Editing Angels in art (section)

===Medieval art===
Medieval depictions of angels borrow from the Byzantine. In the French ''Hours of Anne of Brittany'', Gabriel wears a dalmatic.<ref>[https://books.google.com/books?id=9QQFAAAAQAAJ&pg=PA54 Andre, J. Lewis. "The Icons and Emblems of the Holy Angels", ''The Belfry: Quarterly Papers on Art, History and Archaeology'', No. III, Burns & Oates, London, October 1876],</ref> In the later Middle Ages they often wear the vestments of a [[deacon]], a [[cope]] over a [[dalmatic]], especially [[Gabriel]] in [[Annunciation]] scenes – for example ''[[Annunciation (van Eyck, Washington)|The Annunciation]]'' by [[Jan van Eyck]]. This indicated that, for all their powers, they could not perform the [[Eucharist]], and were in this respect outranked by every priest, reinforcing the prestige of the clergy.  In [[Early Christian art]] white robes were almost invariably adopted, sometimes bound with the "golden girdle" of Revelation. During the mediæval period senior angels were often clad in every brilliant colour,<ref name=vinycomb>{{cite web| url = http://www.sacred-texts.com/lcr/fsca/fsca08.htm| title = Vinycomb, John. ''Fictitious and Symbolic Creatures in Art'', p. 30, Chapman and Hall, London(1909)}}</ref> while junior ranks wore white. Early Renaissance painters such as [[Jan van Eyck]] and [[Fra Angelico]] painted angels with multi-colored wings.  Depictions of angels came to combine medieval notions of beauty with feminine ideals of grace and beauty, as in da Panicale's 1435 ''Baptism of Christ''.<ref name=gorgievski/>