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Introduction to Angel holding the lantern and the sword that was used to cut the ear of Malchus
“Angel holding the lantern and the sword that was used to cut the ear of Malchus,” created around 1660 by Bartolome Esteban Murillo, is a small yet powerful drawing that belongs to the world of intimate Baroque devotion. Executed in brown ink and wash, it presents a solitary angel striding across a nebulous ground, gripping a heavy lantern in one hand and brandishing a short sword in the other.
Although the sheet is modest in scale and restricted in color, it condenses an entire chapter of the Passion into a single figure. The lantern recalls the torches and lamps carried by the soldiers who arrested Christ in Gethsemane, while the sword points to the violent moment when Peter struck the high priest’s servant Malchus and cut off his ear. Murillo offers not a narrative scene but a symbolic messenger who carries these objects as sacred relics. The drawing invites the viewer to meditate on the tension between light and violence, betrayal and obedience, fear and courage, that characterize Christ’s arrest.
Biblical Background and Theological Meaning
The subject of the drawing is rooted in the Gospel accounts of Christ’s arrest in the Garden of Gethsemane. After the Last Supper, Jesus goes with his disciples to pray. A crowd arrives, led by Judas, armed with swords, clubs, lanterns and torches. When they seize Jesus, Peter reacts impulsively, drawing his sword and cutting off the ear of the high priest’s servant Malchus. Christ rebukes Peter, heals the servant and submits himself to arrest.
Murillo’s angel carries two central objects from this episode. The lantern evokes the armed crowd that came to capture the Light of the World with artificial light. The sword recalls both human violence and Christ’s refusal to permit its use in his defense. By placing these instruments in angelic hands, the artist transforms historical tools of fear and aggression into contemplative symbols. They become reminders of Christ’s compassion, his refusal of retaliation and his willing surrender to the Father’s will.
In the devotional culture of seventeenth century Spain, the Instruments of the Passion were cherished as aids to prayer. Artists often depicted angels or saints bearing the cross, nails, crown of thorns or other objects associated with the Passion. Murillo’s drawing belongs to this spiritual tradition, yet focuses on items from the nocturnal arrest rather than the crucifixion itself. This emphasis draws attention to the moment when Christ chose not to flee, not to fight and not to summon heavenly armies, but to step forward and accept his path.
Composition and Movement
The composition is straightforward but dynamic. The angel occupies almost the entire height of the sheet and strides toward the right, implying forward movement across an undefined space. One leg is planted firmly, the other lifted as if mid step. This walking pose gives the drawing a sense of urgency, as though the messenger is moving with purpose.
The lantern hangs from the left hand, slightly behind the figure. Its cylindrical shape and structural bands are carefully indicated, giving it real visual weight. In contrast, the right hand lifts the sword upward, its blade angled diagonally toward the upper right corner. These opposing diagonals created by lantern and sword energize the composition and draw the viewer’s eye along the path of the angel’s movement.
Murillo aligns the head, torso and lifted arm along a gentle S curve. This classical device gives the figure grace and rhythm. The wings echo this curve, sweeping backward and outward in soft arcs that balance the diagonal thrust of the sword. The result is a figure that feels both solid and airborne, grounded by the bare feet yet clearly belonging to a realm beyond ordinary gravity.
The background is kept minimal. A few washes of tone suggest clouds or mist beneath and behind the angel, but there is no defined landscape or architecture. This lack of setting accentuates the symbolic nature of the image. The angel could be moving through the dark garden of Gethsemane, or across the inner space of the viewer’s imagination.
The Angel’s Appearance and Character
Murillo’s angel is youthful and slightly androgynous, in keeping with traditional depictions of celestial messengers. The hair falls in loose curls around the face, rendered with quick, lively strokes. The features are gentle, with a slightly parted mouth and focused eyes. Rather than looking at the viewer, the angel gazes in the direction of its movement, as if intent on delivering the objects it carries.
The expression is serious but not harsh. There is no sense of anger or triumph in the handling of the sword. Instead, the angel appears solemn, conscious of the events to which these objects belong. The bare feet and modest garments contribute to an impression of humility. This is not a warrior angel descending in fury, but a contemplative guardian of memory.
The robe wraps around the body in broad, fluttering folds. Murillo suggests the thickness of the fabric with layered washes, darkening the areas of shadow under the arms and between the legs. The belt gathers the cloth at the waist, and the hem swirls around the ankles, implying motion and wind. The wings, slightly darker than the robe, have a strong presence. Their tips extend beyond the figure, reinforcing the sense of spiritual power carried within this otherwise simple form.
Symbolism of the Lantern
The lantern in the angel’s left hand is more than a mere prop. In the Gospel, lanterns and torches symbolize the misguided attempt of the arresting crowd to confront the true Light of the World with their own artificial illumination. They move through darkness thinking they control the situation, while Christ freely chooses to give himself up.
In Murillo’s drawing, the lantern is now in angelic custody. It no longer casts a visible light; the monochrome wash makes it a solid, almost heavy object. Its earthly flame has gone out, replaced by the spiritual radiance of the angel who bears it. This reversal suggests that the apparent triumph of darkness was temporary. Even the instruments used in betrayal are ultimately gathered into the story of redemption.
The lantern can also be read as a symbol for the soul enlightened by grace. In devotional literature, believers are often urged to carry the light of faith within them while navigating the night of the world. Seeing the lantern in the hand of an angel encourages viewers to entrust their inner light to divine protection. It is as if Murillo were saying that even in moments when human history seems dominated by confusion and violence, the light that truly matters is preserved by God.
Symbolism of the Sword used to cut the ear of Malchus
The sword carried upright in the angel’s right hand refers to Peter’s impulsive act of violence. In the garden, Peter struck the high priest’s servant Malchus, cutting off his ear. Christ immediately healed the servant and reproved Peter, insisting that those who live by the sword will perish by it.
By placing this weapon in the hands of an angel, Murillo transforms it from an instrument of misguided zeal into a reminder of Christ’s mercy. The sword is not drawn against anyone. It is lifted almost ceremonially, as if displayed for contemplation. Its slight curve and short length give it the appearance of a specific, historical object rather than a generic symbol.
The episode of Malchus’s ear appears only briefly in the Gospels, yet it is rich in meaning. It reveals the disciples’ tendency to rely on force and Christ’s uncompromising rejection of that path. The healed ear itself becomes a sign of the new way, where enemies are not destroyed but restored. In this drawing, the presence of the sword without any wounded figure suggests that the true outcome of the story is not the blow but the healing. The violence has been absorbed into the wider drama of reconciliation.
For viewers in seventeenth century Spain, the sword would also have resonated with themes of honor, conflict and repentance. Many would have recognized their own struggles with anger, pride and a desire to defend religion through aggression. The angel’s solemn guardianship of this weapon can be seen as an invitation to relinquish such instincts and to remember the example of Christ in Gethsemane.
Murillo’s Drawing Technique and Use of Monochrome
Murillo’s mastery of drawing is evident in the economy and expressiveness of this sheet. He uses fluid pen lines to define the essential contours, then applies transparent brown wash to model form and create depth. The result is a lively interplay between line and tone.
The brightest areas, such as the angel’s face, chest and the tops of the wings, are left as exposed paper, catching the eye and suggesting reflected light. Darker washes define the inner folds of the robe, the underside of the lantern and the shadows cast by the wings. Murillo allows some edges to remain soft and blurred, especially in the clouds and background, which contributes to the ethereal quality of the scene.
The monochrome palette focuses attention on the movement of the figure and the emotional weight of the symbols rather than on decorative color. It also echoes the visual language of prints, which were widely used for private devotion and for the dissemination of religious imagery. Murillo’s drawing may have served as a preparatory study for a painting or as a finished work intended for a collector. In either case, the restrained medium encourages a contemplative, close viewing experience.
Relationship to Murillo’s Other Passion Angels
This drawing forms part of a group of works in which Murillo depicts angels carrying different instruments of the Passion. Other sheets show angels holding nails and hammer, the column of the flagellation, the crown of thorns or the cross itself. Together they create a kind of visual litany, each figure presenting one aspect of Christ’s suffering for meditation.
The angel with lantern and sword shares with these companions a poised stride, fluttering drapery and inwardly focused expression. Yet its specific symbols place it at a distinct point in the Passion narrative, before the trial and crucifixion, at the moment when the conflict moves from prayer to confrontation.
By isolating each instrument with a separate angel, Murillo allows viewers to dwell on one facet of the story at a time. The drawing encourages a step by step contemplation, much like the meditative exercises practiced in monasteries and confraternities. Each angel becomes both guide and companion, leading the believer deeper into the mystery of Christ’s love.
Emotional Tone and Devotional Use
Despite the presence of a weapon, the overall mood of the drawing is calm and reflective. This is typical of Murillo’s religious art, which tends to emphasize compassion over terror. The angel’s stride is purposeful, but not frantic. The face expresses seriousness rather than alarm.
For a seventeenth century viewer kneeling with this image in hand, the drawing would have offered a gentle entry into the painful events of Gethsemane. The lantern and sword recall betrayal, fear and impulsive violence, yet the angelic bearer assures that these memories are held within divine care. The contemplative believer could imagine following the angel through the darkness toward the moment when Christ says, “Not my will, but yours be done.”
Even today, the drawing speaks to the experience of confronting one’s own capacity for aggression and confusion. The sword reminds us of times when we have acted out of fear rather than trust. The lantern reminds us of our attempts to navigate life with inadequate light. Seeing these objects carried by an angel suggests that our failures and mistakes can be gathered up and transformed within a larger story of grace.
Place in Baroque and Spanish Art
Murillo’s angel drawing reflects broader trends in Baroque art while also displaying specifically Spanish qualities. The dynamic pose, flowing drapery and integration of emotional symbolism are typical of Baroque aesthetics. At the same time, the restrained technique, focus on devotional content and gentle mood align with the spiritual climate of Counter Reformation Spain.
The Council of Trent had emphasized the educational and inspirational role of sacred images. Artists were encouraged to produce works that were clear, orthodox and conducive to piety. Murillo’s Passion angels meet these criteria perfectly. They present no ambiguous allegory, but straightforward symbols of episodes in Christ’s suffering, wrapped in a form that is beautiful, reverent and accessible.
In Seville, where Murillo spent most of his life, confraternities organized processions with sculpted images of Christ and the Virgin, while smaller devotional objects circulated widely among the faithful. A drawing such as this would have been treasured by collectors who valued both artistic quality and spiritual significance. Its quiet intensity continues to exemplify the devotional heart of Spanish Baroque art.
Conclusion
“Angel holding the lantern and the sword that was used to cut the ear of Malchus” condenses a crucial moment of the Passion into an image of elegant simplicity. Murillo’s angel strides across a clouded ground, one hand grasping the lantern of the arresting crowd, the other raising the sword of Peter’s impulsive blow. Through delicate pen work and warm brown wash, the artist transforms these instruments of fear and violence into objects of contemplative memory.
The drawing invites viewers to ponder the drama of Gethsemane, where Christ faced betrayal and arrest, and where his followers struggled between fight and surrender. By placing the objects in angelic hands, Murillo suggests that even human aggression and misunderstanding are encompassed within the divine plan of redemption. The lantern’s extinguished light and the sword’s restrained posture speak of a peace that surpasses worldly conflict.
In this small sheet Murillo demonstrates his ability to fuse theology, symbolism and masterful draftsmanship. The angel’s poised movement, fluttering drapery and introspective gaze open a quiet path into the heart of the Passion narrative. More than three centuries after its creation, the drawing continues to whisper its message of solemn remembrance and hopeful trust, calling viewers to walk with the angel through the darkness toward the light of Easter morning.