8/12/2019 Naked innocence: representing angelic and human freedom in Milton and the Visual Art

1/10

Larisa Kocic-Zambo

Naked Innocence

Representing Unfallen Angels in Milton and the Visual Arts

BLAKEs claim that Milton wrote at liberty of Devils and Hell because he was a truePoet and of the Devils party without knowing it (1994, 6 = plate 6) played a large rolein initiating the Romantics obsession with the devil in Miltons Paradise Lostand makingSatan the most controversial character of Milton scholarship. Miltons angels although noless fascinating than their fallen counterparts, have nevertheless been neglected unlessdiscussed with regard to their sexual life, digestion, or Neoplatonic references. And yet,Renaissance man, of whom Milton is usually considered to be the last, was far morefascinated with angels, seeing in them the potential of human elevation, exaltation from alower state of being to that approaching or even reaching deity. Indeed, one can noticethis fascination in Milton in the very central role he assigns to the interlude Adam has

with Raphael, when man and angel converse as friend with friend (PL 5.229) andwhich SHERRYcalls the civilized centre of the poem (1979, 227). Milton was definitelynot in fetters, as Blake would have it, when writing of angels and God. On thecontrary, I aim to show how Miltons peculiar way of representing angels in Paradise Lostliberates them from the conventional angelic representations of his age, both visual andliterary, and, at the same time, reinforces the compatibility of angelic and human freedomMilton emphasized in his epic.

1.a stripling CherubeFORSYTHs observation that one is always tempted to tell stories about Satan (1987, 4)seems to hold true even when one is about to focus on Miltons angels. For this, we canrightly blame Milton because he gives us the first detailed description of an angel in thepersona of Satan, albeit disguised as a stripling Cherube

Not of the prime, yet such as in his faceYouth smild Celestial, and to every LimbSuitable grace diffusd, so well he feignd;

Under a Coronet his flowing haireIn curles on either cheek plaid, wings he woreOf many a colourd plume sprinkld with Gold,His habit fit for speed succinct, and heldBefore his decent steps a Silver wand. (3.636644)

Roland Mushat FRYE in his seminal work Miltons Imagery and the Visual Artssingles outthis depiction because of the two special attributes Milton employs in his description:the silver staff [sic!], and the robe girded up for speed succinct (1978, 178). Theexpression habit fit for speed succinct particularly struck Frye as describing angelicrobes which are girded up by a belt or a sash or tucked up in some other way, so as to

allow free movement of the leg (1978, 178). This description, Frye notes, suits only oneangels visual representation, namely, that of the guardian angel, more specifically, that of

:

8/12/2019 Naked innocence: representing angelic and human freedom in Milton and the Visual Art

2/10

Raphael. Raphael, whose place among the angelic hierarchy was assured by his dramaticappearance in the popular apocrypha, the Book of Tobit,1was primarily sent to heale,to scale away the whitenesse of Tobits eyes, and to giue Sara the daughter of Raguel fora wife to Tobias the sonne of Tobit (Tob 3:17), and, hence, regarded as the celestialphysician of both corporal and spiritual maladies. However, in art, Raphael was far more

often represented as the chief of the guardian angels and the patron saint ofperegrinatores,travelers and pilgrims, who set out under his protection because the completion of hismission of healing entailed that he first accompany Tobits son, Tobias, as a guide fromNiniveh to Ecbatan (see Tob 5:46:16).2Thus, whether Raphael or any other guardianangel was intended, he was expected to appear with staff and girded robes, accordingto FRYE(1978, 178). Building on this iconography of Raphael, Frye claims that Milton inthe depiction of the disguised Satan provides a hint fraught with powerfully ironicsignificance: Satan enters the created world not only disguised as an angel, but evendisguised in a form which artistically sophisticated readers could readily identify as theusual form of the guardian angel (1978, 179).

Fryes interpretation, on the one hand, opens a new horizon on the

Raphael/Satan comparison and contrast, but, on the other hand, it closes another avenueof interpretation which reads Miltons ambiguous expression, [h]is habit fit for speedsuccinct as referring to the wings the stripling Cherube wore [o]f many a colourdplume sprinkld with Gold (3.642). The habit in this reading stands metaphorically forthe cherubs wings and is thus indeed fit for speed succinct. This second reading mightseem incompatible with dictionary definitions of the word succinct because themajority of them quote the aforementioned Miltonic line in order to illustrate the senseof being girded up, or tucked in, thus supporting Fryes argument.3If, however, onetakes a look at Popes translation of the Odyssey, in Book 20, one stumbles upon thephrase speed succinct in a quite different context:

From council strait th assenting peerage ceasd,And in the dome prepard the genial feast.Dis-roabd, their vests apart in order lay,

Then all with speed succinctthe victims slay[.] (The Odyssey 20.310313; italics mine).

It is obvious that Popes use of the word succinct has nothing to do with the length ofthe garments but all with speed and, thus, with the action of the suitors who promptly

1A late Jewish work, never received into the Jewish canon, although pronounced canonical by the Councilof Carthage (397) and latter reaffirmed by the Council of Trent (1546). The Protestants count it among the

apocrypha, books that were not considered part of the canon, and yet it was retained in Protestant Biblesup until the early nineteenth century.2Images relating to the Book of Tobit are relatively rare in the Middle Ages. However, there is anostentatious boom in the production of Tobiasbilder in mid-fifteenth-century Florence, most of themdepicting the angel Raphael on a journey with young Tobias and his dog. A catch-on theory explaining thisinterest is that of Hans Mackowskys, who sees in these pictures a religious ex-votoof the wealthy Florentineparents whose sons were sent off, like Tobias, on long and often dangerous trading journeys. G OMBRICH,however, is cautious in accepting this theory lacking documentary evidence, and, instead, points to aconnection between these images and the Florentine confraternities such as the Compagnia di Raffaello(1972,2630; see also HART2006, 8284). The other cluster of Tobiasbilderwas symptomatic of the seventeenth-century Dutch Golden Age, its most prominent artist, Rembrandt, alone producing more than a dozenof them. The Tobiasbilderof the Northern Renaissance, however, differ from their Florentine counterpartsin that they depict Tobits healing and the departure of the angel quite as often as the journeying part of the

apocryphal narrative.3The OEDalso quotes PL3.643, illustrating the adverbial meaning of succinctas Of garments: Not ampleor full, close-fitting, scant (s.v. succinct adj 3).

8/12/2019 Naked innocence: representing angelic and human freedom in Milton and the Visual Art

3/10

fell on slaying the sheep and shaggy goats (The Odyssey 20.314).4Nor is this meaninginapplicable to Milton, for Thomas NEWTONin his comment on PL3.641643 wrote:

If the author meant that Satan had clothes on as well as wings, it is contrary to his usualmanner of representing the Angels; but I rather understand it, that the wings he worewerehis habit, and they were certainly a habit fit for speed succinct, but succinctI understand withDr. Pearce, not in its first and litteral sense, girdedor tuckd up; but in the metaphoricalsense, readyandprepard: As Fabius in Inst. Orat. II.2, says: Proni succinctique &c. (1749, 1:216217n)

Thus, Miltons stripling Cherube is wearing nothing but wings, and, quitecontrary to FRYESclaim that it would be difficult to find another literary description

which so graphically evokes the visual tradition (1978, 176), there is hardly a descriptionso diametrically opposed to the traditional visual representations as this one, or the oneMilton gives of Raphael in Book 5.

2.Raphael, Adam, and EveVisual representations of Raphael where he is wearing a staff and a girded or short robeare mostly characteristic of the seventeenth-century Northern Renaissanceamongartists such as de Keuninck, Jan Massys, Pieter Lastman (plate LKZ-1), to mention just afew beside those already listed by FRYE (1978, 178). However, a number of earlierTobiasbilderby fifteenth-century Florentine artists have Raphael holding instead of a staffan attribute befitting the etymology of his name: as the medicine of God, he is holdinga kind of medical etui, a box of wholesome drugs as on images by Lippi, Perugio, Botticini,and a follower of Verrocchio (plate LKZ-2). To support his argument, Frye notes thatthe angel on the painting from Verrocchios school has not only belted his undergarment but is holding up his outer robe with his hand (178). However, he mentions

neither the etui in Raphaels right hand nor the missing staff. His observation concerningthe robe of the angel hardly seems relevant if we consider BotticinisThe Three Archangelswith Tobiaswhere both Raphael and Gabriel have belted undergarments and it is thelatter one who is holding up his outer robe (plate LKZ-3)5or Savoldos Tobias and the

Angel, where the length of Raphaels robe is practically overwhelming (plate LKZ-4). HadMilton wanted to make an allusion to Raphael with his depiction of a succinctly cladSatan in disguise, his source would have been rather literal than visual. Raphael isdescribed in the Vulgateas a splendid youth, girded up as if ready to walk.6This, however,

4The OED here proves its occasional unreliability, for it quotes Popes line illustrating the girded up

definition of the word succinctomitting the speed part of the phrase (s.v. succinct pa. pple.& ppl. a.2a:Aside they lay Their garments, and succinct, the victims slay) and provides a mistaken source referenceto boot (Odyss. XVII.200 [sic!]).5GOMBRICHwould simply label Botticinis painting as The Three Archangels for he sees Tobias merelyas an identifying token for Raphael, a symbolic pointer equivalent to Michaels sword and Gabriels lily.However, pursuing this line of argument, Tobias should properly be equated with Mary and the dragon, thelatter two being the non-object emblems of Gabriel and Michael. Gombrich points out the goldencontainer in Raphaels hand, which he describes as the box containing the fishs entrails and which wasidentified as the golden censer (turibulum [sic!]) (1972, 28)an interesting claim, since the box inRaphaels hand bears no resemblance to a metal censer suspended on chainsbut fails to see it as asufficient identifier of Raphael. However, more to the point is Gombrichs omission of a staff and/or thementioning of the length of the angelic robe when enumerating and defining Raphaels iconographicsignifiers.

6Tunc egressus Tobias, invenit juventum splendidum, stantem preacinctum, et quasi paratum adambulandum. Et ignorans quod angelus Dei esset, salutavit eum (Tob 5:5-6a in WALTON16551657,4:46). DE VORAGINEs Golden Legend (2000), translated by William Caxton, follows the Vulgate account

8/12/2019 Naked innocence: representing angelic and human freedom in Milton and the Visual Art

4/10

would have been an odd choice, for Milton was quite aware that the description inquestion was particular to the Vulgateonly and omitted from other translations.7

So when it comes specifically to Raphaels description, Milton, althoughintroducing him with allusions to his role in the apocrypha (Raphael, the sociable Spirit,that deignd / To travel with Tobias, and securd / His marriage with the seaventimes-

wedded Maid; 5.221223), departs from established visual representations of western artto adhere to the description found in the Book of Ezekiel: and their wings werestretched upward, two wings of euery one were ioyned one to an other, and two coueredtheir bodies. [] euery one had two which couered on this side, & euery one had two,

which couered on that side their bodies (Ezek 1:11, 23). Consequently, Raphael wore

six wings [], to shadeHis lineaments Divine; the pair that cladEach shoulder broad, came mantling ore his brest

With regal Ornament; the middle pairGirt like a Starrie Zone his waste, and round

Skirted his loines and thighes with downie GoldAnd colours dipt in Heavn; the third his feetShaddowd from either heele with featherd maileSkie-tincturd grain. (5.277285)

Miltons extensive description of the wings Raphael wore, which clad, mantled,girt, and skirted his lineaments Divine, gives the reader a visual impression ofelaborate clothing while, in reality, there are no clothes on the angel at all. Milton hereseems to share DIDRONs opinion that where angels are given three pairs of wings []it is superfluous to endow them with robe and mantle besides (18511886, 2:96). All thesame, Didron makes it clear in his Christian Iconography that from the Middle Ages on

miniaturists, painters and sculptors, have arrayed their angels, already clothed with sixwings, in robe and mantle due to the invincible tendency of western nations tohumanize, and to give an ordinary, every-day character to their angelic beings (2:9596).

In Milton, however, the tendency works in the opposite direction. Vaild with hisgorgeous wings (5.250), his Raphael is no more clothed than the fish who sporting

with quick glance / Show to the Sun thir wavd coats dropt with Gold (7.405406) orthe swan who with Arched neck / Between her white wings mantling proudly, Rowes /Her state with Oarie feet (7.438440). Similarly, Insect[s] or Worme[s] are said to belavishly dressed, for their smallest Lineaments exact / In all the Liveries [are] dect ofSummers pride / With spots of Gold and Purple, azure and green (7.477479). Adam

word for word: Then Tobias went forth and found a fair young man girt up and ready for to walk, andnot knowing that it was the angel of God, saluted him (para. 5).7 Milton read the Bible both in Hebrew and Greek, but he definitely preferred among the Englishtranslations the Authorized Version and among the Latin translations the Junius-Tremellius version (ME8:89 = s.v. Tremellius, John Immanuel) while also perusing the Biblia Sacra Polyglotta by Brian Walton(RADZINOWICZ1997, 209). The account of Raphaels appearance in the 1611 edition of the King James Biblediffers from the Vulgate in that it omits all the details describing the angel: Therefore when he went toseeke a man, he found Raphael that was an Angel. But he knew not; and he said vnto him (Tob 5:45a). Similarly, in the Junius-Tremellius Latin Bible it reads: Abiens igitur ad conquirendum aliquem invenitRaphaelem, qui erat Angelus, sed nesciebat Tobija (Tob 5:56). This is important, for the Junius-

Tremellius version was the standard Latin Bible for nearly all Protestants, and after certain alterations, waseven sanctioned by the universities of Douai and Louvain. Milton himself frequently used Junius and

Tremellius as the basis for the prooftexts in his Latin prose works (ME8:8889 = s.v. Tremellius, John

Immanuel). Hence, Miltons choice to describe Satan in terms reminiscent of Raphael as described in theVulgate would also provide a hint fraught with powerfully ironic significance (FRYE 1978, 179)although not as Frye would have it.

8/12/2019 Naked innocence: representing angelic and human freedom in Milton and the Visual Art

5/10

and Eve, when first spotted by Satan, are also described with native Honour clad / Innaked Majestie seemd Lords of all (4.289290). As Kristen POOLE keenly observes,Paradise is a place strikingly devoid of nudity. This pure environment is, in fact,primarily constructed through incessant description of cloth and clothing (2006, 178).One gets the impression that in Paradise everything is naked and yet, at the same time,

everything is clothed, or, to say it differently, nothing is naked and nothing is clothed. InPooles words:

The form of clothing the earth and its species wear are a manifestation of theirnakedness; clothing is not indicative of a divided sign, of a split between internal andexternal, but is an integrated element of the essence of creation. It is only after the Fallthat the reader encounters extended and blatant representations of nakedness in ParadiseLost. (180)

Not that I completely agree with Pooles last statement. She makes quite an oversightwhen comparing the Biblical account of Adam and Eves realization of their nakednessand their construction of fig-leaf clothing to that in Paradise Lost and concludes that

while prelapsarian nakedness becomes invisible, postlapsarian nakednessemblematicof human misery, insufficiency, exile and guiltis the topic of extensive, reiterateddiscussion in the epic (180). Milton indeed clothes his prelapsarian couple into nativeHonour, and shows Eve, in particular, wearing as a vail down to the slender waste /Her unadorned golden tresses (4.289, 304305), but he is just as adamant, even blatant,in asserting their naked, undeckt state:

Nor those mysterious parts were then conceald,Then was not guiltie shame, dishonest shameOf nature works, honor dishonorable,Sin-bred, how have ye troubld all mankind

With shews instead, meer shews of seeming pure,And banished from mans life his happiest life,Simplicitie and spotless innoncence.So passd they naked on, nor shund the sightOf God or Angel, for they thought no ill[.] (4.312320)

The emphasis he puts on their physical nakedness is most pronounced in case of Eve(4.494497), especially when Milton contrasts the human pairs natural surroundings(With flourets deckt) with the undeckt beauty of Eve (5.378385) prompting aspontaneous jubilation of innocence / Deserving Paradise! (5. 445446).

This praise of innocence Deserving Paradise does not pertain merely to Eves

nakedness but bears a reference to the Sons of Gods, too, who are not libidinouslyaffected by the sight of undecked Eve. Vertue-proof, Eve needs no veil, nor does the

visiting angel, for, both in the case of the prelapsarian humans and Gods unfallen angels,no thought infirme / Alterd [their] cheek[s] (5.384385).

3.Exercising Heroic GamesAt this point, I would like to turn to Miltons description of Raphael being like Maiasson (5.285)a comparison that the majority of glosses warrant with the role of Raphael

8/12/2019 Naked innocence: representing angelic and human freedom in Milton and the Visual Art

6/10

as Gods messenger.8The lines following the comparison would apparently support suchglosses:

Strait knew him all the BandsOf Angels under watch; and to his state,

And to his message high in honour rise;For on som message high they guessd him bound.(5.287290)

In addition, Miltons comparative description has a strong visual connotation and soundsalmost as if Raphael were striking a pose for an artist: like Maiasson he stood, / Andshook his Plumes, that Heavnly fragrance filld / The circuit wide (5.285287). Milton

was no doubt aware of the fact that the messenger of the gods, Mercury/Hermes,featured prominently naked in the visual arts although, as LEWALSKIwrites, it is nearlyimpossible to determine Miltons reactions to much that he sawfor example, Italianart, which he nowhere mentions (2003, 88).

Mecury/Hermes was also represented nude or as a herm in his capacity of a godpresiding over games, the god of palaestra and of wrestling (BONFANTE 1989, 549n),which, in turn, leads us to another short but telling description of unfallen angels inParadise Lost:

Betwixt these rockie Pillars GabrielsatChief of th Angelic Guards, awaiting night;

About him exercisd Heroic GamesTh unarmed Youth of Heavn, but nigh at handCelestial Armourie, Shields, Helmes, and Speares,Hung high with Diamond flaming, and with Gold.

(4.549554)

FOWLER (2007, 253) emphasizes that these young celestial warriors engaged in heroicgames are unarmed and, hence, their exercise is contrasted with the warlike games ofthe devils that with feats of Arms / From either end of Heavn make the sky burn(2.537538). In my reading, the angels being unarmed while exercising HeroicGames also means that they were gumnov", which, in a military context, indeed meantunarmed (Il. 16.815), not covered by armor, exposed (Thuc. 3.23, 5.10.71; Xen.Hell.4.4.12); and light-armed, as opposed to the heavy-armed hoplite (BONFANTE 1989,547). But the word also refers to total nudity,9 for its most common usage wasspecifically exercising in the nude (547). Hence, Miltons emphasis on the armor laidaside, although nigh at hand, serves rather to identify the heroic games exercised by theYouth of Heavn as wrestling and to reinforce what NEWTONcalls the poets usualmanner of representing the Angels (1749, 1:217n)wearing nothing besides wings

8A role that, given the etymology of the Hebrew word melakh(messenger) and the Greek word a[ggelo"(messenger), would be common to all members of the celestial hierarchy. However, following TrithemiusDe Septem Secundeisand Agrippas Occult Philosophy(TYSON2000, 533), Raphael was regarded the governingspirit of the planet Mercury (LILLY 1647, 43) and as such readily identified as the Judeo-Christiancounterpart of Maias son, Mercury (Hermes).9BONFANTE, referring to earlier studies by Sturtevant from 1912 and by Mann from 1947, notes thatmodern prudery caused a standard dictionary such as LSJ(gumnov", 3) to translate gumnov"as wearing achiton (1989, 547n). With more recent editions of the LSJ, this is no longer the case; it is, however,interesting to note that no such prudery inhibited early modern lexicographers (see, e.g., B LOUNTs

Glossographia(1656), s.v. gymnosophists and COOPERs Thesaurus Linguae Roman & Britanic (1565), s.v.gymnos). Nor could it inhibit a poet who so eloquently praised the naked glory of both prelapsarianhumans and angels.

8/12/2019 Naked innocence: representing angelic and human freedom in Milton and the Visual Art

7/10

than to contrast the two types of games, that is, unarmed-celestial versus armed-demonic.Especially, since Milton prescribes both as recommended physical exercises in theinstitution of breeding delineated in his treatise Of Education:

The exercise which I commend first, is the exact use of their weapon; to guard and to

strike safely with edge, or point; this will keep them healthy, nimble, strong, and well inbreath, is also the likeliest meanes to make them grow large, and tall, and to inspire themwith a gallant and fearlesse courage, which being temperd with seasonable lectures andprecepts to them of true fortitude, and patience, will turn into a native and heroick

valour, and make them hate the cowardise of doing wrong. They must be also practizdin all the locks and gripes of wrastling, wherein English men were wont to excell, as needmay often be in fight to tugge, to grapple, and to close. And this perhaps will be anough,

wherein to prove and heat their single strength. (YP 2:409)

One almost feels disappointed that Milton, in blaming the cold air for the inability of theEnglish to open their mouths wide enough to grace a Southern tongue (YP 2:383 = Of

Education), omits to lament how it also prevents the youth to exercise, as it were, in the

naked.

4.Clad to Meet ManThere is only one instance in Paradise Lostwhen an unfallen angel is described literallywearing robes:

th Arch-Angel soon drew nigh,Not in his shape Celestial, but as ManClad to meet Man; over his lucid Armes

A militarie Vest of purple flowdLivelier thenMeliban, or the graineOf Sarra, worn by Kings and Heros oldIn time of Truce; Irishad dipt the wooff;His starrie Helme unbuckld shewd him primeIn Manhood where Youth ended; by his side

As in a glistering Zodiachung the Sword,Satans dire dread, and in his hand the Spear. (11.238248)

Adam, before the fall, to meet / His god-like Guest, walk[ed] forth, without moretrain / Accompanid then with his own compleat / Perfections (5.350353). Here,however, the scene is reversed. Michael is dressed up in order to meet not an ufallenman, as Raphael did, but a fallen one. In a way, Michaels meeting is a scene ofaccommodation. While Adam and Raphael met on equal terms, and in their propershape and own compleat / Perfections, Michael in Book 11 is wearing robes, asMan / Clad to meet Man in order to accommodate to the now fallen and, hence,dressed human pair. He is no longer metaphorically vested in his own feathers; as amatter of fact, there is no mention of his wings at all as if the two, clothes and wings,

were incompatible.FRYE claims, that [O]n the critical point of identifying the agent of the

Expulsion, Milton departs from Biblical authority to follow the visual tradition (1978,310). Frye, of course, is far from claiming that Milton is a slavish follower. He is carefulto note how Milton adapts and alters the visual tradition to suit his own ends. Aparticularly unique point of departure for Frye is Miltons emphasis on Michael takingthe hands of Adam and Eve in his hands (1978, 313) and leading them out of Eden as

8/12/2019 Naked innocence: representing angelic and human freedom in Milton and the Visual Art

8/10

opposed to the oppressive pushing gesture common in the visual arts. But equally uniqueand departing from conventional visual representations is Miltons eradication of thedifference in the appearance of Adam and Eve, and the angel. For no matter by whom orhow the fallen human pair is expelled, one thing seems to be common to all visualrenditions of the expulsion: Adam and Eves vulnerability and postlapsarian condition are

magnified by the fact that they are naked, or scantily clad, while the expeller is clothedand/or armed (plates LKZ-5 and LKZ-7).10But it is not so in Paradise Lost. Adam andEve are dressed, and lest Michaels naked-winged glory be a sad reminder of their lostinnocence, the angel conducting the expulsion is also clothed.

In the visual arts, the nakedness of angels indicates their postlapsarian, fallen, andclothes their prelapsarian, unfallen state while in the case of the first human pair,nakedness signifies a transitory, prelapsarian condition always already indicative of thepostlapsarian vulnerability (also marked by the leaves concealing their genitalia). Miltonsrepresentation of the unfallen angelstheir nakedness and accommodative clothingaccords with the emphasis he puts on the compatibility of angelic and human freedom.In Raphaels words, men and angels are given the same condition of happiness:

That thou art happie, owe to God;That thou continust such, owe to thy self,That is, to thy obedience; therein stand. []My self and all th Angelic Host that standIn sight of God enthrond, our happie stateHold, as you yours, while our obedience holds;On other surety none; freely we serve,Because we freely love, as in our will

To love or not; in this we stand or fall[.] (5.520540)

Freedom being equally their share, they face the same choice in their will: To love ornot. In this, they stand or fall. Since, according to Milton, there is no differencebetween men and angels with regard to their obedience or disobedience, neither is there aneed for a difference in the representation of their standing or falling.

Works Cited

BLAKE, William (1994) The Marriage of Heaven and Hell: In full Color[facsimile of the 1794ed.] (Mineola: Dover).

BONFANTE, Larissa (1989) Nudity as a Costume in Classical Art, American Journal of

Archeology93, 543570.BLOUNT, Thomas (1656)Glossographia: or A dictionary, interpreting all such hard vvords, whether

Hebrew, Greek, Latin, Italian, Spanish, French, Teutonick, Belgick, British or Saxon(London).

COOPER, Thomas (1565) Thesavrvs lingvae Roman & Britannic: tam accurate congestus, ut nihilpen in eo desyderari possit, quod vel Latin complectatur amplissimus Stephani Thesaurus, velAnglic, toties aucta Eliotae Bibliotheca; opera & industria Thom Cooperi Magdalenensis(London).

10There are, of course, exceptions to this representational pattern, one of them being that of Giovanni diPaolos The Creation and the Expulsion from the Paradisethat has both men and angel naked (plate LKZ-6).

8/12/2019 Naked innocence: representing angelic and human freedom in Milton and the Visual Art

9/10

DEVORAGINE,Jacobus (2000) The Life of Saint Tobit in The Golden Legend: Or Lives ofthe Saints, ed. F.S. Ellis, trans. William Caxton, 7 vols. (repr.; 1931) 2:2735;unpaginated online edition athttp://www.fordham.edu/halsall/basis/goldenlegend/GoldenLegend-

Volume2.htm#Tobit(last accessed February 5, 2010); references by paragraphs.

DIDRON, Adolphe N. (18511886) Christian Iconography: Or, the History of Christian Art inthe Middle Ages, 2 vols., trans. E.J: Millington (London: Bell).

FORSYTH, Neil (1987) The Old Enemy: Satan and the Combat Myth (Princeton: PrincetonUP).

FOWLER, Alistair, ed. (2007) John Milton, Paradise Lost (rev. 2nd ed.; Harlow etc.:Longman).

FRYE, Roland M. (1978)Miltons Imagery and the Visual Arts: Iconographic Tradition in the EpicPoems(Princeton: Princeton UP).

GOMBRICH, Ernst (1972) Symbolic Images: Studies in the Art of the Renaissance (London:

Phaidon).

HART, Trevor (2006) Tobit in the Art of the Florentine Renaissance in Mark Bredin,ed., Studies in the Book of Tobit: A Multidisciplinary Approach(London: T&T Clark)7289.

LEWALSKI, Barbara K. (2003) The Life of John Milton: A Critical Biography (revised ed.;Oxford: Blackwell).

LILLY, William (1647) The vvorlds catastrophe, or, Europes many Mutations until, 1666(London).

NEWTON, Thomas, ed. (1749) Paradise Lost: A Poem in Twelve Books. The Author John

Milton, 2 vols. (London).POOLE, Kristen (2006) Radical Religion from Shakespeare to Milton: Figures of Nonconformity in

Early Modern England(Cambridge: Cambridge UP).

RADZINOWICZ, Mary Ann (1997) How Milton Read the Bible: The Case of ParadiseRegained in Dennis R. Danielson, ed., The Cambridge Companion to Milton(Cambridge: Cambridge UP) 207223.

SHERRY, Beverley (1979) Miltons Raphael and the Legend of Tobias, JEGP78, 227241.

TYSON, Donald, ed. (2000) Henry Cornelius Agrippa of Nettesheim, Three Books of Occult

Philosophy, trans. James Freake (Woodbury: Llewellyn).WALTON, Brian [= Brianus Waltonus], ed. (16551657) Biblia Sacra Polyglotta: Complectentia

textus originales, hebraicum, cum pentateucho samaritano, chaldaicum, graecum: versionumqueantiquarum, samaritanae, graecae, vulg. lat. quicquid comparari poterat, 6 vols. (London).

8/12/2019 Naked innocence: representing angelic and human freedom in Milton and the Visual Art

10/10