The Holy Archangels — Celestial messengers, guardians and defenders of the faith

Saint Michael — combat, the sword, and the scales

Michael is named in the Book of Daniel, the Epistle of Jude, and the Apocalypse. His name is traditionally translated as "Who is like God?". The armor, the sword or spear, and the dragon evoke spiritual combat; the scales belong to the iconography of judgment.

The narrative, the symbols, and their reception

The major symbols:

• The sword of flame: The word of God and divine justice that cut through lies.

• The protective shield: Often engraved with the motto "Quis ut Deus", a bulwark against doubts and temptations.

• The scales: Perfect balance, truth, and celestial impartiality.

• The defeated dragon: The reminder that evil, however fierce it may appear, has already found its conqueror.

Saint Michael the Archangel — The Warrior of Heaven and the Battle Against the Dragon

There is an image in the Scriptures of extraordinary power. Heaven becomes the setting for a battle. A Dragon appears. Angels rise up against him. And at their head is a name that will run through all of Christian history: Michael. Saint Michael the Archangel. The warrior of Heaven. The one whom Christian art will represent for centuries with a sword or spear, wings spread, dominating the Dragon beneath his feet. But Saint Michael is not merely a warrior figure.

His name itself is a proclamation: “Who is like God?” And his entire story rests on this answer: No one.

Michael — “Who is like God?”

The name Michael comes from the Hebrew Mikha'el. It is traditionally translated as: “Who is like God?” It is not really a question seeking an answer. It is a challenge issued to any power that would claim to rise up in God's place. Who can claim to be like God? No one. That is why this name takes on such a powerful meaning in the Christian tradition. Michael represents the one who remains faithful when rebellion comes. The one who does not seek his own glory.

The one who fights because he belongs entirely to God.

Michael in the Book of Daniel

Saint Michael already appears in the Old Testament, notably in the Book of Daniel. There he is presented as a powerful protector intervening in a mysterious spiritual battle. Daniel receives the announcement that Michael is one of the principal heavenly princes. Later, he is presented as the one who rises to defend the people of God in time of trial. From these texts, therefore, one of his great missions appears: to protect. Michael is not simply a messenger.

He is presented as a heavenly power engaged in battle. But it is in the last book of the Bible that his image becomes truly spectacular.

The War in Heaven

The Book of Revelation tells of a scene that has become fundamental in Christian iconography. A war breaks out in Heaven. Michael and his angels fight against the Dragon. The Dragon fights with his own angels. But he cannot prevail. He is cast down. The text identifies this great Dragon as “the ancient serpent,” whom we call the Devil and Satan. We are here before one of the most impressive images of the battle between good and evil in the Scriptures. On one side: the Dragon.

Rebellion. Accusation. The desire to turn men away from God. On the other: Michael and the angels who remained faithful. And the Dragon falls.

Michael Against Lucifer?

Christian tradition has gradually brought this battle closer to the fall of the rebellious angels. In this traditional reading, Lucifer, created an angel but having become proud, would have refused to serve God. He would have wanted to rise up. And in the face of this rebellion, the proclamation symbolized by the name of Michael would have sounded out: “Who is like God?” However, a nuance must be added.

The Bible does not directly tell a detailed scene where “Michael confronts Lucifer” before the creation of humanity in the form often represented in modern works. This vision results from a theological and traditional bringing together of several biblical passages, notably Revelation and the texts interpreted by the Christian tradition regarding the fall of the angels. But its meaning is perfectly clear: pride claims to rise up.
Michael reminds us that no one is like God.

The Dragon Beneath His Feet

That is why Saint Michael is almost always represented as a warrior. Armor. Wings. A sword or spear. And beneath his feet: the Dragon. This image is not to be understood as that of a mere physical battle. The Dragon represents evil. Temptation. Lies. Rebellion against God. Michael, on the contrary, represents faithfulness. He does not strike down the Dragon because he himself were a deity. He strikes him down because he serves God. This is a fundamental distinction in the Christian faith.

Michael's power does not come from personal magic. It comes from his mission and his faithfulness to God.

The Sword of Saint Michael

The sword has become one of his most famous attributes. It represents spiritual battle and the victory of good over evil. In some representations, Michael uses a spear instead. In others, he also carries a shield. Sometimes one can read on it: “Quis ut Deus?” The Latin translation of his name: “Who is like God?” Thus, even his shield becomes a profession of faith. Michael does not proclaim: “Look at my power.”

He proclaims: “Look at the One I serve.”

Saint Michael and the Weighing of Souls

Another representation of Saint Michael may surprise. He sometimes holds a balance. This medieval iconography is associated with the weighing of souls at Judgment. Michael then appears not only as the fighter of the Dragon, but as a figure linked to man's passage before the judgment of God. That is why many works simultaneously represent two attributes: the sword and the balance. Battle and judgment. Protection and justice.

Saint Michael, Protector of the Church

Over the centuries, Christians have naturally seen in Michael a great protector of the people of God and the Church. If the Book of Daniel already presents him as a protector, Revelation further strengthens this dimension by placing him at the head of the angels against the Dragon. His devotion has therefore developed particularly during periods of war, persecution, epidemic, or great spiritual anxiety. Churches were consecrated to him. Sanctuaries were built in his honor.

Soldiers placed their lives under his protection. And his image accompanied for centuries those who were preparing to face danger.

Mont-Saint-Michel

In France, it is impossible to speak of Saint Michael without thinking of Mont-Saint-Michel. According to tradition, at the beginning of the 8th century, the Archangel appeared to Aubert, Bishop of Avranches, asking him to build a sanctuary on the mount then called Mont-Tombe. After several appearances, Aubert finally had a first sanctuary consecrated to Saint Michael built in 708-709. Over the centuries, the place became one of the great centers of pilgrimage in Western Christendom. Then gradually rose the extraordinary abbey we know today.

At the very top of the Mount, dominating the sea and the ramparts, still stands the statue of Saint Michael. The Archangel at the summit.
The Dragon beneath his feet.
The sword turned toward Heaven. An almost perfect image of his symbolism.

The Sanctuary of Mont Gargan

But the devotion to Saint Michael is even older. In southern Italy is the famous sanctuary of Mont Gargan, in Puglia. According to a tradition dating back to the end of the 5th century, Saint Michael appeared there several times. The sanctuary became one of the oldest and most important places of devotion dedicated to the Archangel in the West. Pilgrims, knights, sovereigns, and religious figures went there for centuries.

The cave of Mont Gargan remains even today a major place of Michaelite pilgrimage.

Castel Sant'Angelo in Rome

Another famous tradition associates Saint Michael with Rome. At the end of the 6th century, the city was struck by a terrible epidemic. Pope Gregory the Great led a procession of prayers. According to tradition, he then saw Saint Michael at the top of the mausoleum of Emperor Hadrian. The Archangel would have put his sword back in its scabbard. The gesture was interpreted as the sign of the end of the plague. The monument gradually took the name of: Castel Sant'Angelo — Saint Angelo Castle.

Even today, a statue of Saint Michael dominates its summit. The sword is still there.

The Protector of Warriors

It is not difficult to understand why Saint Michael became particularly important for soldiers. He represents the warrior who does not fight for his own glory. The warrior placed at the service of a higher cause. Mastered strength. Courage. Discipline. Faithfulness. That is why he became the patron saint of many professions related to defense and protection. He is notably particularly associated with paratroopers in the French military tradition. But his patronage extends far beyond the military world.

For his battle is above all spiritual.

The Prayer to Saint Michael the Archangel

The devotion to Saint Michael received a new impetus at the end of the 19th century under Pope Leo XIII. A famous prayer to Saint Michael was introduced among the prayers recited after certain masses in the old Roman usage. It begins with a simple and powerful request: “Saint Michael the Archangel, defend us in battle…” This formula perfectly summarizes the place of the Archangel in Catholic spirituality. We do not ask him to replace God.

We ask him for his intercession and his protection in the battle against evil.

Saint Michael is not a deity

This clarification is essential. In Christianity, Saint Michael is never worshipped. Worship belongs to God alone. Michael is a creature. A heavenly creature of exceptional greatness, but a creature. Catholics and Orthodox Christians can venerate him and ask for his intercession, but this veneration remains fundamentally different from the worship rendered to God. Saint Michael himself perfectly symbolizes this distinction. His entire name seems to push back any attempt to place a creature on the level of the Creator: Who is like God? No one.

Saint Michael's battle is also that of man

It is probably here that his story takes on all its strength. We do not see the Dragon described by Revelation. We do not witness with our eyes the war of the angels. But Christianity teaches that man also knows an inner and spiritual battle. Lies against truth. Hatred against love. Pride against humility. Despair against hope. Temptation against faithfulness. And it is precisely for this reason that the image of Saint Michael remains so powerful.

It reminds us that there are battles before which one must not flee.

The Archangel who does not bow before evil

Let us look at his image once more. Michael stands upright. The Dragon is on the ground. But Michael does not necessarily look at his adversary. In many works, his gaze seems turned elsewhere. Toward Heaven. For the true center of the scene is ultimately neither Michael nor the Dragon. It is God. The Dragon falls because he wanted to rise up. Michael triumphs because he chose to serve. That is the whole difference.

Saint Michael — The Warrior of Heaven

From the visions of the prophet Daniel to the Dragon of Revelation, from the caves of Mont Gargan to the summit of Mont-Saint-Michel, his image runs through the centuries. Armor. A sword. A pair of wings. A defeated Dragon. But above all, a proclamation: Quis ut Deus?
Who is like God? Saint Michael embodies faithfulness in the face of rebellion. Courage in the face of evil. Light in the face of darkness. Protection in the face of danger.

Saint Michael the Archangel.
Prince of the heavenly host in the Christian tradition.
Protector of the people of God.
Fighter of the Dragon.
Warrior of Heaven. And when darkness seems to take up all the space, his image has reminded us for centuries of a fundamental conviction of the Christian faith: the Dragon can fight.
The Dragon can threaten.
But the Dragon does not have the last word. Quis ut Deus? No one is like God.

The dragon also appears in another tradition, that of Saint George and the knight with the dragon.

To locate this passage: Revelation 12 — Michael and the dragon.

Saint Gabriel — the Annunciation and the messenger

Gabriel explains visions in Daniel and announces, in Luke, the birth of John the Baptist and then that of Jesus. He is therefore associated with the message and the Annunciation. The lily, the scroll, and the messenger's staff often allow us to recognize him in Christian art.

The account, the symbols, and their reception

• The major symbols:

  • The white lily: Universal emblem of purity, grace, and sincerity, often offered to the Virgin at the Annunciation.

  • The phylactery or parchment scroll: Symbol of the transmitted divine word and the Scriptures.

  • The heavenly scepter: Mark of the authority of the Most High in whose name it is expressed.

  • The lantern of light: Guide to dispel doubts and enlighten minds.

Saint Michael the Archangel — The messenger of God and the Annunciation to Mary

He does not appear with Michael's sword. He does not strike down the Dragon. He does not come to deliver battle. And yet, Saint Michael the Archangel is at the heart of some of the most important moments in all of biblical history. His mission is different. Gabriel announces. He carries a word that comes from God. He explains the visions of the prophet Daniel. He announces to Zechariah the birth of John the Baptist. Then, one day, he is sent to a small town in Galilee called Nazareth.

There, before a young woman named Mary, Gabriel pronounces an announcement that will change the history of Christianity: she will give birth to Jesus Christ. If Michael has become in the Christian tradition the warrior of Heaven, Gabriel is its great messenger.

Gabriel — “God is my strength”

The name Gabriel comes from the Hebrew Gavri'el. It is traditionally understood as: « God is my strength », « Strength of God » or « Man of God », depending on how its Hebrew roots are interpreted. Its name therefore already contains something essential. Gabriel never comes to announce his own will. He is sent. He receives a mission. He transmits. His greatness lies precisely in this absolute fidelity to the word he must carry.

Gabriel with the prophet Daniel

Gabriel appears in the Old Testament, in the Book of Daniel. Daniel receives mysterious visions that he cannot understand. A voice then commands: « Gabriel, explain the vision to him. » The angel approaches Daniel and gives him the interpretation of what he has just seen. Later, Gabriel returns to the prophet to bring him insight and understanding. We therefore discover Gabriel even before the accounts of the birth of Christ.

And his mission is already that which will become characteristic of his entire history: to make understood a word or a design coming from God. But several centuries later, according to the biblical account, Gabriel receives an even more extraordinary mission.

The Temple of Jerusalem

The story begins with a priest named Zechariah. His wife, Elizabeth, and he are old and have no child. One day, Zechariah performs his priestly service in the Temple of Jerusalem. He enters the sanctuary to offer incense. The people wait outside. And suddenly, an angel appears. Zechariah is overwhelmed. Fear seizes him. The angel tells him not to fear. His prayer has been heard. Elizabeth will give birth to a son. His name will be: John. The one whom Christian history will know as John the Baptist.

« I am Gabriel »

Zechariah doubts. How could he have a child when he and his wife are already old? The angel then answers him by revealing his identity: « I am Gabriel and I stand in the presence of God. » This phrase is extraordinary. Gabriel presents himself as the one who stands before God and who has been sent to announce good news. But because Zechariah doubted, he will remain mute until the fulfillment of the promise. Elizabeth becomes pregnant.

And a few months later, Gabriel is sent once again. This time, he does not go to the great Temple of Jerusalem. He goes to a much more discreet city. Nazareth.

Gabriel enters Nazareth

In this city of Galilee lives a young woman. Her name is Mary. She is betrothed to a man named Joseph, of the house of David. And it is to her that God sends Gabriel. The scene will become one of the most represented in the entire history of Christian art: the Annunciation. Thousands of paintings, frescoes, mosaics, stained glass windows and sculptures will try over the centuries to represent this moment. Gabriel appears before Mary. And he greets her.

« I greet you, Full-of-grace, the Lord is with you. » Mary is overwhelmed. She wonders about this greeting. Gabriel then tells her: « Do not fear, Mary. » Then comes the announcement.

« You will conceive and give birth to a son »

Gabriel announces to Mary that she will conceive and give birth to a son. She must give him the name of: Jesus. He will be great. He will be called Son of the Most High. Mary asks how this can happen since she knows no man. Gabriel answers her that the Holy Spirit will come upon her and the power of the Most High will take her under his shadow. Then he reveals to her that Elizabeth, her relative who was said to be barren, is also expecting a child. And Gabriel then utters this statement:

« Nothing is impossible for God. »

Mary's « yes »

Gabriel has accomplished his mission. But there is still one answer. Mary's. And this answer becomes one of the fundamental moments of Christianity: « Behold the servant of the Lord; let all happen to me according to your word. » It is Mary's Fiat. Her « yes ». Gabriel does not coerce. He announces. Mary responds freely. Then the Gospel simply says: « Then the angel left her. » The mission is accomplished. The messenger disappears. And the story continues.

Why does Gabriel often carry a lily?

In Western Christian art, Gabriel is very frequently represented holding a white lily during the Annunciation. The lily has become a symbol of purity, particularly associated with the Virgin Mary. Gabriel can thus appear before her with this flower in his hand. In other representations, he carries a scepter or a messenger's staff. And almost always: great wings. Yet, as with the other angels, the Scriptures do not systematically describe Gabriel with the exact appearance that Christian art will give him.

The wings belong above all to the symbolic language developed by iconography. They express the celestial character of the messenger and the speed with which he accomplishes the divine will.

Gabriel and the trumpet

Another image has become extremely popular: Gabriel blowing into a trumpet at the Last Judgment. This representation is deeply rooted in the Christian and artistic imagination. However, a nuance is necessary. The Bible does indeed speak of a trumpet during the resurrection of the dead and also mentions angels sounding trumpets in the Apocalypse. But it does not explicitly identify Gabriel as the angel who will sound the trumpet of the Last Judgment. This association belongs above all to traditions and iconography developed later.

The biblical Gabriel is above all that of announcement and revelation.

Michael and Gabriel — The sword and the word

The comparison between Michael and Gabriel is particularly beautiful. Michael appears as the one who fights. Gabriel as the one who announces. Michael carries the sword.
Gabriel carries the Word. Michael stands against the Dragon. Gabriel stands before Mary. But the two accomplish exactly the same principle: they serve God. Neither one acts for his own glory. Michael does not fight in his own name. Gabriel does not speak in his own name. One and the other are servants.

The messenger of great beginnings

When Gabriel intervenes in the Scriptures, something immense is about to begin. In Daniel, he helps to understand visions concerning the future. With Zechariah, he announces John the Baptist, the one who will prepare the way of the Lord. With Mary, he announces Jesus Christ. Gabriel thus appears at the threshold of events. Before John the Baptist: Gabriel. Before the Incarnation: Gabriel. Before Mary leaves to join Elizabeth: Gabriel. He is the one who arrives just before the story takes a turn.

Saint Gabriel, protector of messengers

This biblical mission naturally explains the patronages that will be associated with him over the centuries. Gabriel is particularly considered the patron of those whose job consists in transmitting a message or information. Messengers. Postal workers. Telecommunications. Radio. And more broadly different professions related to communication. The symbolism is obvious. Gabriel receives a word. He carries it. He transmits it faithfully. The messenger must fade behind the message.

Gabriel in the three great monotheistic religions

Gabriel also has a remarkable peculiarity: his figure largely transcends Christianity. He appears in the Jewish tradition. He occupies a fundamental place in Christianity. And under the name of Jibril, he also has a major importance in Islam, where tradition considers him the angel who transmitted the Quranic revelation to Muhammad. The theological interpretations obviously differ deeply between these religions. But few angelic figures possess such an important presence in the religious history of humanity.

Saint Gabriel is not an independent power

As with Saint Michael, one clarification remains essential. Gabriel is not a deity. He does not possess a power independent of God. In Christianity, he is a spiritual creature in the service of God. He does not decide the message. He transmits it. He does not choose his mission. He is sent. And that is precisely what makes his figure so strong. His greatness does not lie in domination. It lies in fidelity.

The silence after the announcement

Finally, there is something deeply beautiful in the story of Gabriel. He appears. He speaks. Then he disappears. After the Annunciation, Gabriel does not seek to remain at the center of the story. He asks for no recognition. He claims no glory. The messenger fades when the message has been transmitted. Mary remains. Christ comes. Gabriel has accomplished his mission. This discretion is part of his greatness.

Saint Gabriel — The messenger of God

Saint Gabriel reminds us that not all missions require a sword. Some battles are won by a word. Some destinies begin with an announcement. Some lives change because a message arrives at the moment when no one expected it. In Jerusalem, Gabriel announces John the Baptist. In Nazareth, he announces Jesus. And before Mary, he utters words that still resonate every day in the prayer of millions of Christians.

Saint Gabriel Archangel.
The one who stands in the presence of God.
The messenger of great announcements.
The Archangel of the Word.
The messenger of the Annunciation. Michael reminds us: « Who is like God? » Gabriel reminds us: « Nothing is impossible for God. » One fights the Dragon. The other enters silently into Nazareth. But both accomplish the same mission: to serve God and carry his will. Saint Gabriel Archangel — the messenger of Heaven.

To follow the story after the Annunciation, find Mary and the symbols of Marian devotion.

To locate this passage: Luke 1 — Gabriel with Zechariah and Mary.

Saint Raphael — Tobias, the journey and the healing

In the Book of Tobit, Raphael accompanies young Tobias and intervenes in the deliverance of Sarah and the healing of Tobit. His name means « God heals ». The fish and the walking stick recall the episodes of the biblical account.

The story, the symbols and their reception

• The major symbols:

  • The pilgrim's staff and the flask: Reminders of the walk, endurance and assistance on the road.

  • The fish: Symbol of the providential remedy, bodily healing and the restoration of sight.

  • The ointment box or balm jar: Representation of spiritual consolation and the relief of sorrows.

Saint Raphael Archangel — The guide, the healer and the protector of travelers

After Michael, the warrior of Heaven. After Gabriel, the messenger of the Annunciation. Comes a third Archangel whose mission seems more discreet, but deeply human. Saint Raphael Archangel. He does not descend to fight the Dragon. He does not enter Nazareth to announce the birth of Christ. He takes the road alongside a young man. He walks with him. He advises him. He protects him.

He helps him face danger, guides his journey to its end and participates in the healing of his father. His name already reveals his mission: Raphael means « God heals ». And his story, told in the Book of Tobit, is probably one of the most beautiful biblical accounts dedicated to the protection and accompaniment of an angel.

Raphael — « God heals »

The name Raphael comes from the Hebrew Rafa'el. It associates the idea of healing with the name of God. Its traditional meaning is: « God heals » or « God has healed ». This meaning is essential. Raphael is not presented as possessing an independent power of healing. He is the instrument of Providence. Through him, it is God who accompanies and God who heals. His story nevertheless begins far from the glorious images that are usually associated with the Archangels. It begins with two families struck by trial.

Tobit, the man who became blind

The Book of Tobit tells the story of Tobit, a pious Israelite living in exile in Nineveh. Tobit seeks to remain faithful to God despite difficulties. He performs works of mercy and goes as far as burying the dead of his people when it represents a danger to him. But one day, his life takes a turn. After burying a dead person, Tobit falls asleep outside. Bird droppings fall into his eyes. An affection develops. Tobit becomes blind. His situation becomes extremely difficult.

The one who had helped others must now depend on others. And in his distress, he prays to God. But at the same moment, very far from him, another person also prays.

Sarah — A woman in despair

In Ecbatana lives a young woman called Sarah. She too knows a terrible trial. She has been married several times. But each of her husbands died before the marriage could be consummated, victim of the demon Asmodeus, according to the biblical account. Sarah is humiliated and accused. Her suffering becomes such that she thinks of dying. But she finally turns to God. Two people are therefore suffering hundreds of kilometers from each other. Tobit. Sarah. Two prayers rise to God.

And the Book of Tobit tells that an answer is sent. Raphael.

God sends Raphael

Raphael receives a double mission. He must participate in the healing of Tobit. And he must help Sarah be delivered from the evil that overwhelms her. But the Archangel does not descend surrounded by lightning. He does not even immediately reveal his identity. He takes the appearance of a man. This is an extraordinary detail. Raphael will accompany an entire family without her knowing that an Archangel walks beside her.

Tobias must take the road

Tobit remembers that he had once entrusted a large sum of money to a man living in Media. Having become blind, he asks his son Tobias to go retrieve this money. But the journey is long and dangerous. Tobias needs a companion. He then meets a man who presents himself under the name of Azarias. Tobias does not know it yet. But this stranger is Raphael. Tobit asks him if he knows the road. Raphael answers that he knows it. The journey can begin.

And one of the most beautiful images of the Book of Tobit appears: a young man takes the road without knowing that an Archangel walks beside him.

The traveling companion

Tobie and Raphael therefore leave the house. Tobie's dog accompanies them as well, a particularly endearing detail preserved in the biblical account. They walk. They cross unknown territories. They advance toward their destination. Raphael does not miraculously carry Tobie to his goal. He walks with him. This is an important difference. Raphael's protection does not remove the journey. It accompanies the traveler as he advances. But soon danger arises.

The Tiger Fish

While Tobie is bathing in the Tigre, a large fish suddenly appears and tries to grab his foot. Tobie is frightened. Raphael orders him to catch the fish. Tobie catches it and brings it back to the shore. The Archangel then asks him to keep certain parts of the animal: the heart, the liver, and the gall. Tobie still does not know why. Raphael explains to him that these elements will be useful. The heart and liver will be used in the fight against the demon.

The gall will allow him to heal his father's eyes. What seemed to be only a dangerous attack on the road thus becomes, by Providence, the very instrument of future deliverances.

The meeting with Sara

Raphael then leads Tobie to Sara's family. He explains to the young man that he must marry her. But Tobie knows his story. He knows what happened to the men who preceded him. He is afraid. How could he not be? Seven men have died. But Raphael tells him what he must do. Tobie must place the heart and liver of the fish on the embers. The demon will flee. But Raphael also reminds him of something fundamental:

Tobie and Sara must turn to God.

Tobie and Sara pray together

The night of their wedding arrives. Tobie does what Raphael told him. According to the account, the smell produced drives away Asmodeus. Raphael pursues the demon and chains him. But before uniting, Tobie and Sara get up. And they pray. This scene has become particularly important in the Christian tradition of marriage. They do not begin their union with fear. They begin it by turning together to God.

Tobie prays that their union will not be based on passion alone, but lived in truth. The night passes. Tobie is alive. Sara is delivered. What seemed to be a story doomed to repeat death becomes a story of life.

The journey continues

Raphael then fulfills another part of the mission. The money entrusted by Tobit is recovered. Then comes the time to return. Tobie returns to his father. To his mother. To the house he had left. But he returns transformed. He left as a young man accompanied by a stranger. He returns married to Sara, with his father's money and above all with what will heal Tobit. And Raphael is still there.

"Anoint his eyes with the gall"

When Tobie arrives before his father, Raphael reminds him what he must do. He takes the gall from the fish. He applies it to Tobit's eyes according to the instructions received. The membranes that obscured his eyes come off. And Tobit regains his sight. The blind man sees again. Raphael's name then takes on all its meaning: God heals. But the greatest revelation is yet to come.

"I am Raphael"

Tobit and Tobie wish to reward the one they have always known by the name of Azarias. After all, this man accompanied Tobie. He guided him. He advised him. He allowed the success of the journey. They want to give him a part of their goods. It is then that the mysterious companion finally reveals his identity. He explains to them that he presented their prayers before God. Then he declares: "I am Raphael, one of the seven angels who stand before the glory of the Lord."

Tobit and Tobie are deeply moved. The man with whom Tobie had walked was an angel. The traveling companion was an envoy of God. The one who had shared their journey came from Heaven.

The angel who walked by their side

This is probably the most extraordinary dimension of the entire story. Tobie did not know. When danger arose, he did not know. When he walked for miles, he did not know. When he was afraid for his marriage, he did not know. When he returned to his father, he still did not know. And yet: Raphael was there. This image explains why the Archangel became so deeply associated with Providence.

Sometimes, according to Christian spirituality, man only understands how God accompanied him after having gone through the trial.

Why is Raphael represented with a fish?

The fish has become the most recognizable attribute of Saint Raphael. It obviously recalls the episode of the Tigre. In works of art, Raphael is therefore frequently represented accompanied by the young Tobie carrying a fish. Sometimes, it is Tobie who holds the fish. Sometimes Raphael shows it. This image allows immediately to distinguish the Archangel from Michael and Gabriel. Michael has the sword.
Gabriel often has the lily.
Raphael has the fish and the traveler's staff. Three symbols. Three missions.

The traveler's staff

Raphael is also often represented holding a walking staff. For his story is above all that of a journey. He accompanies Tobie from one city to another. He knows the road. He protects the young man. He leads him to his destination and then to his return. This is why Saint Raphael naturally became the protector of travelers and pilgrims. His patronage thus joins, in the Christian tradition, that of Saint Christopher, but with a different symbolism. Saint Christopher carries the traveler across the waters.

Raphael walks by his side.

The Archangel of healing

His name and the story of Tobit also explain why Raphael is invoked for healing. He is traditionally associated with the sick, with doctors, with caregivers, and with those who accompany suffering people. But once again, the meaning of his name must be preserved. Raphael does not mean: "I heal." It means: "God heals." The Archangel always refers back to Him who sends him.

Protector of travelers and marriages

The story of Tobie and Sara also led the Christian tradition to associate Raphael with fiancés, spouses, and families. He accompanies Tobie to the one who will become his wife. He helps him overcome his fear. He intervenes against what threatens their union. And he leads them toward a relationship placed under the gaze of God. Thus, Raphael's patronages reflect the different stages of his account: the journey.
The meeting.
The marriage.
The deliverance.
The healing.
The return home.

Michael, Gabriel, and Raphael

With Raphael, the magnificent triptych of the Archangels takes on all its meaning. Michael fights.
Gabriel announces.
Raphael accompanies and heals. Michael shows us the fight against evil. Gabriel shows us the power of a word coming from God. Raphael shows us a much more discreet presence: God can accompany man on his path without him immediately understanding how he is guided. Michael stands before the Dragon. Gabriel before Mary. Raphael beside Tobie. Three totally different scenes. But always the same fidelity.

Saint Raphael — The companion of the road

The story of Saint Raphael finally has something deeply reassuring. It does not only tell a spectacular miracle. It tells a path. A blind man prays. A desperate young woman prays. A young man must leave. A stranger appears. And everything begins to move. The journey remains long. The fish suddenly appears. Tobie knows fear. Sara knows the trial. Tobit remains blind for a while longer. But Raphael walks. Always. Until everyone can understand what really happened.

Saint Raphael Archangel.
The one whose name means "God heals".
The companion of Tobie.
The protector of travelers.
The Archangel of healing.
The guide of spouses and families. Michael carries the sword. Gabriel carries the message. Raphael carries the traveler to the end of his path. And his story perhaps leaves us one of the most beautiful images of the entire angelic tradition: sometimes, when we believe we are advancing alone on an unknown road, we do not yet know who is walking by our side.

But why do we sometimes speak of seven Archangels?
If the Latin Catholic Church liturgically retains only the names of Michael, Gabriel, and Raphael, other ancient traditions have preserved other names. Some appear in ancient Jewish writings such as the Book of Enoch, while different Eastern Christian traditions have developed a broader veneration of the archangelic powers. We must therefore enter here into another field: no longer only that of the Catholic canonical texts, but that of the ancient and Eastern traditions.

The theme of passage and journey also appears in the legend of Saint Christopher.

To locate this passage: Tobit 12 — Raphael reveals his mission.

Uriel — the light in ancient traditions

Uriel is associated with light in ancient texts and certain Eastern traditions. He is not named in the Catholic biblical canon. This tradition must be distinguished from the liturgical place of Michael, Gabriel, and Raphael in Latin Catholicism.

The account, the symbols, and their reception

• The major symbols:
  • The flame or fire: symbol of divine light, purification, and the truth that dispels darkness.
  • The book or the scroll: representation of knowledge, wisdom, and the understanding of divine mysteries.
  • The sun or the luminous disk: evocation of celestial light and spiritual illumination.

Uriel — The light of God and the Archangel of illumination

After Michael, the warrior of Heaven. After Gabriel, the messenger of God. After Raphael, the guide and the healer. A fourth name appears when leaving the sole framework of Catholic canonical books to enter ancient Jewish traditions, apocryphal texts, and certain Eastern Christian traditions. Uriel. His name is ancient. His image crosses centuries. He is associated with fire, light, knowledge, and the understanding of divine mysteries.

But unlike Michael, Gabriel, and Raphael, his status requires immediately a fundamental clarification: Uriel is not named in the canonical books recognized by the Latin Catholic Church.

His name appears notably in 1 Enoch and in 4 Ezra, ancient texts that do not belong to the Roman Catholic canon. On the other hand, Uriel occupies an important place in certain Eastern Christian traditions, where he is presented as "the fire or the light of God" and the illuminator. His story therefore leads us to the fascinating border between Scripture, ancient texts, and Christian traditions.

Uriel — "The light of God"

The name Uriel comes from Hebrew and is traditionally interpreted as: "God is my light",
"Light of God",
or even "Fire of God". These two images — fire and light — admirably summarize the way Uriel will be represented. For his mission is not that of Michael. He is not defined primarily by combat. It is not also that of Gabriel. He is not above all the messenger of an announcement like that made to Mary.

And he does not possess the role of Raphael with Tobie. Uriel enlightens. He reveals. He explains. He leads the one who questions toward a deeper understanding of the things of God.

Why does Uriel not appear with Michael, Gabriel, and Raphael in the Catholic Bible?

This is where the distinction between traditions becomes essential. In Catholic devotion, three names of faithful angels are retained: Michael.
Gabriel.
Raphael. The Vatican moreover reminds that, in Catholic devotion, the practice consisting of attributing names to angels must be avoided outside of these three names present in the Holy Scriptures. Uriel belongs to another story. His name is found in ancient writings located outside the Catholic canon, notably the Book of Enoch and 4 Ezra.

This does not mean that Uriel was simply "removed from the Bible". This means that the different religious communities did not all recognize the same texts as part of the Holy Scriptures. And that is precisely what makes his story exciting.

Uriel in the Book of Enoch

One of the most important sources concerning Uriel is 1 Enoch. This ancient Jewish text considerably develops the world of angels, judgment, and the fall of rebellious angels. Uriel appears there among the great angelic figures alongside names like Michael, Gabriel, and Raphael. His role is notably linked to the revelation of celestial mysteries. He guides. He shows. He explains. In certain parts of the account, he accompanies Enoch in the discovery of realities that totally exceed human experience. Heaven.

The stars. The places of judgment. The fate of rebellious angels. Uriel thus appears as the one who allows man to understand what he contemplates without being able to explain it alone.

Enoch and the mysteries of Heaven

In this ancient literature, Enoch is not simply confronted with a few angelic appearances. He is led into a true exploration of the celestial world. And before certain mysteries, a question returns: What does what I see mean? That is where angelic figures like Uriel take on all their importance. Man sees. But he does not understand. The angel explains. This is why Uriel will gradually be associated with knowledge, wisdom, and spiritual illumination. Not a knowledge intended to satisfy curiosity.

But a light intended to understand the order willed by God.

Uriel and the fallen angels

The Book of Enoch also tells an immense angelic revolt. Celestial beings transgress the order established by God. The account then develops the question of their judgment. Uriel appears in this universe as one of the angels who remained faithful. He shows Enoch certain places associated with judgment and explains to him the fate reserved for the rebels. The symbolism then becomes particularly strong. Facing the darkness of the revolt appears the light.

Facing those who used their knowledge against the divine order appears the one whose name precisely evokes the light of God. Uriel is therefore not only associated with knowledge. He is associated with knowledge ordered toward God.

Uriel and Ezra

Uriel also plays a major role in 4 Ezra, another ancient text located outside the Catholic canon. The character of Ezra is deeply troubled. He contemplates the suffering of the world. He questions justice. He seeks to understand the designs of God. Why does evil exist? Why do certain trials seem incomprehensible? Why can man not grasp the totality of the divine plan? And it is Uriel who is sent to answer him. But his answers are particularly interesting.

For Uriel does not simply give Ezra all the answers he desires. He also makes him understand the limits of human intelligence.

Can we understand all the mysteries of God?

Uriel subjects Ezra to questions. Can he measure what seems impossible to measure? Can he explain realities that are beyond his experience? Ezra must recognize his limits. And behind this exchange appears a particularly profound spiritual idea: true wisdom also begins when man accepts that he cannot understand everything. Uriel thus becomes a paradoxical figure. He is the angel of light. But this light does not mean that all mysteries disappear.

Rather, it allows man to recognize what he can understand… and what is beyond him. Divine light is therefore not simply an accumulation of knowledge. It is discernment.

The fire of God

In certain Eastern Christian traditions, Uriel is explicitly presented as the fire or the light of God, the one who enlightens. This association explains one of his most impressive attributes: the flame. Fire has an immense symbolism in the Bible. It can represent the divine presence. Purification. Light. Judgment. Power. Uriel thus brings together two images that seem opposite but come from the same reality. Fire enlightens. But fire also burns. Light reveals.
Fire purifies.

The sword and the flame

In the Orthodox iconography described by the Orthodox Church in America, Uriel is represented holding a bare sword in his right hand and a burning flame in his left hand. This representation is particularly powerful. The sword evokes the defense of truth and justice. The flame evokes divine light. Uriel thus appears as an angel whose mission is to enlighten what is obscure. Not simply physical darkness. But that of the intellect and the soul.

Uriel in the Orthodox tradition

This is where the difference with the Latin Catholic tradition becomes particularly interesting. In certain Orthodox traditions, Uriel is explicitly counted among the Archangels celebrated with the heavenly powers. He is presented there as the illuminator, associated with the fire and the light of God. He can therefore be represented on icons and named in this tradition. The situation is different in Latin Catholicism.

The Catholic Church liturgically celebrates Michael, Gabriel, and Raphael on September 29 and asks that the practice of attributing other names to the holy angels not be developed. We are therefore faced with an excellent example of the richness—but also the diversity—of Christian traditions. Uriel has a true place in certain Eastern traditions.
He does not have the same liturgical status in the Latin Catholic Church.

Is Uriel therefore "Saint Uriel"?

The answer necessarily depends on the tradition being discussed. In a Latin Catholic context, it would be imprecise to present him exactly in the same way as Saint Michael, Saint Gabriel, and Saint Raphael. In certain Orthodox traditions, however, Uriel does indeed belong to the tradition of the Archangels honored with the heavenly powers. This is why, when telling his story, precision is essential. He should neither be erased from Christian history… nor should he be artificially attributed the same status in all Churches.

Uriel — The Light of God and the Archangel of Illumination

The major symbols:

• The flame: symbol of divine light, spiritual illumination, and the fire that dispels darkness. In the Orthodox iconographic tradition, Uriel can be represented holding a flame directly.

• The bare sword: representation of truth, discernment, and divine justice. Some Orthodox icons show Uriel holding the sword and the fire simultaneously.

• The light: it summarizes his traditional mission as "illuminator": the one who helps to understand and who leads the intellect out of darkness.

Michael, Gabriel, Raphael… and Uriel

With Uriel, we therefore cross a border. The first three belong directly to the canonical books recognized by the Catholic Church. Uriel leads us toward other ancient traditions of the Jewish and Christian world. But the four figures form a remarkable symbolism. Michael fights.
Gabriel announces.
Raphael accompanies and heals.
Uriel enlightens. Michael's sword confronts the Dragon. Gabriel's word announces the Incarnation. Raphael accompanies Tobias on the road. And Uriel's flame enlightens the mysteries.

Uriel — The One Who Carries the Light

Uriel's story ultimately reminds us that not all darkness is that of evil. There is also the darkness of incomprehension. That of doubt. That of man who looks at the world and asks: Why? Why this trial? Why this injustice? Why does God allow what I do not understand? In the ancient stories featuring Uriel, the Archangel does not always answer by removing the mystery. He brings sufficient light to continue searching.

And sometimes, he reminds man that certain realities are greater than him. This is perhaps the most beautiful meaning of his flame. Light is not always given to reveal everything.
It is sometimes given simply to allow one to continue moving forward. Uriel.
The Light of God.
The Archangel of illumination in certain Eastern Christian traditions.
The guide of Ezra and Enoch in the ancient texts.
The sword in one hand.
The flame in the other.

After Michael's strength, Gabriel's word, and Raphael's healing, a fourth mission thus appears: to enlighten the darkness.

To situate this passage: Orthodox Church in America — names and attributes in the Eastern tradition.

Selaphiel — prayer and contemplation

In certain Eastern Christian traditions, Selaphiel is associated with prayer. His inclined gaze and crossed hands express contemplation. His name is not among the three names of faithful angels retained in Catholic devotion.

The narrative, the symbols, and their reception

• The major symbols:
  • The hands crossed on the chest: symbol of contemplation, inner prayer, and trusting surrender to God.
  • The inclined face: representation of humility, contemplation, and the creature's respect before its Creator.
  • The incense or censer: evocation of prayer and intercession that rise toward God, like the smoke of incense.

Selaphiel — The Archangel of prayer and humility before God

After Michael, the warrior of Heaven. After Gabriel, the messenger. After Raphael, the healer and companion of travelers. After Uriel, the light that enlightens. Comes a name much less known in the West, but preserved in several Eastern Christian traditions: Selaphiel. His name is also encountered in different forms: Sealtiel, Salathiel, Selathiel, or Selaphiel, depending on the languages and traditions. His name is generally interpreted as:

"Prayer of God",
"The One who prays to God",
or "The One who intercedes with God". And unlike Michael, whose image is that of combat, Selaphiel is generally represented in a completely different attitude. The inclined head. The lowered eyes. The hands crossed on the chest. He prays. Selaphiel is traditionally presented as the Archangel of prayer.

But as with Uriel, a clarification is indispensable: Selaphiel is not named in the canonical books of the Catholic Bible and is not one of the three Archangels named in the Latin liturgy. His presence belongs mainly to certain Eastern Christian traditions. We therefore enter once again into this immense history of angels that goes beyond the names of Michael, Gabriel, and Raphael alone.

Selaphiel — Prayer turned toward God

The name of Selaphiel has a particularly beautiful symbolism. It is traditionally associated with the idea of prayer and intercession. And that is precisely how the Eastern tradition represents him. Selaphiel is not the one who draws attention to himself. His attitude immediately directs it elsewhere. Toward God. In certain Orthodox iconographic descriptions, he appears with an inclined face and hands placed or crossed on his chest. His body itself becomes a prayer. No raised sword. No Dragon. No trumpet. No extraordinary journey.

Only the silence of a celestial creature turned toward its Creator.

A different status from Michael, Gabriel, and Raphael

As we saw with Uriel, not all names traditionally associated with the Archangels occupy the same place in all Christian confessions. For the Latin Catholic Church, the three names of angels retained in the liturgy are: Michael.
Gabriel.
Raphael. Selaphiel is not named in the Catholic canonical books. It would therefore be incorrect to present him as a fourth or fifth biblical Archangel possessing exactly the same status as the three preceding ones.

But certain Orthodox traditions retain a more developed list of archangelic powers and include Selaphiel there. In these traditions, he is particularly associated with prayer. This distinction is essential. It allows one to discover the richness of Christian traditions without confusing their sources.

Why an Archangel of prayer?

At first glance, the mission might seem less spectacular. Michael fights Satan. Gabriel announces the birth of Christ. Raphael accompanies Tobias and participates in the healing of his father. Uriel reveals and enlightens in the ancient texts. And Selaphiel? He prays. But in Christian thought, prayer is not considered a secondary action. It is man's relationship with God. To pray is to ask. To thank. To adore. To plead. To entrust. But it is also to learn to stand in silence before God.

Selaphiel thus becomes a celestial representation of this fundamental attitude.

The hands crossed on the chest

The iconography of Selaphiel is particularly interesting. In certain Orthodox representations, he appears with hands crossed on the chest and lowered gaze. Everything in his attitude evokes: contemplation.
Humility.
Contemplation.
Prayer. This position contrasts beautifully with that of Michael. Michael stands tall. Selaphiel inclines. Michael raises his weapon against the Dragon. Selaphiel lowers his head before God. But these are not two opposite attitudes. They express two different forms of faithfulness.

There is a time to fight.
And there is a time to kneel.

Humility before God

The figure of Selaphiel also reminds us of something essential in Christian spirituality: true prayer requires humility. The one who prays recognizes that he does not possess everything. That he does not control everything. That he needs God. This idea takes an even stronger meaning when represented by an angel. A celestial being, superior to man by its spiritual nature according to Christian theology, is nevertheless represented inclined before God. Why?

Because even the greatness of an angel is nothing before that of the Creator. We ultimately find the same principle as in the name of Michael: Who is like God? No one. Even the angels bow.

Selaphiel and intercession

Selaphiel is also associated in certain traditions with intercession. Intercession consists of praying for someone else. Not merely presenting one's own needs to God. But carrying those of others. The suffering of a loved one. The fear of a traveler. The illness of a parent. The difficulties of a family. The distress of the one who can no longer even find the words to pray. The figure of Selaphiel thus becomes particularly beautiful: that of prayer that does not think only of itself.

When words no longer come

Anyone who has tried to pray probably knows this experience. There are moments when words come easily. And others when nothing comes. Fatigue. Anger. Sadness. Doubt. Incomprehension. Sometimes even faith seems silent. The tradition associated with Selaphiel takes on a deeply human dimension here. The Archangel of prayer reminds us that praying does not necessarily mean pronouncing long phrases. Sometimes, remaining silent before God is already a prayer. Sometimes, simply asking: "Lord, help me." is enough.

The lowered gaze

Why represent Selaphiel with lowered eyes? Because the gaze also has a symbolism. In religious iconography, raising the eyes can express the contemplation of Heaven. But lowering them can express humility and contemplation. Selaphiel does not look at the world like a sovereign observing his subjects. He stands before someone greater than himself. This attitude conveys a particularly powerful message: the closer a creature approaches God, the less it needs to glorify itself.

Incense and the rising prayer

Certain later representations and devotions also associate Selaphiel with incense. This symbolism fits naturally into the biblical language. In the Scriptures, the smoke of incense is associated with prayer rising toward God. The Book of Revelation notably describes the prayers of the saints offered before God with incense. Incense rises. Prayer rises. The smoke disappears from the eyes of men but continues its ascent. This is why the image perfectly suits Selaphiel.

It represents something that cannot be grasped with the hands: the word of man rising toward God.

Selaphiel is not worshipped

As with all the angels and Archangels mentioned in this series, a distinction remains fundamental. Selaphiel is not a deity. In the traditions that venerate him, he remains a creature of God and his servant. The Archangel never replaces the One to whom prayer is destined. This is the very meaning of his representation. Selaphiel does not say: "Look at me." His entire attitude seems to say: "Turn toward God."

Selaphiel — The Archangel of prayer and humility before God

The major symbols:

• The hands crossed on the chest: they represent contemplation, humility, and inner prayer. This is one of the most characteristic attitudes of Selaphiel in Eastern iconography.

• The inclined face or gaze: symbol of the creature's humility before its Creator and the abandonment of pride in prayer.

• Incense or the censer: attribute found in certain representations and devotions, recalling the biblical symbolism of prayer rising toward God like the smoke of incense.

Michael, Gabriel, Raphael, Uriel and Selaphiel

The fresco of the Archangels thus continues to grow. And each figure has a deeply different identity. Michael fights.
Gabriel announces.
Raphael accompanies and heals.
Uriel enlightens.
Selaphiel prays. Michael reminds us that sometimes we must resist. Gabriel that we must know how to listen to the word addressed to us. Raphael that we can be accompanied on our path. Uriel that some darkness must be enlightened. And Selaphiel reminds us of something quieter: before wanting to change the world, man must sometimes learn to stand before God.

Selaphiel — He Who Bows

He may be the least spectacular of the Archangels in this tradition. And yet his image has a particular strength. For not everyone will fight a Dragon. Not everyone will receive an announcement like Gabriel's. Not everyone will walk the road of Tobias. But almost every human being will one day experience a moment when they will have only one thing left: to pray. When strength fails. When the road becomes incomprehensible. When fear arrives.

When someone we love suffers. When we no longer know what to do. The tradition of Selaphiel then reminds us that silence itself can become a prayer. Selaphiel.
The Archangel of prayer in certain Eastern Christian traditions.
He who bows his gaze before God.
Hands crossed over the chest.
The symbol of contemplation, intercession, and humility. After Michael's sword, Gabriel's word, Raphael's staff, and Uriel's flame, another symbol of power appears: two hands joined before God.

To contextualize this passage: Orthodox Church in America — names and attributes in the Eastern tradition.

Jegudiel — service and perseverance

Jegudiel belongs to certain Eastern traditions that link him to service and the effort accomplished for God. The crown and cords are his traditional attributes. This presentation must be understood in its denominational context.

The narrative, the symbols, and their reception

• The major symbols:

  • The golden crown: symbol of the spiritual reward granted to one who remains faithful to God and accomplishes their mission with perseverance.

  • The scourge or the cords: representation of discipline, responsibility, and the necessity of correcting what turns man away from his duty.

  • The scepter or the crown held in hand: evocation of service accomplished for the glory of God rather than for personal glory.

After Michael, the warrior of Heaven. After Gabriel, the messenger. After Raphael, the healer and companion of travelers. After Uriel, the light that enlightens. After Selaphiel, the Archangel of prayer. Comes another figure much less known to Western Christianity: Jegudiel. His name can also appear in the forms of Jehudiel, Jegudiel, or Yehudiel, depending on languages and traditions.

Like Uriel and Selaphiel, Jegudiel is not named in the canonical books of the Catholic Bible and therefore does not belong to the three Archangels named and celebrated by the Latin Catholic Church. His figure belongs primarily to certain Eastern Christian traditions, notably Orthodox. And his mission has a deeply human dimension. For Jegudiel is traditionally associated with the service of God, work accomplished with faithfulness, perseverance, and the reward of those who work for His glory.

Jegudiel — He Who Glorifies God

The name Jegudiel is traditionally interpreted around the idea of praise or glorification of God. We find translations such as: "Praise of God"
or
"He Who Glorifies God." This meaning immediately allows us to understand his symbolism. Jegudiel does not simply represent work in the material sense. He represents the work accomplished in the service of God. For in Christian thought, work is not limited to earning a living. Building. Healing. Teaching. Protecting. Raising a family. Creating. Serving. Helping.

Administering. All these actions can become a form of service when they are accomplished with righteousness. And it is precisely this idea that the tradition associates with Jegudiel.

A different status from Michael, Gabriel, and Raphael

As with Uriel and Selaphiel, a clarification remains essential. In the Latin Catholic Church, Jegudiel is not liturgically recognized as one of the three Archangels named in the Holy Scriptures. These three names remain: Michael.
Gabriel.
Raphael. Jegudiel belongs to a different tradition. He appears in certain Orthodox traditions among the Archangels honored with the heavenly powers. He should therefore neither be presented as a character explicitly recounted in the Bible nor should the Christian tradition that has preserved his name be erased.

It is precisely this distinction that allows us to understand the richness of the different traditions dedicated to the angelic world.

The golden crown

The most characteristic attribute of Jegudiel is probably the crown. In certain Orthodox representations, he holds a golden crown. Why? Because the crown represents the reward. But not necessarily an earthly reward. The New Testament uses the image of the crown several times to evoke the spiritual reward of one who remains faithful. Saint Paul notably compares the Christian life to a race whose goal is not to obtain a perishable crown, but an imperishable crown. Jegudiel's crown takes up this symbolism.

It seems to say: no service accomplished with faithfulness is forgotten by God.

Working without seeking glory

This crown nevertheless has a paradox. Jegudiel holds the symbol of reward… but his mission precisely reminds us that one must not work solely to obtain a reward. True service does not constantly seek applause. There are works that no one notices. Efforts that no one thanks. Sacrifices that no one sees. Responsibilities assumed for years without particular recognition. The tradition associated with Jegudiel then reminds us of a deeply Christian idea:

what men do not see, God can see. The value of a work therefore does not depend solely on the gaze of the world.

Discipline

But Jegudiel also has a second, much more surprising attribute. In certain representations, he holds a scourge or several cords. The image may seem severe. It traditionally represents discipline and correction. For every mission has two dimensions. There is the reward of one who remains faithful. But there is also the responsibility of one to whom something has been entrusted. The crown and the scourge thus form two sides of the same symbolism: reward and responsibility. Faithfulness and correction. Perseverance and discipline.

Work as a vocation

The figure of Jegudiel also allows us to address an important notion of Christianity: vocation. A vocation is not solely the call to become a priest, monk, or nun. In a broader sense, everyone can be called to accomplish a particular mission. Some teach. Some build. Some heal. Some protect. Some create. Some raise their children. Some dedicate their existence to the service of others. The question is therefore not only: "What work do you accomplish?" But also:

"In what spirit do you accomplish it?" Jegudiel thus becomes the symbol of one who transforms their work into service.

When work becomes difficult

Every mission, however, experiences testing. Fatigue. Discouragement. The impression of not moving forward. The feeling that no one recognizes the efforts accomplished. Sometimes even the desire to give up. It is here that the symbolism of Jegudiel takes on all its strength. The crown is not placed at the beginning of the road. It is found at the end of the effort. It therefore also represents perseverance. Continuing when the enthusiasm of the early days has disappeared. Continuing when the result is delayed. Continuing when no one applauds.

Continuing because the mission deserves to be accomplished.

Service rather than power

It would be easy to imagine an Archangel associated with authority as a figure of domination. But the symbolism of Jegudiel leads rather toward another conception: authority as service. He who receives more responsibilities must also answer more for their actions. Leading does not simply mean commanding. It means protecting. Organizing. Deciding. Assuming the consequences. Serving those for whom one holds responsibility. This idea joins a deeply Christian conception of authority: the greatest must be capable of serving.

The crown does not belong to pride

This symbolism becomes even more interesting when compared to the theme of the fall of the angels. Pride seeks its own crown. It wants to be admired. It wants to rise. It wants to receive glory. Jegudiel also holds a crown. But this crown has an exactly opposite meaning. It is not snatched. It is received. It represents the reward granted after service. Thus, the difference between pride and faithfulness could almost be summarized in this way:

pride wants to crown itself.
The faithful servant waits for God to recognize their work.

Perseverance in small things

Greatness is not always found in extraordinary acts. Most human lives are made of repeated gestures. Getting up. Working. Taking care. Repairing. Building. Starting over. Keeping a promise given. Finishing what one has started. Being present when someone depends on us. The tradition associated with Jegudiel gives a spiritual value to this daily faithfulness. It is not necessary to defeat a Dragon to show courage. Sometimes, courage simply consists of starting over tomorrow.

Jegudiel and those who bear responsibilities

This is why Jegudiel is sometimes associated, in Eastern devotions, with those who work for the glory of God and with those who exercise responsibilities. The symbolism can concern both the person responsible for a community and the man or woman humbly accomplishing their daily duty. For the principle remains identical: responsibility is not given solely for oneself. It must produce something good.

Michael, Gabriel, Raphael, Uriel, Selaphiel and Jegudiel

Our fresco of the Archangels now continues to take shape. Michael fights.
Gabriel announces.
Raphael accompanies and heals.
Uriel enlightens.
Selaphiel prays.
Jegudiel serves and encourages perseverance. Each represents a different dimension of the relationship between Heaven and men. Michael reminds us of courage. Gabriel, of listening. Raphael, of accompaniment. Uriel, of light. Selaphiel, of prayer. And Jegudiel brings a new dimension: action. For after having prayed, understood, and discerned… sometimes one must simply get up and accomplish what must be done.

Jegudiel — The crown after the effort

The figure of Jegudiel ultimately conveys a message of astonishing simplicity. Work.
Serve.
Persevere.
Do not constantly seek applause. The crown will come in its time. And perhaps it will never be a crown visible to the eyes of men. For some of the greatest works of a life remain unknown to almost everyone. A protected family. A kept promise. A helped person. An assumed responsibility. A work properly accomplished when it would have been so much easier to abandon it. That is what the crown of Jegudiel represents.

Jegudiel.
The Archangel of service in certain Eastern Christian traditions.
He who glorifies God.
The crown in one hand.
The symbol of discipline and responsibility in the other.
The symbolic protector of those who work and persevere in good. After the prayer of Selaphiel comes therefore naturally the action of Jegudiel. For faith does not only ask us to look toward Heaven. It also asks us to faithfully accomplish the work entrusted to us.

To contextualize this passage: Orthodox Church in America — names and attributes in the Eastern tradition.

Barachiel — blessing and roses

Certain Eastern traditions associate Barachiel with divine blessings and represent him with a rose. This figure belongs to their angelic tradition; it does not have the same liturgical status as Michael, Gabriel, and Raphael in the Latin Catholic Church.

The narrative, the symbols, and their reception

• The major symbols:

  • The roses: symbol of the blessings and graces granted by God. Barachiel is often represented carrying roses or holding them against his chest.

  • The flower-covered cloak: evocation of the abundance of divine benefits and the grace that spreads over men.

  • The white rose: representation of purity, peace, and the blessing received from God.

After Michael, the warrior of Heaven. After Gabriel, the messenger. After Raphael, the healer and companion of travelers. After Uriel, the light that enlightens. After Selaphiel, prayer. After Jegudiel, service and perseverance. Comes a figure whose symbolism stands apart from swords, flames, and celestial battles. Barachiel. Roses in his hands. Flowers on his garment. And a mission traditionally associated with something men have asked of God since time immemorial: his blessing.

In certain Eastern Christian traditions, Barachiel is presented as the Archangel of divine blessings. His name itself announces it: "Blessing of God." But like Uriel, Selaphiel, and Jegudiel, Barachiel is not named in the canonical books of the Catholic Bible and does not belong to the three Archangels named in the Latin Catholic liturgy. His story belongs primarily to certain Eastern Christian traditions.

Barachiel — "Blessing of God"

The name Barachiel, which is also found in the forms Barachiel, Barakiel, or Varachiel depending on traditions and languages, is generally interpreted as: "Blessing of God"
or
"He whom God blesses." His traditional mission stems directly from his name. Barachiel is associated with the blessings and benefits bestowed by God. He does not therefore possess a blessing that belongs to him personally. As is always the case in Christian angel theology, the Archangel is a servant. God blesses.
The angel serves God. This distinction is fundamental.

A rain of blessings

In certain descriptions from the Orthodox tradition, Barachiel is presented as the one through whom God's blessings are brought to those who seek to do good. This idea gave rise to iconography very different from that of Saint Michael. Michael possesses the sword. Barachiel possesses the roses. One appears in the clash of battle against the Dragon. The other evokes the gentleness of a gift received from Heaven. But these two images do not oppose each other.

They simply show two different dimensions of God's relationship with men: protection and blessing.

Why the roses?

Roses constitute Barachiel's most characteristic attribute in certain iconographic traditions. He may be depicted holding a white rose against his chest. In other later representations, his garment or cloak may be strewn with flowers. Why a flower? Because a blessing symbolically resembles something that blooms. A seed is invisible in the earth. Then it grows. It becomes a plant. And finally, the flower appears. Divine blessing can be understood in the same way.

It is not always spectacular. It can begin discreetly. An encounter. A possibility. A reconciliation. A birth. A protection. A door that opens. A strength regained. And what seemed insignificant sometimes ends up transforming an existence.

What is a blessing?

The word "blessing" is sometimes reduced to the idea of receiving something one desires. But in the biblical tradition, blessing has a much deeper meaning. To bless means, among other things, to speak well, to call upon God's goodness, and to recognize that all good finds its source in Him. Man asks for God's blessing on his family. On his work. On his journey. On his marriage. On his home. On those he loves.

But a blessing is not a magic formula guaranteeing that no difficulties will occur. And the figure of Barachiel must above all not be understood in this way. Being blessed does not mean living without trials. It means placing one's existence under God's gaze.

Blessing in the midst of trial

This distinction is important. A man can be blessed and yet experience difficulties. A journey can be placed under God's blessing and nevertheless involve obstacles. A family can pray together and go through a painful period. Christian blessing is therefore not a promise of permanent comfort. It is above all a relationship with God in the very midst of human existence. Barachiel's rose then becomes even more symbolic. For the rose is beautiful. But it also has thorns.

Beauty and trial can exist on the same stem.

Barachiel and the family

Certain devotions particularly associate Barachiel with the family and the home. This association stems naturally from his connection to blessing. Since time immemorial, Christian families have asked God to protect their home. Parents pray for their children. Spouses pray for one another. A marriage is blessed. Sometimes a home is blessed. God is asked to accompany those who leave and those who return.

Barachiel thus becomes, in the traditions that recognize him, a figure particularly linked to God's benefits in daily life.

Blessings are not only material

There is also a risk when speaking of blessing: immediately thinking of wealth or material success. Yet the Christian conception is much broader. A blessing can be: peace.
Wisdom.
Courage.
A united family.
The ability to forgive.
The strength to get through a trial.
A providential encounter.
The faith that remains when everything becomes difficult. Some blessings are visible. Others almost never are. And sometimes, man only understands after several years that a difficulty overcome has also produced something precious.

Receiving and transmitting

The figure of Barachiel also allows us to recall another fundamental biblical idea. A blessing is not necessarily destined to remain locked within the one who receives it. The one who receives can in turn become a blessing to others. Receiving to give. Being helped so as to be able to help. Being comforted so as to be able to comfort. Being forgiven so as to learn to forgive. Thus, blessing ceases to be simply: "What will I receive?" It becomes:

"What will I do with what I have received?"

Barachiel is not an independent source of grace

As with the other Archangels, this clarification is essential. In Christianity, grace comes from God. Barachiel is therefore not a deity independently distributing luck, prosperity, or happiness. In the traditions that accord him a place, he remains a servant of God. His symbolism refers precisely to the One from whom all blessing comes. The rose is not the source. The angel is not the source. God is the source.

Why is Barachiel not celebrated like Michael, Gabriel, and Raphael among Catholics?

Here we find the distinction that is now essential to our journey among the Archangels. In Catholic devotion and liturgy, three names of faithful angels are retained: Michael.
Gabriel.
Raphael. These are the ones the Latin Catholic Church celebrates together on September 29. Barachiel is not named in these canonical texts. His name belongs to other angelic traditions, notably present in certain branches of Eastern Christianity. It would therefore be incorrect to present Barachiel as a biblical figure possessing exactly the same status as Saint Michael or Saint Gabriel.

But it would be just as incorrect to claim that his name does not exist in the history of Christian traditions. We are simply faced with different legacies.

Gentleness after battle

The presence of Barachiel in our journey also produces a magnificent contrast. We began with Michael. Armor. A sword. A Dragon. Then Gabriel led us to the Annunciation. Raphael made us set out on the road with Tobias. Uriel led us toward light and mysteries. Selaphiel taught us to bow in prayer. Jegudiel reminded us of the value of work and perseverance. And now Barachiel arrives with… a rose.

As if, after battle, word, journey, light, prayer, and effort, the time had finally come to receive.

Michael, Gabriel, Raphael, Uriel, Selaphiel, Jegudiel, and Barachiel

We thus arrive at a traditional representation of the seven Archangels found in certain Christian traditions: Michael fights.
Gabriel announces.
Raphael accompanies and heals.
Uriel enlightens.
Selaphiel prays.
Jegudiel serves and encourages perseverance.
Barachiel brings the image of blessing. The sword. The message. The traveler's staff. The flame. Prayer. The crown. And finally: the rose. Seven figures. Seven symbolisms. Seven different ways of representing the service of God. But with a distinction we must always retain:

Michael, Gabriel, and Raphael belong to the Catholic canonical Scriptures; the other names come from other ancient and Eastern Christian traditions and therefore do not have the same status in all Churches.

Barachiel — The rose from Heaven

The figure of Barachiel finally leaves us with an image much simpler than that of a celestial battle. A hand. A rose. And behind this rose: gratitude. For perhaps we sometimes forget to look at what has already been given to us. We ask for what is missing. We look at the next difficulty. We think of the next goal. And we sometimes forget the blessings already present. The person walking beside us. The roof that protects us. The hand that helps us.

The possibility of starting over. The strength that returns after a trial. The faith that remains. Barachiel.
The "Blessing of God".
The Archangel associated with blessings in certain Eastern Christian traditions.
The one whom iconography represents with roses.
The symbol of received grace and the good that blooms. After Jegudiel's crown comes therefore Barachiel's rose. And it reminds us of a very simple truth: some blessings make noise when they arrive.
Others bloom silently in our lives.

To situate this passage: Orthodox Church in America — names and attributes in the Eastern tradition.

Jeremiel — discernment and good thoughts

Jeremiel is sometimes added to the Eastern lists of archangels. The balance evokes discernment and the examination of life. The diversity of these lists explains why the number and names of the archangels vary according to traditions.

The narrative, the symbols, and their reception

• The major symbols:

  • The balance: in Orthodox iconography presented by certain traditions, Jeremiel holds a balance, a symbol of discernment, the examination of life, and man's destiny.

  • The gaze turned toward Heaven: an evocation of the elevation of the soul and spirit toward God.

  • The inner light: a symbolic representation of good thoughts, discernment, and the conversion of the heart.

We thought we had completed our journey. Michael. Gabriel. Raphael. Uriel. Selaphiel. Jegudiel. Barachiel. Seven Archangels. And yet, when exploring certain Eastern Christian traditions, an eighth name sometimes appears: Jeremiel. This is where our journey among the Archangels becomes particularly interesting. For contrary to a very widespread idea, not all traditions give exactly the same list of the "seven Archangels".

Certain Orthodox traditions thus speak of seven or eight Archangels, Jeremiel sometimes being added to the seven we have just discovered. The Orthodox Church in America also counts him among the Archangels honored during the Synaxis of the Archangel Michael and the other celestial powers. So who is this mysterious eighth Archangel?

Why seven… then sometimes eight?

The number seven has immense symbolic importance in biblical traditions. The Book of Tobit notably has Raphael say that he is one of the seven angels who stand before God. But the text does not give the names of the other six. Different ancient traditions have therefore transmitted different lists. This is why one should avoid imagining that there exists a single list of seven names recognized identically by all of Christianity. In certain Orthodox traditions, we find: Michael.
Gabriel.
Raphael.
Uriel.
Selaphiel.
Jegudiel.
Barachiel. Then sometimes comes:

Jeremiel. A recent publication by the Orthodox Church in America precisely summarizes this tradition by speaking of "seven or eight archangels", Jeremiel being the one sometimes added to the group. Our eighth Archangel is therefore not a calculation error. He simply bears witness to the diversity of ancient angelic traditions.

Jeremiel — "The elevation toward God"

The Orthodox tradition associates Jeremiel with a particularly beautiful expression: "the elevation toward God." The Orthodox Church in America presents him under this meaning and also associates his figure with good thoughts, those that orient man toward God. This is immediately what distinguishes Jeremiel from the other Archangels in our series. Michael fights. Gabriel announces. Raphael heals. Uriel enlightens. Selaphiel leads to prayer. Jegudiel encourages service. Barachiel recalls blessing. And Jeremiel? Jeremiel elevates.

He represents the inner movement by which man turns his gaze away from what distances him from God to return to Him.

Jeremiel in 4 Esdras

Jeremiel appears notably in 4 Esdras, also known according to traditions and numbering systems by other titles. This text does not belong to the canon of the Latin Catholic Church. It does, however, have a long history in Jewish and Christian traditions and was notably transmitted as an appendix to certain editions of the Vulgate. In a particularly mysterious passage, the souls of the righteous inquire about the time they must still wait. And it is Jeremiel who answers them.

He thus appears in a context linked to waiting, the destiny of the righteous, and the fulfillment of God's plan.

The man who looks at his own life

It is from this tradition that the figure of Jeremiel can take a particularly profound spiritual dimension. Before looking toward the future, man must sometimes look back. What have I done? What have I built? What have I destroyed? What could I have done differently? What is worth pursuing? What must be abandoned? These questions can become painful. But they can also become the beginning of a transformation.

Jeremiel is thus associated, in certain spiritual interpretations, with this ability to look at one's life to better reorient it toward God. Not to remain a prisoner of the past. But to understand how to move forward.

Jeremiel's balance

Orthodox iconography attributes a particularly meaningful object to him: a balance. The Orthodox Church in America explicitly mentions Jeremiel depicted holding a balance. This image is magnificent. The balance compels us to compare. To weigh. To discern. It reminds us that not all actions have the same value. Not all thoughts lead to the same place. Not all decisions build a person in the same way. The balance thus becomes the image of discernment. Before acting: weigh. Before condemning: weigh.

Before choosing: weigh. And sometimes, before continuing: weigh your own life.

The Archangel of Good Thoughts

A contemporary Orthodox tradition also presents Jeremiel as the one who inspires holy or good thoughts in the heart. This mission might seem modest. It is not. For almost every action begins with a thought. Before the gesture comes the intention. Before the word comes the idea. Before the choice comes the desire. Spiritual battle therefore does not always begin on a battlefield. It can begin in the mind. A thought of vengeance can become an action. A thought of forgiveness as well.

A thought of despair can lead to giving up. A thought of hope can allow one to continue. Thus, where Michael represents the great battle against the Dragon, Jeremiel brings us back to a much more intimate battlefield: the human heart.

Looking at the Past Without Remaining Its Prisoner

The symbolism of Jeremiel also allows us to distinguish two things. Regret and conversion. Regret looks at the past and says, “I should have.” Conversion looks at the past and asks: “What can I change now?” In Christian spirituality, recognizing one’s mistakes is not intended to condemn a person definitively to what they once were. The goal is precisely to allow them to change direction. This is what conversion means deeply: to turn around. To return.

To change path. To rise again toward God. And it is here that the traditional meaning attributed to Jeremiel—“the elevation toward God”—takes on its full force.

Hope Behind Judgment

The balance could give Jeremiel a frightening appearance. Yet, its symbolism is not limited to judgment. It can also lead toward hope. For if a person can examine their life, it is also because they can still change. As long as the path continues, another direction remains possible. A fault can be acknowledged. A relationship can sometimes be repaired. A bad habit can be combated. A person distanced from God can return. The balance is therefore not solely the image of what has been done.

It also poses a question: What will you do now?

Jeremiel and Remiel: Are They the Same Archangel?

This is where another fascinating difficulty appears. In different ancient texts and translations, we encounter names such as: Jeremiel.
Jerahmeel.
Remiel.
Ramiel. Scholars and traditions have sometimes brought these figures together or identified them with one another. For example, the Bible Gateway Bible Encyclopedia notes that the Jeremiel of 2 Esdras may correspond to the Ramiel of 2 Baruch and the Remiel of 1 Enoch. We must therefore be careful. Manuscript traditions, languages, and translations have caused names to vary over the centuries.

We should not present all these identifications as absolute certainty. But they show something fascinating: traditions concerning the Archangels are much older and more complex than the modern lists sometimes found on the Internet.

And in the Book of Enoch?

The Book of Enoch also has its own list of seven angels. Among them, we find a figure called Remiel in certain translations. But again, caution is necessary when trying to automatically identify him with Jeremiel. Different textual traditions do not always correspond perfectly. This is precisely why our distinction between canonical Scripture, ancient texts, and ecclesial traditions is so important. We are not trying to artificially construct a single list. We are trying to understand how different traditions have spoken of the angelic world.

Why Is Jeremiel Not Celebrated Like Michael Among Catholics?

For the same reason we explained with Uriel, Selaphiel, Jegudiel, and Barachiel. In the Latin Catholic Church, the names retained liturgically are those of the three angels named in its canonical Scriptures: Michael.
Gabriel.
Raphael. Jeremiel therefore does not have the same status in the Latin Catholic tradition. In certain Orthodox traditions, however, his name appears explicitly among the Archangels associated with the Synaxis of the Heavenly Powers on November 8.

It is therefore not a matter of deciding that one Church is “right” and the other “wrong.” It is a matter of understanding that their liturgical traditions and their corpora of texts have not developed in exactly the same way.

Seven or Eight Archangels?

We can now answer the question clearly. Why did we start with seven and suddenly discover an eighth? Because “the seven Archangels” do not constitute a universal list that is identical in all Christian traditions. Certain Eastern traditions particularly highlight seven names. Other Orthodox sources also add Jeremiel and thus speak of seven or eight named Archangels. And other ancient texts still have their own lists. The number seven retains its symbolic value.

But the names associated with this number can vary.

The Eight Figures of Our Journey

Our fresco can therefore now be expanded: Michael fights.
Gabriel announces.
Raphael accompanies and heals.
Uriel enlightens.
Selaphiel prays.
Jegudiel encourages service.
Barachiel represents blessing.
Jeremiel elevates thoughts toward God. Eight figures. Eight missions. But coming from different levels of tradition, which must never be confused. And it is precisely this nuance that makes their story much more interesting than a simple list of names.

Jeremiel—The One Who Invites Us to Look Up

Jeremiel admirably concludes this part of our journey. For after discovering battle, announcement, healing, light, prayer, work, and blessing, there is still something more to do. Look at your own life. Weigh what deserves to be weighed. Recognize what must change. Keep what is good. Abandon what distances you from God. Then lift your eyes.

Jeremiel.
The Archangel added to the seven in certain Orthodox traditions.
The one whose tradition evokes elevation toward God.
The inspirer of good thoughts.
The balance in his hands.
The symbol of discernment and return to God. For true elevation may not consist in never falling. It consists in understanding where you fell… and then choosing once again to look toward Heaven.

To situate this passage: Orthodox Church in America—names and attributes in the Eastern tradition.