism. 

 

 

The Folly and Unreasonableness of Atheism, 1699

Image 16:

 

 

 

 

 

 

“ we carry the image of God in us, a rational and immortal Soul; and though we be now indigent and feeble, yet we aspire after eternal happiness, and firmly expect a great exaltation of all our natural powers. But whatsoever was or can be made, whether Angels or Archangels, Cherubims, or Seraphims, whether Thrones or Dominions or Principalities or Powers, all the glorious Host of Heaven, must needs be finite and imperfect and dependent Creatures: and God out of the exceeding greatness of his power is still able, without end, to create higher Classes of Beings. For where can we put a stop to the Efficacy of the Almighty? or what can we assign for the Highest of all possible finite Perfections? “

 

 This extract from the monograph written by Richard Bentley adds to the discourse on archangels in the eighteenth century and I thought the title was striking; especially as the word atheism was not commonly used at the time. In this treatise though Archangels are singled out and then followed by: “Cherubims, or Seraphims” suggesting because Archangels come first after “Angels” that they are higher in standing. There is the reminder here that Archangels, although positioned highly as “higher Classes of Beings”, have still been made and created by God and such are “finite and imperfect and dependent Creatures”. Archangels are being presented here more as created beings that are nothing when compared with God. This suggests that are Archangels are not always presented as heroic but can have a more simplistic presentation. They are used more as means to an end rather than as the main idea. It is worth noting the use of tripling in this extract which was used a persuasive language tool. There is no mention, as in the Young Students Library that people might have wrongly worshipped archangels. The focus here is on the fact God has made these wonderful yet finite creatures. 

 

 

The Protestant reconciler, 1683 

 

Image 17:

 

 

 

This religious monograph has an interesting presentation of archangels. It is similar to Benjamin West’s Archangel painting in the respects the Archangel Michael is looked at again here. However, what I found interesting here though was how this treatise seeks to persuade the Protestants to come back to the Church of England. It uses the same scene of the Archangel Michael ‘contending with the devil’ in order to make the protestant reader rethink their beliefs. Again, it shows a specific angel having a direct interaction with humanity and extending this to the reader. In this case, it is aimed at the Protestant reader and trying to get them to rethink how they see angels. This was one possible reading from this treatise.

 

Final Thoughts

 

Across my five sections on angels I found that they all contributed an interesting presentation but what I found was that themes also crossed and complimented other sections too. For example, angels as compliments was a beneficial section but in some primary texts I found guardain angels would sometimes start to be used as a compliment. My section on Archangels also crossed nicely with my section on angels in art with Benjamin West's painting of the Archangel Michael binding the devil. This suggests that angels should be seen from a holistic approach. 

 

 

 

 

Annotated Bibliography

---

 

Primary Sources

 

 

 

Bennet, James. Dear John, The guardian angel of Lord Hill carries you this letter from me, I write you from the shades of the blessed… Downpatrick. 1790. Historical Texts. Web. 9. Mar. 2017.

    This short one page letter from a father to his son presents a guardian angel as the letter bearer. This serves to make Lord Hill appear important and regal. The purpose is to persuade the son to vote for Lord Hill in the Downpatrick elections.

 

 

 Bentley, Richard. The folly and unreasonableness of atheism. 1699. London. Historical texts. Web. 11 Mar 2017.

        This text uses archangels as a warning not to worship them. It presents them as finite creatures reminding the reader that they are created beings by God.

 

Bidulph, Sidney. The History of Nourjahad. Dublin. 1767. Empire Online. Web. 9 Jan .2017. 

 This historical writing added an interesting take to children being presented as angels, something which I had not looked at before, I chose to read it as the child being the guardian angel, introducing role reversal, and placed it in my section on guardian angels.

 

 Burney, Frances. Evelina. Oxford University Press 2008. Print.

      Evelina uses ‘angel’ to show how women in the eighteenth century were likened to angels because of their physical beauty. This is the case with how Sir Clement Willoughby uses it. There is also the suggested that Mr McCartney’s way of using it suggests an angel has influence or power over humans. Either way he presents a sincere use of angel as a compliment.

 

Centlivre, Susanna. A Wife Well Manag’d, A Farce by Susanna Centlivre. 1737. London. Defining Gender. Web. 10 Dec 2017.

       This play in a similar way to Evelina uses angel as a compliment for a woman’s beauty.

 

Cinema 1; Magic Lanterns. John Johnson Collection; Cinema 1. 1754-1892. Bodleian Library, University of Oxford. Periodical. Defining Gender. Web. 10 Dec 2017.

This presented an unusual depiction of angels as angels of death which was not common for the eighteenth century. It was also in dialogue with angels in art with the idea of cinematics forming.

 

 

 

Christmas Day, The Morning Post Arts and Culture, December 25 1794. Issue: 7145. Artemis. Web. 3 Jan. 2017.

 

    I found this poem was useful as it used actual angels as a collective as a way of complimenting baby Jesus as the poem is set on Christmas Day and the angels are described positively with light and music. They function to add specialness to the birth of Jesus.

 

 

Davies, J. The loyal city of Bristol. 1681. Historical Texts. Web. 9 Mar. 2017.

 

   This treatise was useful as it adds to the theme of guardian angels being heroic.  It also provides a useful point of contrast to the heroism of archangels that I look at later.

 

 

Faria e Sousa, Manuel de. The history of Portugal from the first ages of the world… London. 1698. Historical Texts. Web. 9 Mar. 2017.

 

    This treatise used guardian angel more as warrior-like and closer to archangels as opposed to the previously protecting figures that I had frequently come across. This gave an interesting twist.

 

 

Fish, Joseph. The church of Christ a firm and durable house. 1767. London. Encore Warwick Library Electronic Source. Web. 5 Dec. 2017.

              This sermon shows how angels were critical in times of danger in order to provide not just spiritual uplifting but also physical healing. It was interesting that these ministering angels were sent exclusively to a devout group of people.

 

 

Guardian angels garland,: composed of four delightful new songs… 1775. Darlington. Historical Texts. Web. 11 Mar. 2017.

 

    I thought this composition was of benefit to my page because it added a more romantic and folk-like view of guardian angels, who are invoked on by someone going through what seems to be doomed or unrequited love.

 

 

Halifax, George Savile. The Lady’s New-years Gift: Or, Advice to a Daughter. London. 1699. Historical Texts. Web. 9. 2017.

   This conduct novel to ‘a daughter’ presents the guardian angel as a figure that can do no wrong. It is used in a religious framework to help explain how the reader (the daughter) should be content with God’s will. She is strongly encouraged to strive for the character of the trimmer’s behaviour, who is held up as an exemplar model.

 

 

Hamond, George. A modest enquiry into the opinion concerning a guardian angel. London. 1702. Historical Texts. Web. 9. Mar. 2017.

 

     This treatise uses guardian angel in a strongly religious way and it argues that we all have guardian angels who not only watch over us but surveillance our behaviour. It presents them as a real and as serving an important purpose. It is didactic as it strongly advises its readers to change their conduct.

 

 

 

Henderson. C. The guardian angel. London. 1763. Historical Texts. Web. 9 Mar. 2017.

 

      This piece was interesting because the writer calls the Edward Duke of York a Guardian angel and it is used as an extended metaphor and compliment for him throughout. It again presents a guardian angel as someone who is protecting not only his people but the landscape too.

 

 

Lamb, Lady Caroline. The Monk, Lewis, Mathew. Reader Experience Database. Record number: 8666.

 

   This reader’s experience was interesting as she reads angels as in direct contrast to demons bringing in ideas of good against evil.

 

 

Mills, John. The Dream. 1800-1830s, British Museum, London.

 

   This illustration is valuable to the presentation of angels as it shows an Angel giving a dream to a young woman. It is interesting because it shows angels having a direct impact on humans’ ability to sleep. Conversely, the image may be the young woman dreaming of an angel; opening up why she might want an angel to visit her while she sleeps.

 

 

Northcote, James. A winged angel seated holding up a tambourine Etching. 1780-1820, British Museum, London. 

 

   I was pleased to find this illustration as I think it added a new take on the presentation of angels in art. As opposed to the commonly thought of pictures of angels flying and with halos, this shows a more subdued and shadowed angel.

 

 

Pilkington, Laetitia. Translation and notes of Homer, Anne, Lefevre Dacier. Reader Experience Database. Record number: 19936.

 

   This reader’s experience looks at angels from the point of view of purity suggesting they were completely untainted. This provides a useful point of contrast to ideas that come across my page to do with fallen angels.

 

 

Roberts, J. A Tale and no tale: that is to say, a tale, and no tale of a tub. 1715.  Artemis. Web. 5 Jan. 2017.

  This presents angels as being part of the Day of Judgement and so not as protecting but as punishing. I thought this was interesting because it reverses what I have mainly been finding on angels.

 

 

Sheridan, Richard Brinsley. The Rivals. In The Dramatic Works of Richard Brinsley. Ed. Cecil price. Oxford: Oxford University Press, 1973. Volume I. Oxford Scholarly Editions Online. 2014. Web. 28 Oct. 2017.

  This play adds to angels as a compliment on a more superficial level as Captain Absolute applies it to Lydia Languish. This presentation is fitting considering it is a comedy of manners concerned with theatricality rather than a deep critique on society. 

 

Swift, Jonathon. Stella’s Birthday. In The works of the Reverend Dr. Jonathan Swift, Dean of St. Patrick's, Dublin. Containing, Letters to and from many eminent Persons. And Poems on several Occasions; Collected and revised by Volume XIII. 1772. Historical Texts. Web. 14 Mar. 2017.

 

   This poem by Swift offered a more complex portrayal of angel using it as both a beauty critique but as a deep compliment of Stella’s character. This provides an interesting twist on how angel as a compliment has been used elsewhere in this section.

 

 

Term Frequency Graph for ‘Angel’ from 1468 to 2016.  Artemis. Web. 20 Oct 2016.

 

     This graph shows how angels were coming up more and more in the eighteenth century but that the apex was not reached until the nineteenth century.

 

 

The Lady's Magazine, Volume 20, or Entertaining Companion for the Fair Sex, Appropriated Solely to their Use and Amusement. 1789. London. Defining Gender. Web. 10 Dec 2017.

   This was a useful magazine entry for my page because for once it is a female maid who is a guardian angel over a city. It presents her as a leader and as victorious which I thought was interesting.

 

 

The New Sylph, or, guardian angel. A story. London. 1788. Historical Texts. Web. 9 Mar. 2017.

          This text was of great interest because it was a story of a nobleman believing he had a real guardian angel. However, it turns out she is in fact a woman he loves. This showed two representations of a guardian angel and why one might want to use it as a disguise.

 

 

The Proceedings of the Old Bailey for: Martha Olivant, Theft, grand larceny, 2nd July 1684. Web. 15 Oct 2016.

   This shows a case where a woman steals angel gold from a child’s neck. It made me think why angel gold was made into the shapes of angels and also were parents giving angel gold to their children as a way of encouraging purity.

 

 

Thrale, Lynch Hester. The Description of Night, Young Dr. Reader Experience Database. Record number: 23141.

 

   This reader’s experience presents seraphs in a romantic way which fits well as it was poetry she was reading.

 

 

 

The Young-Students-Library: Containing Extracts and Abridgements of the Most Valuable Books. London. 1692. Historical Texts. Web. 9 Mar. 2017.

 

  This compilation text suggests how Archangels had a high status at the time and so adds to the idea of heroism that has been pertinent to archangels across the period.

 

 

West, Benjamin. Archangel Michael binding the Devil. 1777, A/R/TUK, University of Cambridge.

 

   This painting presents the archangel Michael as heroic as he is clearly winning over Satan and this adds to the impression of archangels as being important in the battle of good over evil.

 

 

Whitby, Daniel. The Protestant reconciler. 1683. London. Historical Texts. Web. 11 Mar 2017.

 

  This treatise trying to persuade Protestant readers adds to the presentation of archangels as being well-known with the use of the archangel Michael. 

 

 

 

Images

 

---

 

 

 

Image 1: Illustration page to Christmas Day. 1794. 17th and 18th Century Burney Collection, tinyurl.galegroup.com/tinyurl/4TRE5X. Accessed 1 Mar. 2017. 

 

 

Image 2: Page 308-9 to Stella’s Birthday. London: Swift. Jonathon, 1727. In Monash University’s online page from Miscellanies, The last volume. Web. 10 Feb. 2017.

 

 

Image 3: Title page to A Tale and no tale: that is to say, a tale, and no tale of a tub. London: Roberts, J. 1715. Artemis. Web. 5 Jan. 2017.

 

 

Image 4: Title page to A modest enquiry into the opinion concerning a guardian angel. London: Hamond, George, 1702. Historical Texts. Web. 9. Mar. 2017.

 

 

Image 5: Title page to The New Sylph, or, guardian angel. A story. London. 1788. Historical Texts. Web. 9 Mar. 2017.

 

 

Image 6: Title page to The Guardian Angel. London: C. Henderson, 1763. Historical Texts. Web. 9 Mar. 2017.

 

 

Image 7: Title page to The loyal city of Bristol. London: Davies, J. 1681. Historical Texts. Web. 9 Mar. 2017.

 

Image 8: Title page to The church of Christ a firm and durable house. London: Fish, Joseph.1767.  Encore Warwick Library Electronic Source. Web. 5 Dec. 2017

 

Image 9: The Letter to Dear John, The guardian angel of Lord Hill carries you this letter from me, I write you from the shades of the blessed… Downpatrick: Bennet, James, 1790. Historical Texts. Web. 9. Mar. 2017.

 

Image 10:  Title page to The Lady’s New-years Gift: Or, Advice to a Daughter. London: Halifax, George Savile, 1699. Historical Texts. Web. 9. 2017.

 

Image 11: Title page to The history of Portugal from the first ages of the world… London: Faria e Sousa, Manuel de, 1698. Historical Texts. Web. 9 Mar. 2017.

 

Image 12: Cover Page and Title page to The History of Nourjahad. Dublin: Sidney, Bidulph., 1767. Web. 9 Jan. 2017.   

 

Image 13: Title page and copy of The Forsaken Nymph to Guardian angels garland,: composed of four delightful new songs…Darlington: 1775. Historical Texts. Web. 11 Mar. 2017.

 

 

Image 14: Cover page to Cinema 1; Magic Lanterns. Bodleian Library, University of Oxford: drawn by Hink, H.G, 1754-1892.  Defining Gender. Web. 10 Dec 2017. 

 

 

Image 15: Title page to The Young-Students-Library: Containing Extracts and Abridgements of the Most Valuable Books. London: 1692. Historical Texts. Web. 9 Mar. 2017.

 

 

Image 16: Title page to The folly and unreasonableness of atheism. London: Bentley, Richard, 1699. Historical texts. Web. 11 Mar 2017.

 

Image 17: Title page to The Protestant Reconciler. London: Whitby, Daniel, 1683. Historical Texts. Web. 11 Mar 2017.