The Fall of the Damned, conversely known as The Fall of the Rebel Angels - Peter Paul Rubens
ca. 1620
Oil on canvas
286 cm × 224 cm (112.60 in × 88.19 in)
Alte Pinakothek, Munich

Rubens, fleuve d'oubli, jardin de la paresse,
Oreiller de chair fraîche où l'on ne peut aimer,
Mais où la vie afflue et s'agite sans cesse,
Comme l'air dans le ciel et la mer dans la mer;
C. B. 

The fall of the rebel angels is the greatest single theme of the Counter-Reformation. It is a theme that allowed a church in conflict to present its propaganda in the form of its struggle against all forms of heresy. At the same time, the theme of the struggling angel also symbolized the triumph of light over the rebellion of the powers of darkness - giving the painter an opportunity to create a chiaroscuro charged with meaning, in which heaven and hell, the incense of the blessed and the brimstone of the damned are contrasted in an extremely confined space, creating an arc of tension within which the knight-like angel spreads his broad wings and wields his sword in a sweeping gesture of victory.

Giordano sets the scene with relatively few figures compared to, say, Rubens’ Great Last Jjudgment. Against a background of deep golden light, the archangel balances with an almost balletic movement on the heavy breast of Lucifer, entangled amidst a group of his servants, his angular and batlike wings cutting through the hazy sfumato of the hellfire. What appears at first glance to be so dramatic is not in fact the depiction of a struggle as such. Michael is not attacking the figures from hell with his sword, but is holding it aloft like a sign, as though his mere appearance were enough to cast Satan and his followers into eternal damnation. Source

The Fall of the Rebel Angels, Luca Giordano, c.1666

The greatest love story ever told

How the hell do you accidentally write the greatest love story ever told? I mean seriously…

A man who was afraid to fly and an angel who was afraid to fall

An angel who teaches a faithless man to pray and a man who teaches an angel of the Lord to rebel

An angel who turned against family to help a man protect his

“I did it, all of it for you.” & “I’m not leaving here without you.”

“I need you.” & I’ll be with you after everyone else you love is gone

An angel who fell in every way possible and the man who would rather have him, cursed or not

The man who shared a profound bond with the angel who was lost the minute a hand was laid on the man in hell

An angel who willingly gave up an army and a chance to save heaven for one man

A man with an ancient evil curse trusts an angel with the one weapon that can hurt him

A man who broke through heaven’s mind control and an angel who broke through the curse of Cain

An angel willing to deal with a King of Hell to protect one man and the man who stopped himself from taking revenge for his brother to protect the angel

The man who doesn’t think he deserves to be saved and the angel who raises him from perdition

An angel that got too close to the human in their charge and the man who fought so hard to keep faith in the angel

I get that when Supernatural first introduced Castiel they had no intention of him even sticking around, much less becoming someone so important to Dean. But over the years they have done all the stuff I just listed and more and their story took on a life of it’s own. It seems to me that, even if Destiel wasn’t the original intent, it would be such a waste to not capitalize on the epic bond they have created between these two characters. I have used gender neutral pronouns for the angel in all of the above sentences and I think anyone reading this not knowing Supernatural would assume this was a female angel and a love story.

They couldn’t have written a better romance if they had tried (believe me - they have tried and they all sucked). This is why I ship Destiel and this is why I will continue to no matter what TPTB do with the characters. But boy, what a waste if the writers can’t see that they have written the greatest love story ever told simply because of the gender of the characters.