Monthly Archives: July 2020

Sant’Apollinare in Ravenna & the Magi

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Magi leading the Empress Theodora and the wise virgin-martyrs in procession to the Mother of God and Christ in the church of San Apollinaire in Ravenna.

St. Apollinaire was a Syrian, elected to be the first bishop of Ravenna (which was later the Byzantine capital of Italy). As the first bishop of Ravenna, he faced nearly constant persecution. He and his flock were exiled from Ravenna during the persecutions of Emperor Vespasian (or Nero, depending on the source). On his way out of the city he was identified, arrested as being the bishop, tortured and martyred by being run through with a sword. 

The church of San Apollinaire in Ravenna is a masterpiece, a jewel of Byzantine iconography and mosaics. It was erected by the Ostrogothic king Theodoric the Great during the first quarter of the 6th century. It was re-consecrated in AD 561, under the rule of the Byzantine emperor Justinian I, Justinian and his wife, the empress Theodora, appear in the mosaics of the church, each leading a segment of the offertory procession towards the altar during the celebration of the Eucharist.

The mosaics also depict a procession of the wise virgin-martyrs, led by the Three Magi, moving towards the group of the Madonna and Child surrounded by four angels. (The Magi in this mosaic are named Balthasar, Melchior and Gaspar; this is thought to be the earliest example of these three names being assigned to the Magi in Christian art.)  The Magi are wearing trousers and Phrygian caps as a sign of their foreign origin. The gifts which the Magi and the wise virgins bring are reflections of the gifts which the congregation are bringing to present: bread, wine, water for the celebration of the Eucharist and food or clothes to be distributed among the poor and needy during the week.

The celebration of the Eucharist was often seen as a procession or pilgrimage in which the parish journeyed from earth to the Kingdom of God and then returned to earth to minister during the week what they had received on Sunday. During the celebration, the parish stepped outside time to stand alongside the Magi, the priest-king Melchizedek, Abraham and Isaac—all of whom also appear in the mosaics of this church—with the saints and martyrs of all times and places to worship God in eternity (as described in the Epistle to the Hebrews and the Book of Revelation, which are the first liturgical commentaries). The offertory procession is a visual shorthand to refer to the entire celebration.


The Magi were consistently venerated as the first non-Jews to come and worship Christ so they were considered the patron saints of all Christians of Gentile backgrounds. A shrine of the Three Kings at Cologne Cathedral, according to tradition, contains the bones of the Magi. Reputedly they were first discovered by Saint Helena on her famous pilgrimage to Palestine and the Holy Lands. The remains were first kept in the church of Hagia Sophia in Constantinople; they were later moved to Milan before being sent to their current resting place by the Holy Roman Emperor Frederick I in 1164.

What prompts these thoughts about Ravenna, St. Apollinaire, and the Magi? The martyrdom of the saint and the translation of the relics of the Magi to Cologne are both commemorated on the same day (July 23).

Read more about the Magi in previous posts here and here and here.

Archangel Uriel

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  • Mosaic of St. Uriel by James Powell and Sons, at St John’s Church, Warminster.
  • Saint Uriel (meaning ‘God is my light’ or ‘light of God’), one of four stained glass windows in the cloisters of Chester Cathedral depicting the Archangels mentioned in the Christian Bible. Uriel is often depicted holding flame or the sun.

Archangel Uriel appears in the Second Book of Esdras found in the Biblical apocrypha  in which the prophet Ezra asks God a series of questions and Uriel is sent by God to instruct him. This is one of my favorite episodes involving angels: Ezra asks Uriel to explain the visions to him and Uriel replies: “I will answer your question if you can answer mine: How much does fire weigh? How much wind can fit in a bag? Where does the day go when it is over?” Ezra cannot answer these and Uriel tells him, “If you cannot answer these questions about things you have direct experience of, how can you expect to understand the secrets of God, which you have no direct experience of?”

In Christian folktales, Uriel plays a role in the rescue of Jesus‘ cousin John the Baptist from the Massacre of the Innocents ordered by King Herod. St. Uriel carries St. John the Baptist and his mother Saint Elizabeth to join the Holy Family after their Flight into Egypt. This family reunion is depicted in Leonardo da Vinci‘s Virgin of the Rocks.

In other Christian folktales, St. Uriel stands at the Gate of Eden with a fiery sword and in the Life of Adam and Eve, Uriel is said to be one of the cherubim described in the third chapter of Genesis guarding the Tree of Life. He is also identified as one of the angels who helped bury Adam and Abel on the edge of Eden.

In British Christianity, St. Uriel is sometimes considered the Patron Saint of the Sacrament of Confirmation. The motto of Oxford University (“Dominus illuminatio mea“) is thought by some to be a variation of St. Uriel’s name in Latin.

SS. Raphael, Gabriel, and the Trumpet

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Statues of the four archangels at the Church of the Transfiguration (“Little Church Around the Corner”) in New York City: Uriel holds the book, Gabriel the lily, Michael the sword, and Raphael the fish. Read the history of the Little Church here.

The Archangel Raphael is said to be the angel always ready to blow the trumpet to announce the General Resurrection and the End of Time, according to Islam. Christians, on the other hand, expect the Archangel Gabriel to be the one who will blow the trumpet on the Last Day to announce the General Resurrection and Judgement.

For the Lord himself will come down from heaven, with a loud command, with the voice of the archangel and with the trumpet call of God, and the dead in Christ will rise first.

(1 Thess. 4:16)

A statue of Gabriel, often depicted with the lily which is associated with the Mother of God (because he brought the Good News of the Annunciation to the Blessed Virgin), is frequently found atop the roof at the east end of churches already blowing the trumpet. It is always Gabriel’s job to announce; he is the “announcer” of God.

We are told in the Old Testament to blow a trumpet to celebrate the New Year (Leviticus 23:24) or to announce a fast (Joel 2:15). Trumpets announce the coming of God as king and call the people to get ready to greet him. In the New Testament, trumpets announce the arrival of God’s judgement and call the people to turn their lives around (“repent”) in order to face the coming judgement. That is why Gabriel blows the trumpet atop a church: to announce the End that comes during the celebration of the Eucharist on the altar below the statue’s feet.

The most famous trumpets in the Bible are the seven trumpets blown in the Book of Revelation (Rev. 8-11). Angels blow the first six trumpets to call sinners on Earth to repentance. Each trumpet blast brings a plague, each one more disastrous than the one before it. The trumpet is used to build anticipation and tells the reader that an alert, announcement, or warning is about to take place. The seventh trumpet does not bring a plague with it. Instead, an angel blows the seventh trumpet to announce the glory of God and the coming of his kingdom.

How did Raphael get associated with the trumpet in Islam? Islamic folklore says that Raphael was the first of the archangels to be created and that he visited Mohammed even before the archangel Gabriel came to reveal the Qur’an. The Islamic folktales also say that Raphael is a master of music, who sings praises to God in a thousand different languages. It is probably this association with music that results in Raphael being given the honor of blowing the trumpet.

We never read explicitly in the New Testament that Gabriel is the archangel that will blow the trumpet on Judgement Day. I think we have come to expect him to do this precisely because he is God’s “announcer,” who announced the meaning of Daniel’s visions to the prophet (Daniel 8-9) and the birth of John the Baptist to his father Zachary as well as the birth of Christ to the Mother of God. So we expect him to announce the End of Time and the General Resurrection as well.

But the association of Gabriel with the trumpet can only be dated with certainty to the 1300s: the earliest known identification of Gabriel as the trumpeter comes in John Wycliffe’s 1382 tract, De Ecclesiæ Dominio. In the year 1455, there is an illustration in an Armenian manuscript showing Gabriel sounding his trumpet as the dead climb out of their graves. Two centuries later, Gabriel is identified as the trumpeter, in John Milton‘s Paradise Lost (1667).