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Wikimedia Commons · Public domain · Hover to magnify, click for fullscreen
Original fileThe archangel is depicted in golden classical armor with iridescent, multicolored wings, appearing to hover effortlessly over his adversary. Below him, the muscular figure of Satan, equipped with horns and animalistic wings, writhes in the shadows of a dark, cavernous landscape. The background transitions from the hellish gloom of the foreground to a serene, mountainous horizon under a bright sky.
This work reflects the Renaissance preoccupation with angelic hierarchies and the Neoplatonic struggle between divine intellect and material corruption. Raphael's treatment of Michael aligns with the descriptions of the archangel as the supreme general of the celestial host found in the works of Pseudo-Dionysius the Areopagite, which were central to early modern theology and natural philosophy.
Pseudo-Dionysius the Areopagite
His 'De Coelesti Hierarchia' (The Celestial Hierarchy) provided the structural basis for Renaissance understanding of angelic orders, positioning Michael at the head of the heavenly host.
Marsilio Ficino
Ficino's Neoplatonic commentaries often interpreted the combat between angels and demons as an allegory for the soul's rational faculties overcoming lower material impulses.
Object
Oil on panel
religious
Digital Source
Wikimedia Commons · Public domain
Retouched from File:Le Grand Saint Michel, by Raffaello Sanzio, from C2RMF.jpg, originally C2RMF: Galerie de tableaux en très haute définition: image page
12542 × 21200 px
Linked Data
AI AI-cataloged fields generated by gemini-3-flash-preview on April 1, 2026. Getty identifiers are AI-inferred and may require verification.