Celestial Mechanics
Italian school, probably Venetian, first quarter of the 19th century
Egg tempera on panel with gold highlights
Private collection
Canonical Erection
The image shows two male angels, depicted in an openly neoclassical and sensual manner, in an intimate posture around a central column. The style evokes both Byzantine iconography (gold background, halos, symbolic hieratism) and 19th-century aesthetics (athletic bodies, idealized anatomy). The wings, broad and detailed, draw inspiration from traditional archangels, yet the whole clearly subverts liturgical codes to adopt a queer and voluptuous reading¹.
Tongue of Fire
The two angels stand very close to one another. One inserts his finger into the mouth of his companion, who extends his tongue as a gesture of intimate penetration. Their bodies are muscular and stylized; the angel on the left is partially draped, exposing his torso and arched rump which, combined with the fact that he is bound to the column, amplifies the suggestion of offering himself to be taken. The complete nudity of the angel on the right reveals the powerful erection of a virile member of divine disproportion.
Transcendence
At the center rises the great column, venerable phallic symbol, is wrapped in a twisted rope rising in a spiral, recalling both a motif of mystical ascent and a carnal bond. On this column appears a non-binary sexual symbol: a stylized fusion of the signs of Mars and Venus, merging the masculine and the feminine. Placed at the heart of the image, it makes the intention explicit: to transcend gender categories, abolish the idea of asexual angels, and reclaim their fully incarnate sensuality².
Ritual
Above the angels appears the Latin inscription Virilitatem celebremus, meaning Let us celebrate virility. At the bottom of the composition, a cartouche bears the formula Sitim nostram in fonte fertilitatis ac voluptatis, translated as May our thirst be quenched at the source of fertility and pleasure. This phrase reinforces the ritual and implicitly erotic character of the scene, where the column becomes a symbolic axis uniting desire, fecundity, and spiritual energy³.
A Human Fear that Shapes the Divine
Early Christian tradition established the immateriality of angels as dogma, denying them any biological corporeality and therefore any sexuality. The Church Fathers and later medieval scholasticism maintained that despite biblical accounts showing angels wrestling with Jacob, shutting the mouths of lions, or coming to the aid of disciples, they acted only through temporary borrowed bodies. This distinction reconciled their spectacular physical interventions with their pure spiritual nature, while carefully eliminating any sexual dimension - perceived as an ontological contradiction for immaterial beings created individually by God. The idea of a sexual angel was thus rejected as a theological absurdity within a tradition that associated sexuality with the risks of the Fall rather than with celestial perfection4.
Astral Sensuality
With the esoteric, theosophical, and New Age currents of the 19th and 20th centuries, an important shift occurs. Angels are no longer described as entirely immaterial; they are spoken of as luminous or subtle entities capable of manifesting masculine, feminine, or mixed polarities. Sexuality is not yet understood as biological, but as an energy, an attraction, a cosmic dynamic. In the Golden Dawn, Theosophy, or Wicca, angels become forces bearing gendered qualities without participating in reproduction. Their sexuality is diffuse and symbolic, but it begins to be imagined⁵.
Emancipation
Contemporary theses—especially in queer, artistic, and post-internet spiritual circles—take this a step further. Angels become possible bodies: sometimes androgynous, sometimes sensual, sometimes openly erotic. They may desire, love, transgress, or play with the boundaries of the feminine and the masculine. Artists depict incarnate angels, vulnerable or carnal, in total rupture with centuries of theological abstraction. In queer communities, the angel becomes a figure of identity liberation and claimed sexuality, a being that escapes earthly norms and opens a new space for imagining bodies and desires freed from inherited morality.
Icon-Ecstasy
The work presents itself as a queer icon, deliberately détourning sacred aesthetics to re-sexualize angels—figures historically bound to abstraction and disembodiment. The non-binary symbol at the center affirms the fluidity of identities, while the gestures, gazes, and unapologetic nudity anchor these beings in a desiring, fully carnal incarnation.
Curiosity Piqued?
1. Keck, David. Angels and Angelology in the Middle Ages. Oxford University Press, 1998.
2. Daniélou, Jean. The Angels and Their Mission. Éditions du Cerf, 1952.
3. von Stuckrad, Kocku. Western Esotericism: A Guide for the Perplexed. Bloomsbury, 2014.
4. Keck, David. Angels and Angelology in the Middle Ages. New York: Oxford University Press, 1998.
5. Halberstam, Jack. Skin Shows: Gothic Horror and the Technology of Monsters. Duke University Press, 1995.

