Commissioned during the episcopate of Bishop Félix-Antoine-Philibert Dupanloup (1849–1878), the work was made in Russian oak by the Atelier des frères Goyers of Louvain, and belongs to a program that supplied both transepts with altars, confessionals, and related carvings. Raphael is shown standing on a fish, identifying him with the biblical story of Tobias in the Book of Tobit. The cathedral has been protected as a Monument historique since 1862.

The figure of Raphael stands poised and upright, his body turned slightly as though in gentle motion. He is depicted with large, outstretched wings that rise gracefully behind him, their feathers finely detailed to catch the shifting light of the cathedral interior. His robes fall in simple, flowing folds, emphasizing both dignity and serenity rather than grandeur.

Raphael’s right hand is raised in a gesture of guidance or blessing, while his left hand rests at his side. Beneath his feet lies a fish, a traditional symbol associated with him through the story of Tobias in the Book of Tobit, where the fish becomes a source of healing. This small but meaningful detail identifies the angel clearly and ties the sculpture to its biblical context.

The choice of Russian oak as the medium gives the work warmth and immediacy. Its natural tones, enhanced by the soft light of the cathedral, lend the angel a human presence while still conveying his celestial nature. Positioned above the confessional, Raphael’s figure seems to oversee the act of repentance and reconciliation below, an apt embodiment of divine compassion and guidance.