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Angel of the Day

psPast Life Reading

      Your angels can help you remember your past lives. By understanding the journey that your soul has made, you can help yourself heal from emotional, spiritual, and physical wounds.

Past Life Reading contains:

        Your past; Your path;
        Previous incarnation; Your lessons.

Reading length: approx 11 pages.

Price: $14.90

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Archangels Reading

      A complete reading about your life covering a period of a year, between two birthdays. Find out what is out there for you: opportunities, dangers and how to avoid them, how to improve yourself and your relations.

Archangels Reading contains:

      Prevision for a year (between two birthdays)
      Important events of the year
      Message from your Guardian Angel

Reading length: approx 20 pages.

Price: $19.90

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Angel Card

      A divine message form the Angel of the moment. Please wait 5 minutes before asking the next question. Every Angel rules approximately 5 minutes of the day (after 6 hours they repeat). Don’t abuse the Angel Oracle.

How to do it

  1. Clear your mind.
  2. Think about your question.
  3. Click on the picture.

The answer will be revealed for you.

Your Angels

Your Angels

Contains: the Incarnation Angel (with description), the Heart Angel and the Intellect Angel.

Price: $9.95

Love Reading

Love Reading

Contains: your current situation regarding your love life, marriage, hidden things, attitude and future.

Price: $9.95

Career Reading

Job Career Reading

Contains: your current situation, business partnership, your career, attitude and future.

Price: $9.95



Angels are an essential feature in religious art and architecture; in sacred structures angels are depicted in frescoes, mosaics, sculpture, or as ornaments for liturgical accoutrements. In secular architecture angels often appear as painted or sculpted details on such items as corbels or brackets, or accompanied by arabesques (flowing, fancifully intertwined branches of flowers and leaves) or scrolling on plasterwork, or incorporated into other architectural elements.

Angels in Classical Architecture

In ancient Greece and Rome the winged motif symbolized victory. Winged figures frequently were used in classical vase paintings, wall paintings, and sculpture. The most notable example of this motif is the winged goddess of victory, Nike of Samothrace, circa 190 B.C., which currently stands in the Louvre in Paris. Several such winged figures are featured on the marble frieze from the Alter of Zeus and Athena erected in about 180 B.C. (now in the Staatliche Museen in Berlin), which dramatically illustrates The Battle of Gods and Giants in seven-foot-high panels.

The excavations at the site of the ancient cities of Herculaneum in 1738 and Pompeii in 1748 in what is now Italy uncovered numerous well-preserved frescoes and mosaics, some of which depict winged figures.

In A.D. 79 the cities were covered with ash from the eruption of Mount Vesuvius, however, the interiors of a large number of structures remained preserved. Excavations reveal that public and private structures featured large, brilliantly colored murals; because of the small number of doors and windows in these structures, a considerable amount of wall space remained that was suitable for decoration. Walls in a structure excavated at Pompeii, now known as the Villa dei Misters, display scenes of winged figures and humans carrying out what is believed to be some mysterious rite; the room itself is thought to have been used as a banquet room or possibly a place for the celebration of a Dionysian cult. The winged figures along the frieze are painted in the relief style set against a red background. Similar wall painting exists at other sites in Pompeii and Herculaneum.

Angels in Early Christian Architecture

Prior to the middle of the fourth century, Christian angels were portrayed as wingless beings. Some art historians claim that the winged Roman goddess of victory was first transformed into a winged Christian angel in Assyria and that the concept then spread via Asia Minor to western Europe. However, there is no conclusive evidence to support this claim.

Nevertheless, the architecture of the Christian church utilizes an abundance of Biblical scenes that portray angels; in particular artists worked from theologian’s concept of angels. The old church represented angels as wingless harbingers, as wanderers with a staff, or as young men clothed in simple tunics, as evident in the Priscilla catacomb of Rome. The catacombs, a vast network of chambers running beneath the city of Rome, contain many small rooms called cubicula, which were decorated with brightly painted frescoes. It is believed that during the period of Christian persecution these cubicula were used as chapels.

In A.D. 325 Constantine established Christianity as the official religion of the Roman empire and the churches built during his reign feature brilliantly colored mosaics portraying angels.

In addition to mosaics, angels and other figures were carved into the capitals of columns as architects of this period departed from the classical Doric, Ionic, and Corinthian orders. Winged figures known as genii, often appeared on Christian sarcophagi and on other relics as symbols of the victory of good over evil. Other themes featuring Christian angels included the Visitation of Mary, the mother of Christ, by angels; angels announcing the incarnation of Christ; Christ’s Ascension accompanied by angels; Christ enthroned in glory surrounded by angels; angels singing praises; and the angel whose sword protects the church against evildoers.

Charlemagne, like Constantine, desired to create a unified Christendom and produced an environment in which the depiction of angels flourished; the Holy Roman empire existed as a central force in Europe for over one thousand years. The Imperial Diptych, an ivory carving from Constantinople dating to around A.D. 500 and believed to have come from the so-called “Place of Charlemagne,” features two winged figures typical of the time.

Ottonian architecture of the tenth century followed the course set by its Carolingian predecessors. Several examples of Ottonian architecture exist, including the abbey church of Saint Michael in Hildesheim, Germany. The nave at Saint Michael’s features a painted ceiling illustrating several biblical scenes containing angels.

The Byzantine style, which first appeared in the fourth century, was a synthesis of Hellenistic and Eastern influences. The exterior wall surfaces of Byzantine structures were often ornamented with relief carvings. Church interiors featured brightly painted colored mosaics, marble veneering, or frescoes depicting episodes in the life of Christ, the apostles, saints, and martyrs, other narratives from the Bible, or ceremonial scenes of the time. Early in the sixth century the Italian city of Ravenna was made the western seat of the Byzantine empire. Examples of Byzantine depictions of angels can be found in the apse mosaics of San Vitale, built between 527 and 547. One mosaic features Christ seated between angels and saints.

The apse mosaic of the Cathedral of Torcello shows an angel high above the Virgin Mary and the infant Christ. In 726 an edict of Leo III banned religious imagery in the Byzantine empire. The iconoclastic debate was influenced in part by the rise of Islam and its nonrepresentational art. The ban was lifted in 843.

Angels in the Architecture of the Eastern Church

Angels of the Eastern Church were depicted as dignified protectors, never as female or children. Seraphim were portrayed as having six wings covering their body so that only the head was visible; cherubim were portrayed as having four wings; ordinary angels had only two wings. In Asia Minor the adoration of angels was customary, and churches built in honor of angels were known throughout. (The archangel Michael was the first to be adored by a cult.) Depictions of Michael and Gabriel, in particular, became fixtures at church entrances.

Angels in Romanesque Architecture

Architecture during the late eleventh and early twelfth centuries represented a revived interest in the architecture and construction principles of ancient Rome; the style developed as a direct response to the liturgical needs of the church. The carvings at Saint Pierre Cathedral in Angouleme, built between 1115 and 1135, serve as an excellent example of the illustrative style of the period. The tympanum of the south portal illustrates the Second Coming of Christ, with Christ enthroned and flanked by Matthew, Mark, Luke, and John, and an attendant angel holding a record of the deeds of humankind. Angels are similarly treated in a portal at Saint Lazare, which dates to ca. 1130, in Autun, France.

Angels in Gothic Architecture

The style first referred to as Gothic flourished from about 1150 to 1420 in Italy, and to 1500 in Northern Europe. The Gothic style originated in the church architecture of the Burgundy and Normandy regions of what is now France. Such architectural innovations as the development of the rib vault and the flying buttress led to the building of higher, lighter structures. The system of flying buttresses further developed into a system of semi-arches adorned with pinnacles and statues. The use of stained glass further added to the lightness of Gothic structures. The period also witnessed the increased adoration of the Virgin Mary, the Mother of Heaven, who was often depicted in the company of angels. The three west portals of Chartres Cathedral (built between 1194-1220) show Christ in majesty with the Virgin Mary, Christ’s Ascension into heaven, and his Second Coming. Angels are prominently featured. The north portal of the west facade illustrates Christ’s AscensionChrist is pictured in the tympanum’s center supported by angels, above a portal filled with flying angels addressing the seated apostles.

Angels in Renaissance Architecture

The period known as the Renaissance actually consists of three eras: the early Renaissance (1420 to 1500), the High Renaissance (1500 to 1550), and the Late Renaissance, or Age of Mannerism (1530 to 1600). The period was a time of revived interest in classical ideas; buildings during this period reflected a fascination with ancient Greece and Rome. Included among the period’s most significant developments in the area of the arts and architecture were the exercises in perspective and in classical proportions.

The repertoire of Renaissance motifs included garlands, scrollwork, nymphs, and winged forms. Angel-like forms, reminiscent of those of ancient Rome, were included among the carved figures that crown the porches and pediments of the Villa Rotunda (built between 1550 and 1553) near Vicenza, Italy and the San Giorgio Maggiore (built in 1656) designed by Venetian architect Andrea Palladio. The work of Palladio served as inspiration for architects of the much later Georgian period (1714 to 1830). Similar motifs appear in the work of the English architect and furniture maker Robert Adams.

The depiction of little angels with robes and long trains of garland became popular during the Renaissance, as well as the use of putti, or children’s heads with wings. Feminine angels were first represented during this period; from this point onward the concept of angels as female beings became increasingly frequent. Cherubs in the company of the Madonna and Child was another recurrent image. The marble tomb of Leonardo Bruni sculpted by Bernardo Rossellino features on its side two winged figures supporting an inscribed tablet and is crowned with two winged genii holding an escutcheon atop the great arch surrounding the tomb. The tympanum shows the Madonna and Child with two cherubim, and the base of the tomb features a rank of cherubim bearing garland.

Angels in Baroque and Rococo Architecture

The Baroque style flourished from about 1600 to about 1770; the later phase of the Baroque is often referred to as the Rococo and lasted from about 1720 to the period’s close. The Baroque was an outgrowth of the aesthetic concepts developed during the Renaissance. Ornamentation abounds in Baroque and Rococo architecture and the decorative arts, often in the form of three-dimensional elements emanating from the structure’s surfaces. Extensive use of frescoes for walls and ceiling and elaborate molding were typical during the period.

Representative of the Baroque, two massive marble female angels wielding trumpets crown the arched entry to Scala Regina, the monumental stairway leading to the papal apartments in the Vatican, designed by Gianlorenzo Bernini and built between 1663 and 1666. The baldacchino, the massive canopy above the altar of Saint Peter’s, also designed by Bernini and built between 1624 and 1633, is supported by four spiral columns topped by four colossal angels standing guard.

The Rococo was essentially an interior style carried out in furniture and the decorative arts. Delicate, undulating lines and sinuous curves were characteristic of the style; gilded moldings, ormolu (goldcolored furniture mounts), and relief sculpture were also typical. The ceiling fresco at the Villa Pisani in Stra, Italy, titled The Apotheosis of the Pisani Family is an exceptional example of the Rococo treatment of angels. Painted by Giambattista Tiepolo in 1761, the fresco depicts angels of all types fluttering through sunlit skies and resting on clouds.

Angels in Romantic Classical Architecture

The nineteenth century was a period of romantic nationalism inspired by the past and the influences of ancient Rome is evident in much of the architecture and decorative arts of the period; many of the symbols of the French Revolution were borrowed from ancient Rome. Frequently used motifs included military insignia, crossed swords, arrows, and winged figures.

Arc de Triomphe built between 1806 and 1836 and designed by Jean Francois Therese Chalgrin, features four massive high-relief and several smaller bas-reliefs illustrating scenes from the Republic’s history.

One of the large reliefs by artist Francois Rude, The Departure of the Volunteers or La Marseillaise, shows French volunteers (dressed in classical attire) being led by the winged goddess of liberty to defend the new Republic from foreign enemies. Winged figures also crown the richly ornamented facade of the Paris Opera (Academie Nationale de Musique), another treasure of French romanticism built between 1861 and 1874 by Charles Garnier.

Angels in Victorian Architecture

The Victorians displayed considerable originality in ornamentation and it may even be said that they made the greatest contribution to architectural ornamentation and the decorative arts. Revived interest in the Gothic, Rococo, and classical styles encouraged the use of ornamental grotesques, monsters, and even angels. Large parts of facades of Victorian structures were used to illustrate mythological scenes and other stories. Buildings often were clad with carved terra cotta panels, terra cotta and brick sculpture, mosaic, or ceramic tile. Scenes of cherubs with garland trailing discretely over their bodies were typical, for Victorians regarded such ornamentation charming.

In addition to the architecture inspired by the revival movements of the Victorian age, angel-like figures were well suited to the Art Nouveau, a style that flourished from about 1890 to World War I. The Art Nouveau as an ornamental style was based on organic forms, especially those suggesting movement. Flowing, organic winged forms were typical not only in exterior architecture details but in furniture, textiles, wallcovering, glass, ceramics, and jewelry. Works by architects such as Victor Horta and Antonio Gaudi serve as excellent examples of the Art Nouveau style.

Angel in Modern Architecture

The architecture and decorative arts of the twentieth century is more eclectic (as seen in the Art Deco style), more organic (as seen in the prairie and revival styles), and yet more functional (as seen in the international style) than that of prior periods. The Art Deco style, in particular, seemed to best lend itself to the treatment of angels. The style, which reached its peak between the two world wars, featured winged figures in murals, gold-lacquered angel-like beings, and similar figures in wood inlay, bent chrome, or blown glass. The most extravagant examples of Art Deco can be found in theaters, hotels, and department stores.

Architectural ornamentation following World War II has tended to be less of an extraneous embellishment and more a part of the overall architectural statement. Architects of the late twentieth century have worked closely with artists. For instance, the Metropolitan Opera House at the Lincoln Center for the Performing Arts features murals by painter Marc Chagall. The murals Triumph of Music and Source of Music, both painted in 1966, show angels and other winged figures dancing and performing. An even more spectacular display of angels can be seen in Saint Patrick’s Church in Oklahoma City, which features ten-foot sculptured angels in relief.

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