According to ancient Jewish tradition, seven angels stand perpetually before the throne of God, ready to carry out His interventions in human history. They are called “angels of the presence” or “angels of the face.” Subsequently, with the affirmation of the existence of other orders of angels around God, such as seraphim and cherubim, these angels, endowed with their own distinct identity, were called “archangels” to distinguish them from the others.

The oldest reference to this system appears in the Book of Enoch, which names the first four archangels: Michael, Gabriel, Raphael, and Uriel. These names remained consistent in Christian tradition across various denominations, while the other three varied until stabilizing in Eastern Christianity as Barachiel, Jehudiel, and Salathiel.

Archangels are seen as divine ministers, and their names reflect how God intervenes in human affairs.

In Jewish Kabbalah, each archangel is associated with a planet and a day of the week. Additionally, the first four are linked to cardinal directions, starting from the East, which is the primary reference point in Jewish tradition.

While some regions conflated Archangel Michael with Jesus, the Eastern Christian Church maintained the veneration of all seven archangels. In the West, however, Pope Zacharias restricted official recognition to only three biblical archangels at the 745 Synod of Rome. The Council of Aachen in 798 went further, explicitly banning the cult of Uriel, which had persisted despite papal directives.

The Seven Archangels resurfaced in Western Christianity in 1523 when priest Antonio Lo Duca founded the Brotherhood of the Seven Archangels.

He drew inspiration from their depiction in the dome of the Palatine Chapel in Palermo, a masterpiece commissioned by Roger II in 1140 that still carried strong Orthodox influences.

The cult resonated deeply with Renaissance humanism and quickly spread within the Papal Court. In 1561, Pope Paul IV approved the construction of a basilica dedicated to them on the ruins of the Baths of Diocletian, designed by Michelangelo: the majestic Santa Maria degli Angeli.

Drawing from Kabbalistic tradition and Orthodox iconography, the archangels came to embody both divine ministers and natural and wisdom-related symbols:

  • Michael (“Who is like God?”) – Paratus ad animas suscipiendas (“Ready to receive souls”). Depicted trampling Satan with a flaming sword. Planet: Sun. Cardinal direction: East.
  • Gabriel (“God is powerful”) – Spiritus Sanctus superveniet in te (“The Holy Spirit shall come upon you”). Holds a torch and a white lily. Planet: Moon. Direction: West.
  • Raphael (“God heals”) – Viatores comitor, infirmos medico (“I accompany travelers, I heal the sick”). Holds an ointment jar. Planet: Mercury. Direction: North.
  • Uriel (“God ignites”) – Flammescat igne caritas (“May charity burn with fire”). Holds flames and a sword. Planet: Venus. Direction: South.
  • Barachiel (“Blessing of God”) – Adiutor ne derelinquas nos (“Help us, do not forsake us”). Carries a bouquet of roses. Planet: Saturn.
  • Jehudiel (“Praise of God”) – Deum laudantibus praemia retribuo (“I reward those who praise God”). Holds a crown and a scourge. Planet: Jupiter.
  • Salathiel (“God communicates”) – Oro supplex et acclinis (“I pray humbly and bow”). Depicted in prayer. Planet: Mars.

Following the Counter-Reformation and the conclusion of the Council of Trent in 1563, the cult of the Seven Archangels was once again suppressed in the Catholic Church, replaced by devotion to the Guardian Angel. However, its esoteric symbolism gained renewed interest in the early 19th century during the peak of Carbonari influence. This is evidenced by explicit papal condemnations issued between 1826 and 1832 by Popes Leo XII, Pius VIII, and Gregory XVI.

The presence of the Seven Archangels in San Michele Church in Vasto likely dates to this period, coinciding with its reconstruction and the inclusion of evident Masonic symbols.