In an effort to preserve a false sense of security, we darken the doors of the church but remain in the darkness of our own uncertainties, brokenness and frailties.
Both artists were named after the archangel Michael, who cast out the rebel spirits from Heaven. Michelangelo typified the archangel’s immaculate tendency, a model for all artists to follow. Caravaggio tended to the saint’s violent strain, a virtuosic painter, but no angel.