El Angel was created by architect Antonio Rivas Mercado in 1910, under the presidency of Porfirio Diaz, to mark the centennial of Mexico's War of Independence. It was eventually converted into a tomb honoring the war's most notable heroes. Mercado chose to model the angel after the Italian Renaissance sculptor Michelangelo, who was known for his powerful and heroic figures.
In addition to being a monument to freedom, El Angel also serves as a memorial to those who died during military campaigns. The inscription on its base states that it is for "all those who gave their lives for independence".
It must be noted that El Angel did not go unnoticed by Mexicans. Many believed that the image of a white angel was inappropriate because it represented a foreign culture and didn't reflect anyone from Mexican history. However, it was Mercado who decided to use an Italian artist and model him after a famous European man, so this fact cannot be used as a justification for the design.
There are two versions of how El Angel came to be erected. According to one story, President Diaz wanted to create a monument to honor the war's heroes but didn't have enough money to do so. So he ordered the construction of a statue made out of silver and had it shipped to Mexico City, however, once there the government found the price to be too high and canceled the order.
The Monumento a la Independencia, or Angel of Independence, commemorates Mexico's triumph over Spain during the War of Independence. It was completed in 1910, on the centennial of the War of Independence, under the administration of Porfirio Diaz. The bones of revolutionaries, notably Father Hidalgo, are buried underneath the monument.
The monument is located in the Zocalo (central square) of Mexico City. The face of the angel looks toward San Juan de Dios Church, which has a statue of Christ the Redeemer atop it; His left hand is raised in blessing and His right hand holds an arrow that has been shot into a paper heart labeled "Spain". A plaque attached to the base of the angel reads: "To God, who has granted us freedom from tyranny and oppression."
The monument was designed by Francisco Ramirez Manzano. It consists of an angel with outstretched arms, facing east toward the rising sun. She stands on a stone base, covered with figures of men and women, some dressed in indigenous attire, others in modern-day clothes. On one side is a large opening, through which one can see the interior of the National Palace, where ceremonies honoring Mexican heroes take place.
The angel is holding an open book in her left hand, which contains pages with writings about liberty. In her right hand, she holds an arrow, which represents the war for independence.
The contested history of the City of Angels: The formal designation of Los Angeles as we know it today is the result of the joint efforts of settlers from Sonora, Mexico, Franciscan missionaries, and Spanish colonizers who arrived to the southern California region in the 1700s. The first group to claim land in what is now Los Angeles was led by Jose Antonio Reyes. In 1781, he received permission from the governor of Alta California to establish a mission among the native people. One year later, Reyes sold his rights to the land in order to fund more missions further inland. He chose the site for his new town, which at that time was inhabited only by Native Americans, and named it La Angustia, or The Anxiety. In 1804, after Mexico achieved its independence from Spain, Reyes's mission was converted into a plaza and village, which became known as Los Angeles.
Reyes had hoped to make his community a center for missionary work among the indigenous people, but he died before seeing any real development happen around his settlement. In 1812, the remaining members of the mission district voted to separate themselves from Mexico and join the United States. This act is considered the birth of Los Angeles County. In 1829, people from other parts of California began to move to the area, especially after the completion of the Santa Fe Trail, which passed through the city. These newcomers found employment in the growing settlements along the Pacific Coast, including San Pedro.
Father Francisco Palou founded the Mission in 1776, under the leadership of Father Junipero Serra. The chapel is a wonderful example of traditional colonial Spanish construction. The walls are four feet thick adobe brick, and the roof beams are redwood. The altar was rebuilt in 1791 after being destroyed by fire. Father Palou died only a few months later, in October 1776 at age 39, so this chapel is often called "the father's tomb."
After the death of its founder, the mission fell into disrepair until 1809, when it was restored by Governor Jose Castro Bustamente. In 1817, the chapel was again repaired after suffering major damage from an earthquake. This time the work was done under the supervision of Father Pedro Pieri, who is considered the founding pastor of San Francisco.
In 1823, the chapel was finally completed after eight years of hard work. It has been described as one of the most beautiful churches in California. The interior is decorated with bright colors and elegant furnishings. There are two rows of wooden pews for visitors to sit in during mass. A small library contains books donated by various people including a first edition of Darwin's Origin of Species published in 1859.
The mission doors are made of wood with iron hinges from Ohio. Each door weighs about 200 pounds and takes three men to open or close them.
The Nauvoo Illinois Temple was the first to have any kind of angel, which was a weathervane angel. Weathervane angels were quite popular in the United States in the 1840s, according to Utt. "So when Joseph Smith was building the Nauvoo temple, they put a weathervane on that temple, and it's an angel, because that's exactly what you did."
This answer may come as a surprise to some people who think that all temples are very similar. But the Nauvoo Illinois Temple was not like any other temple before or since its construction. It is considered one of the most innovative buildings in American history and had many features never before seen together on such a structure. This includes the use of glass in almost every window, the first-ever iron staircases, and marble flooring throughout much of the main chamber. The church built another temple nearly 100 years later but it is now known as the Salt Lake City Utah Temple because it is used for both religious ceremonies and as a museum open to the public.
In addition to these two temples being unique structures, they also included many new ideas when they were built. For example, the Nauvoo temple was supposed to be a symbol of God's covenant with His children but there were certain aspects of it that were not clear until many years after it was completed. For example, some claim that there are hidden symbols in the walls and floors that only become visible when illuminated by certain lights. Others believe that the patterns on the ceiling represent the stars that God uses to guide us through life.
Angels in the Architecture was commissioned by Kingsway International and premiered on July 6, 2008, in the Sydney Opera House by a large ensemble of young musicians from Australia and the United States, led by Matthew George. The work is organized into seven parts, each corresponding to one of the seven angels of the archangel Gabriel: "Raphael", "Samael", "Thronos", "Uriel", "Phanuel", "Gundryl".
The music was written by British composer James MacMillan, who also conducted the orchestra. MacMillan has said that his intention with this piece was to create "a sense of drama" around the characters of the angels by having them appear and disappear throughout the work, much like they do in real life.
MacMillan used a variety of instruments including harps, celesta, piano, and guitar to create an "angelic" soundscape. He also wrote some of the music himself; for example, he used a trumpet to represent Samael because he believes it is one of the only instruments that can portray this angel's voice.
MacMillan says he was inspired by the writings of William Blake when writing this piece, especially by drawings of angels made by Blake. He also mentions Dante's Inferno as another influence behind his work on Angels in the Architecture.