Uriel

Uriel is an archangel prominent in Jewish and Christian apocryphal literature, whose Hebrew name means "God is my light," derived from the elements 'ur (light or flame) and 'el (God).^[1] He is portrayed as a divine messenger associated with wisdom, illumination, thunder, and judgment, often serving as a guide to prophets and revealer of cosmic and eschatological truths, though he does not appear in the canonical Hebrew Bible or New Testament.^[2] In the Book of Enoch (1 Enoch), a key Jewish apocalyptic text from the Second Temple period, Uriel is one of the four (or seven) chief archangels who stand before God's throne.^[3] He is described as the angel "over the world and over Tartarus," responsible for overseeing thunder and earthquakes.^[3] In the apocryphal 2 Esdras (also known as 4 Ezra), part of the Christian Old Testament Apocrypha in some traditions, Uriel is the angel dispatched to the prophet Ezra to address his questions about suffering, theodicy, and the end of the world.^[4] Beyond these texts, Uriel appears in later Jewish rabbinic and mystical traditions, such as the Talmud and Kabbalah, where he is one of the four angels invoked for protection in the bedtime Shema prayer.^[5] In Christian contexts, including Gnostic writings and medieval literature like John Milton's Paradise Lost, Uriel is occasionally depicted as a watcher over Eden or a bearer of a fiery sword, reinforcing his attributes of vigilance and enlightenment, though his canonical status remains absent in most denominations.^[2]

Name and etymology

Linguistic origins

The name Uriel derives from the Hebrew אוּרִיאֵל (ʾUriʾel), composed of the elements אוּר (ʾur), meaning "light" or "flame," and אֵל (ʾel), denoting "God."^[6] This etymology yields interpretations such as "God is my light" or "Fire of God," reflecting the dual connotations of ʾur as both illumination and fiery radiance in ancient Hebrew.^[1] Such theophoric constructions, where divine elements are embedded in personal or titular names, are characteristic of Semitic naming practices in the ancient Near East.^[7] Uriel's nomenclature parallels other archangelic names in Abrahamic traditions, exemplifying consistent theophoric patterns. For instance, Raphael translates to "God heals" from רָפָא (raphaʾ, "to heal") and ʾel, while Gabriel means "God is my strength," derived from גָּבַר (gavar, "to prevail" or "be strong") and ʾel. These structures underscore a broader tradition in Second Temple Judaism and related cultures, where angelic identities invoke divine attributes to signify their roles as intermediaries or emissaries. The earliest attestations of Uriel appear in Jewish texts from the Second Temple period, dating to the 3rd through 1st centuries BCE, particularly in apocalyptic literature.^[8] One of the primary sources is the Book of Enoch (1 Enoch 9:1), where Uriel is named among the angels of the Presence, marking the initial literary emergence of the figure in preserved Hebrew and Aramaic manuscripts.^[9] This temporal context aligns with the flourishing of angelology in post-exilic Jewish thought, influenced by Persian and Hellenistic ideas.

Variations across traditions

In Greek transliterations of apocryphal texts influenced by Septuagint traditions, such as fragments of the Book of Enoch, Uriel appears as Οὐριήλ (Ouriḗl) or occasionally Oriel, reflecting phonetic adaptations of the Hebrew name to Hellenic phonology.^[10] Latin forms in Vulgate-era writings, including the apocryphal 2 Esdras (Esdras IV), render the name as Uriel or the variant Urihel, preserving the theophoric element while aligning with classical Latin orthography.^[11] In Syriac versions of apocryphal works, the name is adapted as ʾŪrīʾēl, maintaining close fidelity to the Hebrew original in Peshitta-influenced manuscripts. Similarly, Ethiopic (Ge'ez) manuscripts of the Book of Enoch and related homilies transliterate it as ʿUraʾēl or ʿUriel, incorporating Semitic glottal sounds characteristic of the Aksumite scriptural tradition.^[12] Modern scholarly debates center on the root "ur" in Uriel's etymology, interpreting it either as "flame" (associating the angel with divine fire) or "light" (emphasizing illumination, as in the core meaning "God is my light"), with parallels drawn to Ugaritic cognates like ʿur for fire or light motifs in Northwest Semitic theophoric names.^[13]

Role in religious texts

In the Book of Enoch

In the Book of Enoch, particularly 1 Enoch (also known as the Ethiopic Book of Enoch), Uriel is depicted as one of the four chief archangels, alongside Michael, Gabriel, and Raphael, who intercede on behalf of humanity against the transgressions of the fallen Watchers. These archangels are introduced in 1 Enoch 9:1, where they offer a collective prayer to God from the throne of glory, highlighting Uriel's elevated status among the holy angels. Uriel's specific domain is outlined in 1 Enoch 20:2, where he is described as the angel "over the world and over Tartarus," responsible for overseeing the earthly realm and the abyssal prison of the fallen angels, emphasizing his role in maintaining cosmic order and divine justice.^[14] Uriel serves as a key guide and revealer to the prophet Enoch, particularly in the Book of the Watchers (1 Enoch 1–36), where he escorts Enoch through the heavens and the ends of the earth, unveiling hidden knowledge. In chapters 19–21 and 72–82, Uriel discloses astronomical secrets, including the orderly movements of the sun, moon, stars, and other luminaries, which govern the calendar and seasons, thereby instructing Enoch on the divine structure of creation to counter the chaos introduced by the Watchers' illicit teachings. Additionally, in 1 Enoch 10:1–3, God dispatches Uriel to warn Noah of the impending Flood, instructing him to inform the righteous man of the deluge's purpose in purging the earth's corruption caused by the giants (Nephilim) and to preserve Noah's family as a remnant.^[15][16] In 2 Enoch (the Slavonic Book of Enoch), Uriel, sometimes identified as Vrevoil, continues as a celestial instructor during Enoch's ascent, revealing the mechanisms of natural phenomena such as thunder and earthquakes as integral to the cosmic order (2 Enoch 21). He also describes the rebellion and punishment of the fallen angels, detailing their confinement in the second heaven and their eternal torment, underscoring Uriel's oversight of divine retribution (2 Enoch 7).^[17] Composed between approximately 300 and 100 BCE, the Book of Enoch draws from earlier Jewish apocalyptic traditions and profoundly influenced subsequent angelology in Judaism and early Christianity by establishing Uriel's multifaceted duties as watcher, guide, and enforcer of judgment. The primary manuscript tradition for 1 Enoch is in Ge'ez (Ethiopic), preserved in over 100 medieval manuscripts from the Ethiopian Orthodox canon, while 2 Enoch survives mainly in Slavonic translations from the 14th–18th centuries, and 3 Enoch in Hebrew texts dating to the 5th–6th century CE.^[18][19]

In other apocryphal works

In the Apocalypse of Peter, an early Christian apocalyptic text dated to the mid-second century CE, Uriel serves as the angel of repentance and plays a key role in the eschatological judgment. He is depicted as bringing forth the souls of sinners from Hades, including those who perished in the Flood and those who worshiped idols, to face divine punishment. Uriel breaks the unbreakable gates of the underworld and oversees the resurrection, assigning torment to the wicked in a manner that underscores his pitiless enforcement of repentance, acting as a guardian figure against demonic forces by facilitating their subjugation in the final reckoning.^[20][21] The Testament of Solomon, a pseudepigraphal work composed between the first and third centuries CE, portrays Uriel as an archangel who intervenes to aid King Solomon in combating demons. When Solomon encounters a stubborn demon named Ornias, he invokes Uriel, who descends from heaven to bind the entity and compel it to reveal its weaknesses. Uriel further assists by providing Solomon with knowledge of magical seals and rituals to control other demons, expanding Uriel's role from a celestial observer to an active exorcist who imparts esoteric wisdom for divine protection.^[22][23] In the 2 Esdras (also known as 4 Ezra), an apocryphal Jewish text from the late first century CE incorporated into some Christian canons, Uriel is the angel sent by God to instruct the prophet Ezra on matters of theodicy, suffering, and eschatology. Appearing in visions (2 Esdras 4–14), Uriel engages Ezra in dialogues, explaining the limits of human understanding, the brevity of the current evil age compared to the messianic era, and the necessity of repentance and divine justice. His revelations emphasize God's sovereignty and the ultimate triumph of the righteous.^[24][25] Uriel appears in the Sibylline Oracles, a collection of Jewish and Christian prophetic texts spanning the second century BCE to the second century CE, particularly in Book 2, where he functions as a mediator between God and humanity during the end times. Uriel opens the gates of Hades to lead the souls of the dead—including those consumed by fire or other judgments—to the divine tribunal for final adjudication. This depiction emphasizes Uriel's authority over the underworld and his role in guiding humanity toward eschatological resolution.^[26][27] These apocryphal works, composed primarily between the first and fourth centuries CE, build on Uriel's established status as a celestial guide by diversifying his functions into those of an exorcist, prophetic revealer, and eschatological enforcer. Unlike the more unified cosmological framework of the Enochic tradition, these fragmented texts reflect evolving Jewish and early Christian angelology, where Uriel transitions from interpreting heavenly secrets to actively mediating human-divine interactions and combating infernal threats.^[28][29]

Presence in Abrahamic traditions

In Judaism

In rabbinic Judaism, Uriel holds limited recognition as an archangel, with the name appearing in the Tanakh solely as a human Levite rather than a celestial being.^[8] However, midrashic literature identifies Uriel as one of the four principal angels surrounding the divine throne, alongside Michael, Gabriel, and Raphael, serving as intermediaries who mediate God's presence to the world.^[30] This portrayal underscores Uriel's role in cosmic order, particularly as the angel associated with light and enlightenment, drawing from Enochic traditions where Uriel reveals divine knowledge.^[7] Uriel gains greater prominence in Merkabah mysticism, an early Jewish esoteric tradition focused on visionary ascents to the divine chariot, where Uriel functions as a guide among the angels of the Presence and is linked to heavenly luminaries.^[31] In these texts, Uriel is depicted as overseeing natural phenomena, including thunder and earthquakes, positioning him as a regulator of divine judgment and natural balance.^[7] While not central to normative rabbinic theology, interpretive expansions of apocryphal roles symbolize Uriel's protection of sacred boundaries.^[8] Medieval Jewish texts, particularly the Zohar, further elaborate Uriel's attributes, portraying his appearance in the altar fire at the First Temple as causing onlookers to repent and overseeing sacrificial rites, which the altar is called Ariel after the angel.^[32] These interpretations integrate Uriel into the elemental hierarchy, associating him with fire as a transformative force for spiritual renewal. In modern Orthodox Judaism, Uriel's lore is often syncretized with Enochic and midrashic elements for contemplative study, yet he receives no liturgical emphasis in daily prayers or holidays, remaining peripheral to core halakhic practice.^[33] This cautious approach preserves rabbinic focus on monotheism while acknowledging Uriel's symbolic role in mystical education.

In Christianity

Uriel does not appear by name in the New Testament or in the Protestant canon of Scripture, which adheres to the Hebrew Bible's angelology without explicit references to him.^[34] His presence in Christian thought derives indirectly from broader biblical depictions of angels and from apocryphal texts like the Book of Enoch and 2 Esdras, which inform deuterocanonical angelology in traditions that include such books.^[34] In Eastern Orthodox Christianity, Uriel is recognized as one of the seven archangels, commemorated on November 8 during the Synaxis of the Archangel Michael and the Other Bodiless Powers, where he is described as "the fire or light of God, enlightener," drawing from 2 Esdras 5:20.^[35] The Coptic and Ethiopian Orthodox traditions similarly venerate Uriel as a chief archangel, with a dedicated feast day on July 28 (Hamle 23 in the Ethiopian calendar), as recorded in the Ethiopian Synaxarium, emphasizing his role in revealing divine mysteries to prophets like Ezra.^[36][37] Early Church Fathers referenced Uriel in their writings on angels; for instance, Origen, in his Commentary on the Gospel of John (Book 2, Chapter 25), identifies Uriel as "an Angel of God" in discussions of divine messengers.^[38] Pseudo-Dionysius the Areopagite, in The Celestial Hierarchy, outlined a ninefold angelic order including principalities, influencing later classifications that sometimes placed figures like Uriel within such ranks, though he does not name Uriel explicitly.^[39] In the medieval period, scholastics like Thomas Aquinas, in Summa Theologica (Question 108), debated angelic hierarchies—dividing them into three spheres with principalities in the second—but focused on the canonically named archangels Michael, Gabriel, and Raphael, without direct mention of Uriel.^[40] In contemporary Catholicism, Uriel is not officially recognized as an archangel in the liturgy or named among the three venerated in the Roman Canon (Michael, Gabriel, Raphael), per directives from councils like Rome (745 AD) that limited devotion to biblically attested angels.^[41] However, he appears in some private devotions and apocryphally influenced angelology, with cautions against formal prayer to him to avoid non-canonical emphases.^[42] Anglican traditions, as a subset, venerate Uriel alongside the others, often in feast observances similar to Orthodox practice.^[43]

Interpretations in esotericism and occultism

In Kabbalah and Jewish mysticism

In Kabbalistic tradition, Uriel is depicted as the archangel of divine light, presiding over the transmission of celestial illumination and revelation.^[44] This association underscores Uriel's role in channeling God's hidden wisdom to humanity. In the Zohar and related texts, Uriel symbolizes the restrictive and purifying forces of divine justice.^[45] Associations with specific sefirot vary across traditions; some link Uriel to Gevurah (severity), while others associate him with Yesod (foundation) or Malkuth (kingdom).^[46] Within Lurianic Kabbalah, developed by Isaac Luria in 16th-century Safed, Uriel aids in illuminating paths through spiritual darkness.^[45] Symbolically, Uriel is portrayed bearing a fiery sword, evoking the cherubim who expel impurity from sacred realms, as in visions of the divine chariot, and he is invoked in meditative rituals for protection against adversarial influences and to attain prophetic insight into hidden truths.^[44] The conceptualization of Uriel evolved from medieval Jewish mysticism among the Hasidei Ashkenaz, who integrated angelic hierarchies into contemplative practices for ethical ascent, through the Zoharic synthesis in 13th-century Spain, to the expansive theurgic frameworks of Safed Kabbalists like Moses Cordovero and Hayyim Vital, influencing later Hasidic thought.^[47]

In Western occult traditions

In Western occult traditions, Uriel's role evolved from Renaissance grimoires into a key figure in ceremonial magic, often associated with the element of earth and planetary influences. In texts like the Key of Solomon, Uriel is depicted as the governing intelligence of Saturn, invoked in rituals facing north to command spirits for practical magic, including the creation of seals and pentacles that facilitate invisibility, flight, and geometric knowledge.^[48] These invocations emphasize Uriel's authority over 5,000 Saturnian spirits, blending planetary correspondences with directional symbolism to empower the magician in material and transformative operations.^[48] The Hermetic Order of the Golden Dawn further systematized Uriel (often spelled Auriel) as the archangel of earth, ruling the northern quarter and governing gnomes and earthly elementals. In elemental magic, Uriel is invoked to purify and stabilize ritual space, particularly through the Lesser Banishing Ritual of the Pentagram (LBRP), where the practitioner traces the earth pentagram at the left hand while vibrating "Before me Raphael; behind me Gabriel; on my right hand Michael; on my left hand Auriel."^[49] This ritual, a foundational practice in Golden Dawn initiations such as the Zelator grade, positions Uriel as a guardian of Malkuth on the Tree of Life, commanding adherence from earth spirits via names like Adonai ha-Aretz and Phorlakh.^[49] Uriel's earthy domain underscores themes of grounding and manifestation, drawing briefly from Kabbalistic angelology while adapting it to syncretic Western frameworks.^[49] During the 19th and 20th centuries, occultists like Eliphas Levi integrated Uriel into alchemical and divinatory rites, portraying the archangel as part of the elemental hierarchy invoked in the consecration of water, salt, and ash for ritual purification and the transmutation of natural forces. In Transcendental Magic, Levi includes Uriel alongside Gabriel, Raphael, and Elohim in exorcisms that align occult operations with eternal wisdom and regeneration, facilitating alchemical processes of renewal.^[50] Aleister Crowley, building on this in his Thelemic system, incorporated Uriel within Enochian workings derived from John Dee's scryings, where the archangel represents the earthly watchtower and aids in invoking the elemental tablets for visionary and operative magic. Crowley's adaptations, as detailed in selections from The Equinox, emphasize Uriel's role in balancing chaotic forces during Aethyr explorations, aligning with Thelema's pursuit of true will through structured angelic hierarchies.^[51] In modern New Age interpretations, Uriel has shifted toward a more personal, therapeutic archetype, serving as a guide for emotional healing, prophetic insight, and inner transformation distinct from ceremonial roles. Authors like Richard Webster describe Uriel as the "Angel of Salvation" who converts misfortunes into blessings, heals emotional trauma through meditation and crystal work, and enhances intuition for prophetic visions, as illustrated in accounts of individuals gaining clarity during crises.^[52] This contemporary view prioritizes Uriel's light for personal empowerment and tranquility, often invoked via simple affirmations to foster creativity and resolve inner conflicts.^[52]

Depictions and symbolism

Iconography and attributes

In religious and esoteric art, Uriel is commonly depicted as a male angel with wings, often portrayed with a stern or luminous countenance that emphasizes his role as a bearer of divine illumination and judgment, in contrast to the more gentle, communicative form of angels like Gabriel.^[53] His typical attributes include a fiery sword or flame, symbolizing the purifying fire of God and protection against evil, as well as scales of justice representing divine equity and moral discernment.^[54][55] Additional symbols frequently associated with him are a book or scroll denoting wisdom and knowledge, and an open hand holding a flame or the sun to signify the light of truth.^[56] Colors such as red, orange, yellow, or gold dominate his representations, evoking fire, light, and enlightenment, which align with the etymological meaning of his name as "God is my light" or "fire of God."^[53][56] Uriel's iconography also encompasses various associations in angelological traditions. In some systems, he is linked to the element of earth, underscoring stability and practical wisdom, or alternatively to air for intellectual clarity.^[57] He serves as a patron of the arts and sciences, inspiring creativity and intellectual pursuits, and is regarded as the angel of repentance, aiding in spiritual transformation and forgiveness.^[56] In astrological angelology, Uriel is connected to the zodiac sign Taurus in certain earth-sign correspondences or to the planet Venus, symbolizing harmony and enlightenment.^[58][59] The evolution of Uriel's iconography traces from abstract references in apocryphal texts, where he appears as a functional divine agent without visual detail, to more personified forms in medieval manuscripts and art, where he emerges as a distinct, symbolic figure embodying light and authority.^[60] This development reflects broader trends in angelology, shifting toward anthropomorphic depictions to convey theological concepts accessibly.^[61]

Artistic representations

Artistic representations of the archangel Uriel are uncommon in Western visual arts prior to the modern era, owing to his limited canonical recognition, yet they emerge in select medieval, Renaissance, and later works, often portraying him as a guide or bearer of divine light. In medieval contexts, Uriel appears in a rare mid-14th-century stained glass panel at St Michael and All Angels Church in Kingsland, Herefordshire, England, where he is shown instructing the prophet Esdras, emphasizing his role as a revealer of eschatological knowledge.^[62] Byzantine icons occasionally include Uriel among the archangels, depicting him as a stern heavenly messenger with attributes like a scroll or flame, though surviving 10th-century frescoes specifically featuring him alongside Enoch are elusive and primarily known through textual traditions rather than extant visuals.^[63] During the Renaissance, Uriel gained subtle prominence in Leonardo da Vinci's Virgin of the Rocks (c. 1483–1486), where the accompanying angel is identified as Uriel, positioned protectively near the Christ Child and gesturing toward the infant John the Baptist in a rocky, mystical landscape that underscores themes of divine protection and wisdom.^[64] This portrayal reflects a humanistic shift toward more naturalistic angelic forms, blending Uriel's traditional symbolism of enlightenment with the era's innovative techniques in light and anatomy. Stained glass in cathedrals, such as potential influences from Dante's Divine Comedy, occasionally evoked Uriel in celestial hierarchies, though direct 13th-century examples like those at Chartres remain unverified in surviving records. In the Baroque period, colonial adaptations flourished in the Cuzco School of Peru, where 18th-century paintings like the Archangel Uriel (c. 1725) from the School of the Master of Calamarca depict him in opulent, dramatic style with vibrant colors, a gun or sword symbolizing judgment, and indigenous motifs integrated into his robes and halo, merging European iconography with Andean aesthetics.^[65] This era's emphasis on emotional intensity and theatricality amplified Uriel's fiery attributes, often shown as a dynamic figure wielding a flaming sword to guard sacred boundaries. The 19th century saw renewed interest through Pre-Raphaelite influences, as in Edward Burne-Jones's stained glass designs, such as the 1868 window at All Saints' Church in Wigan, England, portraying Uriel as the archangel of the sun in radiant, medieval-inspired detail with flowing robes and a luminous aura, evoking apocalyptic vigilance. These works revived earlier symbolic elements while infusing Victorian mysticism, highlighting Uriel's role in divine order amid stylistic shifts toward intricate naturalism. Non-Western traditions offer distinctive portrayals, particularly in Ethiopian Orthodox icons, where Uriel (Qidus Urael) is venerated and depicted in ancient manuscript illuminations and church frescoes blending local motifs like elongated figures and bold geometries with his standard attributes of fire and a chalice, reflecting the Book of Enoch's influence in Ge'ez liturgy.^[66] In the modern era, Uriel's image transitions into digital fantasy art, where he appears in video games and illustrations as a ethereal warrior, bridging historical reverence with contemporary speculative genres.

In popular culture

Literature and comics

In classical English literature, Uriel is prominently featured in John Milton's epic poem Paradise Lost (1667), where he is depicted as the "regent of the Sun" and one of the keenest-sighted guardian angels in Heaven. Posing as a cherub, Satan encounters Uriel on the Sun during his journey to corrupt humanity, and Uriel, moved by Satan's feigned admiration for God's creation, directs him toward Earth without suspecting deceit. Later, realizing the threat, Uriel descends on a sunbeam to alert the archangel Gabriel at the gates of Paradise, enabling the defense against Satan's infiltration, and stands as a vigilant sentinel over Eden.^[67] This portrayal establishes Uriel as a symbol of divine vigilance and the perils of deception, drawing from apocryphal traditions while emphasizing his role in the cosmic order. In 19th-century American transcendentalist poetry, Ralph Waldo Emerson invokes Uriel in his 1846 poem of the same name, presenting the archangel as a bold dissenter among the celestial council.^[68] Uriel challenges the gods' rigid doctrine that denies contradiction in nature—"Saying, 'Against the wild Omnipotence / One thing is stable, the great monad Christ'"—proclaiming instead the fluid truth of self-reliance and eternal change, which causes outrage and his subsequent isolation.^[68] Emerson uses Uriel to embody nonconformity and intellectual courage, transforming the archangel from a mere guardian into a philosophical icon of individual insight against dogmatic consensus.^[69] Twentieth- and twenty-first-century novels expand Uriel's character into more nuanced, often burdened figures in urban fantasy and speculative fiction. In Jim Butcher's The Dresden Files series, Uriel emerges as a recurring archangel from the novel Small Favor (2008) onward, serving as Heaven's custodian of free will and a covert agent who intervenes subtly in human affairs. He mentors the wizard protagonist Harry Dresden through indirect guidance and moral dilemmas, highlighting themes of choice and restraint amid supernatural conflicts, without overt displays of power to preserve autonomy. Similarly, in Scott Alexander's web novel Unsong (2015–2017), Uriel is the overtaxed architect of reality, wielding kabbalistic names of God to maintain the universe's metaphysical framework while grappling with existential strain and the threat of cosmic unraveling.^[70] Portrayed as a colossal, letter-whirling entity driven to near-madness by his duties, Uriel represents the fragility of divine maintenance in a pun-laden, theologically inventive narrative.^[71] In comics and graphic novels, Uriel appears as a authoritative yet conflicted heavenly enforcer. In Mike Carey's Lucifer series (2000–2006), published by DC/Vertigo, Uriel functions as the "voice of the Host," leading the angelic forces in opposition to Lucifer Morningstar and participating in battles that underscore tensions within divine hierarchy. His role emphasizes loyalty to God's order, though limited by the broader narrative's exploration of rebellion and creation. These depictions evolve Uriel from Milton's watchful sentinel into a multifaceted arbiter—tragic in his burdens, authoritative in his interventions, and increasingly humanized by moral ambiguities in contemporary storytelling.

Film, television, and music

In film, Uriel has been portrayed in limited but notable supernatural and apocalyptic narratives. The 2011 short film Uriel, directed by Mike Darling, depicts the archangel as one of seven sent by God to combat demons during the Great Tribulation, emphasizing themes of divine intervention and cosmic battle.^[72] In the 2023 documentary Welcome Space Brothers, directed by Jodi Wille, Uriel is presented through the lens of the Unarius Academy of Science, where founder Ruth Norman channeled the archangel as a messenger of love and extraterrestrial wisdom, blending spiritualism with homemade reenactments of past lives. Television adaptations have featured Uriel more prominently in fantasy and horror genres, often as a complex celestial figure involved in heavenly conflicts. In the CW series Supernatural (2008–2020), Uriel appears in seasons 4 and 5, portrayed by Robert Wisdom as a rigid, specialist angel in Castiel's garrison who supports apocalyptic prophecies but ultimately rebels against divine orders. The Syfy series Dominion (2014–2015), a post-apocalyptic drama, casts Katrine De Candole as Uriel, the twin sister of Raphael and an elder archangel who initially allies with Michael against Gabriel's rebellion but pursues her own agenda of resurrecting lower angels. In Lucifer (2016–2021) on Fox and Netflix, Michael Imperioli plays Uriel in season 2 as Lucifer's antagonistic younger brother, tasked with enforcing heavenly rules by attempting to banish their mother to Hell. Additionally, in Amazon Prime's Good Omens (2019–), Gloria Obianyo portrays Uriel in season 2 as a composed archangel among Heaven's leadership, confronting Aziraphale over alliances with demons during the lead-up to Armageddon. In music, Uriel's influence is subtler, often appearing in niche genres inspired by angelic lore rather than direct compositions. The British psychedelic rock band Uriel, formed in 1968 and later recording as Arzachel, drew its name from the archangel, releasing a self-titled instrumental album in 1969 that evoked ethereal, otherworldly atmospheres through experimental guitar and organ work. Contemporary new age and meditative tracks frequently invoke Uriel for themes of wisdom and enlightenment, such as Emiliano Bruguera's "Archangel Uriel 411 Hz Peace and Kindness" (2024), which uses solfeggio frequencies to promote tranquility and spiritual insight.^[73]