23 November Catalogue

Russian and GreekIcons and Works of Art

Tuesday 23 November 2010

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CYPRUS HILTON HOTEL

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Tuesday 23 November 2010

at 8pm (Lots 1-160)

Cyprus Hilton Hotel

Nicosia

V$'($&)

Friday 19 November 9am - 9pm

Saturday 20 November 9am - 9pm

Sunday 21 November 9am - 9pm

Monday 22 November 9am - 9pm

Tuesday 23 November 9am - 6pm

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!"##$%& % '(&)&#$%&*$+,- % .&$+(/0%1,+-2(%$3/4,+& *#$"##01+

*+,-./0

12/30., 23 4/5635 2010 7/8a

9 8 9:;e3a (</2= 1-160)

>.?3, @2:<A B.<2/0

4.,/C.5

D3:89E3.2:<A0=F ?/,EG </2%9

D520.-E 19 4/5635 9:00 - 21:00

H+66/2E 20 4/5635 9:00 - 21:00

1/C,3:C:0A: 21 4/5635 9:00 - 21:00

D/0:8:<A0., 22 4/5635 9:00 - 21:00

12/30., 23 4/5635 9:00 - 18:00

R566789 89: G;<<= I>?96 89: W?;=6 ?@ A;A

Please note this auction is subject to Important Notices, Conditions of Sale and reserves.

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Dear friends,We are very pleased to o!er to your attention a catalogue that is prepared for the Russian and Greek Icons and Works of Art exhibition organized by La Parole Divine. Today more and more people are taking notice of icon paintings. "is is not a simple re#ection of a popular fad to be interested in antiquities or to be connoisseur of art. An icon is a combination of spiritual and art activity of humans; it is a symbol of atmosphere in society. By comparing icons of di!erent époques, you may gain more understanding of culture, people’s feelings, happiness and grief."e group of aesthetically sensitive people, who chose the icon as the object of collecting and had material bene$ts for building-up new collections, was expanding slowly. "erefore the recent years will be remembered in the history of collecting and study of icon painting as a new and important period. Several remarkable collections appeared in the short term, and it is truly valuable that collecting has become more open, and that private owners willingly show their treasures at exhibitions and grant access for publications."e study of icons allows us to approach an understanding of spiritual riches, state of mind, beauty and truth of our ancestry. One can obviously see strength of mind, kindness, justice, fairness, self-sacri$ce, wisdom, military valour and mercy when looking at the collection of icons and artefacts presented at the exhibition.It is hard to overestimate such events as the Russian and Greek Icons and Works of Art exhibition. Enhancing the prestige of icon collecting, they promote the strengthening of public interest towards Russian art in whole and especially to Old Russian art.We are so glad that Cyprus, an island with rich history and culture, can also become the central attraction of icon painting connoisseurs. A%er all, people from around the world will come to Cyprus to participate in auction. We wish you a pleasant viewing.Truly yours,Natalia KardashEditor-in-chiefRussian Publishing House VESTNIK KIPRA

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!"ST. GEORGE THE DRAGON-SLAYER

GREEK, 17TH CENTURY

Dressed in a suit of armour comprised of a lamellar kilt, leggings

with gold embroidery and boots, complemented by a shield on

!"#$ %&'($ #!)*%+&,$ -.+$ -$ ,&+$/)0".1$ 2-3&4$ (!&$5"%"(-,64$ 6)*(!'*%$and beardless saint riding a white rearing horse, piercing the head

of the reptile with his spear; a dark hole to the left of the rocky,

barren landscape representing the dragon’s cave; diagonally

above on the golden background, the hand of God emerging from

the skies to bless the saint

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!

#" THE NEW TESTAMENT TRINITY

GREEK, 18TH CENTURY

Christ and God the Father seated on a throne formed by grey

#0",%".1$ 2%)*+#4$ (!&",$ '&&($ ,&#(".1$ ).$ 0!&&%#$ )'$ c,&d$ e)(!$crowned, vested in liturgical garments and himatia, gesturing

in benediction, between them a globus cruciger, the closed

f))g$ ).$ h!,"#(i#$ %-3$ #*11&#(".1$ (!&$ '*%c%5&.($ )'$ (!&$ j&0$Testament, the Holy Spirit as a dove in a double mandorla

hovering above, the inscriptions in Greek majuscule reading,

k$lmnl$opnlh$-.+$qnh$rqsh4$5&-.".14$The Holy Trinity

and One God respectively

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$"%%%THE ENTHRONED MOTHER OF GOD SURROUNDED BY

OLD AND NEW TESTAMENT FIGURES

MELCHITE, 18TH CENTURY

Holding Christ on her knees, the throne exuberantly carved,

-((&.+&+$e6$�(E$ �)!.$ (!&$f-3("#($ -.+$ (!&$�,)3!&($�%"�-!d$ (!&$ %)0&,$',"&�&$3),(,-6".1$(!&$&53&,),$�(E$h).#(-.(".&$-.+$!"#$5)(!&,$�%&.-$+"#3%-6".1$ (!&$�,*&$h,)##4$/-.g&+$e6$ (!&$&�*&#(,"-.$#-".(#$�&),1&$-.+$�&5&(,")#4$e)(!$*.+&,$ (,"?%)e&+$-,,-.1&5&.(#d$c.&%6$&�&2*(&+$predominantly with complimentary reds and greens on dazzling gold

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"

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vGIGPMUFH_$ J[GKHMaFOM$ OM$ DFLJZGLFXOGP4$ TZHMSFOOGP$ D$WUJLF$vMHGZZG4$PHMPGHOGP$UHGOF$ W$XGVOGaJFPE${M$ WJVFOJJ$UHGOM$ DJVFO$ HMWSJUR@$ T[GHMPJ$ DMLJZE$ $ vGIGHGVJbM$ OFaOG$ZMWMFUWQ$ XLFNM$ J$ WUTXOJ$ PLMVFObM$ uHJWUME$ wNFHUMOJQ$ FF$`JITHR$ZMZ$KR$TZM[TÛ$OM$UG4$NUG$GOM$�$UHGO4$OM$ZGUGHGP$DGWWFVMFU$ PLMVFOFb4$ NUG$ GVOGDHFPFOOG$ WLTaJU$ MLL^[JF@$OM$ WUHGZJ$ MZM`JWUM$ vGaJF@$�MUFHJ�$ }$ HMVT@WQ4$ JKG$ ~R�$XHFWUGL$:MHQ��$

&"%%%%%%%A PRIVATE ICON OF THE MOTHER OF GOD

ENTHRONED PRESENTED IN A GILTWOOD FRAME

RUSSIAN, 17TH CENTURY

�&-(&+$ ).$ -.$ "53,&##"�&4$5-,e%&$ (!,).&$ 2-,�&+$ ".$ (!&$ e-,)�*&$manner, with an embroidered bolster and a suppedaneum, the

Mother of God gently patting her Son’s shoulder and foot; her

"53)#".1$c1*,&$#*11&#(#$ (!-($ $ #!&$ "#$ (!&$f)6i#$2-(!&+,-4$!&.2&$recalling the verse of the Akathist Hymn “Rejoice, for you are

the King’s throne!”

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'"%%%%%%%A DIPTYCH WITH THE DEISIS AND FAMILY PATRONS


The panels formed like scalloped arches; the left depicting Christ

�55-.*&%$".$(!&$)3&.$!&-�&.#$-.+$e&%)04$�(E$j"2!)%-#$!)%+".1$a sword and the model of a Church, the Guardian Angel with

&�(&.+&+$0".1#$#"1.".1$ ".$e%&##".1$-.+$�(E$�)!.$ (!&$��-.1&%"#($pointing to the text of the Apocalypse; the right wing showing

h!,"#($�(!&$�".1$)'$�".1#�4$&.(!,).&+4$ $/-.g&+$e6$!"#$�)(!&,4$who is also crowned thus alluding to her role as “Maria Regina”,

-.+$�(E$�)!.$(!&$�),&,*..&,d$3-".(&+$c.&%6$).$1)%+$%&-'!!'(#$#%0'?#)*#;$9;47;7

+?""-%,!""

("ST. PARASKEVA FLANKED BY MINIATURES OF THE

ANASTASIS AND TWO FAMILY PATRONS WITH A

SILVER OKLAD

RUSSIAN, 19TH$h�j��4$��j��$�j��

Against low hills with sparse vegetation, the saint portrayed

frontal with loose hair, extending her arms as she holds a martyr’s

cross and an open scroll; the silver oklad applied with a gilt halo

/%'!#$#!.'/#)*

+1""-%,%""

("!&(&-(4/24$':52./24$):'/2$!"#$,2(2!:&"6$!'$!0&/'*$"'!:(&!&/)4$)$'-(2327)$$."=8$!"4168$+,':('")1&5&*$8wCC;<4$= ?@$A9B4$B�9¡��$w~C¢~C~A¢£~

CDQUMQ$ W$ HMWXT\FOORPJ$ DGLGWMPJ$ XHFVWUMFU$ `HGOUML_OG$OM$ `GOF$ OJ[ZJY$ IGHGZ$ WG$ WZTXG@$ $ HMWUJUFL_OGWU_Ê$ A$HMWXHGWUFHURY$ HTZMY$ GOM$ VFHaJU$ ZHFWU$ PTNFOJNFWUDM$ J$HM[DFHOTUR@$ WDJUGZE$CFHFKHQOR@$GZLMV$ TZHMSFO$ [GLGNFORP$OMZLMVORP$OJPKGPE

)"CHRIST OF SMOLENSK WITH A SILVER OKLAD

RUSSIAN, MARK OF IVAN ZUYEV, VOLOGDA, 1823

Standing on an embroidered cushion, looking away from the

viewer, holding the open Gospels in his covered hand, with a

2*(?)*($,-+"-(".1$!-%)4$(!&$("%&+$/)),$,&.+&,&+$".$3&,#3&2("�&4$(!&$e),+&,$ !-55&,&+$0"(!$ #(6%"#&+$ /),-%4$ e&-+&+$ -.+$ #0",%$5)("'#4$(!&$ ".#2,"3(").$ -($ (!&$ e)(()5$ ,&2),+".1�$ “This icon, the image

of our Lord Jesus Christ, was began in the God-established city

of Vologda in year 7163 (1654) on the 23-d day of the month of

October when the memory of the apostle Jacob, the brother of the

!"#$%&''"#$()*%+"%+,-%.-/,%(/%'-0-1#&+-$2%3)$%+,(/%('")%4&/%4#(++-)%

unto the glory of the God-fearing state of the Great Sovereign and

5#()'-%30-6-(%7(8,&(0"9(',:%+,-%7")&#',%";%+,-%4,"0-%<=//(&>

!?'(#$#!!'!#)*

+%,?""-!,&""

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$%

*"ST. NIL STOLBENSK WITH A PLAN OF THE

MONASTERY HE FOUNDED ON STOLOBNYI ISLAND

IN LAKE SELIGER AND AN IMAGE OF THE BAPTISM

OF CHRIST ON THE SKIES


The elderly ascetic in monastic garments, his Great Schema

*.*#*-%%6$ ,&.+&,&+$ ".$ )%"�&?1,&&.4$ !)%+".1$ 3,-6&,$ e&-+#$ -.+$pointing to heavens where two angels reveal the Baptism of

Christ, the scene attended by three cherubs, the lower part of the

2)53)#"(").$)22*3"&+$e6$-$+&(-"%&+$"5-1&$)'$�(E$j"%i#$5).-#(&,64$its garden and fortress in the Volga area

0(#$#//'.#)*

+%,(""-!,"""

*",(&,#$ /)5$ !1'5-&/!:)*$ !$ $ )3'-(2?&/)&7$$7'/2!16(4@$ '!/'"2//'%'$ )7$ /2$!1'5-&/!:'7$ '+"&$ /2$ '3&(&$ !&5)%&($ !'$!0&/'*$:(&A&/)4$8()!1'"28wCC;<4$= ?@$A9B

CDQUG@$ XHFXGVGKOR@$ WUMHFb$ XHFVWUMFU$ D$ PGOMSFWZGP$GKLMNFOJJ$ �$ DFLJZG@$ WYJPF4$ $ DRXGLOFOOG@$ D$ OFGKRNORY$ITWURY$GLJDZGDRY$UGOMYE$A$GVOG@$HTZF$GO$VFHaJU$PGLJUDFOORF$NFUZJ4$ M$ VHTIG@�TZM[TFU$ OM$ OFKFWM$ W$ VDTPQ$ MOIFLMPJ4$QDLQ^\JPJ$ WbFOT$ BHF\FOJQ$ uHJWUGDM$ D$ WGXHGDGaVFOJJ$UHFY$ YFHTDJPGDE$ {JaO^^$ NMWU_$ ZGPXG[JbJJ$ [MOJPMFU$VFUML_OGF$ J[GKHMaFOJF$ GWOGDMOOGIG$CDE${JLGP$PGOMWURHQ4$DZL^NM^\FF$PGOMWURHWZJ@$WMV$J$ZHFXGWU_$OM$KFHFIT$AGLIJE

$$

+"!"#$)'2//$"')/8wCC;<4$=t¨t$IE

CDE$;GMOO?$AGJO$D$XGIHTVOGP$J[GKHMaFOJJ$TWUHFPLQFU$WDG@$D[GH$D$WUGHGOT$GU$PGLQ\FIGWQE$9IG$HTZJ$WZHF\FOR$OM$IHTVJ$J$WaJPMÛ$ZGX_F$J$ZHFWUE$wKHM[$DRXGLOFO$D$HFMLJWUJNFWZG@$PMOFHFE$ BHMQ$ VGWXFYGD$ GUVFLMOR$ [GLGUGPE$ ]GDFHY$ OMZJOTU$GIOFOOG?ZHMWOR@$XLM\E${M$GKGHGUF$JZGOR$JPFFUWQ$OMVXJW_�$}]G$ TWFHVJ^$ ~FHWZMIG$ VDGHQOWUDM$ HF[FHDOG@$ HGUR$ ©§$BMHMKJOFHGD$D$IE$~FHFZ$D$=t=t$IGVT$`GHPJHGDMDSF@WQ�E$

+"ST. JOHN THE SOLDIER

��ª�j4$��$=t¨t

�!&$5"%"(-,6$#-".($3),(,-6&+$e*#(?%&.1(!4$ (*,.".1$!"#$1-�&$-0-6$from the onlooker, crossing his hands on his chest while bearing

a battalion lance and a cross, his features rendered realistically,

(!&$!&5$)'$!"#$e,&-#(3%-(&$".$1)%+4$2)53%&5&.(&+$e6$-$c&,6$,&+$cape; the reverse of the icon inscribed, ?@)%A&'8)"40-$*-B-)+C%";%

+,-%$(0(*-)'-%";%+,-%D-#-8%)"10-B-)%;#"B%+,-%'&#&1()(-#/%#-/-#9-%

/E=&$#")%FG%;"#B-$%()%HIHI%()%+,-%'(+J%";%D-#-8>

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!,"A RARE REPRESENTATION OF THE RIGHTEOUS

FOURTH CENTURY MARTYR SAINT AGLAIDA OF

ROME


�1-".#($ -$ #)%"+$ 1)%+$ e-2g1,)*.+$ -.+$ /)),$ ,&.+&,&+$ ".$perspective, the saint directing the viewer’s attention to the cross

she is holding, looking upwards, wearing plain garments in

)%"�&?1,&&.$0"(!$ ')%+#$-22&.(*-(&+$ ".$1)%+4$!&,$!-%)$+&c.&+$e6$a double, white rim; the reverse of the icon inscribed “This holy

('")%";%O+2%3*0&($&%4&/%4#(++-)%&)$%10-//-$%")%+,-%P"0J%7"=)+&()%

()%3+,"/%()%+,-%<=//(&)%Q-)"1(+('%O8-+-%";%+,-%O+2%3R"/+0-%3)$#-4%

the First-Called”, with a wax seal bearing the Coat of Arms of

�)*.($�(!)#4$-22),+".1$()$0!"2!$�(E$�(!-.-#")#$-.+$�(E$�"2!-&%$)'$�".-"$/-.g$-.$"5-1&$)'$(!&$�)(!&,$)'$�)+$)'$(!&$�"1./%#$#!0#)*2#/0#$#!1'(#)*#34)567348#9:;#@AB9

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reverse KLKMKN

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!!",(&'-(2?&/)&8wCC;<4$]w|];C�{w�$}]wu9~w{wA�4$=t>=$IEuHJWUGW$ XMHJU$ OMV$ IGHG@$ «MDGH$ D$ WJQ^\FP$ GVFQOJJE$ 9IG$`JITHM$ [MZL^NFOM$ D$ VDG@OG@$OJPK4$ WGWUGQ\J@$J[$ ZHMWOGIG4$[DF[VNMUGIG4$ J$ ZHTILGIG4$ [FLFOGIG4$ $ TWFQOOGIG$ $ GKLMZMPJ$ J$[DF[VMPJ4$ ¬LFPFOUGDE$ $ C$ GKFJY$ WUGHGO$ uHJWUM$ GZHTaMÛ$XHGHGZJ$;LJQ$J$$�GJWF@$WG$CZHJaMLQPJ$zMZGOME$$~HJ$LTNM4$JWYGVQ\JF$ GU$ UFLM$ uHJWUM$ VGWUJIMÛ$ FIG$ TNFOJZGD$ ]FUHM4$;GMOOM$J$;MZGDM4$D$J[TPLFOJJ$XMVM^\JY$OM$[FPLÊ$${M$XGLQY$JZGOR$ J[GKHMaFOR$ DGWFP_$ WDQURY$ XGZHGDJUFLF@E$ CLFDM$XGPF\FOR$ GKHM[R$�HYMOIFLM$�JYMJLM4$ FDMOIFLJWUM$�MHZM4$WDE$ ;GMOOM$ ]HFVUFNJ$ J$ 9PJL_QOM?JWXGDFVOJZM4$ FXJWZGXM$BJ[JNFWZGIGE$$CXHMDM$XHFVWUMDLFOR$WDQURF$aFOR$9ZMUFHJOM4$$�MHUM4$9DVGZJQ$J$9LJ[MDFUME$¢VLJOFOORF$`JITHR$OMXJWMOR$W$ KGL_SJP$ J[Q\FWUDGP$ J$ TUGONFOOGWU_Ê$ CZMLJWURF$ IGHR$DRXGLOFOR$D$WUJLJ[GDMOOG@$PMOFHFE$

!!"THE TRANSFIGURATION OF CHRIST

��ª�j4$��®��j 4$=t>=

Hovering above the summit of Mount Tabor, Christ clad in

#!"55&,".1$1-,5&.(#4$ -1-".#($-$+)*e%&$1%),64$ (!&$c,#($).&$ ,&+4$radiating, of stellar shape, in addition to a perfectly rounded

).&$ 0"(!$ 2%)*+#$ -.+$ #(-,#4$ /-.g&+$ e6$ (!&$ �,)3!&($ �%"�-!$ ".$supplication and Moses holding the Tablets of the Law; three

e&-5#$',)5$h!,"#(i#$e)+6$+",&2(&+$()0-,+#$®"#$+"#2"3%&#4$�&(&,4$�)!.$ -.+$ �-2)e4$ #(,*2g$ ".$ -5-�&5&.($ ".$ (!&$ '),&1,)*.+d$ &"1!($family patrons represented on the border, to the left all male,

�,2!-.1&%$�"2!-&%4$(!&$��-.1&%"#($�-,g4$�(E$�)!.$(!&$�),&,*..&,$and Emilian the Confessor, Bishop of Kyzikos; to the left, the

female martyrs, Ekaterina, Martha, Evdokia and Elisabeth; the

&%).1-(&+$c1*,&#$3),(,-6&+$".$1,&-($,&c.&5&.(4$(!&$2%"''#$)'$(!&$mountain rendered in a stylised manner, signed and dated on the

%)0&,$,"1!(�$5"8,-+")"9:%HISH."'(#$#(.#)*

+%(,"""-!(,"""

!#"CHRIST EMMANUEL BLESSING TWO GROUPS

OF PRIVATE SAINTS HEADED BY THE APOSTLES

PETER AND PAUL

RUSSIAN, SECOND HALF OF THE 18TH CENTURY

�!",(6?')*,$#-".(#$-,,-.1&+$".$(0)$1,)*3#4$)�&,$')*,$,&1"#(&,#d$(!&$ c,#($ ).&$ #!)0".1$ #&%&2(&+$ �3)#(%&#4$ h!*,2!$ �-(!&,#$-.+$�).-#("2$ #-".(#d$ $ �(#E$ �36,"+).$ -.+$ �)!.$ (!&$ ��-.1&%"#($(,-53%".1$).$(!&$3&,#)."c2-(").$)'$&�"%$".$(!&$'),&1,)*.+4$(!&$second and third tiers including additionally hermit, prince and

5"%"(-,6$#-".(#$-.+$5-,(6,#4$�(E$�,"').$#(-.+".1$)*($0"(!$(!&$e",+$he is holding; the top row reserved for female saints

/('!#$#/"'&#)*

+&,"""-?,"""

!#"!,2!$ )772/=)5@$ $ -52%'!5'"54BA)*$!"4168+$ ,':('")1&5&*$ !$ 2,#$ ,&1('7$ )$,2"5'7$"'$%52"&8wCC;<4$A~w8�<$]w�wA;{�$=t?IG$A9B�

7HTXXM$ J[$ UHJVbMUJ$ NFURHFY$ WDQURY4$ HM[VFLFOOMQ$ OM$ VDM$ HQVM$HMWXGLGaFOM$ D$ NFURHF$ QHTWME$ A$ XFHDGP$ QHTWF�$ MXGWUGLR4$ GUbR$:FHZDJ$ J$ WDQURF$ XHFXGVGKORF4$ DG[ILMDLQFPRF$ CDDE$ MXGWUGLMPJ$]FUHGP$J$]MDLGPE$A$¬UGP$aF$QHTWF$J[GKHMaFOR$CDDE$CXJHJVGO$J$;GMOO$vGIGWLGD4$XGXJHM^\JF$GLJbFUDGHFOJF$CMUMORE$AG$DUGHGP$J$UHFU_FP$QHTWF$HM[LJNJPR$GKHM[R$WDE$ZOQ[F@$vGHJWM$J$7LFKM4$WDE$WUMHbM?GUSFL_OJZM$ wOT`HJQ$ J$ WDQURY$ DGJOGD$ {JZJUR4$ «FGVGHM$CUHMUJLMUM4$WDE$7FGHIJQ$J$WDE$|JPJUHJQE$A$KFLRY$GVFaVMY$J[GKHMaFO$WDQ\FOOGPTNFOJZ$ uMHLMPXJ@E$ «JITHM$ WDQ\FOOGPTNFOJZM$~HJ`GOM4$ VFHaM\FIG$ KFLT^$ XUJbT$ D$ HTZF4$ XHJZGDRDMFU$ Z$ WFKF$D[GH$ WDGF@$ OFXGWHFVWUDFOOGWU_Ê$A$ NFUDFHUGP$ QHTWF$ JZGOGXJWFb$J[GKHM[JL$WDQURY$aFO4$WHFVJ$ZGUGHRY$PGaOG$T[OMU_$WDE$AMHDMHT4$WDE$ �MHJ^$ 9IJXFUWZT^4$ M$ UMZaF$ WDQ\FOOGPTNFOJb$ 9ZMUFHJOT4$;TLJMOJ^$J$~MUJMOTE

$)

!$"THE MONASTIC ST. SERGIUS OF RADONEZH WITH

A SILVER-GILT OKLAD

��ª�j$ x��h°y4$ ��i�$ ��$ �E�E$ ªj$h��ª��ªh4$=t ¦

The elderly saint with grey hair and a beard, looking straight

at the beholder with a calm yet pensive expression, gesturing

in benediction and holding a closed scroll; the border of the

#"%�&,?1"%($ )g%-+$ ())%&+$0"(!$ ,&2*,,".1$ #(6%"#&+$ 3-((&,.#$ -.+$ -$5-(2!".1$2*(?)*($!-%)/(#$#%/#)*

+0,"""-&,"""

!$"!"#$,(&,#$!&(%)*$(2.'/&?!:)*$$!&(&-(4/6*$':52.@$,'3'5'12$8wCC;<$x�wCBA�y4$B�9¡�w$��C~98�$}�E$CE�4$=t ¦$IE

]HFXGVGKOR@$ WUMHFb$ W$ WFVRPJ$ DGLGWMPJ$ J$ KGHGVG@$WXGZG@OG$J$[MVTPNJDG$D[JHMFU$OM$PGLQ\FIGWQ4$OJWXGWRLMQ$WDGF$KLMIGWLGDFOJFE$A$HTZMY$GO$VFHaJU$WDFHOTUR@$WDJUGZE$]G$ ZHMQP$ WFHFKHQOGIG$ XG[GLGNFOOGIG$ GZLMVM$ XHGYGVJU$HFITLQHOR@$ WUJLJ[GDMOOR@$ GHOMPFOUE$ 7GLGDT$ WDQUGIG$TDFONJDMFU$HF[OG@$OJPKE$

!'"2/%&5+$8(2/)1&5>$8wCC;<4$AE$�;±¢BwA4$= ²¨$IE

AFLJNFWUDFOOMQ$ `JITHM$ MOIFLM4$ WUGQ\FIG$ OM$ ZLTKQ\JYWQ$GKLMZMY4$ ILMDFOWUDTFU$ D$ XHGUHMOWUDF$ JZGORE$ 9IG$ XHMDMQ$HTZM$ XGVOQUM$ Z$ OFKFWMP4$ LFDMQ�WaJPMFU$ PFNE$ ±JHGZG$HMWXHGWUFHURF$ ZHRL_Q$ $ PFHbMÛ$ [GLGURPJ$ KLJZMPJd$ OJPK$DRXGLFO$ XHJ$ XGPG\J$ IHMVMbJJE$ uJUGO$ MOIFLM$ TZHMSMÛ$ZLMDJ$ xDRUZMOORF$ XGLGWRy$ J$ HMWSJURF$ WMPGbDFUMPJ$ DGHGU$J$ ZHM@$ GVFQOJQE$ �OIFL$ GKFHOTU$ D$ QHZG?[FLFOR@$ IJPMUJ@$xXLM\y4$ TZHMSFOOR@$ $ [GLGNFORPJ$ KGHG[VZMPJE$ $ �JH$VGL_OJ@$WJPDGLJ[JHTFUWQ$VDTPQ$HFZMPJ4$D_^\JPJWQ$DGZHTI$ZMPFOJWUGIG$ GWUHGDM4$ XHGWUTXM^\FIG$ OM$ XFHFVOFP$ XLMOFE$A$ VML_OFP$ LFDGP$ TILT$ DJVOFFUWQ$ IGHGV4$ DRXGLOFOOR@$ D$UFYOJZF$ IHJ[M@LJE$]G$ XHGUJDGXGLGaOT^$ WUGHGOT$ GU$ IGHGVM$DRWQUWQ$ WTHGDRF$ IGHR$ W$ DFHYTSZMPJ$ VFHFD_FDE$ ADFHYT4$ D$GKHMPLFOJJ$JZGOR4$$XGPF\FO$OFWGPR@$GKLMZMPJ$PFVML_GO$WG$CXMWGP$;PPMOTJLGP$D$XGIHTVOGP$J[GKHMaFOJJE$$BHMQ$JZGOR$GHOMPFOUJHGDMOR$W$JPJUMbJF@$¬PMLJ$J$aFPNTIM4$WLTaJDSJY$TZHMSFOJFP$GZLMVGD$UG@$¬XGYJE$A$OJaOFP$XHMDGP$TILT$JZGOR$WUGJU$VMUM$J$XGVXJW_$W$JPFOFP$PMWUFHM�$}AE$�JSTZGD4$= ²¨�

!'"THE GUARDIAN ANGEL

��ª�j4$ E$�ª�®�� 4$= ²¨

�!&$"53)#".1$c1*,&$)'$(!&$�.1&%$#(-.+".1$).$e"%%)0".1$2%)*+#4$his right hand gesturing to the heavens, holding a sword, his long

spread wings terminating in gold accents, wearing a shaded halo, a

chiton with clavus and bejewelled trimmings, complemented by a

bright green himation, his garments shimmering in chrysography;

the earthly realm dominated by two rivers surrounding the rocky

island in the foreground, in the far left the image of a town in

grisaille, and opposite mountains with tall trees; a medallion with

the bust of Christ Emmanuel supported by clouds on the top, the

),.-(&$e),+&,$&5*%-(".1$&.-5&%$-.+$3&-,%?#(*++&+$)g%-+#$)'$(!&$3&,")+d$#"1.&+$-.+$+-(&+$).$(!&$%)0&,$,"1!(�$T2%7(/,=8"9:%HUVW!.#$#!!#)*

+!","""-/","""

$*

$!

$"

!&"A GOLD PECTORAL CROSS

f�³�j�ªj�$x��f�f��$hj��j�ªj��ª��jy4¦TH – 9TH CENTURY

The four hollow bars of tapering form terminating to spherical

terminals, the top applied with a grooved suspension loop, joined

at the intersection with a brown cabochon glass set in a collar

('(#$#0#)*

+0,"""-&,"""

�,)�&.-.2&��*,2!-#&+$e6$(!&$2*,,&.($)0.&,$',)5$(!&$T2X2%Y&00-#(-/ in New York and

2)5&#$0"(!$-$2&,("c2-(&$)'$-*(!&.("2"(6Ej)(&#�A similar cross was sold at Christie’s; see, @'")/%&)$%3#+-;&'+/%;#"B%+,-%

Z#+,"$"6%["#0$4$�).+).4$¤¦$j)�&5e&,$¤²²>4$%)($¨¤E

!&"3'5'1'*$,&:1'(25>/6*$:(&!1A;z�{~;<$xAwz�w´{w4$Bw{C~�{~;{w]w��y4$¦@?$ @$A9B

]GLRF4$ HMWSJHQ^\JFWQ$ GU$ bFOUHM4$ DFUDJ$ ZHFWUM$[MZMONJDMÛWQ$ ZHTILRPJ$ OMDFHSJQPJE$ CDFHYT$ Z$ OMDFHSJ^$XHJZHFXLFOM$ [GLGUMQ$ XFULQ$ VLQ$ bFXGNZJE$ A$ WHFVGZHFWUJF4$WLGDOG$D$GXHMDT4$XGPF\FO$ZGHJNOFDR@$$ZMKGSGO$J[$WPML_URE

]HGDFOMOW�]HJGKHFUFO$OROFSOJP$DLMVFL_bFP$D$$ E�E$�-%%&,"&#$$D${_^?¡GHZF$J$WGXHGDGaVMFUWQ$WFHUJ`JZMUGP$XGVLJOOGWUJE]HJPFNMOJQ�]GYGaJ@$LGU$KRL$DRWUMDLFO$OM$MTZbJGOF$h!,"#("&i#$ª2).#$-.+$�,(&'-2(#$',)5$(!&$,(!)+)�$°),%+4$�GOVGO4$¤¦$OGQKHQ4$¤²²>$IE4$LGU$¨¤E

!)"THE ADORATION OF THE MAGI


On the top, the guiding star in a circular mandorla directing its

beams towards the swaddled Baby lying in a manger with hay; His

Mother seated on a stool, attentively lifting the drapes to present

!&,$ �).$ ()$ (!&$°"#&$�&.$ ',)5$ (!&$,"&.(d$ (!&$ &%+&#($ )'$ (!,&&4$Melchior, having taken his crown off, kneeling forward to present

(!&$j&0e),.$0"(!$-$2-#g&($)'$1)%+4$c((".1$'),$-$�".1d$e&!".+$(!&$5"++%&?-1&+4$ h-#3-,4$ -.+$ (!&$ 6)*.1&#(4$ f-%(!-#-,4$ ,&#3&2("�&%6$holding urns of frankincense and myrrh, gifts suitable for Christ

".$!"#$'*(*,&$,)%&#$-#$-$®"1!$�,"&#($-.+$�*''&,".1$�&+&&5&,d$$�(E$�)#&3!$()$(!&$,"1!($%&-.".1$).$!"#$#(-''$-.+$3&.#"�&%6$)e#&,�".1$the worship; the event taking place in a porch with masonry,

columns, a coffered ceiling and a marble stairway; the hilly

landscape complemented by golden, impressed skies, the stylised

decoration of the border matched with the haloes of the holy

c1*,&#4$&5*%-(".1$&.-5&%0),g$)'$(!&$3&,")+&!#$#&!#)*

+%","""-%(,"""

!)",':5'/&/)&$"'58"'"$8wCC;<4$= ?@$A9B$

A$ WMPGP$ DFHYT$ WLFDM$ XTUFDGVOMQ$ [DF[VM$ D$ ZHTILGP$ WJQOJJ$WLMDR$ GUKHMWRDMFU$ LTNJ$ OM$PLMVFObM4$ XGDJUGIG$ XFLFOMPJ$ J$LFaM\FIG$D$QWLQY$W$WFOGPE$vGIGPMUFH_$WJVJU$OM$WZMPF@ZF$J$NTU_$XHJXGVOJPMFU$ZHMQ$XGZHRDMLM4$NUGKR$UHJ$DGLYDM$W$AGWUGZM$PGILJ$ XGZLGOJU_WQ$ FF$ WROTE$ CUMHSJ@$ J[$ OJY4$ �FL_YJGH4$WOQD$ ZGHGOT4$ XHFZLGOQFU$ ZGLFOM4$ NUGKR$ XHFXGVOFWUJ$OGDGHGaVFOOGPT$ LMHFb$ W$ [GLGUGP4$ ZMZ$ J$ XGVGKMFU$ :MHÊ$$CHFVGDFZ$7MWXMH$J$ÔGSM$vML_UM[MH$VFHaMU$VMHR$W$LMVMOGP$J$ WPJHOG@4$ ZGUGHRF$ WJPDGLJNFWZJ$ WGGUDFUWUDTÛ$ HGLJ$uHJWUM$ ZMZ$ ]FHDGWDQ\FOOJZM$ J$ WUHMaVT\FIG$ ;WZTXJUFLQE$$CXHMDM$WDE$;GWJ`$$GXJHMFUWQ$OM$XGWGY$J$[MVTPNJDG$D[JHMFU$OM$ DGLYDGDE$ CGKRUJF$ XHGJWYGVJU$ OM$ ZHRL_bF$ W$ PHMPGHOG@$LFWUOJbF@4$ ZMPFOORPJ$ $ ZGLGOOMPJ$ J$ LFXORP$ XGUGLZGPE$uGLPJWUR@$ XF@[Ma$ ZGOUHMWUJHTFU$ W$ TNMWUZGP4$ UJWOFORP$[GLGUGP4$ ZGUGHR@$ WJPDGLJ[JHTFU$ OFKFWME$ CUJLJ[GDMOOR@$GHOMPFOU$XG$ZHMQP$XFHFZLJZMFUWQ$W$T[GHGP$OJPKGD$WDQURY4$JPJUJHTQ$ TZHMSFOJQ4$ DRXGLOFOORF$ J[$ ¬PMLJ4$ YMHMZUFHORF$VLQ$¬XGYJE

$#

!"

!"#

THE MOTHER OF GOD WITH A SILVER-GILT AND

ENAMEL OKLAD

RUSSIAN, MARK OF KHLEBNIKOV WITH THE IMPERIAL

WARRANT, MOSCOW, 1896-1908

The Mother of God in a contrapostal posture, standing on

billowing clouds, looking straight at the beholder while holding

her Son; the Child wrapped solely in a white cloth, moving

agitatedly and extending His arms as if He or wishes to embrace

!"#$ %&#'#()$ !"#$ "*+,#-$ ,.$ !"#$ /01(#-$ (#2(#-#3!#4$ 56$ +17&3,1-$shading around their heads, the saturated colours of the Mother’s

garments forming the only solid feature in the otherwise ethereal

composition; the silver-gilt and polychrome cloisonné enamel

,8+*4$#75#++&-"#4$'&!"$9,'#($514-$ &3$ (,134#+-$*34$:(,--#-$,3$the four corners

!"#$%&%!'%()

*!"+''',!-+'''

Notes:

This image of the Mother of God reproduces the famous fresco by Viktor

Mikhailovich Vasnetsov (1848-1926) from the apse of the Cathedral

of St. Vladimir in Kiev, painted around 1880-90, !"#$%&'. On the wall

painting, the Mother of God is surrounded by colourful cherubs, seraphs

*34$:+,14-)$",'#%#(;$"#($/01(#$&-$!"#$-,+#$#+#7#3!$!"*!$-!*34-$,1!$&3$!"#$entire composition. This imposing image has been copied not only on

painted panels, but more massively in prints, !"#$%&()

!"#

!"#$%&'#(#)#*!+,&-&./)/')0$#1&#"2%*/&.&3#4#2#5#6&!&71%289&<=>>?@;$ ABCDE=$ FBCGH?A=IJ$ >=$ KHJA=E$L=>MJIN?AJ$?ELC<JM=<>A=O=$PI=<J$E=>AIJ;$QRSTUQSVR$WX$$

GYWYZ[\]^_$ àYb^[c]d[$ e$ fYgdhi$ ^Yj\;$ e$ kYd\^[fYj\dYZ$^[aeY^Y\];$ j\Yl$ d[$ kgmblnòjl$ Ybg[k[o$ `$ Wglpl$ f^lZY$ d[$a^`\]glX$ I$ ^mk[o$ Yd[$ p]^c`\$Zg[p]dq[$F^`j\[;$ Yb]^dm\YWY$e$ b]gmr$ \k[d_$ `$ eaeYgdYe[ddY$ f^Y\lWè[rn]WY$ ^mk`$ fY$d[f^[eg]d`r$ k$ jZY\^ln]Zm)$ d`Zbh$ àYb^[c]ddho$ s`Wm^$Yt]^t]dh$je]\ln`Zjl$kYd\m^YZX$H[jhn]ddh]$\Yd[$Yp]ldì$GYWY^Yp`qh$ f^`p[r\$ j\[b`g_dYj\_$ us`^dYi$ `$ d]e]jYZYi$kYZfYa`q``X$>]^]b^lddhi$j$fYaYgY\Yi$Ykg[p$j$fYgò^YZdYi$f]^]WY^Ypt[\Yi$ uZ[g_r;$ mk^[v]d$ qe]\YtdhZ`$ bm\Yd[Z`$ e$Z]p[g_Yd[o$`$k^]j\[Z`$fY$t]\h^]Z$j\Y^Yd[ZX$

L^`Z]t[d`lw$P[ddhi$ Yb^[a$ GYWY^Yp`qh$ eYjf^YàeYp`\$ s^]jkm$ e$ [fj`p]$A`]ejkYWY$>YbY^[$jeX$Ig[p`Z`^[$x`ggX$Qy;$ehfYgd]ddmr$Z]cpm$QRRVU$SV$ WX$ àe]j\dhZ$ ^mjjk`Z$ cèYf`jq]Z$ I`k\Y^YZ$ Eò[igYe`t]Z$I[jd]qYehZ$ xQRzRUQS{TyX$ H[$ s^]jk]$ GYWYZ[\]^_$ f^]pj\[]\$e$ Yk^mc]d``$ ZdYWYqe]\dho$ Yb^[aYe$ j]^[s`ZYe$ `$ o]^me`ZYe$j^]p`$ kgmblnòjl$ Ybg[kYeX$ $ C|$ s`Wm^[$ }$ ]p`dj\e]ddhi$ ug]Z]d\$kYZfYa`q``;$ ehp]glrnìjl$ d[$ u\YZ$ sYd]X$ =b^[a$ GYWYZ[\]^`$ IX$I[jd]qYe[$d]YpdYk^[\dY$kYf`^Ye[gjl$`$eYjf^YàeYp`gjl$d]$\Yg_kY$e$cèYf`j`;$dY$`$e$W^[er^[o$`$g`\YW^[s`lo$*+,,)&(-.

!"#$%&( +,,)&(!"#$%&' +,,)&'

&$

&&

!*"THE MOTHER OF GOD GLYKOFILOUSA

h��j4$=¦TH CENTURY

The Child wearing a chiton and an himation with intense

chrsysography, revealing his bare leg as he reclines in his

Mother’s arms, holding a closed scroll with both hands and

stretching his neck to reach his Mother’s cheek; the Mother of

God leaning forward to meet her Son while turning her sad gaze

away from the viewer; her green headdress and matching robe

covered by a deep red maphorion, its drapery shaped by brighter

shades, with gold decoration on the shoulders, forehead and

hems; executed traditionally, the facial features accentuated by

c.&$0!"(&$e,*#!#(,)g&#4$).$1)%+$1,)*.+$!.'.#$#!/'/#)*

+(","""-&(,"""

!*"-'%'('.)02$!52.:'5'-32BA24$B8;~4$=¦?@$A9B$

�LMVFOFb$uHJWUGW$GKLMNFO$D$LFIZJ@$YJUGO$J$IJPMUJ@$xXLM\y4$OMXJWMOORF$W$XHJPFOFOJFP$UFYOJZJ$JOUFOWJDOGIG$[GLGNFOJQ$xYHJ[GIHM`JJyE$wVOM$OGaZM$PLMVFObM$GWUMDLFOM$OFXGZHRUG@$XLM\GPE$ uHJWUM$ XGVVFHaJDMÛ$ HTZJ$ vGIGHGVJbRd$ GO$WaJPMFU$ WDFHOTUR@$ WDJUGZ$ GKFJPJ$ LMVGOQPJ$ J$ UQOFUWQ$\FZG@$Z$vGIGPMUFHJE$vGIGHGVJbM$OMZLGOQFUWQ$FPT$OMDWUHFNT4$GUDGVQ$WDG@$JWXGLOFOOR@$XFNMLJ$D[GH$GU$[HJUFLQE$9F$[FLFOR@$IGLGDOG@$TKGH$XGZHRU$PM`GHJFP$ILTKGZGIG$ZHMWOGIG$bDFUME$$9IG$ VHMXJHT^\JFWQ$ WZLMVZJ$ GKG[OMNFOR$ XHGKFLMPJ$ J$KGLFF$ WDFULRPJ$ GUUFOZMPJ$ ZHMWOGIGE$]G$ ZHGPZMP$PM`GHJQ$XHGYGVJU$ [GLGUMQ$ KMYHGPME$ {M$ XLFNMY$ J$ D$ GKLMWUJ$ LKM$vGIGHGVJbR$ DRSJUR$ [GLGURF$ [DF[VRE$ ;ZGOM$ DRXGLOFOM$ D$UHMVJbJGOOG@$PMOFHFd$`GO$ GUVFLMO$ [GLGUGPE$�JZJ$ TWJLFOR$UGOZJPJ$XHGKFLMPJE

&'

&(

!+"THE WORSHIP OF THE MOTHER OF GOD


The icon does not depict an individual Bible event; instead, by

using elements from a number of sources it forms a complex image

that celebrates the role of the Mother of God in the incarnation

)'$h!,"#(E$�!&$ 2)53)#"(").$ ),1-."#&+$ -,)*.+$ (!&$ 2&.(,-%$ c1*,&$of the Mother with the Child on her lap, surrounded by a deep

green, ovoid glory, against a mountainous terrain; the upper half

of the icon drawing on the episode of the Nativity, including the

(!,&&$°"#&$�&.$ 3,)2&&+".1$ ',)5$ (!&$ %&'($ ".$ ),+&,$ ()$5&&($ (!&$newborn King, the latter responding by signing in benediction;

an angel on the upper left corner gazing in amazement the open

heavens, and opposite, a second angel announcing the Nativity to

a young Shepherd; the lower part of the image deriving from the

icons of 36(")%\/+()4$0!&,&$-$1,)*3$)'$%+$�&#(-5&.($�,)3!&(#$-,&$/-.g&+$e6$�(#E$h)#5-#$)'$�-"*5-$-.+$�)!.$)'$�-5-#2*#4$both presenting scrolls inscribed with exaltations to the Mother of

�)+d$%-#(%64$(!&$2-�&#$).$(!&$%)0&,$2),.&,#$&.2%)#".1$(0)$c1*,&#$in Limbo seeking salvation looking upwards at the Mother of

God and suggesting the participation of the Underworld in her

-+),-(").d$(!&$"2).$3-".(&+$c.&%6$".$(!&$(63"2-%$#(6%&$)'$(!&$=>(!$century, rendered mostly with shades of red and green on ochre

background

/%#$#/.'(#)*

+!(,"""-/(,"""

!+"('?.&!1"'$ 8()!1'"'$ )$ ,('!52"5&/)&$-'%'('.)068wCC;<4$=>?@$A9B

CâFU$JZGOR$XGDFWUDTFU$OF$UGL_ZG$G$FVJOGP$OGDG[MDFUOGP$WGKRUJJ4$OG$WGVFHaJU$HQV$HM[OGGKHM[ORY$JZGOGIHM`JNFWZJY$¬LFPFOUGD4$XHGWLMDLQ^\JY$TNMWUJF$vGIGHGVJbR$D$XHGbFWWF$vGIGDGXLG\FOJQ$ uHJWUME$ BGPXG[JbJQ$ GHIMOJ[GDMOM$ DGZHTI$bFOUHML_OG@$ `JITHR$ vGIGPMUFHJ$ W$ PLMVFObFP$ uHJWUGP$OM$ ZGLFOQYE$ wKF$ `JITHR$ [MZL^NFOR$ D$ [FLFOR@$ GDML_OG@$`GHPR$ OJPK4$ DRVFLQ^\J@WQ$ OM$ `GOF$ WZMLJWUGIG$ XF@[MaME$A$DFHYOF@$NMWUJ$ZGPXG[JbJJ$8GaVFWUDM$WLFDM$XHFVWUMDLFOR$UHJ$ XTUFSFWUDT^\JF$ DGLYDM4$ XHJSFVSJF$ XGZLGOJU_WQ$OGDGHGaVFOOGPT$:MHÊ$$uHJWUGW$KLMIGWLGDLQU$JY$GUDFUORP$aFWUGPE$�OIFL$D$DFHYOFP$LFDGP$TILT$D$J[TPLFOJJ$WPGUHJU$$OM$HM[DFHWURF$OFKFWME$C$XHGUJDGXGLGaOG@$WUGHGOR$DUGHG@$MOIFL$KLMIGDFWUDTFU$G$HGaVFWUDF$CXMWJUFLQ$PGLGVGPT$XMWUTYTE$$A$OJaOF@$NMWUJ$ZGPXG[JbJJ4$ [MJPWUDGDMOOG@$J[$JZGOGIHM`JJ$GKHM[M$}|GWUG@OG$FWU_�4$$J[GKHMaFOM$IHTXXM$DFUYG[MDFUORY$XHGHGZGD$WG$WDE$BGW_PG@$�M^PWZJP$J$;GMOOGP$|MPMWZJORP$W$ GKFJY$ WUGHGOE$ ;$ UGU4$ J$ VHTIG@$ WDQUG@$ VFHaMU$ WDJUZJ$ W$IJPOMPJ4$ XHGWLMDLQ^\JPJ$ vGIGPMUFH_E$ A$ XF\FHMY$ XG$ GKF$WUGHGOR$JZGOR$J[GKHMaFOR$`JITHR$XGV[FPORY$VTYGD$J[$MVM4$aMaVT\JY$ WXMWFOJQ$ J$ DG[VFDM^\JY$ HTZJ$ XG$ OMXHMDLFOJ^$Z$ vGIGPMUFHJ4$ UFP$ WMPRP$ TZM[RDMQ$ OM$ `MZU$ XHGWLMDLFOJQ$vGIGPMUFHJ$ WHFVJ$ GKJUMUFLF@$±FGLME$ BGPXG[JbJQ4$ J[Q\OG$OMXJWMOOMQ$ D$ UJXJNOG@$ PMOFHF$ =>?IG$ DFZM$ J$ XFHFVMOOMQ$ D$[FLFORY$J$ZHMWORY$UGOMY$$XG$GYHJWUGPT$`GOTE

&)

&*

#,"THE MOTHER OF GOD “HODEGETRIA”

��ª�j4$��$=¦TH CENTURY

Directing the viewer’s attention towards her Son, the Child

seated on her left forearm, gesturing in benediction and holding

a closed scroll; executed traditionally with deep hues and white

-22&.(#$ -,)*.+$ (!&$ '-2"-%$ '&-(*,&#4$ (!&$ %"1!($ e%*&$ !&-+?2)�&,$complemented by a dark brown maphorion trimmed in gold,

Christ dressed in a luminous, golden chiton

!/'!#$#%1'%#)*

+%!,"""-%(,"""

#,"-'%'721&(>$;'.)%)1()4<$8wCC;<4${��w$=¦?IG$A9B�

vGIGPMUFH_$ OMXHMDLQFU$ D[GH$ PGLQ\FIGWQ$ D$ WUGHGOT$ FF$WROME$ �LMVFOFb$ uHJWUGW$ DGWWFVMFU$ OM$ XHMDGP$ XHFVXLFN_F$vGIGHGVJbR4$OJWXGWRLMQ$KLMIGWLGDFOJF$PGLQ\FPTWQ$J$VFHaM$D$ HTZF$ WDFHOTUR@$ WDJUGZE$ ;ZGOM$ OMXJWMOM$ D$ UHMVJbJGOOG@$PMOFHF$ D$ ILTKGZJY$ UGOMY4$ W$ KFLRPJ$ GaJDZMPJ$ OM$ LJZMYE$${FaOG?IGLTKGF$XGZHRDMLG$OM$IGLGDF$vGIGHGVJbR$GUUFOQFUWQ$UFPOG?ZGHJNOFDRP$PM`GHJFP4$GUVFLMOORP$[GLGUGPE$uHJWUGW$GKLMNFO$D$WJQ^\J@$[GLGUGP$YJUGOE

#!"1(')02$"&18'32"&1/24$8wCC;<4${��w$=>?IG$A9B�

~HJ$ MOIFLM$ DGWWFVMÛ$ OM$ UHGOMY$ KF[$ WXJOGZ$ W$ XGVOGaJQPJE$;Y$ IGLGDR$ OMZLGOFOR$ D$ WUGHGOT$ NMS4$ WUGQ\JY$ OM$ WUGLFE$AVMLFZF$ WLFDM$ DJVOFFUWQ$ DRWGZGF$ [VMOJF$ W$ ZGLGOOMPJ4$XGVVFHaJDM^\JPJ$ HFSFUNMURF$ DGHGUME$ C$ XHMDG@$ WUGHGOR$DRWJUWQ$ WZMLJWUMQ$ IGHME$ $ �FaVT$ MOIFLGD$ J[GKHMaFO$ VTK$�MPHFE$~GHaFWUDFOOMQ$ZGPXG[JbJQ$D$OMWR\FOORY$UGOMYE

#!"THE OLD TESTAMENT TRINITY

RUSSIAN, EARLY 17TH CENTURY

Seated on backless thrones with footrests, the Three Angels

leaning forward towards the chalices that lie on the table, to the

far left a tall building, its piers with elaborate capitals supporting

a grid gate, opposite a rocky mount and between them, the oak of

Mamre; executed solemnly with saturated colours

/%'&#$#!.#)*

+%?,"""-!0,"""

&!

##"'-(23$ /&(=:'1"'(/'%'$ !,2!2$ !&(&-(4/6*$':52.$!$,'3'5'1'*$8wCC;<$x�wCBwACB�<$±Bw��y4$Bw{9:$= ?IG$A9B�4$B�9¡�w$��C~98�$};E$7E�$

�JZ$ uHJWUM$ W$ UGOZJPJ$ NFHUMPJ$ GKHMPLFO$ WDGKGVOG$OJWXMVM^\JPJ$ DGLGWMPJ4$ HM[VFLFOORPJ$ OM$ XHGKGHE$ wO$XHGWUTXMFU$ OM$ `GOF$ XGVVFHaJDMFPGIG$ VDTPQ$ MOIFLMPJ$[FLFOGIG$ XLMUM4$ HMWSJUGIG$ [GLGUGP$ J$ TKHMOOGIG$ XG$ ZHMQP$aFPNTIMPJE$ ;ZGOM$ GXHMDLFOM$ D$ WFHFKHQOR@$ GZLMV$ W$XG[GLGUG@4$ $TZHMSFOOR@$OMZLMVORP$UHFYNMWUORP$OJPKGP$J$DRNFZMOFOORPJ$LJWU_QPJ$XG$ZHMQPE

##"THE MANDYLION WITH A SILVER-GILT OKLAD

��ª�j$ x��h°$ �h®�y4$ ��$ = TH CENTURY,

��i�$��$ªE�E$ªj$h��ª��ªh

The face of Christ with slender features, framed by parted hair,

falling in locks, imprinted on a green towel embellished with gold

embroidery, the hem with simulated pearls, lifted by two angels;

the silver gilt oklad with ample hammered foliage on the border,

-33%"&+$0"(!$2*(?)*($(,"3-,("(&$!-%)/%'(#$#!.#)*

+.,"""-1,"""

&"

#$"THE MOTHER OF GOD OF THE INVIOLATE MOUNTAIN WITH A SILVER-GILT

OKLAD


A variation of the Hodegetria, her maphorion scattered with clouds, the usual stars on her

forehead and shoulders replaced on this image by busts of angels, the hem adorned with

simulated pearls and inscribed with a prayer, Christ wrapped in an himation, revealing his left

arm and leg, the border of the oklad with foliate scrolls and beaded rims

%%'/#$#1'&#)*

+%,!""-%,?""

#$"-'%'('.)02$ ;%'(2$ /&(=:'!&9/24<$ "$ !&(&-(4/'7$ ':52.&$ !$,'3'5'1'*$8wCC;<4$=t?@$A9B$

|MOOMQ$ JZGOM4$ GUOGWQ\MQWQ$ Z$ J[DGVT$ }wVJIJUHJJ�4$ XHFVWUMDLQFU$ vGIGHGVJbT4$GKLMNFOOT^$D$PM`GHJ@4$HMWSJUR@$GKLMZMPJ$W$MOIFLMPJ$D$PFVML_GOMY�J[GKHMaFOJQY4$[MPFOQ^\JY$ XHJDRNORF$ [DF[VGNZJ4$ WJPDGLJ[JHT^\JF$ OFXGHGNOGWU_$ vGIGPMUFHJE$BHGPZM$PM`GHJQ$HMWSJUM$aFPNTIMPJ4$PFa$HQVMPJ$ZGUGHRY$XHGYGVJU$UFZWU$PGLJUDRE$�LMVFOFb$uHJWUGW$GKFHOTU$D$XLM\4$J[?XGV$ZGUGHGIG$DRKJDMÛWQ$FIG$LFDMQ$HTZM4$OGaZM$J$WUTXOQE$$]G$ZHMQP$GZLMVM$XHGYGVQU$HMWUJUFL_ORF$[MDJUZJ$J$KTWJORE

4(+,%"80&$

]%K^_àb

#'"STS. JACOB AND ANNA WITH A SILVER-GILT AND

ENAMEL OKLAD IN A CARVED GILTWOOD KYOT

RUSSIAN, 19TH$ h�j��4$ ��i�$ ��$ �E�E$ ªj$CYRILLIC

�(E$ �-2)e4$ ".$ (!&$°&#($ g.)0.$ -#$ �(E$ �-5&#4$ e,".1".1$ !"#$ ,"1!($!-.+$()$!"#$2!&#($-.+$!)%+".1$-$f))g4$�(E$�..-$�)".".1$!&,$!-.+#$".$3,-6&,4$ (!&$ #"%�&,?1"%($)g%-+$2!-#&+$0"(!$-$ %-(("2&$+&#"1.$ (!-($,&.+&,#$(!&$/)),$".$3&,#3&2("�&4$(!&$1-,5&.(#$-.+$!-%)&#$".$,&%"&'4$on a tooled background, the border in the form of an arch with

2!&�*&,&+$2!-53%&�µ$&.-5&%$-.+$'*,(!&,$-33%"&+$0"(!$&5e%-�).#$)'$2%)"#)..µ$&.-5&%d$',-5&+$e6$-$2-,�&+4$1"%($-.+$0))+&.$',-5&4$presented in a glazed kyot with elaborate upper part

!!#$#%.'(#)*2#/&'?#$#/!'!#)*#34)567348#9:;#@AB9

+0,!""-(,!""

#'"!"#$ 2,#$ )2:'"$ )$ ,('('9)02$ 2//2$ !&(&-(4/6*$3'5'9&/6*$ ':52.$ !$ C725>B@$ ,'3'5'9&//6*$:)'1$8wCC;<4$= ?@$A9B4$B�9¡�w$��C~98�$}CE$CE�$

CDE$MXGWUGL$;MZGD$XGVOGWJU$XHMDT^$HTZT$Z$WFHVbT4$M$LFDG@$WaJPMFU$9DMOIFLJFE$ $ CDE$ �OOM$ XHFVWUMDLFOM$ WG$ WLGaFOORPJ$ D$ PGLJUDF$HTZMPJE$ CFHFKHQOR@$ GZLMV$ TZHMSFO$ XG[GLGUG@E$ ]G$ `GOT$ JVTU$NFZMOORF$HFSFUNMURF$T[GHR4$JPJUJHT^\JP$XLJUGNORF$J[HM[bR$OM$XGLT4$DRXGLOFOORF$D$IFGPFUHJNFWZG@$XFHWXFZUJDFE$wVFaVR$J$OJPKR$DRXGLOFOR$D$HFL_F`F$OM$ GOF$WG$SUMPXGDMOORP$T[GHGPE$BHMQ$GZLMVM$DRXGLOFOR$D$DJVF$MHZJ$W$DRFPNMUG@$¬PML_^$WG$DZHMXLFOJQPJ$J[$¬PMLJ$XG$WZMOJE$;ZGOM$GXHMDLFOM$W$HF[OT^4$XG[GLGNFOOT^$VFHFDQOOT^$HMPT$J$DWUMDLFOM$D$GWUFZLFOOR@$ZJGU$W$HF[ORP$OMDFHSJFPE$

&#

#&"A DEISIS INCLUDING TWO PROSTRATED MONASTIC SAINTS WITH A

SILVER-GILT OKLAD


h!,"#($(!&$®"1!$�,"&#($-((",&+$".$%"(*,1"2-%$�&#(5&.(#4$#&-(&+$).$-.$&%-e),-(&%6$2-,�&+$(!,).&4$/-.g&+$e6$!"#$�)(!&,$+,&##&+$".$,&1-%$1-,5&.(#4$-.+$�(E$�)!.$(!&$f-3("#(4$-%%$(!,&&$c1*,&#$crowned, two monastic saints bowing on their knees in the foreground, the oklad matching

lot 23

%%'/#$#?'?#)*

+%,!""-%,?""

#&".&)!)!$!$."=74$,(&,'.'-/67)$"$7'5&/))$3'5'9&/6*$!&(&-(4/6*$':52.$8wCC;<4$=t?@$A9B

CXMW$ AWVFHaJUFL_$ D$ GKHM[F$ ]FHDGWDQ\FOOJZM$ J$ D$ LJUTHIJNFWZGP$ GKLMNFOJJ$UGHaFWUDFOOG$ DGWWFVMFU$ OM$ TKHMOOGP$ XRSOG@$ HF[_KG@$ UHGOFE$ ]G$ GKF$ WUGHGOR$ FPT$XHFVWUGQU$vGIGPMUFH_$D$bMHWZGP$GVFQOJJ$J$WDE$;GMOO$BHFWUJUFL_E$AWF$UHGF$TDFONMOR$ZGHGOMPJE$ |DGF$ $ WDQURY4$ XHJXMVM^\JY$ Z$ UHGOT$ uHJWUM$ D$ PGLFOJJ4$ J[GKHMaFOR$ OM$XFHFVOFP$XLMOFE$wZLMV$JZGOR$XG$GXJWMOJ^$WGDXMVMFU$W$XHFVRVT\JP$LGUGPE

'%

#)"!"#$-52%'"&(/6*$:/43>$25&:!2/.($/&"!:)*$"$7'5)1"&$:'$8()!1=$8wCC;<$x�wCBwACB�<$±Bw��y4$Bw{9:$= ?IG$A9B�

CDE$ KLMIGDFHOR@$ BOQ[_$ �LFZWMOVH$ {FDWZJ@$ GKHM\MFUWQ$ D$PGLFOJJ$ZG$uHJWUT4$ DG[VFD$HTZJE$wKHM[$uHJWUM$ [MZL^NFO$D$ZHTILR@$OJPKd$GO$XMHJU$OM$GKLMZMY$W$ZOJIG@$9DMOIFLJQ$D$HTZF4$OJWXGWRLMQ$ KLMIGWLGDFOJF$ OM$ ZOQ[QE$ $ CDE$ �LFZWMOVH$ WUGJU$OM$ `GOF$ WZMLJWUGIG$ XF@[MaM$ WG$ WZTVOG@$ HMWUJUFL_OGWU_Ê$BOQ[_$J[GKHMaFO$D$bMHWZGP$GVFQOJJ$W$TWFQOOG@$WMPGbDFUMPJ$ZM@PG@E$ 9IG$ VLJOOR@$ XLM\$ HMWSJU$ [GLGURPJ$ [MDJUZMPJ4$DGHGU$GUGHGNFO$IGHOGWUMFPE$AWF$PFLZJF$VFUMLJ$J[GKHMaFOJQ$U\MUFL_OG$ DRXGLOFOR$ W$ KGL_SJP$ J[Q\FWUDGP4$ NUG$ XHJVMFU$ZGPXG[JbJJ$HMDOGPFHOR@$J$TUGONFOOR@$YMHMZUFHE

#)"PRINCE ALEXANDER NEVSKY IN SUPPLICATION TO

CHRIST

��ª�j$x��h°$�h®�y4$��$= TH CENTURY

�!&$�,".2&$#(-.+".1$).$-$,)2g6$%-.+#2-3&$0"(!$#3-,#&$�&1&(-(").4$raising his hands in supplication and looking upwards, where

Christ appears against a circular mandorla on billowing clouds,

holding the Gospels and extending his blessings; the princely

#-".($+,&##&+$".$5-1."c2&.($1-,5&.(#$0"(!$1)%+$-.+$1&5?#(*++&+$bands, his long coat embroidered with gilt scrolls, applied with

an ermine collar; the details of the image executed with great

,&c.&5&.(4$-2!"&�".1$-$3)0&,'*%$6&($e-%-.2&+$-.+$#)3!"#("2-(&+$composition

/%#$#!&'(#)*

+?,"""-%!,"""

'$

#(",'."&!:2$!$)3'-(2?&/)&7$5):2$8()!12�8�9{;<4$= ?@$A9B

]GVDFWZM$GDML_OG@$`GHPR$W$HFMLJWUJNOG$OMXJWMOORP$LJZGP$OM$ `GOF$ W$ HMWYGVQ\JPJWQ$ LTNMPJ$ GXHMDLFOM$ D$ [GLGNFOT^$HMPT4$DDFHYT$TZHMSFOOT^$HF[_KG@$W$YFHTDJPMPJ4$VFHaM\JPJ$ZGHGOT$ OMV$ ZHTILG@$ UMKLJNZG@$ W$ JOJbJMLMPJ$ uHJWUME$ B$DFHYOF@$ NMWUJ$ XHFVPFUM$ XHJZHFXLFOG$ XGVDFWOGF$ ZGL_bGE$COJ[T$HMPM$[MZHFXLFOM$KTLMDZG@$W$VDTPQ$aFPNTaJOMPJE

#("A PENDANT DEPICTING THE FACE OF CHRIST

ARMENIAN, 19TH CENTURY

Of ovoid shape, painted naturalistically on a rayed background,

#&($ ".$ -$ 1"%($ ',-5&4$ "(#$ *33&,$ 3-,($0"(!$ 2*(?)*($ 2!&,*e#$ !)%+".1$a crown above a circular plate chiselled with Christ’s initials, a

hanging loop at the top, the rim fastened at the bottom by a pin

ornamented with two pearls

1#$#&#)*

+%,!""-%,?""

'&

#*"!""#$:/43>4$"52.)7)(@$%5&-$)$:/4%)/4$'5>%2$8wCC;<E$=>?@$A9B

CDE$BOQIJOQ$BJFDWZMQ$wL_IM4$JPFOTFPMQ$8MDOGMXGWUGL_OG@4$J[GKHMaFOM$ D$ GZHTaFOJJ$ WDGFIG$ DOTZM$ xAFLJZGIG$ BOQ[Q$ALMVJPJHM$W$LFDG@$WUGHGORy$ $J$XHMDOTZM$x$WDE$BOQ[Q$7LFKM4$W$ XHMDG@$ WUGHGORyE$ AWF$ `JITHR$ TDFONMOR$ ZGHGOMPJ4$DXJWMOORPJ$D$OJPKR4$J$XHFVWUMDLFOR$`HGOUML_OG$D$XGLOR@$HGWU4$ W$ ZHMWORPJ$ ZHFWUMPJ$ xWJPDGLMPJ$ PTNFOJNFWUDMy$ D$HTZMYE$ CDDE$ ZOQ[_Q$ ALMVJPJH$ J$ 7LFK$ XHFVWUMÛ$ D$ XRSORY$ZOQaFWZJY$ GVFQOJQY$ $ XFHPFaM^\JYWQ$ ZHMWORY$ J$ WJOJY$GUUFOZGD$ W$ GUGHGNZMPJ4$ TWRXMOORPJ$ WMPGbDFUMPJE$A$ HTZMY$GOJ$ VFHaMU$ PFNJE$ ;Y$ UQaFLRF$ KMHYMUORF$ XLM\J$ KGIMUG$TKHMOR$[GLGUG@$XMHNG@E$�JZJ4$OMXJWMOORF$D$UFPORY4$ILTKGZJY$UGOMY$ J$ WPQINFOR$ XLMD_^$ J$ GaJDZMPJ4$ UJXJNORPJ$ VLQ$ =>?IG$ DFZME$ A$ DFHYOF@$ NMWUJ$ JZGOR$ vGIGPMUFH_$ }zOMPFOJF�$ D$HM[DFHWURY$ OFKFWMY$ KLMIGWLGDLQFU$ UHFY$ ZJFDWZJY$ WDQURY4$`JITHR$ ZGUGHRY$ DRVFLQÛWQ$ OM$ OFaOG?[FLFOGP$ `GOFE$ {M$DRWGZJY$XGLQY$ZGDNFIM$PFWUMPJ$XHGWUTXMFU$LFDZMWE$$$$

#*"DED#$FGHIJKJL@$MGNH$HOI$NGPQRUSSIAN, 17TH CENTURY

�,".2&##$ %1-$ )'$ �"&�4$ -%#)$ 2-%%&+$ ��*-%$ ()$ (!&$ �3)#(%&#�4$/-.g&+$e6$!&,$1,-.+?#).4$�,".2&$¯%-+"5",$(!&$�,&-(4$ ()$(!&$%&'($-.+$!"#$)0.$#).4$�,".2&$�%&e4$()$(!&$,"1!(d$-%%$3),(,-6&+$',).(-%4$!-%)&+$-.+$2,)0.&+4$e&-,".1$,&+$5-,(6,i#$2,)##&#d$�(#E$¯%-+"5",$and Gleb additionally carrying their swords; dressed in opulent

1-,5&.(#$ )'$ -%(&,.-(&$ ,&+#$ -.+$ 1,&&.#4$ 1-,."#!&+$ 0"(!$ 1&5?embroidered gold bands, their velvet coats richly decorated in

gold brocade; the deep colours of their faces soften with smooth

shading, as was common in the icon painting of the 17th century;

on the upper border, the open heavens revealing the Mother of

God of the Sign blessing the three Kievan saints, on light green

background, the raised border bare to the 0-98&/

/!'!#$#!&'.#)*

+%%,"""-%&,"""

''

'(

#+" THE FOUNDERS OF THE KIEVAN CAVES

KMOHDEPLR@$ DED#$ HOEMOJR$ HOI$ ESPMIMDJR$ JO$SUPPLICATION TO THE MOTHER OF GOD


The icon privately commissioned as suggested by the presence

)'$ (!&$ 3-(,).$ �(E$ �&),1&$ ).$ (!&$ e),+&,d$ (!&$�)(!&,$ )'$ �)+$holding her Son seated on a luxurious throne complemented by

-$2*#!").$0"(!$3&-,%?&5*%-(".1$+&2),-(").$-.+$-$suppedaneum,

/-.g&+$ e6$ �(E$ �.(!).6$ -.+$ !"#$ +"#2"3%&4$ �!&)+)#"*#4$ e)(!$displaying scrolls and raising their hands in prayer

/%'(#$#!.#)*

+%,(""-!,(""

#+"-'%'721&(>$ !$ '!/'"21&547)$ :)&"'+,&9&(!:'*$52"(68wCC;<4$A~w8�<$]w�wA;{�$=t?IG$$A9B�

;ZGOM$KRLM$OMXJWMOM$OM$[MZM[4$ZMZ$WLFVTFU$J[$XHJWTUWUDJQ$OM$ LFDGP$ XGLF$ `JITHR$ WDQUJUFLQ$ 7FGHIJQE$ vGIGPMUFH_$ W$CROGP$OM$HTZMY$DGWWFVMFU$OM$HGWZGSOGP$UHGOF$W$XGVOGaJFP4$OM$XGVTSZF4$TZHMSFOOG@$JPJUMbJF@$aFPNTIM4$D$GZHTaFOJJ$XHFXGVGKOGIG$�OUGOJQ$]FNFHWZGIG$J$FIG$TNFOJZM$«FGVGWJQE$wKM$XHFVWUGQ\JY$D$PGLJUDF$WUMHbM$VFHaMU$D$HTZMY$WDJUZJE$;ZGOM$DRXGLOFOM$D$OMWR\FOORY$UGOMYE

$,"."&$ (&3/6&$ .&(&"4//6&$ ):'/6$ !'$ $ !""#-'()!'7$ )$ %5&-'7$ )$ !"#$ '!/'"21&547)$:)&"'+,&9&(!:'%'$ 7'/2!16(4$ !$ 8(27'7$$=!,&/)4$¢B8�;{�4$C989|;{�$= ?IG$A9B�

;ZGOR$J[$WMPSJUM$J[GKHMaMÛ�$=y$WDQURY$ZOQ[F@?PTNFOJZGD$vGHJWM$J$7LFKM4$GKLMNFOORY$D$bMHWZJF$GVFQOJQ4$WG$AWFDJVQ\JP$wZGP$D$HM[DFHWURY$OFKFWMY$OMV$OJPJd$¤y$XHFXGVGKORY$�OUGOJQ$J$«FGVGWJQ$]FNFHWZJY4$VFHaM\JY$JZGOT$¢WXFOJQd$OMV$OJPJ$D$OFKFWMY$XMHJU$BJFDG?]FNFHWZMQ$�MDHM4$GWOGDMOOMQ$WDQURPJ$J$XGWDQ\FOOMQ$¢WXFOJ^$vGIGPMUFHJE$]MHMPFUHR$ZMaVG@$JZGOR$D$ZJGUF�$=¥$Y$t4>$WPE

$,"A PAIR OF CARVED WOODEN MINIATURE ICONS

SHOWING STS. BORIS AND GLEB AND THE FOUNDERS

OF THE CAVES MONASTERY WITH THE CATHEDRAL

OF THE DORMITION

UKRAINIAN, MIDDLE OF THE 19TH CENTURY

�-+&$ )'$ e)�0))+4$ (!&$ c,#($ #!)0".1$ (!&$ e%&##&+$ 3,".2&#$ �%&e$-.+$f),"#4$ +,&##&+$ ".$ ,)6-%$ 1-,e#4$�)+i#$�6&$ )'$ �,)�"+&.2&$ ".$(!&$ )3&.$ #g"&#4$ (!&$ #&2).+$ "2).$ ,&3,&#&.(".1$ �(#E$�.(!).6$ -.+$�&)+)#"6$�)".(%6$!)%+".1$-.$"2).$)'$(!&$�),5"(").4$/)-(".1$-e)�&$(!&$�"&�)?�&2!&,#g-6-$�-�,-$�).-#(&,6$0!"2!$(!&6$')*.+&+$-.+$dedicated to the Dormition of the Mother of God

%/#$#?'.#)*2#;>):#3)B4#34)567348#9:;#@AB9# # C!D

+!,(""-/,(""

')

$!"!'-'($!"4168$,(&,'.'-/68$,&9&(!:)8$8wCC;<4$= ?@$A9B

{M$XFHFVOFP$XLMOF$ZGPXG[JbJJ$DRVFLQÛWQ$`JITHR$WDQURY$DHFPFO$BJFDWZG@$8TWJ�$WDE$BOQ[_$ALMVJPJH$DG[OGWJU$ZHFWU4$FIG$ WROGD_Q$ vGHJW$ J$ 7LFK$ WUGQU$ XG[MVJ$ OFIGE$ ±FWUDJF$DG[ILMDLQÛ$ WDQURF$ XHFXGVGKORF$ �OUGOJ@$ J$ «FGVGWJ@$]FNFHWZJFE$ $zM$OJPJ$WLFVTÛ$WDE$XMWURHJ$bFHZDJ$J$PGOMYJE${M$[MVOFP$XLMOF$DJVOFFUWQ$WGKGH$BJFDG?]FNFHWZG@$�MDHR$J$VDM$MOIFLM4$OFWT\JY$JZGOT$¢WXFOJQE$|FZGHMUJDORF$T[GHR$D$GKLMWUJ4$WJPDGLJ[JHT^\F@$OFKFWM4$M$UMZaF$GHOMPFOU4$JVT\J@$XG$ XGLQP4$ JPJUJHTÛ$ HMKGUT$ XG$ PFUMLLT4$ YMHMZUFHOT^$ VLQ$UGIG$DHFPFOJE

$!"ALL SAINTS OF KIEV


The foreground showing the founders of Orthodoxy in Kievan

�*#id$ �(E$ ¯%-+"5",$ ,-"#".1$ -$ 2,)##4$ !"#$ #).#$ f),"#$ -.+$ �%&e$standing behind him; at the front the monastic saints Antony and

�!&)+)#"*#d$(!&$/-.g".1$2,)0+#$".2%*+".1$&22%&#"-#("2-%$c1*,&#$-.+$5).g#d$".$(!&$e-2g1,)*.+$(!&$h-(!&+,-%$)'$�&2!&,#g$�-�,-$and above two angels carrying the icon of the Dormition; the

decorative pattern on the skies and border emulating metalwork

of the period

/%'!#$#!&'(#)*

+/,"""-0,"""

'*

$#"METROPOLITANS OF MOSCOW AND ALL RUSSIA:

TJULJHO$ VWXYW+YZ$ [\]$WX^_+W`_ab@$USMEJMD$ VW`_c+W`XWb$AND IONA (1461-1464)

��ª�j4$��i�$��$�-E�E$ªj$h��ª��ªh4��h°4$1789

The three leaders of the Russian Church holding Gospel Books,

attired in opulently embellished garments, Christ on the upper

3-,($&�(&.+".1$!"#$!-.+#$".$e&.&+"2(").4$(!&$#"%�&,?1"%($)g%-+$0"(!$#*e#(-.("-%$,&3)*##µ$+&2),-(").$".$e-,)�*&$#(6%&$-.+$-33%"&+4$2*(?out haloes

//'(#$#!1#)*

+0,"""-&,"""

$#"7)1(','5)16$7'!:'"!:)&$)$"!&4$(=!)d$!"#$:),()2/$ VWXYW+YZe$ WX^_+W`_ab@$ f'1)*$ VW`_c+$ W`XWb@$)'/2$VWàW+$Wà`b$8wCC;<4$B�9¡�w$��C~98�$}<E$CE�4$�wCBA�4$=>t $

~HJ$WDQUJUFLQ$8TWWZG@$]HMDGWLMDOG@$:FHZDJ$XHFVWUMDLFOR$DG$ `HGOUML_OGP$ J[GKHMaFOJJE$ BMaVR@$ GKLMNFO$ D$ KGIMUG$TKHMOORF$FXJWZGXWZJF$GVFQOJQ$J$VFHaJU$D$HTZMY$9DMOIFLJFE$A$ DFHYOF@$ NMWUJ$ JZGOR$ XGPF\FOG$ XGQWOGF$ J[GKHMaFOJF$uHJWUM4$ HMWXHGWUFHSFIG$ HTZJ$ D$ KLMIGWLGDLQ^\FP$ aFWUFE$CFHFKHQOR@$ GZLMV$ W$ XG[GLGUG@4$ HF[ORPJ$ OJPKMPJ$ J$GKJL_ORPJ$HFL_FÒRPJ$TZHMSFOJQPJ$D$KMHGNOGP$WUJLFE

$$"A LARGE CALENDAR ICON INCLUDING THE PASSION

gRgGP@$ ESP$ hPHDED$ Mh$ ESP$ POEJLP$ RPHL$ HOI$EIGHTY-THREE PORTRAITS OF THE MOTHER OF

GOD


The Anastasis being the core image of the composition,

surrounded by the Cardinal Ecclesiastical Feasts; the saints and

events celebrated throughout the year represented over four

registers for each month; the periphery of the icon including an

impressive number of portraits of the Mother of God; the complex

iconography rendered meticulously on gold ground

?1#$#."'(#)*

+.,"""-1,"""

$$"-'5>i24$ 7)/&*/24$ ):'/2$ !'$ !0&/27)$!1(2!1&*$ )$ "&5):)7)$ 5)1=(%)9&!:)7)$,(23./):27)@$ )$ !$ YX+jk$ '-(2327)@$,('!52"54BA)7)$-'%'('.)0=$8wCC;<4$= ?@$A9B

CbFOM$CGSFWUDJQ$ DG$�V$ D$ WHFVOJZF$JZGOR$WLTaJU$bFOUHGP$ZGPXG[JbJJE$9F$GZHTaMÛ$ZLF@PM$W$GWOGDORPJ$XHM[VOJZMPJ$bFHZGDOGIG$LJUTHIJNFWZGIG$IGVME$]HGNJF$WGKRUJQ$WDQ\FOOG@$JWUGHJJ$ J$ WDQURF4$ XMPQU_$ ZGUGHRY$ WGDFHSMFUWQ$ D$ UFNFOJF$IGVM4$ HMWXGLGaFOR$ D$ NFURHF$ HFIJWUHM4$ WGGUDFUWUDT^\JF$ZMaVGPT$PFWQbT$bFHZGDOGIG$ZMLFOVMHQE$]G$DOFSOF@$WUGHGOF$JZGOT$GKHMPLQÛ$ZLF@PM$W$GKHM[MPJ$vGIGHGVJbRE$CLGaORF$JZGOGIHM`JNFWZJF$ ZGPXG[JbJJ$ U\MUFL_OG$ DRXJWMOR$ XG$[GLGUGPT$`GOTE$

'!

'"

$'"THE ENTRY OF THE MOTHER OF GOD TO THE

TEMPLE

��ª�j$ x��E$ ��f��y4$ �ª��$ �$ �®�$ = TH

CENTURY

�(#E$ �)-2!"5$ -.+$�..-4$ -22)53-."&+$ e6$5-"+#$ -.+$ -.$ &%+&,%6$%-+64$ 3,-6".1$ 0!"%&$ )e#&,�".1$ (!&",$ (!,&&?6&-,$ )%+$ +-*1!(&,$entering the Temple; the girls carrying burning candles, the High

�,"&#($ ".$ 2&,&5)."-%$ �&#(5&.(#4$ (!&$ )(!&,$c1*,&#$0&-,".1$3%-".$robes accentuated in gold, the Mother of God with a radiating

halo; the harmonious composition executed realistically

/%'&#$#/"'.#)*

+!,(""-/,(""

$'"""&.&/)&$-'%'('.)06$"'$8(27$8wCC;<$xC�{B~?]9~98v¢87y4$C989|;{�$= ?IG$A9B�

CDDE$;GMZJP$J$�OOM$D$WGXHGDGaVFOJJ$XHJWLTaOJb$J$XGaJLG@$OMWUMDOJbR$ XHFKRDMÛ$ D$ PGLJUDF4$ OMKL^VMQ$ [M$ UFP4$ ZMZ$UHFYLFUOQQ$ vGIGHGVJbM$ DYGVJU$ DG$ uHMPE$ AGWXJUMOOJbR$uHMPM$ VFHaMU$ D$ HTZMY$ IGHQ\JF$ WDFNJ4$ ]FHDGWDQ\FOOJZ$ D$YHMPGDGP$GKLMNFOJJ$DFVFU$vGIGPMUFH_$[M$HTZTE$$AWF$GWUML_ORF$XFHWGOMaJ$GKLFNFOR$D$XHGWURF$GVFaVR$W$$[GLGURPJ$GaJDZMPJE$${JPK$vGIGHGVJbR$JWUGNMFU$WJQOJFE$$7MHPGOJNOMQ$ZGPXG[JbJQ4$DRXGLOFOOMQ$D$HFMLJWUJNFWZG@$PMOFHFE

?c_def:%agbMh:%f%ijKNMf:%f%kMf^_Klf%mnK%N]Kb:%f%o`Lmah%l`MKa%N]Kp%f%aKj%KNq`%N]KbrK2%s%

]Kotb_`-N%u`Mh%^MìKNd%N]Kbpv%fLK%wl%xKikKah%N]Kp:%f%Nd%kK^_Klfih%yjm2>%z{i`_Kj%WW|HH}H~�

?!(/+-):%Z%$&=*,+-#:%'")/($-#%&)$%()'0()-%J"=#%-&#v%;"#*-+%J"=#%R-"R0-%&)$%J"=#%;&+,-#�/%,"=/-%&)$%

+,-%8()*%4(00%$-/(#-%J"=#%1-&=+J2%O()'-%,-%(/%J"=#%0"#$:%1"4%+"%,(Bv>%z5/&0B%WG|HV}HH�

$&"THE NEW TESTAMENT TRINITY


�!&$3)0&,'*%$c1*,&$)'$(!&$�.2"&.($)'$(!&$�-6#4$#&-(&+$).$2%)*+#4$!"#$'&&($,&#(".1$on a globe that represents the earthly realm, extending His arms in blessing,

the infant Christ on His lap signing in benediction and holding an open Book,

and above Him the Holy Spirit in the form of a dove; in the foreground a red

seraph with extended wings and at the sides four cherubs; the body of the Father

beaming with light on the gold background

/('(#$#/"'.#)*

+/,!""-0,?""

$&"1(')02$/'"'32"&1/24$$8wCC;<4$= ?@$A9B

A$ bFOUHF$ ZGPXG[JbJJ$ J[GKHMaFOM$ JWXGLOFOOMQ$ PG\J$ `JITHM$ AFUYGIG$|FO_PJ4$ DGWWFVM^\FIG$ OM$ GKLMZMYE$ 9IG$ OGIJ$ XGZGQUWQ$ OM$ W`FHF4$WJPDGLJ[JHT^\F@$ PJH$ VGL_OJ@$ x[FPL^yE$ wO$ XHGWUJHMFU$ WDGJ$ HTZJ$ D$KLMIGWLGDFOJJE$�LMVFOFb$uHJWUGW$WJVJU$OM$ZGLFOQY$vGIM?wUbM4$OJWXGWRLMQ$GVOG@$ HTZG@$ KLMIGWLGDFOJQ$ J$ VFHaM$ D$ VHTIG@$ HTZF$ GUZHRUT^$ ZOJIT$CDQ\FOOGIG$]JWMOJQE$]GDFHY$IGLGDR$uHJWUM$J[GKHMaFO$|TY$CDQUG@$D$DJVF$IGLTKQE$AOJ[T$OM$XFHFVOFP$XLMOF$XMHJU$GIOFOOR@$WFHM`JP$W$HMWXHGWUHFURPJ$ZHRL_QPJE$ ]G$ KGZMP$ GU$ `JITHR$ AFUYGIG$ |FO_PJ$ DJVOFÛWQ$ $ YFHTDJPRE$«JITHM$vGIM?wUbM$J[LTNMFU$XGUGZJ$WDFUM4$HMWYGVQ\JFWQ$XG$[GLGUGPT$`GOTE

$)"H$ ELJUERgS$ lJES$ ESP$ HOOmOgJHEJMO@$ ESP$NATIVITY AND THE NEW TESTAMENT TRINITY


Illustrated in the centre, against a rocky mount, are three episodes

0!"2!$ ')%%)0&+$ (!&$f",(!$)'$h!,"#(d$®"#$c,#($e-(!$e6$-$5-"+4$ (!&$-..)*.2&5&.($)'$®"#$j-("�"(6$e6$-.$)%+$�!&3!&,+$()$�)#&3!$-.+$(!&$Adoration of the Shepherds; the upper, arched section representing

(!&$ j&0$ �&#(-5&.($ �,"."(6$ #*33),(&+$ e6$ 2%)*+#$ -.+$ c&,6$ ,&+$#&,-3!#d$(!&$/-.g".1$0".1#$"%%*#(,-(".1$".$-.$".(&,"),$#3-2&$(!&$�"#"($of Archangel Gabriel to the Mother of God in order to inform her of

God’s will; the robust angel advancing from the left, the Mother of

God sitting next to a table with a an open Book

!"#$#!0#)*#;$9;47;7

+&,"""-?,"""

$)"!:52.&/>$ !'$ !0&/'*$ -52%'"&A&/)4@$('?.&!1"2$)$'-(23'7$1(')06$/'"'32"&1/'*$8wCC;<4$=t?@$A9B

A$ bFOUHML_OG@$ WUDGHZF$ WZLMVOQ$ OM$ `GOF$ WZMLJWUG@$ IGHR$XHFVWUMDLFOR$UHJ$¬XJ[GVM$J[$WDQ\FOOG@$JWUGHJJ4$DGXLG\M^\JF$WGKRUJQ$ XGWLF$ 8GaVFWUDM$ uHJWUM�$ ZTXMOJF$ PLMVFObM$XHJWLTaOJbF@4$DG[DF\FOJF$G$FIG$HGaVFOJJ$;GWJ`T$XMWUTYGP4$XGZLGOFOJF$ XMWUTYGDE$ AFHYOJ@$ WDGV$ WZLMVOQ$ D$ DJVF$ MHZJ$XHFVWUMDLQFU${GDG[MDFUOT^$~HGJbT4$OFWGPT^$ZLTKMPJ$GKLMZGD$J$ GIOFOORPJ$ WFHM`JPMPJE$ A$ GKFJY$ XHJPRZM^\JY$ WUDGHZMY$J[GKHMaFOM$ WbFOM$ vLMIGDF\FOJQ$ vGIGHGVJbR$ W$ �HYMOIFLGP$7MDHJJLGP4$ DG[DF\M^\JP$ F@$ DGL^$ vGa_Ê$ ]LGUOMQ$ `JITHM$MHYMOIFLM$WLFDM$XHJKLJaMFUWQ$Z$vGIGHGVJbF4$ WJVQ\F@$WXHMDM$[M$WUGLGP$W$GUZHRUG@$ZOJIG@$CDQ\FOOGIG$]JWMOJQE$

'#

(%

$("THE MOTHER OF GOD OF TIKHVIN

CENTRAL RUSSIAN, 19TH CENTURY

Christ seated on herforearm, turning towards her in blessing, revealing his

underfoot as he crosses his legs, the Mother of God directing the viewer’s gaze to

!&,$�).$e6$3)".(".1$$-($®"54$(!&$"2).$3-".(&+$5-#(&,%6$".$(!&$=¦th century style,

(!&$!-%)&#$+&c.&+$e6$+&&3$,&+$,"5#$-.+$1)%+$#!-+".1!!#$#%.'0#)*

+%,&""-!,&""

$("-'%'721&(>$1)8")/!:24$:9{~8��{�<$8wCC;<4$= ?@$A9B$

uHJWUGW$ DGWWFVMFU$ OM$ XHFVXLFN_F$ vGIGPMUFHJ4$ GKHM\MQW_$ Z$ OF@$ W$KLMIGWLGDFOJFPE$ 9IG$ OGIJ$ WZHF\FOR4$ WUTXOJ$ GKOMaFORE$ vGIGPMUFH_$TZM[RDMFU$HTZG@$OM$CROM4$OMXHMDLQQ$Z$OFPT$D[ILQV$[HJUFLQE$;ZGOM$PMWUFHWZJ$OMXJWMOM$D$WUJLF$=¦?IG$DFZME${JPKR$GNFHNFOR$ZHMWOG@$ZM@PG@$J$GUUFOFOR$[GLGUGPE

$*"!"#$2,'!1'5$&"2/%&5)!1$5=:2$8wCC;<$x�wCBA�y4$= ?@$A9B

ARWGZJF$ WUHGFOJQ$ OM$ [MVOFP$ XLMOF$ XHFVXGLMIMÛ4$ NUG$ VF@WUDJF$ JZGOR$XHGJWYGVJU$D$XGPF\FOJJE$�XGWUGL4$WJVQ\J@$OM$UHGOF$W$XGVOGaJFP4$XJSFU$D$ZOJIF4$LFaM\F@$T$OFIG$OM$ZGLFOQYE${M$WUGLF$WUGJU$NFHOJL_OJbME$]G[MVJ$J[GKHMaFO$ WJPDGL$ 9DMOIFLJWUM$ J[$ ZOJIJ$ wUZHGDFOJQ$ ¶$ ~FLFb4$ VFHaM\J@$GKHM[$ 9DMOIFLJQ4$ WG[VMOJF$ ZGUGHGIG$ F\F$ UGL_ZG$ XHGJWYGVJU$ OM$ XFHFVOFP$XLMOFE$;ZGOM$JWZTWOG$DRXGLOFOM$W$XHFGKLMVMOJFP$ZHMWOG?[FLFORY$UGOGDE$+"

THE ALL-SEEING EYE OF GOD


The innermost of the four large roundels containing Christ Emmanuel and

&5-.-(".1$c&,6$,-6#$()$(!&$')*,$2),.&,#4$(!&$.&�($).&$".2%*+".1$(!&$&6&#$(!-($%))g$at all directions, the third circle showing an image of the Mother of God along

with golden decorative patterns on its periphery, the outer roundel containing

(!,&&$-.1&%#d$c�&$#5-%%&,$-++"(").-%$,".1#$&.2%)#".1$"5-1&#$)'$�),+$�-ee-)(!$-.+$the four Evangelists

!%'?#$#%.'?#)*

+%,!""-%,?""

$+""!&").4A&&$':'8wCC;<4$= ?@$A9B

AOTUHJ$ ZGObFOUHJNFWZJY$ ZHTIGD4$ D$ WMPR@$ bFOUH$ ZGPXG[JbJJ$ XGPF\FO$PFVML_GO$ W$ GKHM[GP$ CXMWM$ ;PPMOTJLM$ W$ JWYGVQ\JPJ$ XG$ NFURHFP$WUGHGOMP$ GIOFOORPJ$ LTNMPJE$ $ �FVML_GO$ WG$ CXMWGP$ [MZL^NFO$ D$ ZHTI$ W$GNMPJ4$ WPGUHQ\JPJ$ DG$ DWFY$ OMXHMDLFOJQYE$ A$ UHFU_FP$ THGDOF$ J[GKHMaFOM$vGIGPMUFH_$D$GZHTaFOJJ$[DF[V$J$VFZGHMUJDORY$T[GHGDE$$AG$DOFSOFP$ZHTIF$XMHQU$ UHJ$ MOIFLME$ A$ XQUJ$ VGXGLOJUFL_ORY$ W`FHMY?PFVML_GOMY$ [MZL^NFOR$J[GKHMaFOJF$7GWXGVM$CMDMG`M$J$WJPDGLR$NFURHFY$FDMOIFLJWUGDE

$*"THE APOSTLE AND EVANGELIST LUKE

��ª�j$x��h°y4$= TH CENTURY

The tall structures in the background suggesting an interior space, the apostle

seated on a backless throne with a suppedaneum, writing in the book supported

).$ !"#$ g.&&#4$ -.$ ".g?3)($ ).$ (!&$ (-e%&$ e6$ !"#$ #"+&4$ e&!".+$ !"#$ -3)2-%63("2$3&,#)."c2-(").4$(!&$�4$!)%+".1$!"#$�)#3&%!&'?#$#!!'/#)*

+!,(""-0,(""

($

',"KOURSKAYA MOTHER OF GOD

��ª�j4$hª�h�$=>²²

The Mother of God of the Sign portrayed in an arched setting;

above her amid clouds, the Lord Sabbaoth in blessing, the

Holy Spirit on His chest; the rest of the panel occupied by

nine prophets in laurel wreaths, each displaying a scroll with

&�-%(-(").#$ ()$ (!&$ �)(!&,$ )'$ �)+d$ (!&$ c1*,&#$ 3-".(&+$ 0"(!$vibrant colours on gold ground

!&'(#$#!!#)*

+%,&""-!,&""

',"-'%'721&(>$:=(!:24$8wCC;<4$wBw�w$=>²²IE$

wKHM[$vGIGPMUFHJ$}zOMPFOJF�$$D$WHFVOJZF$JZGOR$XGPF\FO$D$ WDGVNMUT^$ ZGOWUHTZbJÊ$ {MV$ OJP$ WHFVJ$ GKLMZGD$ D$KLMIGWLGDLQ^\FP$aFWUF$XMHJU$7GWXGV_$CMDMG`$WG$CDQURP$|TYGPE$wWUMDSMQWQ$NMWU_$ZGPXG[JbJJ$[MXGLOFOM$ZLF@PMPJ$W$VFDQU_^$XHGHGZMPJ4$`JITHR$ZGUGHRY$DXJWMOR$D$LMDHGDRF$DFOZJE$ BMaVR@$ J[$ OJY$ VFHaJU$ D$ HTZF$ WDJUGZ$ W$ XGYDMLG@$vGIGHGVJbFE$«JITHR$OMXJWMOR$D$GaJDLFOORY$QHZJY$UGOMY$XG$[GLGUGPT$`GOTE

'!"THE MANDYLION WITH A GILT OKLAD

h�j��$ ��ª�$ x�� y4$ ��hj�$ ®��$ �$THE 18TH CENTURY

The panel intricate in its simplicity, the slender features of

Christ suggesting a contemplative mood, with dark locks, a

short beard and a prominent tripartite halo, imprinted on a cloth

scattered with foliate scrolls; the brass oklad hammered and

2!-#&+4$0"(!$-$%-,1&$2*(?)*($."5e*#/0#$#!.'!#)*

+/,"""-0,"""

'!"'-(23$!,2!2$/&(=:'1"'(/'%'$"$3'5'9&/'7$':52.&$:9{~8��{�<$ 8wCC;<$ x<8wC��A��y4$ A~w8�<$]w�wA;{�$=t?IG$A9B�

;ZGOM$ WLGaOM$ D$ WDGF@$ XHGWUGUFE$ $ ~GOZJF$ NFHUR$ LJZM$CXMWJUFLQ$ OMDFDMÛ$ PGLJUDFOOGF4$ WG[FHbMUFL_OGF$WGWUGQOJFE$ �JZ$ GKHMPLQÛ$ UFPORF$ DGLGWR$ J$ ZGHGUZMQ$KGHGVME$ ~HFYNMWUOR@$ OJPK$ GZHTaMFU$ IGLGDT$ CXMWJUFLQE$$;[GKHMaFOJF$XHGWUTXMFU$OM$XLMUF$W$HMWUJUFL_ORPJ$DJURPJ$T[GHMPJE$;ZGOM$XGPF\FOM$D$LMUTOOR@$GZLMV$W$NFZMOORPJ$T[GHMPJ$J$KGL_SJP$HF[ORP$OJPKGPE

(&

'#"“ELEOUSA” MOTHER OF GOD

GREEK, 18TH CENTURY

�!&$6)*(!'*%$'-2&$)'$ (!&$�)(!&,$)'$�)+$0"(!$#(,"g".14$-%5).+?shaped eyes, commanding the viewer’s attention towards her

Son, the Boy with a fringe and curly hair, looking at His Mother

-.+$#"1.".1$".$e&.&+"2(").4$ (0)$-.1&%#$/)-(".1$).$2%)*+#$3%-2&$-$ 3&-,%?#(*++&+$ 2,)0.$ ).$ !&,$ !&-+d$ (!&$ "5-1&$ &�&2*(&+$ ".$ (!&$traditionally

/.'(#$#!&'(#)*

+!,(""-/,(""

'#"-'%'721&(>$;=7)5&/)&<$789:;<4$=t?@$A9B

£OR@$ LJZ$ vGIGHGVJbR$ W$ J[TPJUFL_ORPJ$ PJOVMLFDJVOG@$`GHPR$ ILM[MPJ4$ WZLGOFO$ ZG$ PLMVFObT$ uHJWUTE$ vGIGPMUFH_$TZM[TFU$ OM$ PLMVFObME$ uHJWUGW$ J[GKHMaFO$ W$ NFLZG@4$OJWXMVM^\F@$ OM$ LGK$ J$ D_^\JPJWQ$ DGLGWMPJE$ wO$ WPGUHJU$OM$ vGIGPMUFH_$ J$ OJWXGWRLMFU$ $ KLMIGWLGDFOJFE$ |DM$ MOIFLM4$XMHQ\JF$ D$ GKLMZMY4$ TDFONJDMÛ$ vGIGPMUFH_$ TWFQOOG@$aFPNTIGP$ZGHGOG@E$;ZGOM$DRXGLOFOM$D$UHMVJbJGOOG@$PMOFHFE$$$

'$"A TRIPTYCH WITH THE MOTHER OF GOD OF THE

UNFADING ROSE AND SELECTED PRIVATE SAINTS

��4$hª�h�$=t²²

The Mother of God crowned, holding a blossoming sceptre,

Christ dressed in liturgical garments and a mitre, blessing and

holding a globus cruciger4$/-.g&+$e6$(0)$1)%+&.$�-,#$2).(-".".1$/)0&,#$-%%*+".1$ ()$ (!&$�&,#&#$)'$ (!&$�g-(!"#()#$®65.d$ (!&$ ,&#($of the triptych showing six images of saints in roundels, the

background with colourful buds and dots in relief; the right hand

of the Mother of God covered with a white metal votive offering

/0'&#$#0?'(#)*#;$9;47;7,#/0'&#$#!0#)*#)5BE;7

+%,(""-!,(""

'$"!:52.&/>$ !$ '-(23'7$ -'%'721&()$;/&="4.2&76*$ 0"&1<$ )$ !$ )3-(2//67)$!"4167)$��4$wBw�w$=t²²$IE

{M$ JZGOF$ J[GKHMaFOM$ TDFONMOOMQ$ ZGHGOG@$ vGIGPMUFH_$ W$XHGbDFUSJP$ aF[LGPE$ wVOG@$ HTZG@$ GOM$ XHJaJPMFU$ Z$ WFKF$uHJWUM4$ GKLMNFOOGIG$ D$ bFHZGDORF$ GVFQOJQ$ J$ PJUHTE$ wO$KLMIGWLGDLQFU$ PGLQ\FIGWQ$ W$ VFHaMDG@$ xglobus crucigery$ D$HTZFE$$]G$GKF$WUGHGOR$GU$bFOUHM$OMYGVQUWQ$[GLGURF$ZTDSJOR$W$bDFUMPJ�$MLL^[JQ$$OM$WUHGZJ$MZM`JWUM4$XHGWLMDLQ^\FIG$$vGIGPMUFH_E$ $ AOJ[T$ J$ D$ VDTY$ VHTIJY$ WUDGHZMY$ WZLMVOQ$XGPF\FOR$ SFWU_$ PFVML_GOGD$ W$ GKHM[MPJ$ WDQURY$ OM$ `GOF$J[$ ZHMWGNORY$ KTUGOGD$ J$ HFL_FÒRY$ UGNFZE$ $ ]HMDMQ$ HTZM$vGIGHGVJbR$ XHFVWUMDLQFU$ WGKG@$ DGUJDOGF$ J[GKHMaFOJF4$DRXGLOFOOGF$J[$PFUMLLME

('

''":),(!:)*$ !"41)1&5>$ !,)().'/$1()7)f=/1!:)*#$ ):'/2$ "$ !,5'i/'7$3'5'1'7$':52.&789:;<4$=ttt$IE

A[GH$ WDQUGIG$ GKHM\FO$ Z$ OFKFWMPE$ wO$ OJWXGWRLMFU$ [OMZ$KLMIGWLGDFOJQ$ VFHaM$ D$ HTZF$ 9DMOIFLJFE$ CDE$ CXJHJVGO$GKLMNFO$ D$ FXJWZGXWZJF$ GVFQOJQ4$ TZHMSFOORF$ bDFUGNORPJ$KTUGOMPJE$ $9IG$FXJUHMYJL_$HMWSJUM$GHOMPFOUGP$J[$ZHFWUGD$J$HMWUJUFL_ORY$[MDJUZGDE$�JUHM$WXLFUFOM$J[$UHGWUOJZGDRY$XHTU_FDE$«JITHM$ WDQUGIG4$ DRXGLOFOOMQ$ D$ HFL_F`F4$ TDFONMOM$HF[ORP$ OJPKGP$ W$ HMWYGVQ\JPJWQ$ LTNMPJE$ ARWUTXM^\JF$XGLQ$ TZHMSFOR$ SUHJYGGKHM[ORPJ$ XGLGWZMPJE$ �JbG$ WDE$CXJHJVGOM$ OMXJWMOG$ D$ UFPORY4$ WTHGDRY$ UGOMYE$ {M$ GKGHGUF$JZGOR$ JPFFUWQ$ OMVXJW_$ XG?IHFNFWZJ4$ UMZaF$ WGVFHaM\MQ$VMUJHGDZT$JZGOR�$=ttt$IE

]HJPFNMOJQ�CDE$CXJHJVGO$$xGZGLG$¤>²¶¥¨t$IEy$HGVJLWQ$D$�SF$OM$BJXHFE$C$VFUWZJY$LFU$ $ GO$ KRL$ XMWUTYGPE$ ;PFOOG$ XG¬UGPT$ FIG$ NMWUG$ J[GKHMaMÛ$ OM$JZGOMY$D$UHGWUOJZGDG@$SMXZFE$CDE$CXJHJVGO$KRL$J[KHMO$FXJWZGXGP$J$TNMWUDGDML$D$]FHDGP$·ZTPFOJNFWZGP$WGKGHF$D$IE${JZFF$x¥¤§y4$$OM$ZGUGHGP$ GO$ VGZM[ML$ UHGJNOGWU_$ vGIM4$ WGDFHSJD$ NTVG$ J$ XGWURVJD$MHJMO$ D$ WXGHFE$ $ A[QD$ D$ HTZJ$ XLJO`T$ xILJOQOR@$ ZJHXJNy4$ GO$XHGVFPGOWUHJHGDML$ ZMZ$ UHJ$ LJbM$ WGFVJOQÛWQ$ D$ vGIF$ OM$ XHJPFHF$UGIG4$ ZMZ$ UHJ$ WUJYJJ$ xGIGO_4$ DGVM4$ ILJOMy$ $ GKHM[TÛ$ GVJO$ XHFVPFUE$wO$ WUJWOTL$ ZJHXJN4$ J$ J[$ OFIG$ PIOGDFOOG$ DRSFL$ DDFHY$ GIGO_4$ DGVM$XGUFZLM$DOJ[4$M$ILJOM$GWUMLMW_$D$HTZMYE$$BGIVM$ WMHMbJOR$ [MYDMUJLJ$ BJXH4$ PG\J$ WDE$ CXJHJVGOM$ KRLJ$XFHFOFWFOR$D$BGOWUMOUJOGXGL_E$BGIVM$D$=¨§¥$IE$XML$BGOWUMOUJOGXGL_4$XGWUHMVMD$GU$UTHGZ4$$PG\J$UM@ZGP$KRLJ$WXHQUMOR$OM$GE$BGH`T4$IVF$GOJ$GWUMÛWQ$J$XG$WF@$VFO_E$CDE$CXJHJVGO$XGNJUMLWQ$ZMZ$XGZHGDJUFL_$ IGHSFNOJZGDE$ $wO$UMZaF$YHMOJUFL_$GE$BGH`T$J$WFP_J$~GLWURYE$$�UG$ZMWMFUWQ$XGWLFVOJY4$UG$D$$AFLJZJ@$BOQ[_$�GWZGDWZJ@$AMWJLJ@$ªª$x=¨¤§¶=¨¦¤y$VMHGDML$�OVHF^$~GLWUGPT$ [GLGUG@$ZHFWU?HFLJZDMHJ@$ W$PG\MPJ$WDQUGIG$CXJHJVGOME$·UGU$ ZHFWU$ XFHFVMDLWQ$ J[$ XGZGLFOJF$ D$ XGZGLFOJF$ WFP_J$ ~GLWURY$J$ YHMOJLWQ$ ILMDG@$ HGVME$A$ VMOOR@$PGPFOU$ GO$ XHJOMVLFaJU$ $ IHM`T${JZGLM^$~GLWUGPT4$XHGaJDM^\FPT$D$AFLJZGKHJUMOJJE$

''"!"#$ %&'()*!$ +!,$ +'&()-*./$ 0)+"*'$ *1$

!(#2)!"*3+/$4)!"$5$+*6)-$7*6-$*865-

GREEK, DATED 1888

Looking upwards to the heavens, signing in benediction and

carrying the Book of Gospels, dressed in Episcopal garments

+&2),-(&+$ 0"(!$ /)0&,?e*+#4$ !"#$ omophorion with crosses and

')%"-(&$#2,)%%#4$0&-,".1$-$!-($5-+&$)'$ ,&&+#4$ (!&$,&%"&'$c1*,&$)'$(!&$ #-".($ 2)53%&5&.(&+$ e6$ -$ 2*(?)*($ ,-6&+$ !-%)4$ ',-5&+$ e6$ -$strigilated raised border; the face executed in sombre colours;

the back of the icon bearing a Greek inscription that pertains its

+&+"2-(").d$+-(&+$=tttE%&'(#$#%%'(#)*

+(,"""-.,"""

j)(&#��(E$�36,"+).$x2-E¤>²¶¥¨ty$0-#$e),.$".$�#!-4$h63,*#E$®&$0-#$),"1".-%%6$-$#!&3!&,+4$!&.2&$(!&$,&&+$!-($!&$-33&-,#$0"(!$).$(!&$"2).#E$�(E$�36,"+).$e&2-5&$(!&$f"#!)3$)'$�,&5"(!)*#E$®&$3-,("2"3-(&+$".$(!&$�",#($�2*5&."2-%$h)*.2"%$ )'$j"2-&-$ x¥¤§y4$0!&,&$ !&$ 3&,'),5&+$ -$5",-2%&$0!"2!$ 3,)�&+$(!&$�,"."(-,"-.$+)2(,".&$-.+$+&'&-(&+$�,"-."#5E$ª.$'-2(4$e6$*#".1$-$3"&2&$of pottery, he demonstrated how it was possible for one entity to consist

)'$ (!,&&$ #(-.+$ -%).&$ &.("("&#$ xc,&4$0-(&,$ -.+$ 2%-6yE$�!&$3)((&,6$ !&$0-#$!)%+".1$ e*,#($ ".()$ /-5&4$ 0-(&,$ +,"33&+$ ).$ (!&$ 1,)*.+4$ -.+$ ).%6$ +*#($,&5-".&+$".$!"#$!-.+E°!&.$ (!&$�,-e#$ ())g$ h63,*#4$ �(E$ �36,"+).i#$ ,&%"2#$ 0&,&$ (,-.#%-(&+$ ()$Constantinople and following the capture of the City by the Ottomans,

(!&6$0&,&$,&5)�&+$()$h),'*4$0!&,&$(!&6$,&5-".$()$(!"#$+-6E�(E$�3,"+).$"#$(!&$3-(,).$)'$(!&$3)((&,#4$(!&$"#%-.+$)'$h),'*$-.+$-%#)4$(!&$�*##"-.$�-5"%6$)'$(!&$�)%#()6#E$�&1-,+".1$(!&$%-((&,4$(!&$�,-.+$�,".2&$)'$�)#2)0$f-#"%$ ªª$ x=¨¤§¶=¨¦¤y$ 3,&#&.(&+$ -$ 1)%+$ 2,)##$ 2).(-".".1$ ,&%"2#$)'$(!&$�-".($()$�.+,&"$�)%#()6E$�!"#$,&%"�*-,6$!-#$e&&.$g&3($e6$(!&$#&."),$member of the Tolstoy family and now, it is with the Count Nikolai

�)%#()6$".$(!&$��E

'&"A PRIVATELY COMMISSIONED ICON WITH THE

ANNUNCIATION AND THE FAMILY PATRONS STS.

OJgSMGHD@$ESPMIMLP$HOI$IPKPELJMDGREEK, 18TH CENTURY

The Annunciation taking place before a dense architectural setting,

Archangel Gabriel with shaded grey wings, atop clouds, blessing

-.+$!)%+".1$-$#2,)%%$".#2,"e&+$0"(!$!"#$#-%*(-(").4$).$(!&$#g"&#$c&,6$rays directing the Holy Spirit towards the Mother of God; to the left

(!&$)�&,#"�&+$c1*,&$)'$�(E$j"2!)%-#$-.+$e&%)0$(!&$(0)$&�*&#(,"-.$saints on a hilly landscape

0"'(#$#!1#)*

+!,"""-/,"""

'&"):'/2$ -52%'"&A&/)4$ !$ '-(2327)$ !"4168+,':('")1&5&*$/):'524@$f&'.'(2$)$.)7)1()4@$"6,'5/&//24$,'$!,&0)25>/'7=$32:23=$789:;<4$=t?@$A9B

CbFOM$ vLMIGDF\FOJQ$ HM[DGHMNJDMFUWQ$ OM$ `GOF$ XLGUOG@$MHYJUFZUTHOG@$[MWUHG@ZJE$�HYMOIFL$7MDHJJL4$ZHRL_Q$ZGUGHGIG$OMXJWMOR$ D$ HM[ORY$ GUUFOZMY$ WFHGIG4$ WXTWZMFUWQ$ OM$ GKLMZF4$KLMIGWLGDLQQ$vGIGHGVJbT$J$VFHaM$D$HTZF$WDJUGZ$W$XHJDFUWUDJFP$vGIGPMUFHJE$ {FKFWORF$ GIOFOORF$ LTNJ$ OJWXGWRLMÛWQ$$vGIGHGVJbF$ W$ OFKFW$ DPFWUF$ WG$ CDQURP$ |TYGPE$ CLFDM$ WUGJU$WDE$ {JZGLM@$ ¶$ �TVGUDGHFb4$ J[GKHMaFOOR@$ D$ TDFLJNFOOGP$PMWSUMKFE$A$OJaOFP$WFIPFOUF$JZGOR$[MXFNMULFOR$VDM$WDQURY$DWMVOJZM?DGJOM$OM$`GOF$YGLPJWUGIG$XF@[MaME

')"THE GLYKOPHILOUSA MOTHER OF GOD WITH STS.

PARASKEVA AND DEMETRIOS

GREEK, 18TH CENTURY

Floating on clouds, the Mother of God holding her Son with both

hands, the Baby touching her chin and crabbing her maphorion;

e&%)04$ �(E$ �-,-#g&�-$ ,-"#".1$ -$ 5-,(6,i#$ 2,)##4$ -$ �)("�&$ )''&,".1$+&2),-(&+$ 0"(!$ -$ 2,)##$ -.+$ ,)#&((&#$ '-#(&.&+$ )�&,$ !&,$ !-%)4$ �(E$Demetrios in military garments, bearing a spear and supporting a

shield formed like a human face; the frame of the icon inscribed

with a prayer

/?'?#$#!1'(#)*2#01#$#/1'?#)*#34)567348#9:;#<=>*;

+%,?""-!,&""

')"-'%'721&(>$ ;!52.:'5'-32BA24<$ !'$ !""#$,2(2!:&"'*$)$.)7)1()&7789:;<4$=t?@$A9B$

vGIGPMUFH_4$ XMHQ\MQ$ OM$ GKLMZMY4$ XHJaJPMFU$ Z$ WFKF$ CROM$GKFJPJ$HTZMPJE$�LMVFOFb$ZMWMFUWQ$FF$XGVKGHGVZM$J$VFHaJUWQ$HTZG@$ [M$ PM`GHJ@E$ $ AOJ[T$ WUGJU$ WDE$ ]MHMWZFDM$ W$ ZHFWUGP$PTNFOJNFWUDM$ D$ HTZFE$ {MV$ FF$ IGLGDG@4$ $ IVF$ J[GKHMaFO$ OJPK4$OMYGVJUWQ$ DGUJDOGF$ TZHMSFOJF$ W$ ZHFWUGP$ J$ HG[FUZMPJE$ CDE$|JPJUHJ@$ D$ GKLMNFOJJ$ DGJOM$ VFHaJU$ ZGX_F$ J$ \JU$ D$ `GHPF$NFLGDFNFWZGIG$LJbME$]G$XGLQP$JZGOR$XHGYGVJU$UFZWU$PGLJUDRE$

'("8()!1'!@$ -52%'!5'"54BA)*$ %(=,,=$!"4168+,':('")1&5&*$8wCC;<4$=t?@$A9B$

CXMW$AWFVFHaJUFL_$D$XGQWOGP$J[GKHMaFOJJ$ $ WHFVJ$GKLMZGD$XGQDLQFUWQ$D$OFKFWMY$D$DFHYOF@$NMWUJ$ZGPXG[JbJJE$ $wKFJPJ$HTZMPJ$ wO$ KLMIGWLGDLQFU$ WDQURY4$ XHFVWUMDLFOORY$ OJaFE$CHFVJ$OJY$¶$CDE$«FGVGH$CUHMUJLMU$xZHM@OJ@$D$DFHYOFP$LFDGP$HQVTy4$HQVGP$WG$WDE$«FGVGHGP$¶$ OR@$WDE$AGOJ`MUJ@d$D$bFOUHF4$TDFONMOOR@$ FXJWZGXWZG@$ PJUHG@4$ ¶$ WDE$ �F`$ BMUMOWZJ@4$OMXHGUJD$ ZGUGHGIG$ WUGJU$ WDE$ MXE$ ;MZGDE$ CXHMDM$ xW$ WMPGIG$ZHMQy$ J[GKHMaFOM$ WDE$ XHFXE$�MHJQ$9IJXFUWZMQE$]FHFV$ OF@$ D$XFHDGP$HQVT$ ¶$ WDE$�GOIJO$CGUOJZE$ $|LQ$ DWFY$`JITH$ WDQURY$YMHMZUFHOR$$DRUQOTURF$TVLJOFOORF$XHGXGHbJJE$BGPXG[JbJQ$DRXGLOFOM$ D$ HFMLJWUJNFWZG@$ PMOFHF$ OM$ WDFULG?IGLTKGP$`GOFE$ �JZJ$ OMXJWMOR$ XLMD_Ê$ |HMXJHT^\JFWQ$ GVFaVR$DR[GLGNFORE

'("CHRIST BLESSING A GROUP OF PRIVATELY

SELECTED SAINTS


�!&$!-%'$c1*,&$)'$h!,"#($�-.()g,-(),$&5&,1".1$',)5$(!&$2%)*+#$).$the upper part of the panel, blessing with both hands the privately

#&%&2(&+$#-".(#$e&%)0d$-5).1$(!&5$-,&4$()$(!&$'-,$%&'($�(E$�!&)+),&$�(,-(&%-(&#$-.+$.&�($()$!"5$(!&$6)*(!'*%$�(E$ )."'-(64$".$(!&$2&.(,&$0&-,".1$(!&$�3"#2)3-%$5"(,&$"#$�(E$�&'$)'$h-(-."-$-.+$.&-,$!"54$(!&$�3)#(%&$�-5&#4$ ()$ (!&$ ,"1!(4$�(E$�-,6$)'$�163($-.+$ ".$ ',).($)'$ !&,4$ �(E$ �).1".*#$ (!&$ �&1")..-",&d$ (!&$ c1*,&#$ )'$ &%).1-(&+$proportions, rendered realistically, the faces built up with soft

shading, the drapery of the colourful vestments accentuated in

gold; on a blue background with a dark border

/%'(#$#!&#)*

+(,"""-.,"""

(*

(!

'*"!"#$%&(2!)7$)'(.2/!:)*$8wCC;<$x]wAw�´�9y4$=t?@$A9B

CDQUG@$ XHFXGVGKOR@$ 7FHMWJP$ J[GKHMaFO$ D$ GVFQOJJ$GLJDZGDGIG$ bDFUM$ J$ D$ UFPOGP$ XLM\FE$ 9IG$ IGLGDT$ GZHTaMFU$[GLGUG@$OJPKE$A$HTZMY$GO$VFHaJU$WDJUGZ$W$XJWMOJFPE$wU$FIG$WXGZG@OGIG$ LJZM$ DFFU$ VGKHGUG@$ J$ WZHGPOGWU_Ê$CXMWFOOR@$JP$ LFD$ LFaJU$ T$ OGI$ WDQUGIGE$ 8FZM$ J$ WUHGFOJQ$ PGOMWURHQ4$DJVOF^\JFWQ$DVMLFZF4$GLJbFUDGHQÛ$ $WGKG^$HFZT$;GHVMO$J$PGOMWURH_$D$;FHJYGOF4$IVF$WDQUG@$7FHMWJP$KRL$OMWUGQUFLFPE$$A$ DFHYOFP$ WFIPFOUF4$ WJPDGLJ[JHT^\FP$ OFKFWM4$ XGQDLQFUWQ$uHJWUGW$J$KLMIGWLGDLQFU$WDQUGIGE$$$

'*"ST. GERASIMOS OF JORDAN

��ª�j$x¯��$�ª¯��$��ªjy4$=tTH CENTURY

The Righteous Gerasimos wearing an olive robe, dark cape and

a gold shaded halo, displaying an inscribed scroll, his calm face

expressing kindness and modesty, the lion he had rescued lying

at his feet, the river and monastic complex in the background

,&3,&#&.(".1$(!&$�),+-.$-.+$�&,"2!)4$0!&,&$�(E$�&,-#"5)#$0-#$(!&$abbot, Christ in blessing appearing in the heavens

!&'.#$#!%'&#)*

+/,(""-0,(""

'+"8()!1'!@$ -52%'!5'"54BA)*$ !""#$ )'!)f2@$!1&f2/2@$/):'524@$,('(':2$.2/))52$)$1(&8$'1(':'"$"$,&A)$'%/&//'*$8wCC;<4$=t?@$A9B$

ADFHYT4$XGWFHFVJOF$DFHUJZML_OG@$GWJ$ZGPXG[JbJJ4$XHFVWUMFU$uHJWUGW4$ OFWGPR@$ ZLTKMPJ$ GKLMZGDE$ AOJ[T$ J[GKHMaFO$XHGHGZ$|MOJJL$WG$WDJUZGP4$XGDFWUDT^\JP$G$UHFY$GUHGZMY$D$XF\J$GIOFOOG@�$�OMOJJ4$�[MHJJ$J$�JWMJLFE$AWF$UHJ$GUHGZM4$GUZM[MDSJFWQ$XGZLGOJU_WQ$[GLGUGPT$JVGLT${MDTYGVGOGWGHM$J$ D$ OMZM[MOJF$ KHGSFOORF$ D$ GIOFOOT^$ XF\_4$ $ XGPF\FOR$W$ XHMDG@$ WUGHGOR$ JZGORE$ CLFDM$ J[GKHMaFOR$ WDE$ ;GWJ`4$CUF`MO$J${JZGLM@E$$BGPXG[JbJQ$KRLM$GHIMOJ[GDMOM$WGILMWOG$XGaFLMOJQP$ NMWUOGIG$ [MZM[NJZM$ J$ $ PMWUFHWZJ$ DRXGLOFOME$�JZJ$J$GVFQOJQ$WDQURY$VFUML_OG$J$U\MUFL_OG$XHGHMKGUMORE${MWR\FOORF$UGOM$DRVFLQÛWQ$OM$[GLGUGP$`GOFE

'+"gSLJDE$QGPDDJON$DED#$nMDPUS@$DEPUSPO@$OJgSMGHD@$THE PROPHET DANIEL AND THE THREE BOYS WHO

WERE MARTYRED IN THE FIERY FURNACE


On the summit of the vertical axis Christ emerging through

#0",%".1$ 2%)*+#4$ +",&2(%6$ e&%)0$ (!&$ �,)3!&($ �-."&%$ !)%+".1$ -$scroll inscribed with the story of Hananiah, Azariah and the holy

Child Mishael, all three, represented to the right, having refused

to worship the golden idol of king Nebuchadnezzar they were

punished by martyring in the Fiery Furnace; portrayed to the left

�(#E$ �)#&3!4$ �(&3!&.$ -.+$ j"2!)%-#d$ (!&$ 2)53)#"(").$ 3,"�-(&%6$2)55"##").&+4$&�&2*(&+$5-#(&,%6$0"(!$c.&$+&(-"%#$).$ (!&$'-2&#$and elaborate rendition of the garments; the saturated colours

standing out against the gold background

/%'/#$#!&'(#)*

+&,(""-?,(""

("

(#

&,"!""#$ '1i&5>/):)$ '/=f()*$ )$ ,&1($ "$':(=?&/))$!"#$!1&f2/2$)$"&18'32"&1/68$!"4168$%=()4@$!27!'/2$)$2")"6$8wCC;<4$=t?@$A9B

|DM$ GUSFL_OJZM$ W$ VLJOORPJ$ WFVRPJ$ DGLGWMPJ$ J$VGWUJIM^\JPJ$ ZGLFO$ KGHGVMPJ$ XHFVWUMDLFOR$ D$ XGQWMY$ J[$LJWU_FD$D$GZHTaFOJJ$WDE$VJMZGOM$CUF`MOM$J$DFUYG[MDFUORY$PTNFOJZGD4$ PGLJUDFOOG$ DG[VFDM^\JY$ HTZJE$ BGPXG[JbJQ$HMWXGLGaFOM$XG$GKGJP$KFHFIMP$HFZJ$W$XFHFZJOTURP$NFHF[$OJY$ VFHFDQOORP$ PGWUGPE$ CbFOT$ GZHTaMFU$ XF@[Ma$ WG$WZTVOG@$HMWUJUFL_OGWU_^d$DVMLFZF$DJVOFFÛWQ$XTWUROORF$IGHRE$zGLGUG@$WJQ^\J@$`GO$WJPDGLJ[JHTFU$OFKFWME

&,"THE HERMITS STS. ONUFRY AND PETER FLANKED

BY ST. STEFAN AND THE OLD TESTAMENT SAINTS

NmLJR@$DHKMO$HOI$HFJFHRUSSIAN, 18TH CENTURY

The two hermits with grey hair and excessively long beards,

their nudity covered by green foliage, joined by the deacon

Stefan and Old Testament martyrs, all extending their hands

in prayer to Christ shown above; by the banks of a river with

a wooden bridge, the surrounding landscape with sparse

vegetation, the distant background with barren mounts, the

skies in gold

/(#$#/"#)*

+/,"""-0,"""

&!"?)1)*/24$):'/2$!""#$:)():2$)$=5)16$8wCC;<4$wBw�w$=t²²$IE

CDDE$ BJHJZ$ J$ ¢LJUM$ xPMU_$ W$ WROGPy$ J[GKHMaFOR$ D$WHFVOJZF$JZGORE$wKM$PGLJUDFOOG$GKHM\MÛWQ$ZG$uHJWUT4$XGQDLQ^\FPTWQ$D$WJQ^\JY$OFKFWMY$D$DFHYOFP$LFDGP$TILT$W$$9DMOIFLJFP$D$HTZMYE$$|DFOMVbMU_$ZLF@P$WG$WbFOMPJ$aJUJQ$J$ PTNFOJNFWUDM$ WDQURY$ GZHTaMÛ$ J[GKHMaFOJF$ D$ bFOUHFE$;ZGOM$OMXJWMOM$D$QHZJY$UGOMY$XG$GYHJWUGPT$`GOTE$wVFaVR$XFHWGOMaF@$GKJL_OG$DR[GLGNFORE$

&!"A VITA ICON OF ST. JULITA AND HER SON ST.

KIRIKOS

��ª�j4$hª�h�$=t²²

Mother and son portrayed in the central section, both reaching

out to Christ depicted on the upper left presenting the Gospels,

against a radiating celestial segment; twelve surrounding scenes

providing a visual narrative of the two saints’ martyrdom, painted

with bright colours, the garments with dense chrysography, the

background of the scenes ochre

(0#$#0(#)*

+0,(""-&,(""

�,)�&.-.2&��*,2!-#&+$ e6$ (!&$ 2*,,&.($ )0.&,$ ',)5$ ª2).-#(-#4$ �).+).4$ �&2&5e&,$= Ë

)%

&#"7'/28$ !$ 5)1=(%)9&!:)7$ ',2825'7$ !$/2.,)!>B$;7)5'!&(.)&<$A9{9~w?B8;~CB�<$±Bw��4$=>?@$A9B$

]HFWUMHFLR@$ PGOMY$ $ D$ $ XHGWUGP$ ZGHJNOFDGP$ GVFQOJJ4$XFHFUQOTUGP$ OM$ UMLJJ$ IHTKG@$ NFHOG@$ DFHFDZG@$ $ xNUG$TZM[RDMFU$ OM$ FIG$ XHJOMVLFaOGWU_$ GVOGPT$ J[$ $ [MXMVORY$PGOMSFWZJY$ GHVFOGDy4$ VFHaJU$ D$ HTZMY$ LJUTHIJNFWZGF$GXMYMLG$ W$ JWYGVQ\JPJ$ GU$ OFIG$ LTNMPJ$ J$ W$ VFDJ[GP$ GHVFOM$x}�JLGWFHVJF�y4$$$[MZL^NFOORP$D$PFVML_GO$DOTUHJ$GXMYMLME$$CLFDM$ J[GKHMaFOR$ WUGLX$ J$ ZHMWOR@$ [MOMDFWE$ «GO$ JZGOR$DR[GLGNFOE$

]HJPFNMOJF�{FWPGUHQ$ OM$ UG4$ NUG$ WâFU$ VMOOG@$ ZGPXG[JbJJ$ OF$ XHJOMVLFaJU$XHMDGWLMDOG@$ UHMVJbJJ$ JZGOGXJWMOJQ4$ $ PMOFHM$ XJW_PM4$ D$ ZGUGHG@$DRXGLOFOG$ VMOOGF$ XHGJ[DFVFOJF4$ JPFFU$ IHFNFWZJF$ JWUGZJ4$ NUG$ OF$QDLQFUWQ$HFVZGWU_Ê$AG$DHFPQ$GZZTXMbJJ$BHJUM$J$VHTIJY$IHFNFWZJY$GWUHGDGD$ DFOFbJMObMPJ$ PFaVT$ VDTPQ$ OMHGVMPJ$ XHGJWYGVJL$JOUFOWJDOR@$WGbJML_OR@$J$ZTL_UTHOR@$GKPFO4$D$UGP$NJWLF$J$D$GKLMWUJ$aJDGXJWJE${M$BHJUF$KRL$GWOGDMO$HQV$[MXMVORY$PGOMSFWZJY$GHVFOGDE$A$ WDQ[J$ W$ ¬UJP$ ZHJUWZJF$ JZGOGXJWbR$ WUHFPJLJW_$ TVGDLFUDGHJU_$HM[OGGKHM[ORF$UHFKGDMOJQ$POGaFWUDM$ZLJFOUGDE$

&#"A BLESSED MONK HOLDING AN ECCLESIASTICAL

FAN INSCRIBED “CARITAS”

¯�j��?h��j4$=>TH CENTURY

�.$ &%+&,%6$5).g$ )'$ -$°&#(&,.$,+&,4$ +,&##&+$ ".$ 3%-".4$ e,)0.$vestments and cowl, tied in the waist with a black rope, carrying

a liturgical, rayed fan proclaiming the Order’s principal virtue,

Charity; a pillar and a red curtain at the left, the rest of the

background in gold

!?'.#$#!!#)*

+0,"""-&,"""

j)(&�Although the subject of this panel does not derive from the Orthodox

(,-+"(").4$"($0-#$&�&2*(&+$-#$#*2!E$�!"#$"#$.)($*."�*&E$�*,".1$(!&$3&,")+$(!-($Crete and other Greek islands were under Venetian rule, they maintained

strong social, cultural and artistic communication with Venice and further,

0"(!$ (!&$°&#(E$ �&�&,-%$°&#(&,.$�).-#("2$,+&,#$0&,&$ &#(-e%"#!&+4$ '),$".#(-.2&4$ ).$h,&(&E$�!&,&'),&4$ (!&$ "2).$3-".(&,#$ -"5&+$ -($ #-("#'6".1$ (!&$+&5-.+#$)'$(!&",$+"�&,#&$2%"&.(&%&E

)$

&$"KHILP$ IPGGH$ gMODMGHoJMOP$ V-'%'721&(>$=1&i&/)&b$!'$!"#$C5&"f&()&7$A9{9~w?B8;~CB�<$±Bw��4$=>?@$A9B$

|MOOGF$ XHGJ[DFVFOJF$ KRLG$ DRXGLOFOG$ VLQ$ NMWUOGIG$[MZM[NJZM$J$GUWRLMFU$Z$FIG$J[L^KLFOORP$JZGOGIHM`JNFWZJP$UFPMPE$ $CLFDM$ ¶$ GKHM[$vGIGPMUFHJ4$ XGL_[GDMDSJ@WQ$ GWGKG@$XGXTLQHOGWU_^$D$¬XGYT$DFOFbJMOWZGIG$IGWXGVWUDM$OM$BHJUFE$|FDM$ XGVVFHaJDMFU$PLMVFObM$uHJWUM$ LFDG@$ HTZG@E$uHJWUGW$OJWXGWRLMFU$ KLMIGWLGDFOJF$ XGLGaJD$ LMVGO_$ OM$ W`FHT4$LFaM\T^$T$OFIG$OM$ZGLFOQYE$$CDE$|FDM$OFaOG$XGVVFHaJDMFU$PLMVFObM4$ ZMWMQW_$ FIG$ OGIJ$ J4$ WPGUHJU$ OM$ [HJUFLQE$ CXHMDM$J[GKHMaFO$ WDE$ 9LFD`FHJ@$ ¶$ XGNJUMFPR@$ D$ 7HFbJJ$ PTNFOJZ$DUGHGIG$ DFZM4$ ZGUGHR@$ WUML$ FXJWZGXGP$8JPME$wO$ GKLMNFO$ D$FXJWZGXWZJF$HJ[R4$D$FIG$HTZMY�9DMOIFLJFE${M$IGLGDF$WDQUGIG$DRKHJUM$ UGO[THME$ $ ]GVGKOG$ vGIGPMUFHJ4$ GO$ WPGUHJU$ OM$[HJUFLQE$ARKFLFOORF$LJZJ$TWJLFOR$XHGKFLMPJE$BHMWORF$UGOM$GVFQOJ@$ NFHFVTÛWQ$ W$ [FLFORPJE$ ·``FZU$ VHMXJHT^\F@WQ$UZMOJ$ VGWUJIMFUWQ$ W$ XGPG\_^$ IHMVMbJJ$ UGOME$ BGPXG[JbJQ$OMXJWMOM$OM$[GLGUGP$`GOF$J$GXHMDLFOM$D$HMPT$KGLFF$XG[VOFIG$XFHJGVME

&$"MADRE DELLA CONSOLAZIONE WITH ST.

ELEFTHERIOS

¯�j��?h��j4$=>TH CENTURY

The icon commissioned privately with the favourite subjects of

the patron; to the left, the ConsolazioneMother of God, an image

particularly popular during the years of Venetian rule, with Christ

seated on her left arm, gesturing in blessing and supporting

an orb, His Mother gently patting His leg while looking at the

e&!)%+&,d$ ()$ (!&$ ,"1!(4$ �(E$ �%&'(!&,")#E$ -$ #&2).+$ 2&.(*,6$5-,(6,$of Greek origin, who became Bishop of Rome, dressed in

Episcopal garments, bearing the Gospels, with tonsured head;

like the Mother of God he also gazes at the onlooker; their faces

emphasised with white brushstrokes, the garments alternating

in red and green, the drapery shaped with graded tones, on gold

ground, with a later frame

!0#$#/!'/#)*2#/"'0#$#/1#)*#34)567348#9:;#<=>*;

+%!,"""-%?,"""

&'"!"#$)'2//$,(&.1&92$B8;~4$=¦?@$A9B$

wKHM[$WDQUGIG$;GMOOM$]HFVUFNJ$DG$`HGOUML_OGP$XGIHTVOGP$J[GKHMaFOJJ$DRXGLOFO$D$ILTKGZJY$UGOMYE$�FHUR$LJZM$WDQUGIG$TWJLFOR$QHZJPJ$XHGKFLMPJ$DGZHTI$ILM[4$KHGDF@4$OGWM4$DFHYOF@$ITKR$J$SFJE$$]HGHGZ$XHFVWUMFU$WG$DWZLGZGNFOORPJ$KGHGVG@$J$DGLGWMPJ4$ZGUGHRF$D_^\JPJWQ$$XHQVQPJ$OJWXMVMÛ$FPT$OM$XLFNJE$$CDE$;GMOO$GKLMNFO$D$$PJLGU_$J[$DFHKLâ_F@$SZTHR4$XGDFHY$ ZGUGHG@$ OMZJOTU$ YJUGO$ GLJDZGDGIG$ bDFUME$ {JPK$WDQUGIG$GNFHNFO$ VDG@ORP$ZGOUTHGPE$«GO$ZGPXG[JbJJ$ WJQFU$[GLGUGPE$

&'"ST. JOHN THE FORERUNNER


�!&$ e*#($ )'$ (!&$ f-3("#(4$ ',).(-%4$ !"#$ /&#!$ ,&.+&,&+$ 0"(!$ +&&3$().&#4$!"#$'&-(*,&#$+&c.&+$e6$e,"1!($!"1!%"1!(#$-,)*.+$(!&$&6&#4$brows, nose, upper lip and neckline; with a beard and dishevelled

hair that falls in curly locks on his shoulders; wearing a raiment of

camel’s skin and an olive himation4$!"#$!-%)$+&c.&+$e6$-$+)*e%&?rim, on gold ground

%&'0#$#%/'/#)*

+%","""-%(,"""

)&

&&"ST. TRYPHON

GREEK, 17TH CENTURY

The youthful saint portrayed frontal, with short dishevelled

hair, wearing a gold chiton and bright red himation, carrying

a martyr’s cross and displaying a sickle, one of the major

agricultural tools used by farmers, gardeners and winegrowers,

of whom he is patron

!%#$#%&#)*

+0,(""-&,(""

&&"!"#$1()f'/$789:;<4$=>?@$A9B

£OGSM$ ~HJ`GO$ J[GKHMaFO$ `HGOUML_OG$ W$ ZGHGUZJPJ4$D[LGYPMNFOORPJ$ DGLGWMPJE$ wO$ GKLMNFO$ D$ [GLGUG@$ YJUGO4$XGDFHY$ZGUGHGIG$OMZJOTU$ZHMWOR@$IJPMUJ@$xXLM\yE$$CDQUG@$VFHaJU$ D$ HTZMY$ PTNFOJNFWZJ@$ ZHFWU$ J$ WFHX�GHTVJF$ VLQ$WFL_WZGYG[Q@WUDFOORY$HMKGU4$ $ JWXGL_[TFPGF$ZHFWU_QOMPJ4$WMVGDOJZMPJ$J$DJOGIHMVMHQPJ4$ZGUGHRP$XGZHGDJUFL_WUDTFU$$WDE$~HJ`GOE

&)"ST. HARALAMBOS

GREEK, 18TH CENTURY

Depicted frontal but looking away from the beholder, his

elderly yet lively features emphasised by dark shading, with

grey hair and a long beard, the collar of his phelonion and his

2*''#$ -+),.&+$0"(!$ &5e,)"+&,&+$ /)0&,?!&-+#$ -.+$ 3&-,%#4$ !"#$golden halo standing out against the dark blue ground

!/#$#%.#)*

+/,!""-0,!""

&)"!"#$82(527,)*$789:;<4$=t?@$A9B

CDQUG@$ XHFVWUMDLFO$`HGOUML_OG$ WG$ D[ILQVGP4$ GUDFVFOORP$D$ WUGHGOT$ GU$ [HJUFLQE$ $ 9IG$ WUMHNFWZJF4$ OG$ D$ UG$aF$ DHFPQ$aJDRF$ NFHUR$ XGVNFHZOTUR$ UFPOG@$ UGOJHGDZG@E$ �JZ$WDQUGIG$ GKHMPLFO$ WFVRPJ$ DGLGWMPJ$ J$ VLJOOG@$ KGHGVG@E$$AGHGU$`FLGOJ$xGKLMNFOJQ$WDQ\FOOJZMy$J$XGHTNJ$TZHMSFOR$DRSJURPJ$ KTUGOMPJ$ bDFUGD$ J$ aFPNTIGPE$ <HZJ@$ [GLGUG@$OJPK$WJQFU$OM$UFPOG?WJOFP$`GOFE

)'

)(

&("0&/1(25>/6&$ !1"'(:)$ ,&(&/'!/'%'$):'/'!12!2$8wCC;<$x�wCBwACB�<$±Bw��y4$wBw�w$=¦²²$IE

;ZGOGWUMW$DRXGLOFO$D$UHJ$HQVME$A$OJaOFP$QHTWF$$J[GKHMaFO$CXMW$ D$ CJLMY4$ DGWWFVM^\J@$ OM$ UHGOF$ W$ J[GIOTUG@$ WXJOZG@$J$ XGVOGaJFP$ D$ GZHTaFOJJ$ YFHTDJPGD4$ DRXGLOFOORY$ D$UFYOJZF$ IHJ[M@LJE$ wKHM[$ CXMWM$ [MZL^NFO$ D$ VDG@OG@$ OJPK�$DOTUHFOOQQ$NMWU_$OJPKM$OMXJWMOM$UFPOG?[FLFORPd$DG$DOFSOJ@$NFURHFYZGOFNOR@$OJPK$DXJWMOR$MXGZMLJXUJNFWZJF$WJPDGLRE$$AG$ DUGHG@$ QHTW$ JZGOGWUMWM$ XGPF\FOR$ GKHM[R$ 8MWXQUJQ$ J$CGSFWUDJQ$DG$�VE$$CbFOM$CGSFWUDJQ$DG$�V$HM[DGHMNJDMFUWQ$OM$`GOF$OFKFWOGIG$WDGVM$D$DJVF$MHZJ4$OM$ZGUGHGP$J[GKHMaFOG$[MUPFOJF$WGLObM$J$ZHGDMDMQ$LTOME$8QVGP$W$LTOG@$J[GKHMaFOM$WZMLM$W$HMWWFLJOG@$XGWFHFVJOFE$A$DFHYOFP$QHTWF$JZGOGWUMWM$XHFVWUMDLFO$ GKHM[$ vGIGPMUFHJ$ }zOMPFOJF�$ OM$ `GOF$TWRXMOOGIG$[DF[VMPJ$OFKM$D$GZHTaFOJJ$DFUYG[MDFUOGIG$bMHQ$|MDJVM$J$bMHQ$CGLGPGOME$wKM$XHGHGZM?bMHQ$VFHaMU$D$HTZMY$WDJUZJ$ W$ XGYDMLG@$ vGIGHGVJbFE$ ¢VLJOFOOMQ$ HMDOGPFHOMQ$ZGPXG[JbJQ4$ W$ U\MUFL_OG$ DRXGLOFOOG@$ XHGXJW_^$ LJZGD$ D$UFPOR@$ UGOMYE$ ;ZGOM$ OMXJWMOM$ D$ ZHMWOG?[FLFORY$ UGOMY$ XG$GWLFXJUFL_OGPT$[GLGUGPT$`GOTE$

&("THE CENTRAL PART OF A PORTABLE ICONOSTASIS

��ª�j$x��h°$�h®�y4$hª�h�$=¦²²

Organised in three tiers, the bottom one portraying Christ the

Saviour in Majesty, his throne with a curved back and a pedestal,

/-.g&+$e6$2!&,*e#4$,&.+&,&+$".$1,"#-"%%&4$-1-".#($-$+)*e%&$1%),64$the inner oval in dark green, the outer of diamond shape with

the Beasts of the Apocalypse on the four corners; the second

,&1"#(&,$ #!)0".1$ (!&$h,*2"c�").$ -.+$ (!&$�.-#(-#"#4$ (!&$ '),5&,$taking place under an arched sky including the darkened sun

and blooded moon in the spandrels, the latter happening before a

split, rocky mountain; the uppermost section of the arrangement

focusing on the central image of the Mother of God of the Sign

-1-".#($ #(-,,6$ #g"&#$ (!-($5-(2!$ (!)#&$ )'$ (!&$h,*2"c�").$ e&%)04$/-.g&+$ e6$ �".1$ �-�"+$ -.+$ !"#$ #).$ �)%)5).4$ e)(!$ +"#3%-6".1$scrolls with exaltations to the Mother of God; the elongated,

balanced composition, rendered meticulously with dark shades

for the faces, greens and reds for the scenes and dazzling gold in

the background

/.'?#$#%?'1#)*

+!","""-/","""

))

&*"(2!,41)&$)3$"&(8/&%'$9)/2$):'/'!12!2$B8;~CB�<$±Bw��4$Bw{9:$=¦?IG$A9B�

|GDGL_OG$ ZHTXOGF4$ TZHMSFOOGF$ [GLGUGP$ 8MWXQUJF4$ DR[RDMFU$DGWYJ\FOJFE$ ]FHFZLMVJOR$ ZHFUM$ TZHMSFOR$ OMZGOFNOJZMPJ$ D$DJVF$ UHJLJWUOJZME$ ¢WRXMOORF$ KJWFHGP$ XGLQ$ VGXGLOFOR$ HF[ORP$GHOMPFOUGPE$ ~FLG$ uHJWUM$ XHJIDGaVFOG$ ZG$ ZHFWUTE$ $ 9IG$ DGLGWR$OJWXMVMÛ$ OM$ XLFNJd$ 9IG$ ILMDM$ D$ UFHOGDGP$ DFObF$ [MZL^NFOM$ D$UHFYNMWUR@$OJPKE$$~FLG$uHJWUM$GKFHOTUG$KFLG@$UZMOF@$W$KMYHGPG@E$;[$HMO$WGNJUWQ$ZHGD_d$J[$XHGKGVFOOGIG$KGZM$JWUFZMÛ$ZHGD_$J$DGVME$]G$ UMKLJbF$ OMV$ IGLGDG@$uHJWUM$ xtabula ansatay$ DRKJUR$ OMNML_ORF$KTZDR$OMVXJWJ$XG?IHFNFWZJ�$$n¸¹º»¼$½¾¿ÀÁ¾Âº¼$Ã¾¹ÄÅÆ»¼$nºÇÈ¾ÂÀÉ$x};JWTW${M[GHF@4$:MH_$;TVF@WZJ@�yE$BHGDMDMQ$LTOM$J$XGUFPOFDSFF$WGLObF$ OMV$ 8MWXQUJFP$ J[GKHMaFOR$ D$ DJVF$ NFLGDFNFWZJY$ LJb$ D$XHG`JL_E$ $ �XGZMLJXUJNFWZJF$ WJPDGLR$ FDMOIFLJWUGD$ XHGYGVQU$ XG$NFURHFP$ WUGHGOMP$ ZHFWUM$ WGILMWOG$ GUHRDZT$ J[$ BOJIJ$ wUZHGDFOJQ$Ë$ >�$ $ };$XFHDGF$aJDGUOGF$ KRLG$ XGVGKOG$ L_DT4$ J$ DUGHGF$aJDGUOGF$XGVGKOG$ UFL_bT4$ J$ UHFU_F$ aJDGUOGF$ JPFLG$ LJbG4$ ZMZ$ NFLGDFZ4$ J$NFUDFHUGF$aJDGUOGF$XGVGKOG$GHLT$LFUQ\FPT�E$BMaVGF$J[$aJDGUORY$GLJbFUDGHQFU$MXGWUGLGD$�MHZM4$�TZT4$�MU`FQ$J$;GMOOME

&*"AN ICONOSTASIS CRUCIFIX

h��j$�h®�4$��$=¦TH CENTURY

�.$"53,&##"�&4$%-,1&$-.+$+-��%".1%6$1"%+&+$h,*2"c�4$(!&$2,)##$e-,#$(&,5".-(".1$()$(,&')"%$c."-%#4$-$e&-+&+$e),+&,$".$,&%"&'$,*..".1$-%).1$the perimeter, complemented by carved and pierced decoration;

the lifeless body of Christ nailed on the cross and suppedaneum,

His loose hair falling on His shoulders, wearing a crown of thorns

together with His tripartite halo, wrapped in a white loin cloth

with tassels, His wounded palms and feet bleeding, water and

e%))+$/)0".1$',)5$®"#$3"&,2&+$#"+&4$(!&$tabula ansata inscribed

".$ �,&&g$ 0"(!$ (!&$ "."("-%#$ )'$ n¸¹º»¼$ ½¾¿ÀÁ¾Âº¼$ Ã¾¹ÄÅÆ»¼$nºÇÈ¾ÂÀÉ$ x�&#*#$ (!&$j-�-,&.&4$ �".1$ )'$ (!&$ �&0#yd$ -e)�&4$ (!&$moon in the colour of blood and the darkened sun depicted like

!*5-.$ '-2&#$ ".$ 3,)c%&4$ (!&$�3)2-%63("2$ 3&,#)."c2-(").#$ )'$ (!&$Evangelists portrayed on the terminals, according to the text of

�&�&%-(").$¨�>4$?D,-%�#/+% 0(9()*%'#-&+=#-% #-/-B10-$%&% 0("):% +,-%/-'")$%&)%"6:% +,-% +,(#$%,&$%&% ;&'-% 0(8-% +,&+% ";% &%B&):% &)$% +,-%

;"=#+,% #-/-B10-$% &)% -&*0-% .J()*> representing respectively

�-,g4$�*g&4$�-((!&0$-.+$�)!..!#$#((#)*

+.","""-1","""

)!

)"

&+".&)!)!$C9A98{�<$789:;<4$wBw�w$=t²²$IE

A$ bFOUHF$ J[GKHMaFOM$ TDFLJNFOOMQ$ D$ XHGXGHbJQY$ `JITHM$uHJWUM4$ DGWWFVM^\FIG$ OM$ UHGOF$ W$ ZHMWORPJ$ J$ IGLTKRPJ$XGVTSZMPJ$ J$ W$ XGVOGaJFP4$ $ XFHFZLJZM^\JPWQ$ W$ OJPJ$ XG$bDFUTE$8TZM$uHJWUM$XGVOQUM$D$KLMIGWLGDFOJJd$OM$FIG$ZGLFOQY$LFaJU$ 9DMOIFLJFE$ vGIGHGVJbM$ J$ ;GMOO$ ]HFVUFNM$ WZLGOQÛ$IGLGDR$XG$OMXHMDLFOJ^$Z$CXMWJUFL^$J$DG[VFDMÛ$D$PGLJUDF$HTZJE$ �JZJ$ GaJDLFOR$ UGOZJPJ$ XHGKFLMPJE$ «JITHR$ WDQURY$GNFHNFOR$NFUZJP$NFHORP$ZGOUTHGPE$|HMXJHT^\JFWQ$WZLMVZJ$JY$GVFQOJ@$XFHFVMOR$XHJ$XGPG\J$IHMVMbJJ$UGOGDE$«GO$JZGOR$WJQFU$[GLGUGPE$

]HGDFOMOW�$�TZbJGO$h!,"#("&i#4$ $JÔQ$¤²²t4$$OGPFH$MTZbJGOM$>§ ¦4$LGU$=¥¤vJKLJGIHM`JQ�$BMUMLGI$ DRWUMDZJ$�)%+&.$ �"1!(E$�-#(&,3"&2&#$ )'$ (!&$�,($ )'$ (!&$ ª2).$�).".g%"�g$ �*#&*5$ xzGLGUGF$ WJQOJFE$ ±FVFDHR$ JZGOGXJWJ$ D$ PT[FF$BGOJOZLJ@ZyE$�OUDFHXFOE$= tt$IE${GPFH$XG$ZMUMLGIT�$=¥E$

&+"A DEISIS

j��®��j$��4$hª�h�$=¦²²

�!&$)�&,#"�&+$c1*,&$)'$h!,"#($ ".$ (!&$2&.(,&4$#&-(&+$).$-$ (!,).&$with red and blue cushions and matching suppedaneum, his

hand raised in blessing, supporting the Gospels on his knee, His

�)(!&,$-.+$�)!.$(!&$f-3("#($".2%".".1$(!&",$!&-+#$()0-,+#$®"54$gesturing in supplication; the facial features and expressive hands

-22&.(*-(&+$ e6$0!"(&$ #(,"-(").#4$ (!&$ c1*,&#$ +&3"2(&+$0"(!$ e)%+$outlines, the drapery rendered with stylized graded tones, the

background gold

1"'?#$#(1'/#)*

+.(,"""-1(,"""

�,)�&.-.2&�$�)%+$-($h!,"#("&i#$�).+).4$ $�*.&$¤²²t4$�-%&$>§ ¦4$�)($=¥¤�"(&,-(*,&�$Catalogue of the exhibition Y"0$-)%!(*,+2%7&/+-#R(-'-/%";%+,-%3#+%";%+,-%

Icon,$�).".g%"�g$�*#&*54$x�.(0&,34$= tty4$.)E=¥$

)#

),"-'%'721&(>$;%'(2$/&(=:'!&9/24<$8wCC;<4$A~w8�<$]w�wA;{�$=t?IG$A9B�

vGIGPMUFH_4$ TDFONMOOMQ$ ZGHGOG@4$ OFaOG$ XHJDLFZMFU$ Z$ WFKF$PLMVFObM$ uHJWUM4$ WJVQ\FIG$ T$ OFF$ OM$ ZGLFOQYE$ �LMVFOFb$ZMWMFUWQ$ WZLMVGZ$ FF$ GVFQOJQd$ FIG$ LFDGF$ XLFNG$ J$ OGaZM$GWUMDLFOR$ OFXGZHRURPJE$ $ �JZJ$ OMXJWMOR$ D$ UHMVJbJGOOG@$PMOFHF$D$WTHGDRY$UGOMYE$zGLGUMQ$ZGHGOM$vGIGHGVJbR$GKDFVFOM$NFHORP$ZGOUTHGP$J$TZHMSFOM$JPJUMbJF@$WMPGbDFUGDE

),"MOTHER OF GOD OF THE INVIOLATE MOUNTAIN


Christ on her lap, gently enfolding Him with her raised hands, the

Child caressing His mother, His left shoulder and leg uncovered,

the faces painted conventionally in sombre colours, the gold

crown of the Mother of God delineated in black and embellished

by simulated gem decoration

/%'(#$#!&'!#)*

+%.,"""-!!,"""

*%

)!"-'%'721&(>$"52.)7)(!:24$8wCC;<4$wBw�w$=¦²²$IE

CLFVTQ$ UHMVJbJGOOG@$ JZGOGIHM`JJ$ VMOOGIG$ WâFUM4$vGIGPMUFH_$VFHaJU$uHJWUM$OM$HTZMY4$$TZM[TQ$D$FIG$WUGHGOTE$�LMVFOFb$ GKDJDMFU$ HTZG@$SF^$vGIGHGVJbR$ J$ UQOFUWQ$ Z$ FF$LJbT$\FZG@$ $ ILQVQ$ F@$ D$ ILM[ME$�JZJ$ DRXGLOFOR$ D$ ILTKGZJY$UGOMY4$WGILMWOG$UHMVJbJGOOGPT$WUJL^$JZGOGXJWMOJQE$zHMNZJ$TWJLFOR$ KFLRPJ$ GaJDZMPJE$ {MXJWMOOMQ$ GYHG@4$ UTOJZM$uHJWUM$ W$ $ J[Q\ORPJ$ [GLGURPJ$ KGHG[VZMPJ$ WGNFUMFUWQ$ W$$UFPORP4$GUVFLMOORP$[GLGUG@$KMYHGPG@$J$ZJWUQPJ4$PM`GHJFP$vGIGPMUFHJ4$PFHbM^\JP$[GLGURPJ$[DF[VMPJ$OM$LKT$J$XLFNMYE

)!"THE MOTHER OF GOD OF VLADIMIR

��ª�j4$hª�h�$=¦²²

Depicted in the traditional iconography, holding Christ and

gesturing to Him with her left hand, the Child embracing her and

resting His cheek to her face while looking into her eyes, the faces

executed in deep tones according to the traditional style of icon

painting, the eyes sparkling with white lights, Christ’s orange

tunic with delicate gilt striations, the maphorion of the Mother of

God with gold stars on the forehead and shoulders, trimmed with

a gilt band and tassels

/%'/#$#!&#)*

+!!,"""-!(,"""

*$

*&

)#"-'%'721&(>$-'%'5B-!:24$!$.&)!)!'7$8wCC;<4$=t?@$A9B

¢DFLJNFOOMQ$ D$ PMWSUMKF$ `JITHM$ vGIGHGVJbR$ XHFVWUMFU$ OM$YGLPF$ WG$ WZTVOG@$ HMWUJUFL_OGWU_Ê$ vGIGPMUFH_$ VFHaJU$ D$HTZMY$WDJUGZ$W$UFZWUGP$PGLJUDR$J$XHGWUJHMFU$HTZJ$Z$CROTE$A$DFHYOFP$XHMDGP$TILT$WHFVJ$ZLTKQ\JYWQ$GKLMZGD$uHJWUGW$W$9DMOIFLJFP$D$HTZMY$OJWXGWRLMFU$KLMIGWLGDFOJF$PGLQ\JPWQE$�JH$ VGL_OJ@$ WJPDGLJ[JHTFUWQ$ XGVHGKOG4$ D$ PFL_NM@SJY$VFUMLQY4$ J[GKHMaFOORP$ PGOMWURHFP4$ GWOGDMOORP$ BOQ[FP$�OVHFFP$vGIGL^KWZJPE$;WZTWOG$DRXGLOFOOMQ$ZGPXG[JbJQ$D$OMWR\FOORY$ QHZJY$ UGOMYE$ COJ[T$ OM$ XGLQY$ JZGOR$ XGVHGKOG$WGGK\MFUWQ$GK$JWUGHJJ$ WG[VMOJQ$PGOMWURHQ�$ }CJP$GKHM[GP$QDJWQ$ XHFWDQUMQ$ vGIGHGVJbM$ WDQUGPT$ J$ DFLJZGPT$ BOQ[^$�OVHF^$ 7FGHIJFDJNT$ D$ LFUG$ ¦¦¦¦$ x==§ty4$ JÔJ$ D$ =t$ VFO_$OM$ UGP$ WMPGP$PFWUF4$ IVF$ UFXFH_$ DJVJPM$ FWU_$ GWOGDMOOMQ$ JP$KLMIGDFHORP$ BOQ[FP$ MOVHFFP$ 7FGHIJFDJNFP$ vGIGL^KWZJP$KFLGZMPFOOMQ$ bFHZGD_$ HGaVFWUDM$ ]HFWDQURQ$ vGIGHGVJbR4$GU$NFIG$J$vGIGL^KGD$PGOMWURH_$OMNMLG$J$OMJPFOGDMOJF$WFKF$XGLTNJL�E$

)#"THE BOGOLYUBSKAYA MOTHER OF GOD WITH THE

DEISIS ON THE UPPER BORDER


�!&$)�&,#"�&+$c1*,&$)'$(!&$�)(!&,$)'$�)+$#(-.+".1$).$-$!"%%$0"(!$sparse vegetation, displaying a scroll inscribed with a prayer, with

her hands extended turning towards her Son; the latter depicted

in blessing and carrying the Gospels amidst billowing clouds on

the upper right corner; in the earthly realm, a detailed image of

(!&$5).-#(&,6$ ')*.+&+$ e6$ (!&$ �,".2&$�.+,&"$f)1)%6*e#g64$ (!&$masonry of the walls visible; the composition rendered skilfully,

with saturated, yet bright colours, the inscription on the lower

e),+&,$,&2),+#$(!&$2",2*5#(-.2&#$)'$(!&$5).-#(&,6i#$')*.+-(").�$?D,#"=*,%+,(/%(B&*-%+,-%P"0J%7"+,-#%";%Y"$%&RR-&#-$%+"%+,-%O+2%

Y#&)$%5#()'-%3)$#-(%Y-"#*(-9(',%()%+,-%J-&#%";%��%zHHGI�%")%

the 18th day of June, at the very place where now is visible the

white stone church of the Nativity of the Virgin, founded by the

;&(+,;=0%5#()'-%3)$#-J%Y-"#*(-9(',%�"*"0J=1/8J%,(B/-0;:%$=-%+"%

4,(',%;&'+%+,-%�"*"0J=1"9%B")&/+-#J%#-'-(9-$%(+/%)&B-2>

/('?#$#/"'?#)*

+&,"""-?,"""

*'

)$"."=!1'('//44$):'/2$!$'-(23'7$!"#$/):'524$9=.'1"'(02$)$/&(=:1'"'(/'%'$!,2!2$8wCC;<$x]��9uy4$Bw{9:$=t?IG$A9B�$

{MDFHSJF$ JZGOR$ DRXGLOFOG$ D$ DJVF$ UHFYLGXMWUOG@$ MHZJ4$ZGUGHMQ$ XG$ `GHPF$ XFHFZLJZMFUWQ$ W$ DRWUTXGP$ D$ OJaOF@$NMWUJ$ JZGORE$ C$ LJbFDG@$ WUGHGOR$ OM$ JZGOF$ XHFVWUMDLFO$WDE$ {JZGLM@?�TVGUDGHFb4$ GUDGVQ\J@$ D[ILQV$ GU$ [HJUFLQE$9IG$ UGOZJF$ NFHUR$ J[LTNMÛ$ [MVTPNJDGF4$ PGLJUDFOOGF$WGWUGQOJFE$ wO$ KLMIGWLGDLQFU$ PGLQ\FIGWQ$ VFHaM$ D$ HTZF$ZOJIT$ 9DMOIFLJQ$ D$ JWZTWOGP$ [GLGUGP$ GZLMVF4$ TWRXMOOGP$VHMIGbFOORPJ$ ZMPFO_QPJE$ ]G$ `FLGOJ$ WDQUGIG$ XHGYGVJU$UZMOR@$ ZHFWUGGKHM[OR@$ GHOMPFOUd$ FXJUHMYJL_$ TZHMSFOM$$VDTPQ$ KGL_SJPJ$ ZHFWUMPJE$ {M$ GKGHGUOG@$ WUGHGOF$ JZGOR$[MXFNMULFO$ LJZ${FHTZGUDGHOGIG$ CXMWM$ W$ ZGHGUZG@$ KGHGVG@$J$MZZTHMUOG$HM[VFLFOORPJ$XHQVQPJ$DGLGWE$zFLFOGDMUR@$XLMU$XGVVFHaJDMÛ$VDM$MOIFLME$wKHM[M$W$GKFJY$WUGHGO$OMXJWMOR$XG$GYHJWUGPT$`GOTE$

)$"A DOUBLE SIDED ICON SHOWING ST. NICHOLAS AND

THE MANDYLION

��ª�j$x��®y4$��$=tTH CENTURY

The ogee upper part of the panel responding to an inverted stepped

'),5$ -($ (!&$ e)(()5d$ ).&$ #"+&$ 3),(,-6".1$ �(E$ j"2!)%-#4$ (*,.".1$!"#$ &6&#$ -0-6$ ',)5$ (!&$ ).%))g&,4$ !"#$ ,&c.&+$ '-2"-%$ '&-(*,&#$expressing a meditative state of mind, blessing and bearing a

Book of Gospels with an elaborate gold and gemmed cover, his

phellonion with an intriguing cruciform pattern, the omophorion

with two large crosses; the other side, depicting the face of Christ

Not made by Human Hands4$0"(!$-$#!),($e&-,+$-.+$0&%%?1,))5&+$hair, imprinted on a green cloth lifted by two angels, both sides

with ochre background

/"'.#$#%1'.#)*

+%!,"""-%&,"""

*(

)'",('(':$)5)4$"$,=!16/&8wCC;<4$=¦?@$A9B

wKLGZGUJDSJW_$ OM$ XGWGY4$ XGaJLG@$ XHGHGZ$ ;LJQ$ WJVJU$ OM$ZMPOF$T$KFHFIGD$HFZJ$;GHVMOE$8QVGP$W$OJP$DJVOFFUWQ$DYGV$D$XF\FHT4$D$ZGUGHG@$WDQUG@$TZHRDMLWQ4$OMYGVQW_$D$XTWUROFE$A$HTZMY$ XHGHGZ$ WaJPMFU$ WDFHOTUR@$ WDJUGZ$ J$ WPGUHJU$ DDRW_4$OMKL^VMQ$ [M$ NFHORP$ DGHGOGP4$ XHJOGWQ\JP$ FPT$ FVTE$ CFVRF$DGLGWR$ KGHGVMUGIG$ WUMHbM$ [MNFWMOR$ OM[MV4$ $ KFLRF$ GaJDZJ$GKG[OMNMÛ$ NFHUR$ FIG$ LJbME$ ]HGHGZ$ GKLMNFO$ D$ WDFULG?[FLFOGF$ GVFQOJF$ J$ UHMVJbJGOOT^$ OMZJVZT4$ XGDFHY$ ZGUGHG@$OMKHGSFO$XLM\$J[$[DFHJORY$SZTHE$CHFVJ$WZMLJWUGIG$WZTXGIG$XF@[MaM$ XHGKJDMÛWQ$ VDM$ HMWUFOJQ4$ $ XGWMaFOORF$ T$ DYGVM$ D$XF\FHTE$$�HYMOIFL$�JYMJL$XGZHGDJUFL_WUDT^\J@$WFPF@WUDT$[MZM[NJZM4$GKLMNFOOR@$D$XRSORF$bFHFPGOJML_ORF$GVFaVR$J$ZHMWOR@$IJPMUJ@$xXLM\y4$XMHJU$OM$GKLMZF$VFHaM$D$HTZMY$XGWGY$J$[FHbMLG$xW`FHTy$W$JPFOFP$uHJWUME$]GLQ$JZGOR$DR[GLGNFORE$

)'"THE PROPHET ELIJAH IN THE DESERT

��ª�j4$=¦TH CENTURY

f6$(!&$e-.g$)'$(!&$,"�&,$�),+-.4$(!&$)%+$3,)3!&($#&-(&+$).$-$,)2g$-($the mouth of the cave where he resided in the wilderness, leaning

on a staff, holding a closed scroll, looking upwards to observe the

black raven which brought him food; his grey hair kept back, with

-$e&-,+4$0!"(&$e,*#!#(,)g&#$+&c.".1$!"#$5-(*,&$'-2&d$-((",&+$".$-$light green robe and a traditional scarf, covered by a mantle made

of animal skin, the rocky landscape barren with only two short

3%-.(#$/-.g".1$(!&$2-�&d$(!&$'-5"%6$3-(,).4$(!&$�*-,+"-.$�.1&%4$standing on clouds, wearing a ceremonial tunic and a bright red

himation, holding a staff and an orb in the name of Christ, the

raised border in gold

/%'/#$#!.#)*

+0","""-(","""

*)

)&"'-(23$!,2!2$/&(=:'1"'(/'%'$8wCC;<4$Bw{9:$=t?IG$A9B�

�JZ$ uHJWUM4$ OMXFNMULFO$ OM$ KFLGP$ XLMUF4$ DFHYOJF$ ZGObR$ZGUGHGIG$ WDJUR$ D$ T[LRE$ A[ILQV$ uHJWUM$ JWXGLOFO$ XFNMLJ$ J$GUDFVFO$ D$ WUGHGOT$ GU$ [HJUFLQE$ 9IG$ OJWXMVM^\JF$ VG$ XLFN$DGLGWR$J$KHMVM$DRXGLOFOR$D$OMWR\FOORY$ZGHJNOFDRY$UGOMYE$$7LM[M4$OGW4$WZLMVZJ$ITK$J$PGNZJ$TSF@$MZbFOUJHGDMOR$ZHMWORPE$~HFYNMWUOR@$ OJPK$ GKDFVFO$ XLMPFOF^\F@$ ZJOGDMH_^4$ZGOUHMWUJHT^\F@$W$UFPOG?[FLFORP$`GOGPE

)&"THE MANDYLION

RUSSIAN, LATE 17TH CENTURY

The face of Christ impressed on white fabric knotted at the upper

corners, looking mournfully away from the viewer, His parted

#!)*%+&,?%&.1(!$!-",$-.+$e&-,+$,&.+&,&+$".$#-(*,-(&+$e,)0.4$(!&$features executed realistically with cinnabar highlights to the

eyes, nose, lips and earlobes, His tripartite halo outlined in a

similar shade, against a dark green background

/%'&#$#!.'/#)*

+?,"""-%!,"""

**

*!

))".&"41>$:)3):!:)8$7=9&/):'"$8wCC;<$x�wCBwACB�<$±Bw��y4$Bw{9:$= ?IG$A9B�

|FDQU_$ PTNFOJZGD$ BJ[JNFWZJY$ DWFY$ DG[HMWUGD$ x«MDPMWJ@4$«FGIOJV4$ 8T`4$ �OUJXMUH4$ «FGWUJY4$ �HUFPM4$ �MIO4$ «FGVGU4$«MDPMWJ@$ J$ «JLJPGOy$ XHFZLGOQÛ$ ZGLFOM$ D$ PGLJUDF$XFHFV$ GKHM[GP$ {FHTZGUDGHOGIG$ CXMWM4$ XGPF\FOORP$ OMV$UHFYLGXMWUOG@$ MHZG@$ bFHZDJE$ ;Y$ GVFQOJQ$ TZM[RDMÛ$ OM$ JY$HM[LJNORF$[MOQUJQ$J$XGLGaFOJF$D$GK\FWUDF�$DGJOR4$IGHGaMOF4$ZHFWU_QOF4$ WDQ\FOOJZJE$ {FWPGUHQ$ OM$ ¬UG$ GKWUGQUFL_WUDG4$DWF$ PTNFOJZJ$ KRLJ$ FVJOR$ D$ DFHF$ DG$ uHJWUM4$ NUG$ XHJDFLG$Z$ JY$ ZM[OJ$ NFHF[$ GKF[ILMDLJDMOJFE$ ;Y$ PTNFOJNFWZJF$DFObR$ XMHQU$ D$ [GLGUGP$ OFKFWOGP$ XHGWUHMOWUDFE$ :FHZGD_4$HMWXGLGaFOOMQ$ OM$ [MVOFP$ XLMOF4$ KRLM$ XG[VOFF$ GWDQ\FOM$ D$IGHGVF$ BJ[JZF$ xD$�MLG@$ �[JJ4$ OM$ XGKFHFa_F$ |MHVMOFLLy$ D$XHMDLFOJF$JPXFHMUGHM$BGOWUMOUJOM$AFLJZGIG$D$XMPQU_$GK$JY$PTNFOJNFWZGP$XGVDJIFE$]G$XGLQP$JZGOR$J[GKHMaFOR$WDQURF?XGZHGDJUFLJ$ [MZM[NJZM�$ WDQUJUFL_$ �GWZGDWZJ@$ �LFZWJ@$J$ WDE$ XHFXE$ 9DVGZJQE$ �JZJ$ WDQURY$ DRXGLOFOR$ W$ KGL_SJP$PMWUFHWUDGP�$ JY$ DRHM[JUFL_ORF$ NFHUR$ DRXGLOFOR$ XHJ$XGPG\J$PQIZG@$UGOJHGDZJE$wVFaVR$WDQURY$$DR[GLGNFORE

))"THE NINE MARTYRS OF KYZIKOS


The nine holy Martyrs, Thaumasius, Theognes, Rufus, Antipater,

�!&)#("2!*#4$ �,(&5-#4$ �-1.*#4$ �!&)+)(*#4$ -.+$ �!"%&5).4$ )'$various ages, kneeling to worship the Mandylion hung above

the ogee arch of the Church in the background; their different

apparels suggesting they come from diverse paths of life and

positions in the society; indeed, there were soldiers, countrymen,

city people, and clergy; nonetheless, they shared their faith in

Christ, which eventually led to their decapitation; the crowns of

their martyrdom hovering on the golden skies, the church behind

referring to the one erected for their memory during the reign

of Constantine the Great, in the town of Cyzicus, in Asia Minor

on the coast of the Dardanelles; the patron saints of the icon’s

2)55"##").&,$ -33&-,".1$ ).$ (!&$ e),+&,4$ ()$ (!&$ %&'($ �(E$ �%&g"#$�&(,)3)%"(-.$)'$�)#2)0$-.+$)33)#"(&4$(!&$5).-#("2$�(E$��+)g"-d$the individual faces executed masterly, their distince features

formed by soft shading, the colourful garments heightened in gold

/%'(#$#!(#)*

+(,"""-.,"""

*"

)("('?.&!1"'$8()!1'"'$8wCC;<4$wBw�w$=t²²$IE

{M$ XFHFVOFP$ XLMOF$ J[GKHMaFOG$ XGZLGOOJF$ DGLYDGD$ J$NTVG$ G$ CMLGPJJ$ xJWbFLFOJJ$ DRWGYSF@$ HTZJ$ aFO\JOR4$ OF$DFHJDSF@$D$VFDWUDG$vGIGHGVJbRyE$ADFHYT$JZGOR$[MXFNMULFO$MOIFL4$ DG[VFDM^\J@$ HTZJ$ XG$ OMXHMDLFOJ^$ Z$ XTUFDGVOG@$AJ`LFFPWZG@$ [DF[VFE$ �TU_$ XHMDFF$ VHTIG@$ MOIFL$ DG[DF\MFU$G$ HGaVFOJJ$ uHJWUM$ ÔGPT$ XMWUTYTE$ CUMHFb$ $ D$ XMWUTS_FP$GVFQOJJ$ KFWFVTFU$ WG$ WDE$ ;GWJ`GPE$ uGLPJWUR@$ `GO$ W$XFHFPFaM^\F@WQ$ HMWUJUFL_OGWU_^$ J[GKHMaFO$ XHJ$ XGPG\J$XFHWXFZUJDRE${M$XGLQY$OMXJWMOR$WDQURF$XGZHGDJUFLJ4$WHFVJ$ZGUGHRY$ PGaOG$ T[OMU_$ WDE$ �MHGOME$ wWUML_ORF$ WDQURF$ OF$XGVVMÛWQ$JVFOUJ`JZMbJJ$DDJVT$GUWTUWUDJQ$OMVXJWF@E

)("THE NARRATIVE OF CHRIST’S NATIVITY

��ª�j4$hª�h�$=t²²

In the foreground, the Adoration of the Magi and the miracle of

Salome’s withered hand, on the upper section an angel stretching

out in adoration of the guiding star and to the right announcing

�&#*#i#$e",(!$()$-$6)*.1$#!&3!&,+4$)33)#"(&$-.$&%+&,%6$#!&3!&,+$2).�&6".1$ (!&$ .&0#$ ()$ �)#&3!d$ (!&$ !"%%6$ e-2g1,)*.+$ ,&.+&,&+$in perspective, scattered with vegetation, the border showing

(!,&&$'-5"%6$3-(,).#4$()$(!&$%&'($�(E$�-,).4$(!&$)(!&,#$5"##".1$(!&$identifying inscriptions

/1'/#$#//'.#)*

+(,"""-.,"""

*#

)*"THE MOTHER OF GOD OF KAZAN WITH A SILVER-

NJGE$HOI$POHKPG$MTGHI@$ JO$H$gHLFPI@$NJGE$HOI$GLAZED KYOT

��ª�j4$��i�$��$�E�E$ ªj$h��ª��ªh4$��h°4$= ²t?=>

�-".(&+$ ,&-%"#("2-%%64$ (!&$ /&#!$ ,&.+&,&+$ 0"(!$ #5))(!$ ().&#4$ (!&$1-,5&.(#$())%&+$0"(!$%&-'6$-.+$+)((&+$3-((&,.#4$(!&$2*(?)*($!-%)&#$0"(!$%-2&+$,"5#4$(!&$.-5&$3%-(&#$".$2!-53%&�µ$&.-5&%!!'!#$#%.'0#)*2#!1'?#$#!(#)*#34)567348#9:;#@AB9

+%,?""-!,&""

)*"):'/2$ -'%'721&(>$ :232/!:24$ "$ 3'5'9&/'7$!&(&-(4/'7$':52.&$!$ C725>B@$ ',(2"5&//24$"$(&3/'*@$32!1&:5&//6*$$:)'18wCC;<4$B�9¡�w$��C~98�$}CE$7E�4$�wCBA�4$= ²t?=>

;ZGOM$ DRXGLOFOM$ D$ HFMLJWUJNOG@$ PMOFHFE$ $ ~FLFWORF$ UGOM$XFHFVMOR$XLMDORPJ$PM[ZMPJE$ $wVFQOJQ$vGIGPMUFHJ$J$uHJWUM$TZHMSFOR$UJWOFORPJ$LJWUDFOORPJ$J$UGNFNORPJ$T[GHMPJE$$;Y$IGLGDR$TDFONMOR$HF[ORPJ$OJPKMPJ$W$MaTHORPJ$ZHMQPJE$;PFOM$vGIGPMUFHJ$ J$ uHJWUM$ [MZL^NFOR$ D$ UMKLJNZJ$ W$ DRFPNMUG@$¬PML_Ê

)+"ESP$ UMTLMF@$ ESP$ KMESPL$ Mh$ NMI$ pnMR$ EM$ HGG$lSM$NLJPFPq@$HLgSHONPG$KJgSHPG$HOI$DE#$OJTJEHRUSSIAN, 19TH CENTURY

.$(!&$()34$(!&$�)(!&,$)'$�)+$#3,&-+".1$!&,$�,)(&2(".1$ &"%$-e)�&$the congregation in the Church of Vlachernae where the miracle

occurred, the right compartment portraying the Mother of God and

!&,$�).4$e)(!$2,)0.&+4$)''&,".1$!&%3$()$2,)0+#$)'$-'/"2(&+$3&)3%&d$the lower register depicting the winged Archangel Michael standing

).$2%)*+#$()$(!&$%&'($-.+$�(E$j"g"(-$()$(!&$,"1!(4$-1-".#($"+&.("2-%$1)%+$e-2g1,)*.+#$0"(!$-$,&2*,,".1$+"-5).+$3-((&,.d$(!&$c1*,&#$,&.+&,&+$in bright colours, contained by gilt borders with tooled decoration,

the names inscribed in blue cartouches

/(#$#/"'!#)*

+%,(""-!,(""

)+"):'/2$ !$ $ '-(2327)$ ,':('"2@$ -'%'721&()$;"!&8$ !:'(-4A)8$ (2.'!1><@$ 2(82/%&52$7)82)52$)$7=9&/):2$/):)168wCC;<4$= ?@$A9B

CLFDM$ DDFHYT$ J[GKHMaFOM$ vGIGPMUFH_4$ XHGWUJHM^\MQ$ WDG@$]GZHGD$OMV$GK\JOG@$ALMYFHOWZG@$bFHZDJ4$D$ZGUGHG@$XHGJ[GSLG$NTVFWOGF$ WGKRUJFE$ CXHMDM$ DDFHYT$ XHFVWUMDLFOR$ TDFONMOORF$ZGHGOMPJ$vGIGPMUFH_$W$CROGP4$XGVM^\JF$XGPG\_$J$TUFSFOJF$WUHMaVT\JPE$ A$ OJaOFP$ HQVT$ XGPF\FOR$ J[GKHMaFOJQ$ZHRLMUGIG$ �HYMOIFLM$�JYMJLM4$ XMHQ\FIG$ OM$ GKLMZMY$ xWLFDMy$J$ WDQ\FOOGPTNFOJZM$ {JZJUR$ xWXHMDMy4$ DRXGLOFOORF$ OM$[GLGUGP$`GOF$W$HGPKGDJVORP$GHOMPFOUGPE$«JITHR$OMXJWMOR$D$QHZJY$UGOMY$J$GZHTaFOR$XG[GLGNFOORPJ$XGLQPJ$W$UJWOFORP$GHOMPFOUGPE$;PFOM$[MZL^NFOR$D$IGLTKRF$UMKLJNZJE

!%

(,"THE MONASTIC SAINT SERGIUS


�&3,&#&.(&+$!-%'?%&.1(!4$ %))g".1$ #(,-"1!($ ".()$ (!&$ &6&#$)'$ (!&$beholder, his slender facial features surrounded by grey hair

-.+$ -$ #!),($ e&-,+4$ ()1&(!&,$0"(!$ !"#$ )%"�&?1,&&.$ -#2&("2$ 2-3&$wearing the Great Schema, an indication of his achievement of

(!&$!"1!&#($5).-#("2$1,-+&4$!"#$!-%)$+&c.&+$e6$-$0!"(&$-.+$,&+$rim on gold ground

%.'.#$#%0'!#)*

+%,!""-%,?""

(,"!"#$,(&,#$!&(%)*$(2.'/&?!:)*$8wCC;<4$= ?@$A9B

CDQUG@$ D$ XGQWOGP$ J[GKHMaFOJJ$ WPGUHJU$ XHQPG$ OM$PGLQ\FIGWQE$ 9IG$ J[PGaVFOOR@$ WUHGIJ@$ LJZ$ GKHMPLQÛ$WFVRF$ DGLGWR$ J$ ZGHGUZMQ$ KGHGVME$ wO$ GKLMNFO$ D$ GVFQOJF$DFLJZGWYJPOJZM$ J$ ZLGKTZ?WJPDGL$ FIG$ PGOMSFWZGIG$XGVDJIM$ J$ WUFXFOJ$ WUQaMOJQ$ KLMIGVMUJE$ {JPK$ WDQUGIG4$XHGWUTXM^\J@$ OM$ [GLGUGP$ `GOF4$ [MZL^NFO$ D$ KFLR@$ J$ZHMWOR@$ZGOUTHE

(!"A FEMALE ASCETIC FLANKED BY STS. JOHN THE

BAPTIST AND CHRISTOPHER CYNOCEPHALUS

!"##$%&'()*+,(-.&+"!/

+01( 2314415( 676( 819:;6<( 96( =3;>1?2:=86( @76;A'( 9( 511B( :15(

A9B1'(965(9(239AC(0195(A=>1:(1D2:=;51:15(8;@0(@0:11(A:=4414E(

#@F( G=06(5:9B15(8;@0( 96;D93( 4C;64'( A:=44;6<(0;4(09654(=6(0;4(

A014@E( =BB=4;@1( #@F( -0:;4@=B01:( ;6(D;3;@9:H( <9:D16@4'( 0=35;6<(

9(48=:5'(9AA=:5;6<( @=( @01(4@=:H(09>;6<( @01(0195(=I(9(5=<'(=6(

@01(@=B(-0:;4@(.DD96713(;6(23144;6<'(9<9;64@(9(@:;96<739:'(:9H15(

A1314@;93(41<D16@

/!'.#$#!.'?#)*

+(,"""-?,"""

(!"!"4124$ ,(&,'.'-/24$ "$ ':(=?&/))$!"#$ )'2//2$ :(&!1)1&54$ )$ 8()!1'f'(2$,!&%52"02$8wCC;<4$=t?@$A9B

CDQUMQ$XHFXGVGKOMQ4$GKLMNFOOMQ$D$ZGHJNOFDT^4$W$GLJDZGDRP$GULJDGP4$UTOJZT4$XLM\$ILTKGZJY$ZHMWORY$UGOGD$J$NFHOR@$PGOMSFWZJ@$ MXGWUGL_OJZ$ W$ UHFPQ$ DRSJURPJ$ ZHFWUMPJ4$XHFVWUMFU$ D$ bFOUHF$ ZGPXG[JbJJE$ ]G$ GKFJP$ WUGHGOMP$ GU$OFF�GVFUR@$ D$ [DFHJORF$SZTHR$ WDE$;GMOO$BHFWUJUFL_$ WG$WZHF\FOORPJ$OM$IHTVJ$HTZMPJ4$$J$WDE$uHJWUG`GH$]WFILMDFb$xW$ WGKMN_F@$ IGLGDG@4$ WGILMWOG$ aJUJ@OG@$ LFIFOVFy$ D$DGJOWZJY$ VGWXFYMY$ J$ W$ PFNGP$ D$ HTZFE$ $ ADFHYT$ CXMW$;PPMOTJL$OJWXGWRLMFU$KLMIGWLGDFOJF$ W$ $ WJQ^\JY$OFKFW4$[MZL^NFOORY$D$UHFTIGL_OGF$XHGWUHMOWUDGE

!$

(#"9=.'$2(82/%&52$7)82)52$"$8'/&8$8wCC;<4$wBw�w$=¦²²$I

CXHMDM$ DJVOFFUWQ$ KFLGZMPFOOMQ$ NMWGDOQ$ ¨?IG$ DFZM4$XGWDQ\FOOMQ$ NTVT4$ XHGJWSFVSFPT$ D$ uGOFY$ DG$ «HJIJJ$ J$DRWUHGFOOMQ$ OM$ WHFVWUDM$ $ aJUFLQ$ IGHGVM$ D$ KLMIGVMHOGWU_$[M$ JWbFLFOJF$ FIG$ VGNFHJ$ $ DGVMPJ$JWUGNOJZM4$ OMYGVJDSFIGWQ$OFXGVMLFZTE$]FHFV$NMWGDOF@$J[GKHMaFO$ZGLFOGXHFZLGOFOOR@$PGOMY$ �HYJXX4$ DG$ DHFPQ$ WLTaFOJQ$ ZGUGHGIG$ D$ NMWGDO^$WUFZMLGW_$ POGaFWUDG$ XMLGPOJZGDE$ ·UG$ DR[DMLG$ OFOMDJWU_$Q[RNOJZGD4$ J$ GOJ$ WGFVJOJLJ$ D$ GVJO$ XGUGZ$ VDF$ HFZJ4$ NUGKR$TOJNUGaJU_$ NMWGDOÊ$ wVOMZG4$ ZMZ$ XGDFWUDTFU$ WZM[MOJF4$MHYMOIFL$�JYMJL$WMP$XGQDJLWQ$OM$¬UGP$PFWUF$J$XHFVGUDHMUJL$KFVWUDJFE$BGPXG[JbJQ$DRXGLOFOM$D$UHMVJbJGOOG@$PMOFHF$XG$[GLGUGPT$`GOTE$$CHFVOJZ$JZGOR$KRL$DWUMDLFO$D$XGLQ$GU$KGLFF$XG[VOF@$VGWZJE$

(#"THE MIRACLE OF ARCHANGEL MICHAEL AT

CHONAE

��ª�j4$hª�h�$=¦²²

�)$(!&$,"1!($(!&$')*,(!$2&.(*,6$2!-3&%$+&+"2-(&+$()$�(E$�"2!-&%4$%)2-(&+$ -($ h!).-&$ ".$ �!,61"-d$ ),"1".-%%6$ 2)55"##").&+$ e6$ (!&$father of a girl who was cured by the water of a nearby source;

kneeling in front of it the monk Archippos; during whose service

the popularity of the chapel grew thus attracting the hate of the

pagans, who diverted the source of the river in an attempt to

destroy it; however, as shown on this icon, the Archangel appeared

and prevented the catastrophe; executed in the traditional style,

on gold background, the central panel inset in a later one

!0#$#%1'(#)*

+%(,"""-!","""

!&

('"MOTHER OF GOD ABALATSKAYA

��ª�j$ x��Êy4$ ��hj�$ ®��$ �$ �®�$ =tTH

CENTURY

A variation of the Mother of God of the Sign; the rim of Christ’s

rayed madorla, the halo and head cover of His Mother, richly

decorated with simulated white pearls that stand out against the

saturated colours of the garments and densely gold background;

�(#E$j"2!)%-#$-.+$�-,6$)'$�163($).$(!&$e),+&,!&'.#$#!%'1#)*

+!,(""-/,(""

('"-'%'721&(>$2-2521!:24$$8wCC;<$x¢8��Êy4$A~w8�<$]w�wA;{�$=t?IG$A9B�

|MOOMQ$ JZGOM$ XHFVWUMDLQFU$ WGKG@$ J[DGV$ vGIGPMUFHJ$}zOMPFOJF�E$ BHMQ$ LTNM\F@WQ$ GDML_OG@$ PMOVGHLR4$ D$ZGUGHT^$ [MZL^NFOM$ `JITHM$ uHJWUM4$ $ M$ UMZaF$ OJPK$ J$IGLGDOG@$ TKGH$ vGIGHGVJbR$ KGIMUG$ TZHMSFOR$ JPJUMbJF@$aFPNTIM4$ XHGYGVQ\F@$ XG$ XLGUOG$ DR[GLGNFOOGPT$ `GOT$ J$XHGWUTXM^\F@$OM$$ GOF$GVFQOJ@4$OMXJWMOORY$D$OMWR\FOORY$UGOMYE$ {M$ XGLQY$ JZGOR$ $ J[GKHMaFOR$ WDE$ {JZGLM@?$�TVGUDGHFb$J$WDE$XHFXE$�MHJQ$9IJXFUWZMQE

($"A QUADRIPARTITE ICON WITH THE RESURRECTION

OF CHRIST IN THE CENTRE

��ª�j4$hª�h�$=t²²

Four larger scenes arranged around the central octagonal image

of the Resurrection, the top left displaying the Nativity and the

right the Dormition; the lower register including the Mother

)'$ �)+$ ��)6$ ()$�%%$°!)$ �,"&�&�$ -.+$ (!&$�..*.2"-(").4$ (!&$&%).1-(&+$c1*,&#$0&-,".1$#*53(*)*#$1-,5&.(#$+&3"2(&+$".$e)%+$tones with gilt striations

0"'(#$#//'(#)*

+/,(""-(,(""

($"9&16(&892!1/24$ ):'/2$ !'$ !0&/'*$"'!:(&!&/)4$8()!1'"2$"$0&/1(&$8wCC;<4$wBw�w$=t²²$IE

�FURHF$ZHTXORY$ZLF@PM$HMWXGLGaFOR$DGZHTI$bFOUHML_OGIG$PFVML_GOM$ W$ $ AGWZHFWFOJFP$ uHJWUGDRPE$ A$ DFHYOFP$HFIJWUHF$ WXHMDM$ XHFVWUMDLFOM$ WbFOM$ 8GaVFWUDM4$ W$ LFDG@$WUGHGOR$ XGPF\FOG$¢WXFOJF$ vGIGHGVJbRE$ A$ OJaOFP$ HQVT$J[GKHMaFOR$ vGIGPMUFH_$ }AWFY$ WZGHKQ\JY$ HMVGWU_�$ J$vLMIGDF\FOJFE$¢VLJOFOORF$`JITHR$XFHWGOMaF@$GKLMNFOR$D$HGWZGSORF$GVFQOJQ$D$QHZJY$UGOMY$W$[GLGURPJ$KGHG[VZMPJE$

!'

(&"ST. JOHN THE FORERUNNER “ANGEL OF THE

WILDERNESS”

NORTHERN RUSSIAN, MIDDLE OF THE 18TH CENTURY

Blessing, holding an open scroll and his severed head in a

jewelled dish, clothed in a camel hair tunic and green himation,

his large, spread wings, with striking chrysography dominating

the space, God the Father as the Ancient of the Days with a

+)*e%&$ !-%)4$ +&3"2(&+$ ".$ 3,)c%&$ -e)�&$ 2%)*+#$ ).$ (!&$ ,-6&+$and starry skies; the image executed meticulously employing

#)'($ #!-+".1$ '),$ (!&$ /&#!$ -.+$0!"(&$ -22&.(#$ &53!-#"#".1$ (!&$features, the gold shading of the haloes standing out against the

dark blue background

!1'?#$#!('/#)*

+/,"""-0,"""

(&"!"#$)'2//$,(&.1&92$;2/%&5$,=!16/)<$C9A98$8wCC;;4$C989|;{�$=t?$IG$A9B�$

CDQUG@$ ;GMOO$ ]HFVUFNM$ }�OIFL$ ]TWUROJ�$ J[GKHMaFO$W$ GUZHRURP$ WDJUZGP$ XHGHGNFWUDME$ A$ HTZF$ GO$ VFHaJU$TZHMSFOOGF$ ZMPFO_QPJ$ KL^VG4$ OM$ ZGUGHGP$ XGZGJUWQ$ FIG$GUHTKLFOOMQ$IGLGDME$wO$GKLMNFO$D$PJLGU_$J[$DFHKLâ_F@$SFHWUJ$ J$ [FLFOR@$ IJPMUJ@E$ 9IG$ GIHGPORF$ HMWXHGWUFHURF$ZHRL_Q4$DR[GLGNFOORF$D$UFYOJZF$YHJ[GIHM`JJ4$VGPJOJHTÛ$D$ XHGWUHMOWUDF$ ZGPXG[JbJJE$ vGI?$ wUFb$ D$ GKHM[F$ AFUYGIG$|FO_PJ$ W$ GW_PJZGOFNORP$ OJPKGP$ J[GKHMaFO$ D$ XHG`JL_$OM$`GOF$TWFQOOGIG$[DF[VMPJ$OFKME$~\MUFL_OG$JWXGLOFOOMQ$ZGPXG[JbJQ$ W$ XHJPFOFOJFP$ PQIZG@$ PGVFLJHGDZJ$ VLQ$TNMWUZGD$ UFLM$ J$ W$ KFLRPJ$ GaJDZMPJ$ OM$ LJZMYE$ zGLGUG$OJPKGD$WJQFU$OM$UFPOG?WJOFP$`GOFE

()"A DEISIS WITH THE GUARDIAN ANGEL AND ST.

JOHN THE BAPTIST ON THE BORDER

h�j��$��ª�j4$hª�h�$=t²²

h!,"#($ /-.g&+$e6$!"#$�)(!&,$ -.+$ �)!.$ (!&$f-3("#(4$ (!&$ %-((&,$bearing the Eucharistic body of Christ in a bowl, the faces

,&.+&,&+$(,-+"(").-%%64$(!&$,)e*#($c1*,&#$-((",&+$".$,&+$-.+$e%*&$garments with silver highlights, the bright haloes with red

,"5#4$(!&$�*-,+"-.$�.1&%$-.+$,&3&-(&+$c1*,&$)'$�(E$�)!.$).$(!&$border suggesting the icon was a private commission

/(#$#/"'(#)*

+%,?""-!,0""

()".&)!)!$!$'-(23'7$2/%&52+8(2/)1&54$)$!"#$)'2//2$:(&!1)1&54$:9{~8��{�<$8wCC;<4$wBw�w$=t²²$IE

A$ bFOUHF$ ZGPXG[JbJJ�`JITHM$ CXMWM$ D$ GZHTaFOJJ$vGIGPMUFHJ$J$;GMOOM$BHFWUJUFLQ4$ZGUGHR@$VFHaJU$XGUJH$W$UFLGP$uHJWUME$�JZJ$DRXGLOFOR$D$UHMVJbJGOOG@$PMOFHFE$]LGUORF$ `JITHR$ [MZTUMOR$ D$ WJOF?ZHMWORF$ GVFQOJQ$ W$WFHFKHQORPJ$SUHJYMPJE$<HZJF$ OJPKR$ GKDFVFOR$ ZHMWORP$ZGOUTHGPE${M$XGLQY$JZGOR$J[GKHMaFOR$�OIFL?uHMOJUFL_$J$WDE$;GMOO$]HFVUFNM4$NUG$OMDGVJU$OM$XHFVXGLGaFOJF$G$UGP4$NUG$$JZGOM$KRLM$OMXJWMOM$VLQ$NMWUOGIG$[MZM[NJZME

!(

(("THE THREE HIERARCHS

NORTHERN RUSSIA, 18TH CENTURY

�,&#&.(&+$',).(-%4$'*%%?%&.1(!4$e%&##".1$-.+$e&-,".1$(!&$�)#3&%#4$(!&",$)*(&,$garments richly decorated with gold foliate scrolls, contrasting with the

austere pattern of the phelonia, Christ above to bless the Church Fathers

/0'/#$#!.'/#)*

+!,(""-/,(""

(("1()$!"41)1&54$C9A98$8wCC;;4$=t?@$A9B

CDQURF$ 7HJIGHJ@$ vGIGWLGD4$ AMWJLJ@$ AFLJZJ@$ J$ ;GMOO$ zLMUGTWU$J[GKHMaFOR$ `HGOUML_OG$ D$ XGLOR@$ HGWU$ W$ 9DMOIFLJQPJ$ D$ HTZMYE$wKLMNFOJQ$ WDQURY$ KGIMUG$ TZHMSFOR$ [GLGURP$ HMWUJUFL_ORP$GHOMPFOUGPE$CHFVJ$GKLMZGD$D$OFKFWOGP$WFIPFOUF$uHJWUGW$OJWXGWRLMFU$JP$WDGF$KLMIGWLGDFOJFE

(*"THE PROPHET ELIJAH AND HIS FIERY ASCENT INTO

HEAVEN

RUSSIAN, LATE 18TH CENTURY

�!&$�,)3!&($-1-".#($(!&$5)*(!$)'$-$2-�&4$-$,-�&.$e,".1".1$!"5$e*.2!&#$)'$1,-3&#d$)33)#"(&4$!"#$2,)##".1$)'$(!&$,"�&,$�),+-.4$-e)�&$!"#$-#2&.($()$(!&$®&-�&.#$".$-$2!-,")($3*%%&+$e6$')*,$!),#&#d$(!&$�*-,+"-.$�.1&%$-.+$�(E$George on the border

/%'&#$#!&#)*

+%,!""-%,?""

(*"'%/&//'&$"'!8'?.&/)&$,('(':2$)5))$8wCC;<4$Bw{9:$=t?IG$A9B�

CLFDM$ J[GKHMaFO$ XHGHGZ$ ;LJQ4$ WJVQ\J@$ T$ DYGVM$ D$ XF\FHTE$ 9PT$XHJWLTaJDMFU$ DGHGO4$ XHJOGWQ\J@$ ZJWU_$ DJOGIHMVME$ {MXHGUJD$DJVOFFUWQ$WbFOM$W$XFHFYGVGP$WDQUGIG$NFHF[$HFZT$;GHVMOE$$A$DFHYOF@$NMWUJ$ ZGPXG[JbJJ$ [MXFNMULFOG$ GIOFOOGF$ DGWYGaVFOJF$ XHGHGZM$ D$ZGLFWOJbF$ W$ NFURH_PQ$ LGSMV_PJE$ $ {M$ XGLQY$ JZGOR$ J[GKHMaFOR$�OIFL?uHMOJUFL_$J$WDE$7FGHIJ@?$]GKFVGOGWFbE

(+"THE MARTYR ST. NIKITA THE SOLDIER


Holding a cross and a lance, his lamellar armour embellished with

simulated pearls, complemented by a red cape, the Guardian Angel on the

%&'($e),+&,4$)33)#"(&$ (!&$�,)3!&($�"5&).$-.+$ (!&$5).-#("2$�(E$��+)g"-4$painted with bold colours

!%'0#$#%.'(#)*

+%,?""-!,(""

(+"!"41'*$"&5):'7=9&/):$/):)12+"')/$8wCC;<4$= ?@$A9B

CDQUG@$DGJO$J[GKHMaFO$W$ZHFWUGP$J$ZGX_FPE$9IG$NFST@NMUR@$VGWXFY$TZHMSFO$ JPJUMbJF@$ aFPNTIM$ J$ VGXGLOFO$ ZHMWORP$ XLM\GPE$ {M$LFDGP$XGLF$OMXJWMO$�OIFL$uHMOJUFL_4$OM$XHMDGP$¶$XHGHGZ$CJPFGO$J$XHFXGVGKOMQ$9DVGZJQE$;ZGOM$DRVFHaMOM$D$QHZJY$UGOMYE

!)

*,"H$FJEH$JgMO$Mh$DE#$DJKPMO$Mh$FPLTSMEmLRPVWa_c+`Zb��ª�j$x�ªf��ª�y4$��hj�$®��$�$�®�19TH CENTURY

�!&$ 2&.(,-%$ 2)53-,(5&.($ ".2%*+".1$ (!&$ )�&,#"�&+$ c1*,&$ )'$ (!&$saint, standing before a tall tree, bringing his hand on his chest in

prayer, unfolding a scroll; in the same section, the saint portrayed

'),$ -$ #&2).+$ ("5&$ 0!"%&$ c#!".1$ e6$ (!&$ e-.g$ )'$ (!&$ ,"�&,d$ (!&$opposite bank showing a monastery, either that of Archangel

Michael in Merkushinsk where the saint was originally buried,

),$ (!&$�).-#(&,6$)'$�(E$j"2!)%-#$0!&,&$!"#$ ,&%"2#$0&,&$5)�&+$-'(&,$(!&",$+"#2)�&,6d$).$(!&$*33&,$%&'(4$h!,"#($/)-(".1$).$2%)*+#4$blessing the saint; the sixteen surrounding scenes narrating the

life of the saint following his denouncing on his noble origins

and wealth; focusing on his miracles and love for the Siberian

countryside where he lived; the bold composition painted with

earthly colours

.%'(#$#(.'(#)*

+&,"""-?,"""

j)(&#��!&$,&3,&#&.(-(").$)'$(!&$%"'&$)'$�(E$�"5&).$ &,g!)(*,#g"6$"#$&�(,&5&%6$rare, while more common are icons that reproduce the central iconography

)'$(!"#$3-.&%E

*,"!)7&'/$"&(8'1=(!:)*$"$?)1))$VWa_c+`Zb8wCC;<$xC;v;8�y4$A~w8�<$]w�wA;{�$= ?IG$A9B�

A$WHFVOJZF$JZGOR$J[GKHMaFOM$TDFLJNFOOMQ$`JITHM$WDQUGIG4$WUGQ\FIG$GZGLG$ DRWGZGIG$ VFHFDME$ $A$GVOG@$HTZF$GO$ VFHaJU$HM[DFHOTUR@$WDJUGZ4$M$VHTIT^$¶$XGVOGWJU$Z$IHTVJ$D$PGLJUDFOOGP$aFWUFE$ AVMLFZF$ DJVOFFUWQ$ WbFOM$ WG$ WDQURP4$ HRKMNM\JP$OM$ KFHFIT$ HFZJ4$ OM$ XHGUJDGXGLGaOG@$ WUGHGOF$ ZGUGHG@$XGWUHGFOM$ PGOMWURHWZMQ$ GKJUFL_E$ $ ]HFVXGLGaJUFL_OG4$ ¬UG$�JYMJLG?�HYMOIFL_WZJ@$PGOMWURH_$ D$�FHZTSJOG4$ IVF$ KRL$XGYGHGOFO$ WDQUG@4$ $ JLJ$ aF$ {JZGL_WZJ@$ PGOMWURH_4$ ZTVM$KRLJ$DXGWLFVWUDJJ$XFHFDF[FOR$FIG$OGDGGKHFUFOORF$PG\JE$$$A$DFHYOFP$LFDGP$TILT$J[GKHMaFO$XMHQ\J@$OM$GKLMZMY$uHJWUGW4$OJWXGWRLM^\J@$KLMIGWLGDFOJF$WDQUGPTE$±FWUOMVbMU_$ZLF@P4$GZHTaM^\JY$ WHFVOJZ4$ XGDFWUDTÛ$ G$ aJUJJ$ XHFXGVGKOGIG$$xGK$ GUHFNFOJJ$ WDE$ CJPFGOM$ GU$ [OMUOGIG$ XHGJWYGaVFOJQ$J$ KGIMUWUDMd$ G$ NTVFWMY4$ WGDFHSMFPRY$ WDQURP$ J$ G$ L^KDJ$Z$ WJKJHWZGPT$ ZHM^4$ D$ ZGUGHGP$ GO$ aJLyE$ ARHM[JUFL_OMQ$ZGPXG[JbJQ4$OMXJWMOOMQ$D$[FPLJWURY$UGOMYE$

]HJPFNMOJQ�;ZGOR$ W$ aJUJFP$ WDE$ CJPFGOM$ AFHYGUTHWZGIG$ NHF[DRNM@OG$ HFVZJE$vGLFF$HMWXHGWUHMOFO$UJX$JZGO4$XGDUGHQ^\J@$WâFU$ZGPXG[JbJJ$D$WHFVOJZFE$

!*

*!"!"#$ '/=f()*$ )$ ,(&,'.'-/'7=9&/):$2/2!12!)*$,&(!).!:)*789:;<$xB8;~y4$=>?@$A9B

«JITHM$WUMHbM?GUSFL_OJZM$W$VLJOOG@$KGHGVG@4$VGYGVQ\F@$VG$[FPLJ4$$DRXGLOM$WPFLRPJ$PM[ZMPJE$9IG$OMIGF$UFLG$XHJZHRUG$XGQWGP$J[$LJWU_FDE$8QVGP$W$OJP4$WLFVTQ$XHJObJXT$ZGOUHMWUM4$JZGOGXJWFb$ XGPFWUJL$ XHFXGVGKOGPTNFOJZM$ �OMWUMWJQ4$GKLMNFOOGIG$ D$ GHMOaFDT^$ UTOJZT$ W$ IGLTKG@$ WUGLG@$ J$OMZJOTURP$ XGDFHY$ ZHMWORP$ XLM\GP4$ [MWUFIJDM^\JPWQ$ OM$IHTVJE$CDE$�OMWUMWJ@$VFHaJU$D$HTZF$GIHGPOR@$ZHFWUE$¢NMWUZJ$UFLM$WDQURY$GaJDLFOR$XHGKFLMPJE$�FaVT$OJPJ$$J[GKHMaFOM$DRWGZMQ$XML_PME$;[RWZMOOMQ$$ZGPXG[JbJQ$W$OMUTHMLJWUJNOG$DRXGLOFOORP$ LMOVSMÙGPE$ zGLGUG@$ `GO$ WJPDGLJ[JHTFU$OFKFWME

*!"STS. ONOUPHRIOS AND ANASTASIOS THE PERSIAN

��$xh��jÊy4$=>TH CENTURY

The old hermit rendered boldly, with an exceptionally long beard

touching the ground, his nudity covered by a branch of leaves;

2).(,-#(".1$ !"54$ (!&$ 5-,(6,4$ �(E$ �.-#(-#")#$ 2)53%&(&%6$ -((",&+$in an orange tunic, with a blue stole and red cape fastened on

(!&$ 2!&#(4$ #*33),(".1$ -$ %-,1&$ 2,)##d$ c.&%6$ &�&2*(&+4$ (!&$ /&#!$heightened by bright shading, between the two saints a tall palm

tree, the landscape rendered naturalistically, the skies in gold

!/#$#%?'!#)*

+(,"""-.,"""

!!

*#"!""#$%&'(%)*$)$/):'52*$+9=.'1"'(&0$789:;<4$wBw�w$=>²²$IE

|DGF$ XGL_[T^\JYWQ$ GIHGPOG@$ XGXTLQHOGWU_^$ WDQURY$J[GKHMaFOR$`HGOUML_OG$ D$ XGLOR@$HGWUE$£OR@$ WDE$ 7FGHIJ@$XHFVWUMFU$ KF[KGHGVRP$ ÔGSF@4$ IGLGDM$ ZGUGHGIG$ TDFONMOM$VJMVFPG@E$ A$ HTZMY$ GO$ VFHaJU$ PTNFOJNFWZJ@$ ZHFWUE$ CDE${JZGLM@$ XGVËFPLFU$ HTZT$ D$ aFWUF$ KLMIGWLGDFOJQ$ J$ VFHaJU$HMWZHRUGF$9DMOIFLJFE${JPKR$J$GVFQOJQ$WDQURY$J$XGLQ$JZGOR$TZHMSFOR$XG[GLGUG@E$

*#"STS. GEORGE AND NICHOLAS

��4$hª�h�$=>²²

�!&$(0)$3)3*%-,$#-".(#$3),(,-6&+$',).(-%4$'*%%?%&.1(!4$(!&$6)*(!'*%$�(E$�&),1&$e&-,+%&##4$0&-,".1$-$+"-+&5$-.+$!)%+".1$-$5-,(6,i#$2,)##4$�(E$j"2!)%-#$,-"#".1$!"#$!-.+$".$e%&##".1$-.+$+"#3%-6".1$(!&$Gospels, the haloes, garment adornments and the border in gold

!('.#$#!"#)*

+&,(""-?,(""

!"

*$"A TRAVELLING ICON OF THE MOTHER OF GOD OF KAZAN

��ª�j4$��i�$��$�E�4$��E$��f��4$=t ¨

��&2*(&+$".$3-%&$3-#(&%$2)%)*,#4$2)�&,&+$e6$-$#"%�&,?1"%($)g%-+4$0"(!$-,2!&+$c%"1,&&$opening surmounted by a red translucent cross, ornamented with elaborate shaded

&.-5&%$')%"-(&$#2,)%%$3-((&,.$-.+$#(6%"�&+$e%*&$/)0&,#$).$-$#("33%&+$1,)*.+1'!#$#.'&#)*

+/,"""-(,"""

�,)�&.-.2&�$�)(!&e6i#$�).+).4$¤¦$j)�&5e&,$¤²²t4$�)($¤ tE

*$",=1/24$):'/2$!$'-(23'7$-'%'('.)06$:232/!:'*$8wCC;<4$B�9¡�w$��C~98�$}]E8E�4$C�{B~?]9~98v¢874$=t ¨$I$

;ZGOM$ DRXGLOFOM$ D$ XMWUFL_ORY$ UGOMY$ J$ GXHMDLFOM$ D$ XG[GLGNFOOR@$WFHFKHQOR@$ GZLMV$ D$ DJVF$ WDGVNMUG@$ HMPZJ4$ ZGUGHMQ$ TDFONMOM$ MLRP$XGLTXHG[HMNORP$ ZHFWUGP$ J$ TZHMSFOM$ [MPRWLGDMURPJ$ HMWUJUFL_ORPJ$GHOMPFOUMPJ$D$DJVF$HMWXJWMOORY$bDFUOG@$¬PML_^$WUJLJ[GDMOORY$LJWU_FD$J$$bDFUGD$OM$IHMDJHGDMOOGP$`GOFE$]HGDFOMOW�$�TZbJGO$�)(!&e6i#4$�GOVGO4$¤¦$OGQKHQ$¤²²t4$LGU$¤ tE

*'"A CRUCIFIX WITH A GILDED OKLAD


The lifeless body of Christ on the cross, the upper part unusually depicting the

bust of Christ Emmanuel and below, two angels with covered hands preparing to

receive His soul; behind the suppedaneum$(!&$0-%%&+$2"(6$)'$�&,*#-%&54$-.+$-($the bottom the skull of Adam

/0#$#%?'!#)*

+%,!""-%,?""

*'"(2!,41)&$"$3'5'9&/'7$':52.&$8wCC;<4$= ?@$A9B

vF[aJ[OFOOGF$UFLG$uHJWUM$XHJIDGaVFOG$ZG$ZHFWUTE${M$DFHYOF@$XFHFZLMVJOF$ZHFWUM$XGPF\FO$OFGKRNOR@$VLQ$VMOOG@$JZGOGIHM`JJ$PFVML_GO$WG$CXMWGP$;PPMOTJLGPE$ �TU_$ OJaF$ PFVML_GOM$ VDM$ XMHQ\JY$ MOIFLM$ IGUGDQUWQ$XHJQU_$ VTST$ uHJWUME$ {M$ XGVOGaJJ$ DRIHMDJHGDMOR$ [VMOJQ$ GIHMaVFOOGIG$ZHFXGWUORPJ$ WUFOMPJ$;FHTWMLJPME$ ¢$ WMPGIG$ XGVOGaJQ$ ZHFWUM$ DJVOFFUWQ$NFHFX$XHMGUbM$�VMPME$

*&"H$gLmgJhJr$JODPLEPI$JO$H$UHOPG@$hGHOTPI$QR$JKHNPD$Mh$ESP$IPUMDJEJMO$HOI$GHKPOEHEJMO@$lJES$ DED#$ UPEPL$HOI$HOOH$ON THE BORDER


�(-.+".1$()$&"(!&,$#"+&$)'$(!&$h,)##$(!&$�!,&&$�-,6#$-.+$h!,"#(i#$+"#2"3%&4$�)!.4$0"(!$(!&$h&.(*,").d$).$(!&$e),+&,$(!&$3-(,).$#-".(#$�&(&,$-.+$�..-4$-1-".#($-$1"%($background painted to emulate silver and enamel design of the time

/('(#$#/"#)*

+!,(""-/,(""

*&"):'/2$!$'-(2327)$!""#$,&1(2$)$2//6@$!0&/27)$!/41)4$!'$:(&!12$)$',52:)"2/)4@$)$"!12"/67$!(&./):'7$"$").&$(2!,41)4$8wCC;<4$= ?@$A9B$]G$GKF$WUGHGOR$GU$ZHFWUM$J[GKHMaFOR$~HJ$�MHJJ$J$TNFOJZ$uHJWUM$;GMOO$vGIGWLGD$HQVGP$W$WGUOJZGPE${M$XGLQY$JZGOR$XHFVWUMDLFOR$WDQURF$]FUH$J$�OOM4$J[GKHMaFOORF$OM$`GOF4$JPJUJHT^\FP$WFHFKHG$J$¬PML_$W$XG[GLGUG@E$

!#

*)"A TRAVELLING ICON OF CHRIST PANTOKRATOR

WITH A SILVERED AND ENAMEL OKLAD

��ª�j4$hª�h�$= ²²

Rendered in deep tones, covered by a silvered oklad with blue

wirework ground, the border composed of stylised leafy scrolls

of navy, blue, teal, yellow and green on white, the applied halo

and tsata employing the same motifs, additionally with beaded

edges

%/'/#$#%"'1#)*

+!,(""-/,(""

*)",=1/24$ ):'/2$ !$ '-(23'7$ !,2!2$"!&.&(?)1&54$"$,'!&(&-(&//'7$':52.&$!$C725>B$8wCC;<4$wBw�w$= ²²$IEBGPXG[JbJQ$ DRXGLOFOM$ D$ ILTKGZJY$ UGOMY$ J$ GXHMDLFOM$ D$XGWFHFKHFOOR@$ GZLMVE$]G$ XGLQP$ XHGYGVJU$ WUJLJ[GDMOOR@$HMWUJUFL_OR@$GHOMPFOU$ D$ UFPOG?WJOJY4$ IGLTKRY4$aFLURY4$[FLFORY$J$KFLRY$UGOMYE$wHOMPFOU$OMZLMVOGIG$OJPKM$J$bMU$XFHFZLJZMFUWQ$W$GWOGDORPJ$PGUJDMPJE$BHMQ$bMU$TZHMSFOR$KTWJOMPJE

*("A SILVER-GILT BENEDICTION CROSS

��ª�j4$��$�$�ª��j$�ª��ªj4$��h°4$=t ¦

�-"#&+$3%-�*&#$).$(!&$',).($&.1,-�&+$0"(!$(!&$h,*2"c�").$/-.g&+$e6$(!&$5)*,.".1$�)(!&,$)'$�)+$-.+$�)!.$(!&$��-.1&%"#(4$�),+$�-ee-)(!$ -e)�&4$ �&,*#-%&5$ 0"(!".$ (!&$ 0-%%#$ -.+$ (!&$ e).&#$ )'$Adam at Golgotha below, further down Christ praying at the

Mount of Olives prior to His arrest, the reverse ornate with

stylised patterns on stippled ground

/0'0#$#!('.#)*

+%,"""-%,(""

*("!&(&-(4/6*$ 5)1=(%)9&!:)*$ :(&!1$ !$,'3'5'1'*$8wCC;<4$ B�9¡�w$ ��C~98�$ �;~8w«�{�$ ]¢|;{�4$$�wCBA�4$=t ¦$IE

8F[ORF$ UMKLJNZJ$ W$ DRFPZMPJ$ GZHTaMÛ$ $ DRIHMDJHGDMOOT^$WbFOT$8MWXQUJQ$D$bFOUHF$ZHFWUME$$]G$GKF$WUGHGOR$GU$HMWXQUGIG$uHJWUM$DRIHMDJHGDMOR$XFNML_ORF$LJZJ$vGIGHGVJbR$J$;GMOOM$vGIGWLGDME$ ADFHYT$ ZHFWUM$ XGPF\FOG$ J[GKHMaFOJF$ 7GWXGVM$CMDMG`ME$BHFXGWUORF$WUFOR$;FHTWMLJPM$W$XGQDJDSJPWQ$J[?XGV$[FPLJ$NFHFXGP$�VMPM$OM$7GLIG`F$DRIHMDJHGDMOR$OM$XGVOGaJJ$ZHFWUME$ $ �TU_$ OJaF4$ T$ GWOGDMOJQ$ ZHFWUM�PGLFOJF$ uHJWUM$ D$7F`WJPMOJ$OM$�MWLJNOG@$IGHF4$XHFVSFWUDGDMDSFF$9IG$MHFWUTE$C$GKHMUOG@$WUGHGOR$ZHFWU$TZHMSFO$WUJLJ[GDMOORP$GHOMPFOUGP4$XHGYGVQ\JP$XG$`GOT$WG$SUHJYGGKHM[ORPJ$XGLGWZMPJE

reverse KLKMKN

"%

**"):'/2$ ;!,2!$ "!&.&(?)1&5><$ "$ 3'5'9&/'7$!&(&-(4/'7$':52.&$!$C725>B$8wCC;<4$B�9¡�w$��C~98�$$�E$C�;8{wA�4$=t ¦?= ²t$IE$

�JZ$ uHJWUM$ W$ KGL_SJPJ$ UFPOG?[FLFORPJ$ ILM[MPJ$ XLMDOG$DRXJWMO$D$HFMLJWUJNOG@$PMOFHF$D$WDFULRY$UGOMY$J$GKHMPLFO$XHQVQPJ$ WDFULRY$ DGLGWE$ wVFQOJQ$ CXMWJUFLQ$ DRXGLOFOR$ D$UFYOJZF$IGHFL_F`M4$DRVFLQQW_$OM$ILMVZGP$`GOF$WFHFKHQOGIG$GZLMVME$ ~HFYNMWUOR@$ OJPK4$ TZHMSFOOR@$ XFHFIGHGVNMUG@$¬PML_^4$ GKDFVFO$ HF[OG@$ GZMOUGDZG@$ D$ DJVF$ UHJLJWUOJZGDE${MVXJWJ$D$GUZHRUGP$9DMOIFLJJ$ZMLLJIHM`JNFWZJ$DRXGLOFOR$D$UFYOJZF$DRFPNMUG@$¬PMLJE

**"CHRIST PANTOKRATOR WITH A SILVER-GILT AND

ENAMEL OKLAD

��ª�j4$��$�$�E$��ª�j 4$=t ¦?= ²t

Rendered realistically with smooth fair tones, his large eyes in

dark green, his face framed by blonde locks, the garments in

!"1!?,&%"&'4$#(-.+".1$)*($-1-".#($(!&$*.-+),.&+$e-2g1,)*.+$)'$(!&$#"%�&,?1"%($)g%-+4$2)53%&5&.(&+$e6$-$(,"3-,("(&$!-%)$".$2%)"#)..µ$&.-5&%$0"(!$ -$ 2*(?)*($ ,"5$ #!-3&+$ e6$ (,&')"%$ -,,-.1&5&.(#4$ (!&$)3&.$�)#3&%#$".#2,"e&+$2-%%"1,-3!"2-%%6$".$2!-53%&�µ!&'&#$#!!'/#)*

+?,"""-%!,"""

"$

*+"):'/2$!"#$)//':&/1)4$"$!&(&-(4/'7$':52.&$!$C725>B$8wCC;<4$= ?@$A9B4$B�9¡�w$u�9v{;BwA�$Cw$z{�Bw�$]wC~�A�;B�$;�]98�~w8CBw7w$|Aw8�$�wCBA�;ZGOM$OMXJWMOM$D$HFMLJWUJNOG@$PMOFHF$D$ILTKGZJY$UGOMYE$CDQUG@$VFHaJU$ PGLJUDFOORF$ NFUZJ$ J$ ZHFWU4$ DRXGLOFOOR@$ D$ UFYOJZF$DRFPNMUG@$¬PMLJE$$9IG$GVFQOJQP$XHJVMO$DJV$HFL_F`ME$9XJUHMYJL_$TZHMSFOM$VDTPQ$ZHFWUMPJ4$XGYGaJPJ$OM$UGU4$ZGUGHR@$TDFONJDMFU$NFUZJE$ BHFWU4$ OMYGVQ\J@WQ$ T$ WDQUJUFLQ$ D$ HTZMY4$ XGLOGWU_^$DRXGLOFO$J[$XHG[HMNOG@$ZHMWOG@$¬PMLJE${M$IHTVJ$WDE$;OOGZFOUJQ$¶$XMOMIJQ$W$GKHM[GP$uHJWUM$J$OMXFHWOR@$ZHFWUE$$�JUHM$WDQUGIG$W$ GZHTaM^\JP$ FF$ OJPKGP$ JWZTWOG$ TZHMSFOOR@$ DRFPNMUG@$¬PML_^4$ WGNFUM^\F@WQ$ XG$ bDFUT$ W$ VHTIJPJ$ VFZGHMUJDORPJ$¬LFPFOUMPJ$ $ J[$ ¬PMLJE$ ]G$ LTNJWUGPT$ `GOT$ XLRDTU$ GKLMZME$ARWGZJF$XGLQ$JZGOR$TZHMSFOR$IHMDJHGDMOORP$$IFGPFUHJNFWZJP$GHOMPFOUGP$OM$`GOF$SUHJYGGKHM[ORY$XGLGWGZE

*+"ST. INNOKENTIY WITH A SILVER AND ENAMEL

OKLAD

RUSSIAN, 19TH$h�j��4$��$�$��fjª�¯$°ª�®$�®�$ª��ª��$°��j�4$��h°

Depicted naturalistically in deep tones, holding prayer beads

2)53%&5&.(&+$e6$-$2!-53%&�µ$2,)##4$!"#$1-,5&.(#$&�&2*(&+$ ".$relief, the omophorion applied with two crosses identical to that

of the prayer rope, the one on the left surmounted by another

cross entirely made in translucent red enamel, an additional

cross and an encolpion with a portrait of Christ hanging on his

2!&#(4$!"#$5"(,&$-.+$!-%)$+&2),-(&+$0"(!$5&("2*%)*#$2!-53%&�µ$matching all other enamel ornaments, clouds appearing in the

rayed background, the raised border engraved with geometric

pattern on stippled ground

!.#$#!!'0#)*

+?,(""-%!,"""

"&

+,"THE MOTHER OF GOD OF THE KIEVAN CAVES WITH

A SILVER-GILT OKLAD

��ª�j$x��y4$��$=> ²

Seated on a luxurious throne ornamented with diamond cross

hatch pattern and red and blue cushions, Christ on her lap

&�(&.+".1$e)(!$®"#$!-.+#$".$e%&##".14$/-.g&+$e6$�(E$�.(!).6$and his disciple Theodosius, both bearing scrolls, their hands

turned upwards in prayer, rendered in saturated colours, the gilt

)g%-+$0"(!$#*e(%&$/),-%$5)("'#$).$(!&$#3-.+,&%#$%0'!#$#%!'.#)*

+!,(""-/,(""

+,":)&"'+,&9&(!:24$ ):'/2$ =!,&/)4$,(&!"#$ -'%'('.)06$ !&(&-(4/6*$ ':52.$ !$,'3'5'1'*$8wCC;<$xBwC~8w��y4$=> ²$IE$

vGIGPMUFH_$ DGWWFVMFU$ OM$ HGWZGSOGP$ UHGOF4$GHOMPFOUJHGDMOOGP$ HGPKMPJ$ J$ TKHMOOGP$ ZHMWORPJ$ J$WJOJPJ$ XGVTSZMPJE$ uHJWUGW4$ WJVQ\J@$ T$ OFF$ OM$ ZGLFOQY4$XHGWUJHMFU$ GKF$ HTZJ$ D$ KLMIGWLGDFOJJE$ C$ GKFJY$ WUGHGO$UHGO$ vGIGPMUFHJ$ GZHTaMÛ$ WDE$ XHFXE$ �OUGOJ@$ J$ FIG$TNFOJZ$«FGVGWJ@$]FNFHWZJFE$wKM$ VFHaMU$ WDJUZJ$ D$ HTZMY4$DG[VFURY$D$PGLJUDFE$BGPXG[JbJQ$DRXGLOFOM$D$OMWR\FOORY$UGOMYE$;ZGOM$GXHMDLFOM$D$WFHFKHQOR@$GZLMV$W$XG[GLGUG@$J$J[Q\ORPJ$bDFUGNORPJ$PGUJDMPJ$D$OMTIGL_OJZMYE

+!"CHRIST PANTOKRATOR WITH A SILVER-GILT

OKLAD

RUSSIAN, MAKER’S MARK ESM IN CYRILLIC,

��h°4$=t ¥

Gesturing in benediction and displaying the open Gospels, His

face framed by parted hair arranged over His right shoulder;

the background of the oklad and spandrels tooled with foliate

#2,)%%#4$(!&$,-"#&+$e),+&,$0"(!$-$%-(("2&$5)("'4$(!&$2*(?)*($!-%)$with pierced rim

/"'(#$#!&#)*

+%,(""-!,(""

+!"!,2!$"!&.&(?)1&5>$$!&(&-(4/6*$':52.$!$,'3'5'1'*$8wCC;<4$B�9¡�w$��C~98�$}9C��4$�wCBA�4$=t ¥$I

CXMW$ AWFVFHaJUFL_$ KLMIGWLGDLQFU$ PGLQ\FIGWQ$ VFHaM$ D$HTZF$ HMWZHRUGF$ 9DMOIFLJFE$ 9IG$ LJZ$ GKHMPLFO$ DGLGWMPJ4$HM[VFLFOORPJ$ OM$ XHGKGH$ J$ OJWXMVM^\JPJ$ DXHMDGE$wZLMV$ JZGOR$ KGIMUG$ TZHMSFO�$ XG$ `GOT$ J$ D$ XFHFPRNZMY$JVTU$ HMWUJUFL_ORF$ T[GHR$ W$ [MDJUZMPJE$ ]GLQ$ GUVFLMOR$HFSFUNMURP$GHOMPFOUGPE$${MV$$GKHM[GP$CXMWJUFLQ$XGPF\FO$`JITHOR@$ OMZLMVOG@$ OJPK$ W$ $ XHGHF[ORP$ GHOMPFOUGP$ XG$ZHMQPE

"'

+#"):'/2$!""#$/):'524$)$,2(2!:&"6@$(2!i)124$-)!&('7$:9{~8��{�<$ 8wCC;<$ xBwC~8w�CB�<$ ±Bw��y4$C989|;{�$=>?IG$A9B�$

|MOOMQ$ JZGOM$ KRLM$ DRXGLOFOM$ VLQ$ NMWUOGIG$ [MZM[NJZM$ J$XHFVWUMDLQFU$J[KHMOORY$WDQURY$¶$XGZHGDJUFLF@$ $ [MZM[NJZM4$PGLJUDFOOG$ YGVMUM@WUDT^\JY$ XFHFV$ GKHM[GP$ BM[MOWZG@$vGIGPMUFHJ�$ WDE$ {JZGLM@?�TVGUDGHFb$ D$ FXJWZGXWZGP$GKLMNFOJJ4$ TZHMSFOOGP$ HMWUJUFL_ORPJ$ [MDJUZMPJ4$ J$ WDE$]MHMWZFDM$ D$ WZHGPOGP$ GVFQOJJ4$ VFHaM\MQ$ D$ HTZMY$ WDG@$IGLGDOG@$ TKGHE$ {MWR\FOORF$ GWOGDORF$ UGOM$ TWJLFOR$QHZJPJ$ `HMIPFOUMPJ$ ZGPXG[JbJJE$ �JZJ$ DRXGLOFOR$XLMD_^4$ YMHMZUFHOG@$ VLQ$ =>?IG$ DFZME$ ;ZGOM$ GXHMDLFOM$ D$GZLMV4$ DRXGLOFOOR@$ J[$ UGOZJY$ LJWUGD$ PFUMLLM$ W$ JWZTWORP$DZHMXLFOJFP$J[$KTWJOE$

+#"STS. NICHOLAS AND PARASKEVA WITH A COVER

EMBROIDERED WITH BEADS

h�j��$��ª�j$x��$�h®�y4$�ª��$�$THE 17TH CENTURY

An icon privately commissioned, showing the patron’s favourite

#-".(#$".$#*33%"2-(").$()$(!&$�)(!&,$)'$�)+$)'$�-�-.d$�(E$j"2!)%-#$in Episcopal garments, his phellonion embellished with foliage

#2,)%%#4$ �(E$ �-,-#g&�-$ 0&-,".1$ 3%-".$ �&#(5&.(#4$ 2%*(2!".1$ !&,$cape; the saturated colours of the icon accentuated with brighter

details; the facial features formed by soft shading typical of the

17th century style; complemented by an oklad made of thin sheets

of metal, applied with elaborate beadwork

/%'%#$#/&'/#)*

+0,(""-(,(""

with cover

]%K^_àb

"(

+$"4"5&/)&$ -'%'('.)06$ !"#$ ,(&,#$ !&(%)B$(2.'/&?!:'7=8wCC;<4$�;u�¡�w$$Bwz�;{4$¤¥$;£{<4$=t²¨$IE

vGIGPMUFH_$J[GKHMaFOM$GXJHM^\F@WQ$OM$XGWGY$D$GZHTaFOJJ$WDDE$ MXGWUGLM$ ]FUHM$ J$ ;GMOOM$ vGIGWLGDME$ vGIGHGVJbM$GKHM\MFUWQ$ Z$ CDE$ CFHIJ^4$ XHFZLGOQ^\JP$ XHFV$ OF@$ ILMDT$DPFWUF$W$XGWLTSOJZGP$�JYFFPE$$]GV$KMLVMYJOGP$J[GKHMaFO$WDE${JZGO4$DG[OGWQ\J@$HTZJ$HQVGP$W$MLUMHFP4$ZMZ$KR$D$[OMZ$TVJDLFOJQ$XFHFV$XHGJWYGVQ\JPE$$¢VLJOFOORF$ JITHR$JWZTWOG$OMXJWMOR4$LJZJ$TWJLFOR$QHZJPJ$GaJDZMPJE$~HJ$PGOMYM$WXHMDM$GKLMNFOR$D$UFPORF$GVFaVRE$$CDE$CFHIJ@$J${JZGO$OMXJWMOR$D$GVFQOJQY$DFLJZGWYJPOJZGDE$zVMOJQ$OM$[MVOFP$XLMOF$TZHMSFOR$GHOMPFOUGP4$ JPJUJHT^\JP$ HFL_FÈ$ A$ PFVML_GOR$ DDFHYT$[MZL^NFOR$GKHM[R$AFUYG[MDFUOG@$~HGJbRE${M$XGLQY$JZGOR$J[GKHMaFOR$ WDQURF$ ¶$ XGZHGDJUFLJ$ WDDE${JZGLM@4$ 7HJIGHJ@$vGIGWLGD$J$7HJIGHJ@$${FGZFWMHJ@WZJ@E$;WZTWOG$DRXGLOFOOMQ$ZGPXG[JbJQ$W$OMVXJW_^$D$OJaOFP$XHMDGP$TILT�$}{MXJWMWQ$WJQ$JZGOM$D$LFUG$GU$8GaVFWUDM$uHJWUGDM$=t²¨$I$PFWQbM$JÔQ$¤¥$VOQE$;ZGOGXJWFb$�GWZGDWZG@$�JYM@LG$BG[PJO�E

+$"THE APPEARANCE OF THE MOTHER OF GOD TO ST.

SERGIUS RADONEZH

��ª�j4$�ª�®�ª�$�³�ªj4$¤¥$��j�$=t²¨

�&-.".1$ ).$ -$ #(-''4$ -22)53-."&+$ e6$ �(#E$ �&(&,$ -.+$ �)!.$ (!&$�!&)%)1"-.4$(!&$�)(!&,$)'$�)+$1&#(*,".1$".$#3&&2!$()$�(E$�&,1"*#4$the latter together with his disciple, Mikhei, bowing before her,

e&!".+4$ �(E$ j"g).$ *.+&,$ -$ 2-.)364$ .&�($ ()$ -.$ -%(-,$ ,-"#".1$ !"#$hands in astonishment as he observes the incident; the elongated

c1*,&#$ c.&%6$ ,&.+&,&+4$ (!&$ '-2"-%$ '&-(*,&#$ '),5&+$ e6$ e,"1!($shades; the three monks to the right dressed in darker garments,

�(E$�&,1"*#$-.+$j"g).$0&-,".1$(!&$�,&-($�2!&5-4$(!&$e*"%+".1#$".$the background bearing decoration in simulated relief; the roundel

above including the Old Testament Trinity; on the borders, the

family patrons Nicholas, Gregory the Theologian and Gregory

of New Caesarea; the icon executed masterly; the inscription on

the lower border reading ?D,(/%('")%4&/%4#(++-)%()%+,-%J-&#%HIVW%

from the Nativity of Christ, in the month of June on the 23rd%$&J2%

D,-%7"/'"4%('")�R&()+-#%7(8,&(0"%X"�B()>2

/%#$#!&#)*

+%(,"""-!","""

")

"*

+'"THE MEDICAL SAINT PANTELEIMON FLANKED BY

IMAGES OF CHRIST AND THE MOTHER OF GOD


Holding a martyr’s cross and a casket with medical remedies; the

neckline, cuffs and belt of his green chiton emulating gem studded

gold bands, with a red, long himation, against an unusual glory

of foliate scrolls, the upper corners occupied by icons of Christ

�-.()g,-(),$-.+$(!&$�)(!&,$)'$�)+$)'$(!&$��.&�3&2(&+$�)6�d$(!&$e),+&,$ ".#2,"e&+$0"(!$ (!&$�&,#&$',)5$�-((!&0$¤t�=t?= 4$0!&,&-#$(!&$ (&�($ /-.g".1$ (!&$ #-".($ ,&5-,g-e%6$ #"(&#$ (!&$ c,#($ %".&#$ )'$ (!&$%&1&.+-,6$3,&2&3(#$3-##&+$)�&,$e6$�(E$�&,1"*#$)'$�-+).&�!$()$!"#$disciples, D&8-%,--$%+"%J"=#/-09-/:%@%1-/--',%J"=:%1#-+,#-):%+,&+%J"=:%

�#/+%";%&00:%1-%Y"$};-&#()*%&)$%R=#-%";%/"=0:%&)$%/()'-#-%()%0"9-2

/(#$#!?'(#)*

+0,"""-&,"""

+'"!"#$"&5):'7=9&/):$0&5)1&5>$,2/1&5&*7'/$ !$ '-(2327)$ !,2!2$ )$-'%'('.)06$;/&924//24$(2.'!1><$8wCC;<4$=t?@$A9B$

A$bFOUHF$JZGOR$J[GKHMaFO$WDE$ $]MOUFLF@PGO$W$PTNFOJNFWZJP$ZHFWUGP$ J$ LMHbGP$ W$ bFLFKORPJ$ WOMVGK_QPJ$ D$ HTZMYE$ AGHGU4$PMOaFUR$J$XGQW$FIG$[FLFOG@$UTOJZJ$TZHMSFOR$[GLGURP$SJU_FP$W$ JPJUMbJF@$ VHMIGbFOORY$ ZMPOF@E$ ]GDFHY$ UTOJZJ$ OM$ WDQUGIG$OMZJOTU$ ZHMWOR@$ VLJOOR@$ XLM\E$ {JPK$ WDE$ ]MOUFLF@PGOM$TZHMSFO$ DRVFLFOORP$ HMWUJUFL_ORP$ GHOMPFOUGPE$ A$ DFHYOJY$TILMY$ ZGPXG[JbJJ$ J[GKHMaFOR$ CXMW?AWFVFHaJUFL_$ J$vGIGPMUFH_$}{FNMQOOMQ$HMVGWU_�E$]G$XGLQP$XHGYGVJU$UFZWU$J[$9DMOIFLJQ$GU$�MU`FQ$¤tE=t?= E$CDJUZJ$W$UFZWUGP4$XGPF\FOORF$HQVGP$ W$ `JITHG@$ WDQUGIG4$ VGDGL_OG$ OFGaJVMOOG$ bJUJHTÛ$OMWUMDLFOJF$ WDE$ CFHIJQ$ 8MVGOFaWZGIG4$ VMOOGF$ FIG$ TNFOJZMP�$}AOFPLJUF$WFKF4$KHMUJF4$DWFY$PGL^4$XHFaVF$JPF@UF$WUHMY$vGaJ@$J$NJWUGUT$VTSFDOT^$J$UFLFWOT^4$J$L^KGD_$OFLJbFPFHOT^�E

+&"ST. NICHOLAS


Blessing and holding the Gospels, his white omophorion, draped

)�&,$!"#$-,54$(!&$c1*,&#$)'$h!,"#($-.+$(!&$�)(!&,$)'$�)+$/)-(".1$).$2%)*+#$-1-".#($-$1"%($e-2g1,)*.+$+&%"2-(&%6$())%&+$0"(!$-$�*-(,&')"%$3-((&,.4$(!&$,-6&+$1)%+$!-%)$-.+$e),+&,$2)53)#&+$)'$/),-%$+&#"1.#$emulating silver and enamel work of the period

00'0#$#/.'.#)*

+%,"""-!,"""

+&"!"#$/):'52*$9=.'1"'(&0$8wCC;<4$= ?@$A9B

CDE$ {JZGLM@?$ �TVGUDGHFb$ KLMIGWLGDLQFU$ [HJUFLQ$ VFHaM$9DMOIFLJF$D$HTZFE$9IG$KFLMQ$FXJUHMYJL_$XFHFZJOTUM$NFHF[$HTZTE$«JITHR$uHJWUM$ J$vGIGPMUFHJ$ XMHQU$ D$ GKLMZMY$ OM$ [GLGNFOGP$`GOF$W$J[Q\ORP$UJWOFOJFP$D$DJVF$NFURHFYLJWUOJZME$�TNJWUR@$OJPK$WDQUGIG$J$XGLQ$JZGOR$TZHMSFOR$bDFUGNORP$GHOMPFOUGP4$JPJUJHT^\JP$JWZTWOT^$HMKGUT$XG$WFHFKHT$J$HGWXJW_$XG$¬PMLJE$

"!

+)"!"41)1&5>$,&1($"$':(=?&/))$!""#$,&52%&)$)$,2(2!:&"6$!&(&-(4/6*$':52.$!$,'3'5'1'*$8wCC;<4$B�9¡�w$��C~98�$}�E$;E�4$=t¤ $IE$

CDQURF$ aFOR$ XHFVWUMDLFOR$ $ D$ WZHGPORY$ GKLMNFOJQY$DFLJZGWYJPOJb$WG$WZTXRP$[GLGNFOJFPE$CDQUJUFL_4$OMXHGUJD4$$J[GKHMaFO$ D$ WJQ^\FP$ ZHMWZMPJ$ WMZZGWF4$ TZHMSFOOGP$bDFUGNORP$ PGUJDGP$ W$ [GLGURPJ4$ TWRXMOORPJ$ aFPNTIGP$ZHMQPJE$$A$DFHYOFP$WFIPFOUF$ZGPXG[JbJJ$OMYGVQUWQ$VDM$MOIFLM4$VFHaM\JF$GKHM[${FHTZGUDGHOGIG$CXMWME$;ZGOM$GXHMDLFOM$D$GZLMV$W$HFL_FÒRP$bDFUGNORP$GHOMPFOUGPE$8F[ORF$OJPKR$J$UMKLJNZJ$W$JPFOMPJ$TZHMSFOR$¬PML_Ê$

+)"THE METROPOLITAN OF MOSCOW PETER FLANKED

BY STS. PELAGIA AND PARASKEVA WITH A SILVER-

GILT OKLAD

��ª�j4$��i�$��$�EªE$ªj$h��ª��ªh4$��h°4$1829

The nuns dressed in modest vestments, their only ornamentation

being the Great Schema and sparse chrysography; on the contrary,

the Metropolitan appearing in a particularly colourful /&88"/,

0"(!$,)#&#4$+-"#"&#$-.+$1)%+4$3&-,%?#(*++&+$e-.+#d$).$ (!&$*33&,$plane, two angels displaying the 7&)$J0(")d$(!&$#"%�&,?1"%($)g%-+$0"(!$/),-%$,&3)*##µ$+&2),-(").4$2*(?)*($!-%)&#$-.+$(!&$.-5&#$".$enamel

/('(#$#/%#)*

+&,"""-?,"""

""

+*"THE MOTHER OF GOD OF THE BURNING BUSH


At the centre the Mother of God bearing a ladder, as a reference

to her role of unifying heaven and earth, against a dark blue and

red mandorla containing cherubs and angels, the four spandrels

,&3,&#&.(".1$ (!&$�"#").#$)'$�)#&#4$ ª#-"-!4$ �-2)e$-.+$��&g"&%d$executed in bright tones with gold haloes, the decoration of the

border imitating silver work of the period

!!#$#%.'(#)*

+%,.""-!,!""

j)(&#��22)53-."&+$ e6$ -$ h&,("c2-(&$ )'$ �*(!&.("2-(").$ "##*&+$ e6$ �-%&,"&$�-."24$�-,"#4$=²$�-.*-,6$= Ë

+*"-'%'721&(>$;/&',25)724$:=,)/2<$8wCC;<4$= ?@$A9B

A$WMPGP$bFOUHF$ZGPXG[JbJJ$D$WJOF@$W$ZHMWORP$PMOVGHLF$W$YFHTDJPMPJ$J$WFHM`JPMPJ$XHFVWUMDLFO$GKHM[$vGIGPMUFHJ4$$VFHaM\F@$ LFWUDJbT�WJPDGL4$ TZM[T^\J@4$ OM$ UG4$ NUG$GOM$ WGFVJOJLM$ {FKG$ J$ zFPLÊ$ ]G$ NFURHFP$ TILMP$ JZGOR$HMWXGLGaFOR$WbFOR$W$DJVFOJQPJ$XHGHGZGD$�GJWFQ4$;WM@J4$;MZGDM$J$;F[FZJJLQE$BGPXG[JbJQ$DRXGLOFOM$D$QHZJY$UGOMYd$OJPKR$XFHWGOMaF@$DR[GLGNFORE$]G$XGLQP$JZGOR$XHGYGVJU$VFZGHMUJDOR@$ GHOMPFOU4$ JPJUJHT^\J@$ WFHFKHQORF$TZHMSFOJQE$

+("A VITA ICON OF ST. NICHOLAS


The central image of the panel showing the portrait of the saint,

e%&##".1$-.+$+"#3%-6".1$(!&$)3&.$�)#3&%#4$/-.g&+$e6$h!,"#($-.+$®"#$�)(!&,$3,&#&.(".1$�(E$j"2!)%-#$0"(!$(!&$f))g$)'$�)#3&%#$and the Episcopal onophorion respectively; surrounded by

twelve episodes of his life including the Translation of his

Relics in the lower right corner, the scenes painted boldly in red

and green, mainly against tall architectural settings

00#$#/.#)*

+%,?""-!,?""

+("!"#$/):'52*$9=.'1"'(&0$"$?)1))$8wCC;<4$=t?@$A9B$

A$ WHFVOJZF$ JZGOR$ XGPF\FO$ GKHM[$ KLMIGWLGDLQ^\FIG$ $ WDE${JZGLMQ?�TVGUDGHbM$W$HMWZHRURP$9DMOIFLJFP$D$HTZMYE$$]G$GKF$WUGHGOR$GU$OFIG$J[GKHMaFOR$ $uHJWUGW$J$vGIGPMUFH_4$DHTNM^\MQ$ FPT$ 9DMOIFLJF$ J$ FXJWZGXWZGF$ GKLMNFOJFE$CHFVOJZ$ GZHTaMÛ$ VDFOMVbMU_$ ZLF@P$ WG$ WbFOMPJ$ aJUJQ$WDQUGIG4$ DZL^NM^\JPJ$ XFHFOGW$ FIG$ PG\F@$ xD$ OJaOFP$XHMDGP$ TILTyE$ ARHM[JUFL_OG$ OMXJWMOOMQ$ ZGPG[JbJQ$ WG$WbFOMPJ$D$[FLFOG?ZHMWORY$UGOMY4$XHFJPT\FWUDFOOG$OM$`GOF$MHYJUFZUTHORY$TKHMOWUDE

"#

++"ST. NICHOLAS FLANKED BY THE APOSTLES PETER

AND PAUL

h�j��$��ª�j$x�� Êy4$��hj�$®��$�$THE 18TH CENTURY

�!&$ (0)$ -3)#(%&#$ (*,.".1$ ()0-,+#$ (!&$ )�&,#"�&+$ c1*,&$ )'$ �(E$j"2!)%-#$-.+$%&-.".1$(!&",$!&-+#$'),0-,+d$(!&$%-,1&,$#"�&$)'$�(E$Nicholas revealing his preeminent importance for the icon’s

patron; the Mandylion shown above

/%'/#$#!.'(#)*

+!,(""-/,(""

++"!"#$ /):'52*$ 9=.'1"'(&0$ !'$ !"#$2,'!1'527)$,&1('7$)$,2"5'7$:9{~8��{�<$ 8wCC;<$ x<8wC��A��y4$ A~w8�<$]w�wA;{�$=t?IG$A9B�

�XGWUGLR$ J[GKHMaFOR$ $ D$ HM[DGHGUF$ XG$ OMXHMDLFOJ^$ Z$TDFLJNFOOG@$`JITHF$WDE${JZGLMQ$¶�TVGUDGHbM$J$WZLGOQÛ$XFHFV$OJP$ IGLGDRE$ARXGLOFOOMQ$ D$ TDFLJNFOOGP$PMWSUMKF$`JITHM$WDE${JZGLMQ$WDJVFUFL_WUDTFU$G$FIG$DMaOG@$HGLJ$D$¬UG@$ZGPXG[JbJJE$

!,,"THE DORMITION OF THE MOTHER OF GOD WITH

FIVE FAMILY PATRONS ON THE BORDER


In a starry and rayed aureole, Christ holding the soul of His

�)(!&,$ 3&,#)."c&+$ e6$ -$ #0-++%&+$ ".'-.(4$ (!&$ e"&,$ 0"(!$ !&,$lifeless body surrounded by His disciples and other mourners;

in the foreground, Archangel Michael preparing to punish the

sacrilegious priest, Anthonius; the bright composition with

striking chrysography

/%#$#!&#)*

+!,"""-/,"""

!,,"=!,&/)&$ ,(&!"#$ -'%'('.)06$ !$ '-(2327)$,41)$!"4168+$,':('")1&5&*$8wCC;<4$= ?@$A9B

uHJWUGW4$ [MZL^NFOOR@$ D$ TWFQOOR@$ [DF[VMPJ$ OJPK4$ GU$ZGUGHGIG$ JWYGVQU$ LTNJ$ WDFUM4$ VFHaJU$ OM$ HTZMY$ VTST$vGIGPMUFHJ4$J[GKHMaFOOG@$D$DJVF$PLMVFObM$D$XFLFOMYE$�GaF$W$KF[aJ[OFOORP$UFLGP$vGIGHGVJbR$GZHTaFOG$MXGWUGLMPJ$J$VHTIJPJ$WZGHKQ\JPJE${M$XFHFVOFP$XLMOF$MHYMOIFL$�JYMJL$IGUGDJUWQ$ XGZMHMU_$ OFNFWUJDGIG$ $ �OUGOJQE$ BGPXG[JbJQ$DRXGLOFOM$D$QHZJY$UGOMY$W$$JWZTWORP$[GLGNFOJFPE

!,!"1','%(2f)4$!"41'*$3&75)$]��9C~;{�4$=t?@$A9B

:FOUHGP$ ZGPXG[JbJJ$ WLTaJU$ bFHZGD_$ AGWZHFWFOJQ$ x7HGKM$7GWXGVOQy4$ XGWUHGFOOMQ$ OM$ PFWUF$ 7GLIG`R$ J$ 8MWXQUJQE$CLFDM$DJVOFFUWQ$ZTDTZLJ@$x¬VJZTLMy4$DRWUHGFOOR@$OM$PFWUF$AGWZHFWFOJQ$uHJWUME$ADFHYT$J[GKHMaFO$DGWZHFWSJ@$uHJWUGW4$XGKFVGOGWOG$ TWUHFPLQ^\J@WQ$ DDRW_E$ :FOUHML_OT^$ WbFOT$XG$ GKF$ WUGHGOR$ GZHTaMÛ$ WDQURF$ DGJORE$AOJ[T$ D$ ZLF@PMY$XGPF\FOR$ ¢WXFOJF$ vGIGHGVJbR$ J$ JZGOM$ }vGIGPMUFH_$ ¶´JDGOGWOR@$ ;WUGNOJZ�E$ ]G$ GKFJP$ WUGHGOMP$ VGKMDLFOR$ZHTXOMQ$ZGPXG[JbJQ$}|GWUG@OG$FWU_�4$$WLMDQ\MQ$vGIGHGVJbT$D$ GZHTaFOJJ$ VDFOMVbMUJ$ MXGWUGLGD4$ J$ GKHM[$ uHJWUM$ D$UFHOGDGP$DFObF$W$WJPDGLMPJ$NFURHFY$FDMOIFLJWUGDE$AFHYOJ@$HQV$ WGWUGJU$ J[$ ZLF@P?ZMHUTSF@$ W$ ¬XJ[GVMPJ$ J[$ aJ[OJ$uHJWUM4$ DRXGLOFOORPJ$ OM$ ZHMWOGP$ `GOFE$ A$ bFOUHF$ DDFHYT$XGPF\FOM$ WbFOM$ CUHMSOGIG$ CTVME$ 9\F$ DRSF?HM[DFHOTUR@$VFJWJW$W$`HMIPFOUMPJ$J[$AFUYGIG$J${GDGIG$zMDFUME$A$OJaOFP$HFIJWUHF$ HMWXGLGaFOR$ ZLF@PM4$ XGDFWUDT^\JF$ G$ 8GaVFWUDF$uHJWUME$ �GOTPFOUML_OMQ$ ZGPXG[JbJQ4$ OGWQ\MQ$ OFWZGL_ZG$OMJDOR@$ YMHMZUFH4$ GVOGDHFPFOOG$ WDJVFUFL_WUDT^\J@$ G$ FF$XGVLJOOGWUJE$$|MOOMQ$JZGOM$QDLQFUWQ$YMHMZUFHORP$GKHM[NJZGP$XHGJ[DFVFOJ@4$WG[VMDMFPRY$VLQ$XMLGPOJZGD$D$]MLFWUJOT$UG@$¬XGYJE$ BGPXG[JbJQ$ DRXGLOFOM$ D$ XHFGKLMVM^\JY$ ZHMWORY$UGOMY$OM$GYHJWUGP$J$WJOFP$`GOFE$

]HJPFNMOJQ�BHTXORF$ ZGPXG[JbJJ$ XGVGKOGIG$ HGVM4$ ZMZ$ XHMDJLG4$ WG[VMDMLJW_$D$ =t?= ?P$ DFZMY$ D$ ]MLFWUJOF$ VLQ$ XMLGPOJZGD$ D$ CDQUT^$ zFPLÊ$$wOJ$ JIHMLJ$ XHJPFHOG$ UT$ aF$ HGL_4$ NUG$ XGVMHGNORF$ WTDFOJHR4$ M$UMZaF$$XGVUDFHaVMLJ$`MZU$XMLGPOJNFWUDM$D$CDQUT^$zFPL^4$WLTaM$OMXGPJOMOJFP$ GK$ TDJVFOORY$ NUJPRY$ WDQUROQYE$ ]GVGKORF$ HMKGUR$TXGPQOTUR$D$WLFVT^\JY$MTZbJGOORY$ZMUMLGIMY�$�-$�-,)%&$�"�".&4$>$PMQ$¤²=²$I4$LGU$¦>d$h!,"#("&i#4$ $JÔQ$¤²²t$I4$OGPFH$MTZbJGOM$>§ ¦4$$LGU$¤¦E

!,!"TOPOGRAPHY OF THE HOLY LAND

��ªjª�j4$=tTH CENTURY

At the centre of the composition the Church of the Anastasis

along with its compartments including the mount of Golgotha and

(!&$h,*2"c�").4$3,)5".&.($()$(!&$%&'($(!&$-&+"2*%&$(!-($2)�&,#$(!&$®)%6$�&3*%2!,&4$/)-(".1$-e)�&$(!&$ (,"*53!-.($h!,"#(4$ (!&$5-".$#2&.&$/-.g&+$e6$ (0)$5"%"(-,6$ #-".(#$ -.+$ e&%)04$ (!&$�),5"(").$of the Mother of God and the Life Giving Source, respectively;

additionally large images of the Mother of God of the 36(")%

\/+() surrounded by the twelve apostles, and opposite Christ

wearing the crown of Thorns with the four Evangelists and their

�&,#)."c2-(").#$ ).$ (!&$ #3-.+,&%#d$ (!&$ ,&1"#(&,$ -e)�&$ 2)53)#&+$of cartouches containing images of the life of Christ against a

,&+$e-2g1,)*.+4$".$(!&$2&.(,&$(!&$�-#($�*+1&5&.(4$(!&$*33&,5)#($register with an extended Deisis and fragmentary Old and New

Testament scenes; in the lower part the Nativity of Christ; the

monumental composition of naive but genuine style typical of

3"%1,"5-1&$�-%&#("."-.$-,($)'$(!&$3&,")+4$&�&2*(&+$3,"5-,"%6$".$,&+$and ochre on blue ground

1.#$#%00#)*

+(,"""-.,"""

j)(&#��!&#&$ g".+$ )'$ %-,1&$ 2-.�-#&#$ 0&,&$ &#3&2"-%%6$ 3-".(&+$ ".$ �-%&#(".&$ '),$the pilgrims who visited the Holy Lands, mainly in the 18th and 19th

2&.(*,"&#E$�!&",$3*,3)#&$0-#$#"5"%-,$()$3,&#&.($+-6$#)*�&.",#4$#&,�".1$()$3,)�"+&$&�"+&.2&$)'$(!&$3"%1,"5i#$�"#"($()$�-%&#(".&$-.+$-%#)$'*.2(").".1$-#$,&5".+&,#$ ()$ (!&$)0.&,$)'$!"#$3"%1,"5-1&E$�),$#"5"%-,$0),g#$#&&�$�-$�-,)%&$�"�".&4$>$�-6$¤²=²4$ %)($¦>d$h!,"#("&i#4$ $ �*.&$¤²²t4$ #-%&$>§ ¦4$%)($¤¦

#%

!,#"STS. CONSTANTINE AND ELENA

��4$hª�h�$=>²²

The founder of the Byzantine Empire and his Mother jointly

supporting the True Cross; both crowned, dressed in ceremonial

garments accessorised with gold and gem encrusted hems

!/#$#%&'0#)*

+0,(""-&,(""

!,#"!"#$ (2"/'2,'!1'5>/6&$ :'/!12/1)/$ )$&5&/2$789:;<4$wBw�w$=>²²$I$

CDE$BGOWUMOUJO4$ GWOGDMUFL_$AJ[MOUJ@WZG@$JPXFHJJ$J$9IG$PMU_$ ;PXFHMUHJbM$ 9LFOM$ W$ GKFJY$ WUGHGO$ XGVVFHaJDMÛ$�FWUOG@$ BHFWUE$ «JITHR$ WDQURY$ GKLMNFOR$ D$ XRSORF$bMHWZJF$ GVFaVR4$ HMWSJURF$ VHMIGbFOORPJ$ ZMPFO_QPJd$ JY$IGLGDR$TDFONMOR$ZGHGOMPJE$

!,$"DED#$QHLQHLH@$DHQQH$HOI$OJgSMGHD��fª�jÊ4$=tTH CENTURY

�(#E$ f-,e-,-$ -.+$ �-ee-$ 0&-,".1$ 5).-#("2$ 1-,5&.(#$ 0"(!$3,-6&,$,)3&#$!-.1".1$',)5$(!&",$e&%(#4$�(E$j"2!)%-#$+,&##&+$".$Episcopal vestments, all bearing haloes and attributes of their

station; the selection of the three saints is unusual, however, not

accidental; they are commemorated on three consecutive dates,

¨4$§$-.+$¦$�&2&5e&,$)'$(!&$�,&1),"-.$h-%&.+-,$-.+$=>4$=t$-.+$= $)'$(!&$�*%"-.$h-%&.+-,0%'(#$#/1'?#)*

+!,!""-0,!""

!,$"!""#$"2("2(2@$!2""2$)$/):'52*$9=.'1"'(&0$C98v;<$xÊy4$=t?@$A9B

CDDE$ AMHDMHM$ J$ CMDDMUJ@$ XHFVWUMDLFOR$ D$ PGOMSFWZGP$GKLMNFOJJ$ W$ NFUZMPJ4$ XHJZHFXLFOORPJ$ Z$ JY$ XGQWMPE$ CDE${JZGLM@$J[GKHMaFO$D$FXJWZGXWZGP$GKLMNFOJJE$7GLGDR$UHFY$WDQURY$ TDFONMOR$ OJPKGPd$ ZMaVGPT$ WDQUGPT$ WGXTUWUDTFU$FIG$ WJPDGLE$ ARKGH$ WDQURY$ VLQ$ VMOOG@$ ZGPXG[JbJJ$ DFW_PM$OFGKRNFO4$ OG$ OF$ WLTNMFO�$ JY$ XMPQU_$ WDFHSMFUWQ$ ¨4$ §$ J$ ¦$VFZMKHQ$XG$7HJIGHJMOWZGPT$ZMLFOVMH^$J$=>4$=t$J$= $$VFZMKHQ$XG$ £LJMOWZGPT$ ZMLFOVMH^$ xD$ 8TWWZG@$ ]HMDGWLMDOG@$:FHZDJyE$

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!,'"!'(':$ 7=9&/):'"$ !&"2!1)*!:)8$ %(&0)4@$A~w8�<$]w�wA;{�$=>?IG$A9B�

AGJOR?YHJWUJMOF$J[GKHMaFOR$WUGQU$D$OMKFVHFOORY$XGDQ[ZMY$[M$XHFVFLMPJ$IGHGVWZG@$WUFOR$D$LFVQORY$DGVMYE$CLFDM$GVJO$J[$DGJOGD4$OF$DROFWSJ@$PTNFOJQ4$GUHFZMFUWQ$GU$WDGF@$DFHR4$$XGZJVMFU$PTNFOJZGD$ J$ DYGVJU$ D$ UFXLT^$ KMO^4$ [MUGXLFOOT^$T$ KFHFIGD$ G[FHM4$ NUGKR$ WLGPJU_$ DGL^$ DGJOGDE$ {M$ PFWUG$XHFVMUFLQ$ [MWUTXMFU$ WUHMa4$ TDFHGDMDSJ@$ DG$uHJWUM�$ WOQD$ W$WFKQ$ GVFaVT4$ GO$ JWXGDFVTFU$ OGDGGKHFUFOOT^$ DFHT$ TZM[TQ$HTZG@$OM$uHJWUM4$J[GKHMaFOOGIG$DDFHYT4$J$XHJWGFVJOQFUWQ$Z$IHTXXF$PTNFOJZGDE$A$ [MLJURY$ [GLGURP$WDFUGP$OFKFWMY$ $ OMV$IGLGDMPJ$PTNFOJZGD$XMHQU$DFObRE$«JITHR$XLGUOG$J[GKHMaFOR$HQVGP$ VHTI$ W$ VHTIGPE$ ;Y$ LJbM$ DRXGLOFOR$ D$ UFPORY$ UGOMYE$AGLGWR$J$KGHGVR$OMXJWMOR$HM[LJNORPJ$GUUFOZMPJ$$J$JPFÛ$HM[LJNOR@$DJVE$$BHMWORF$GVFQOJQ$OFZGUGHRY$J[$PTNFOJZGD$OM$XFHFVOFP$XLMOF$XHJZGDRDMÛ$Z$WFKF$DOJPMOJFE$ARWGZJF$XGLQ$JZGOR$DR[GLGNFORE$

!,'"THE HOLY FORTY MARTYRS OF SEBASTIA

GREEK, SECOND HALF OF THE 17TH CENTURY

The soldiers clad in loin cloths, standing in the frozen pond outside

the walled city, to the left a traitor, renouncing the torture and as

such his belief, retreating to the warm bath next to the lake which

was there to tempt the soldiers; however, he was replaced by the

guard next to him; having removed his clothes and professed his

faith, raising his hand to Christ shown in blessing above, he joins

(!&$1,)*3$)'$5-,(6,#d$ 2,)0.#$ '),$ &-2!$).&$/)-(".1$ ".$ (!&$1)%+$#g64$ (!&$c1*,&#$3-2g&+$("1!(%6$ ()1&(!&,4$ (!&",$ '-2&#$ (,-+"(").-%%6$rendered in dark tones, their hair and beards represented in

�-,")*#$2)%)*,#$-.+$#(6%&#4$(!&$,&+$1-,5&.(#$)'$#)5&$)'$(!&$c1*,&#$conspicuous in the foreground, the panel with a raised gilt border

!.'%#$#!"'(#)*

+%&,"""-!","""

#&

!,&"THE ASCENSION OF CHRIST INCLUDING AN IMAGE

OF THE MANDYLION

GREEK, SECOND HALF OF 17TH CENTURY

The Mother of God Orans4$/-.g&+$e6$-.1&%#$-.+$(!&$�3)#(%&#4$in the background the summits of two mounts; the heavenly

realm occupied by Christ seated on a rainbow in a mandorla,

carried by two angels to the heavens, on gold ground; unusually

between the two scenes, an image of the Mandylion

//#$#!&#)*

+(,(""-.,(""

!,&""'3/&!&/)&$ 8()!1'"'$ !$ $ '-(23'7$/&(=:'1"'(/'%'$!,2!2$789:;<4$A~w8�<$]w�wA;{�$=>?IG$A9B�

vGIGPMUFH_$ ¶$ wHMOUM$ D$ GZHTaFOJJ$ MOIFLGD$ J$ MXGWUGLGD$XHFVWUMDLFOM$ OM$ `GOF$ W$ DFHSJOMPJ$ VDTY$ IGHE$ A$ DFHYOF@$NMWUJ$ JZGOR4$ WJPDGLJ[JHT^\F@$ PJH$ IGHOJ@4$ OM$ HMVTIF$DGWWFVMFU$ uHJWUGW4$ [MZL^NFOOR@$ D$ WJQ^\J@$ OJPKE$ $ 9IG$XGVVFHaJDMÛ$ VDM$ MOIFLME$ ;ZGOM$ DRXGLOFOM$ XG$ [GLGUGPT$`GOTE${FGKRNORP$ ¬LFPFOUGP$ ZGPXG[JbJJ$ QDLQFUWQ$ GKHM[${FHTZGUDGHOGIG$ CXMWM4$ XGPF\FOOR@$ PFa$ VDTY$ ILMDORY$WbFOE

!,)"THE RELICS OF ST. SPYRIDON

��4$hª�h�$=¦²²

A case containing the relics of the saint, under a canopy,

&.2%)#&+$".$-$e-%*#(,-+&4$/-.g&+$e6$(0)$0))+&.$2-.+%&!)%+&,#$of strigilated forms; the icon reproducing the arrangement as it

-33&-,#$".$(!&$2!*,2!$+&+"2-(&+$()$�(E$�36,"+).$".$h),'*!0#$#%.#)*2#0"#$#/0'/#)*#34)567348#9:;#<=>*;

+0,!""-&,!""

!,)"7'A)$!"#$!,)().'/2$789:;<4$wBw�w$=¦²²$IEA$ bFOUHF$ J[GKHMaFO$ LMHFb?HFLJZDMHJ@$ W$ PG\MPJ$ WDQUGIG$XGV$ KMLVMYJOGP4$ GIHMaVFOORP$ KMLL^WUHMVG@E$ ]G$ GKF$WUGHGOR$ HMWXGLGaFOR$ VDM$ VFHFDQOORY$ XGVWDFNOJZM$ W$GHOMPFOUML_ORPJ$ SUHJYGGKHM[ORPJ$ XGLGWZMPJE$ ;ZGOM$DGWXHGJ[DGVJU$ TKHMOWUDG$ bFHZDJ4$ XGWDQ\FOOG@$ WDE$CXJHJVGOT$~HJPJ`TOUWZGPT$OM$GE$BGH`TE

#'

!,("A TRIPTYCH WITH THE DORMITION FLANKED BY SELECTED

DHJOED@$ESP$gGMDPI$lJOND$DSMlJON$ESP$HOOmOgJHEJMO��$xªjª�j$ª��j��y4$=>TH CENTURY

The closed wings showing Archangel Gabriel on a cloud, bowing to worship the

Mother of God; seated opposite, behind a lectern, raising her hands in prayer

0!"%&$#!&$,&-+#d$(!&$®)%6$�3","($+&#2&.+".1$',)5$-e)�&4$3&,#)."c&+$e6$-$+)�&$".$a radiating glory; the background including the image of a town in a mountainous

landscape; the extended triptych showing the Dormition of the Mother of God with

the typical iconography of Christ descending to receive the soul of His Mother,

attended by a mourning crowd, His rayed mandorla$ 2,)0.&+$ e6$ 2-.+%&?e&-,".1$angels, the heavens open to receive the Soul; each spandrel with a cherub; the two

/-.g".1$0".1#$3),(,-6".1$�(#E$j"2!)%-#$-.+$�36,"+).4$e)(!$".$�3"#2)3-%$�&#(5&.(#$bearing the Gospels; the triptych with rich gilded and pierced carving

01#$#(.'.#)*#;$9;47;72#01#$#/%'(#)*#)5BE;7

+0","""-(","""

!,("!:52.&/>$!'$!0&/'*$=!,&/)4$"$':(=?&/))$)3-(2//68$!"4168$)$$'-(23'7$-52%'"&A&/)4$/2$32:(6168$!1"'(:28$789:;<$x;w{;�9CB;9$wC~8wA�y4$=>?@$A9B

CLGaFOORF$ WUDGHZJ$ WZLMVOQ$ XGZM[RDMÛ$ MHYMOIFLM$ �JYMJLM4$ XMHQ\FIG$ OM$GKLMZF$ J$ PGLJUDFOOG$ XHFZLGOQ^\FIG$ IGLGDT$ XFHFV$ vGIGHGVJbF@4$ ZGUGHMQ$DGWWFVMFU$ OMXHGUJD$ OFIG$ $ [M$ MOMLGIJFPE$9F$ HTZJ$ DG[VFUR$ D$PGLJUDFd$ W$ OFKFW$OJWYGVJU$CDQUG@$|TY$$D$DJVF$IGLTKQE$${M$[MVOFP$XLMOF$ZGPXG[JbJJ$DJVOFÛWQ$[VMOJQ$IGHGVM4$GIHMaVFOORF$IGHMPJE$8MWXMYOTURF$WUDGHZJ$WZLMVOQ$GUZHRDMÛ$WbFOT$¢WXFOJQ$vGIGHGVJbR4$DRXGLOFOOT^$D$UHMVJbJGOOG@$PMOFHF$WG$uHJWUGP4$WXTWZM^\JPWQ$W$OFKFW4$NUGKR$XHJQU_$VTST$¢WGXSF@4$UFLG$ZGUGHG@$GZHTaFOG$UGLXG@$ WZGHKQ\JYE$ �TNM\J@WQ$ WDFUGP$ OJPK$ uHJWUM$ GZHTaMÛ$ MOIFLR4$OFWT\JF$ WDFNJ$ D$ HTZMYE$ $ {FKFWM$ W$ YFHTDJPMPJ$ GUDFH[MÛWQ4$ NUGKR$ XHJQU_$VTST$vGIGHGVJbRE$A$VDTY$XHJPRZM^\JY$WUDGHZMY$WZLMVOQ$XHFVWUMDLFOR$WDDE${JZGLM@$J$CXJHJVGO4$GKM$D$FXJWZGXWZGP$GKLMNFOJJ$J$W$9DMOIFLJQPJ$D$HTZMYE$CZLMVFO_$KGIMUG$TZHMSFO$HF[_KG@$J$XG[GLGUG@E

#(

!,*"."&$!1"'(:)$02(!:)8$"(21$|��~;<4$=t?@$A9BAFLJZGLFXORF$ WUDGHZJ$ :MHWZJY$ AHMU4$ DGWYJ\M^\JF$$WDGJP$ XRSORP$ TKHMOWUDGP4$ XMHMPFUHMPJ$ J$ XHFZHMWOG@$WGYHMOOGWU_Ê$A$GK\F@$WLGaOGWUJ$GOJ$OMWNJURDMÛ$$SFWU_$ZMHUTSF@E$A$WHFVOFP$HQVT$OMYGVJUWQ$WbFOM$vLMIGDF\FOJQ�$D$ZMHUTSF$WLFDM$J[GKHMaFOM$ZGLFOGXHFZLGOFOOMQ$vGIGPMUFH_$D$ ZGOUHMXGWUOGP$ HM[DGHGUF$ TWUHFPLQ^\MQWQ$ OMDWUHFNT$�HYMOIFLT$7MDHJJLT$4$XHFXGVOGWQ\FPT$F@$LJLJ^$D$ZMHUTSF$WXHMDME$ $ A$ NFURHFY$ GWUML_ORY$ ZMHUTSMY$ XHFVWUMDLFOR$FDMOIFLJWURE$ $ AFLJZGLFXOGF$ TKHMOWUDG$ VDFHF@$ WGWUMDLQÛ$HF[ORF$ IHMDJHGDMOORF$ [MDJUZJ$ J$ XG[GLGNFOOMQ$ JLJ$XGWFHFKHFOOR@$ HMWUJUFL_OR@$ GHOMPFOUE$ ]HMDMQ$ VDFH_$ZHFXJUWQ$ OM$ bFOUHML_OG@$ XFHFZLMVJOF$ J$ D$ [MZHRUGP$WGWUGQOJJ$$WPRZMFUWQ$W$LFDG@$VDFH_Ê$]FHFZLMVJOM$TZHMSFOM$OMZLMVORPJ$ HF[ORPJ$ LJWU_QPJE$ ~HJ$ DJURF$ XFHFZHTNFOORF$KMLZJ$DFONMÛWQ$FXJWZGXWZG@$PJUHG@E

!,*"A PAIR OF ROYAL DOORS

DALMATIAN, 18TH CENTURY

Impressive in their size, decoration and condition; including six

cartouches the two in the centre showing the Annunciation, where

the kneeling Mother of God on the left, turning in a contrapostal

posture to see Archangel Gabriel presenting her with a lily to the

opposite side; the four surrounding cartouches portraying the four

��-.1&%"#(#d$ (!&$5-1."c2&.($+&2),-(").$)'$(!&$+)),#4$2).#"#(".1$of carved and engraved scrolls and foliage, either gilded or

silvered; the central shaft fastening on the right door, when

closed overlapping with the left one, applied with carved leaves

-.+$-e)�&$(0"#(&+$,)+#$c�&+$".$(!&$#*,5)*.(".1$�3"#2)3-%$2,)0.%&%#$#?1#)*

+?,"""-%","""

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#)

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!,+"('?.&!1"'$8()!1'"'$8wCC;<4$Bw{9:$=¦?IG$A9B�

;ZGOGXJWOMQ$ ZGPXG[JbJQ$ DRWUHGFOM$ DGZHTI$ `JITHR$vGIGHGVJbR4$ DG[LFaM\F@$ D$ bFOUHFE$ 8QVGP$ W$ OF@�PLMVFOFb$uHJWUGW$ D$ QWLQY4$ OMV$ ZGUGHRP$ WZLGOJLJW_$ DGL$ J$ GWFLE$CLFDM$ J[GKHMaFOR$ UHJ$ XTUFSFWUDT^\JY$ DGLYDM$ W$ VMHMPJE$$zM$ OFHGDORPJ$ TWUTXMPJ$ XF\FHR$ XMHQU$ NFURHF$ MOIFLM$ W$8GaVFWUDFOWZG@$ XTUFDGVOG@$ [DF[VG@4$ WLMDQ\JY$ DGXLG\FOJF$uHJWUGDG$ J$ DG[DF\M^\JY$ 8GaVFWUDG$ XMWUTYT$ $ WXHMDME$ $ {M$[MVOFP$ XLMOF$ WJVJU$ ;GWJ`4$ GKTHFDMFPR@$ WGPOFOJQPJ$ J$ W$OFVGDFHJFP$ WLTSM^\J@$ WLGDM$ XHFWUMHFLGIG$ XMWUTYME$ |DF$XHJWLTaOJbR$ GPRDMÛ$ OGDGHGaVFOOGIG$ PLMVFObME$ ;Y$GZHTaMFU$ WZMLJWUR@$ XF@[Ma$ WG$ WZTVOG@$ HMWUJUFL_OGWU_Ê$;ZGOM$ DRXGLOFOM$ D$ UHMVJbJGOOG@$ PMOFHF$ W$ XHFGKLMVMOJFP$ZHMWORY$J$[FLFORY$UGOGD$OM$GYHJWUGP$`GOFE

!,+"THE NATIVITY OF CHRIST

!"##$%&'(J%+.()K+,(-.&+"!/

!"#$ %&'(&)*+*&,$ &-./,*)#0$ /-&1,0$ +"#$ -#%2*,*,.$ 3.1-#$ &4$ +"#$

L=@01:( =I(M=5'( 61N@( @=( 01:(-0:;4@( 3H;6<( ;6( 9(D96<1:( 9@@16515(

2H( @01(ON( 965(%44'( @=( @01( 31I@( @01(+0:11(L9<;(8;@0( @01;:( <;I@4(

95>96A;6<(@=89:54(@01(A16@:1'(210;65(@01(:9<<15(D=7@0(=I(9(A9>1(

965( 92=>1'( I=7:( 96<134( 95=:;6<( @01( <7;5;6<( 4@9:( 965( 513;>1:;6<(

@01( 6184( =I(-0:;4@P4(Q;:@0( @=( @01( 401B01:5( =6( @01( :;<0@E( ;6( @01(

I=:1<:=765(@01(419@15(G=41B0(4A1B@;A933H(3;4@16;6<(@=(@01(D1449<1(

=I(96(1351:3H(401B01:5(801:194(=BB=4;@1'(@8=(D9;54(8940;6<(@01(

6182=:6($6I96@E(@01(:=ACH(39654A9B1(8;@0(4B9:41(>1<1@9@;=6E(@01(

;D9<1( 1N1A7@15( @:95;@;=6933H'( D9;63H( 8;@0( <:1164( 965( :154( =6(

=A0:1(<:=765

/%'?#$#!?'(#)*

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!!,"=!,&/)&$-'%'('.)06$8wCC;<4$C989|;{�$=>?IG$A9B�

BGPXG[JbJQ$ WGWHFVGUGNFOM$ DGZHTI$ LGaM$ W$ UFLGP$vGIGHGVJbRE$ ADFHYT4$ XG$ DFHUJZML_OG@$ GWJ4$ J[GKHMaFO$uHJWUGW4$[MZL^NFOOR@$D$PJOVMLFDJVOR@$OJPKE$wZHTaFOOR@$MOIFLMPJ4$ GO$ VFHaJU$ D$ HTZMY$ VTST$ TWGXSF@$ vGIGPMUFHJ$ D$DJVF$ WXFLFOTUGIG$ PLMVFObME$ $ �GaF$ vGIGPMUFHJ$ GKWUTXMÛ$MXGWUGLR$ J$ VHTIJF$ TNMWUOJZJ4$ GXLMZJDM^\JF$ WPFHU_$vGIGHGVJbR�$HQVGP$W$ILMDG@$OMYGVJUWQ$WDE$MXE$]FUH4$T$OGI�$WDE$MXE$]MDFLE$ARWGZJF$[VMOJQ$[MXGLOQÛ$`GOE$$A$WMPGP$DFHYT$ZGPXG[JbJJ$ XMHJU$ WFHM`JP$ W$ HMWXHGWUFHURPJ$ ZHRL_QPJE$;ZGOM$ DRXGLOFOM$ D$ OMWR\FOORY$ UGOMY$ W$ XHFGKLMVM^\JPJ$GUUFOZMPJ$ZHMWOGIGE$$�JZJ$OMXJWMOR$XLMD_^$W$XHJPFOFOJFP$GYHR$J$ZGHJNOFDGIG4$J$TWJLFOR$UGOZJPJ$KFLRPJ$GaJDZMPJE

!!,"THE DORMITION OF THE MOTHER OF GOD

RUSSIAN, MIDDLE OF THE 17TH CENTURY

The composition organised around the bier with the corpse of the

Mother of God; on the vertical axis, Christ in an ovoid glory,

/-.g&+$e6$-.1&%#4$!)%+".1$(!&$#)*%$)'$®"#$�)(!&,$".$(!&$'),5$)'$-$swaddled infant; surrounded by the Apostles and other mourners;

-($ !&,$ !&-+$ �(E$ �&(&,4$ -($ !&,$ '&&($ �(E$ �-*%d$ (-%%$ e*"%+".1#$ c%%".1$the background, at the summit a seraph with stretched wings;

executed in saturated colours, predominantly shades of red, the

faces rendered with graded tones of brown and ochre, the features

-22&.(&+$e6$c.&$0!"(&$e,*#!#(,)g&#/%'(#$#!.'?#)*

+%?,"""-!0,"""

#"

!!!"-'%'('.)02$:232/!:24$8wCC;<4$=>?@$A9B

{M$ XFHFVOFP$ XLMOF$ J[GKHMaFOM$ OGDGHGaVFOOMQ4$ XGDJUMQ$XFLFOMPJE$ CLTaMOZM$ WLFDM$ ZMNMFU$ ZGLRKFL_E$ CDE$ �OOM4$GZHTaFOOMQ$UHFPQ$XHJWLTaOJbMPJ4$D$[MVTPNJDGWUJ$WPGUHJU$OM$ VGN_E$ A$ VML_OFP$ XHMDGP$ TILT4$ WG$ DOFSOF@$ WUGHGOR$ WUFO$VGPM4$ $ XHFVWUMDLFO$ WDE$ ;GMZJP4$ XGLTNM^\J@$ DFWU_$ GU$MOIFLM$J$GU[RDM^\J@WQ$FPT$PGLJUDFOORP$aFWUGPE${M$`GOF$J[GKHMaFOR$WZTXG$TZHMSFOORF$ [VMOJQE$CPFLG$DRXGLOFOOMQ$ZGPG[JbJQ$ W$ NMWURP$ JWXGL_[GDMOJFP$ VGXGLOJUFL_ORY$ZHMWOGIG$J$[FLFOGIG$UGOGD4$XHGJ[DGVQ\JY$WJL_OGF$[HJUFL_OGF$DXFNMULFOJFE

!!!"THE MOTHER OF GOD OF KAZAN


�!)0.$e*#(?%&.1(!4$(!&$h!,"#($h!"%+$#(-.+".1$".$',).($)'$!&,$0"(!$one hand raised in benediction and the other covered by His

himation, rendered traditionally, the expressive faces executed

in deep brown tones, the rounded areas conveyed through bright

shading, the garments with intense gilt striations, the maphorion

of the Mother of God further ornamented with stars on the

'),&!&-+$-.+$#!)*%+&,#4$(!&$!-%)&#$+&c.&+$e6$-$#".1%&$c.&$".2"#&+$line on gesso background

/%'.#$#!.'/#)*

+!","""-!(,"""

##

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vGIGPMUFH_$XGVVFHaJDMFU$CROM$TZM[TQ$OM${FIG$PGLQ\FPTWQE$wOM$DGWWFVMFU$OM$PMWWJDOGP$VFHFDQOOGP$UHGOF$W$XGVTSZMPJ$J$ XGVOGaJFPE$ ~HGO$ TZHMSFO$ D$ UFYOJZF$ YHJWGIHM`JJE$CUHGFOJF$DOJ[T$WJPDGLJ[JHTFU$BJFDG?]FNFHWZJ@$PGOMWURH_E$vGIGPMUFHJ$ PGLJUDFOOG$ XHFVWUGQU$ GWOGDMUFLJ$ PGOMWURHQ$WDQURF$ XHFXGVGKORF$ �OUGOJ@$ J$ FIG$ TNFOJZ$ «FGVGWJ@E$ wKM$VFHaMU$WDJUZJ$D$HTZMY$J$XHGWUJHMÛ$HTZJ$D$PGLJUDFE$7GLGDR$XHFXGVGKORY$J$vGIGHGVJbR$[MZL^NFOR$D$[FLFORF$OJPKRE$;Y$GVFQOJQ$ DRXGLOFOR$ D$ OMWR\FOORY$ UGOMY4$ WZLMVZJ$ ZGUGHRY$MZbFOUJHGDMOR$W$XGPG\_^$KFLRY$SUHJYGDE

!!#"THE MOTHER OF GOD OF THE KIEVAN CAVES

RUSSIAN, FIRST HALF OF THE 17TH CENTURY

Holding her Son in a manner of presentation, the Mother of

God seated on a substantial, wooden throne with chrysography,

complemented by cushions and a suppedaneum, the structures

e&%)0$-%%*+".1$ ()$ (!&$5).-#(&,6$)'$ (!&$h-�&#$ ".$�"&�4$/-.g&+$e6$�(E$�.(!).6$-.+$!"#$+"#2"3%&$�(E$�!&)+)#"*#4$e)(!$+"#3%-6".1$#2,)%%#4$ -.+$ &�(&.+".1$ (!&",$ !-.+#$ ".$ #*33%"2-(").4$ -%%$ c1*,&#$bearing green haloes, the garments rendered in saturated colours,

the folds shaped by white accents

/%'!#$#!.#)*

+%(,"""-!","""

$%%

!!$"('?.&!1"'$-'%'('.)06$789:;<4$wBw�w$=>²²$IE$

{M$ XFHFVOFP$ XLMOF$ J[GKHMaFOM$ OGDGHGaVFOOMQ4$ XGDJUMQ$XFLFOMPJE$ CLTaMOZM$ WLFDM$ ZMNMFU$ ZGLRKFL_E$ CDE$ �OOM4$GZHTaFOOMQ$UHFPQ$XHJWLTaOJbMPJ4$D$[MVTPNJDGWUJ$WPGUHJU$OM$ VGN_E$ A$ VML_OFP$ XHMDGP$ TILT4$ WG$ DOFSOF@$ WUGHGOR$ WUFO$VGPM4$ $ XHFVWUMDLFO$ WDE$ ;GMZJP4$ XGLTNM^\J@$ DFWU_$ GU$MOIFLM$J$GU[RDM^\J@WQ$FPT$PGLJUDFOORP$aFWUGPE${M$`GOF$J[GKHMaFOR$WZTXG$TZHMSFOORF$ [VMOJQE$CPFLG$DRXGLOFOOMQ$ZGPG[JbJQ$ W$ NMWURP$ JWXGL_[GDMOJFP$ VGXGLOJUFL_ORY$ZHMWOGIG$J$[FLFOGIG$UGOGD4$XHGJ[DGVQ\JY$WJL_OGF$[HJUFL_OGF$DXFNMULFOJFE

!!$"THE BIRTH OF THE MOTHER OF GOD

��4$hª�h�$=>²²

In the foreground, the newborn baby swaddled, a maid stroking

(!&$ 2,-+%&4$ ()$ (!&$ %&'(4$ �(E$�..-$ %))g".1$ -($ !&,$ +-*1!(&,$0"(!$ -$pensive expression, three girls taking care of her; in the far right,

�(E$�)-2!"5$#!)0.$)*(#"+&$(!&$0-%%#$)'$(!&$!)*#&4$,&2&"�".1$(!&$news from an angel and gesturing in prayer, the background

covered by buildings with sparse decoration; the composition

,&.+&,&+$ e)%+%64$ (!&$ ',&�*&.($ *#&$ )'$ 2)53%&5&.(-,6$ ,&+#$ -.+$greens creating a powerful visual impact

/%#$#!?#)*

+(,"""-.,"""

$%$

!!'"2,'!1'5$,2"&5789:;<4$=>?@$A9B

�XGWUGL$ DGWWFVMFU$ OM$ DFLJZGLFXOGP$ PHMPGHOGP$ UHGOF$ W$XGVOGaJFP$ J4$ VFHaM$ D$ HTZMY$ 9DMOIFLJF4$ KLMIGWLGDLQFU$PGLQ\FIGWQE$ �JZ$ WDQUGIG$ W$ ZGHGUZG@$ ZTHNMDG@$ KGHGVG@$DRXGLOFO$W$KGL_SJP$PMWUFHWUDGP$J$GaJDLFO$XHGKFLMPJE$9IG$YJUGO$GKDFVFO$NFHORP$ZGOUTHGPE$$7JPMUJ@$$OMXJWMO$aFLURPd$VHMXJHT^\JFWQ$WZLMVZJ$GKG[OMNFOR$GUUFOZMPJ$GYHR$J$KFLRY$UGOGD$XG$[GLGUGPT$`GOTE

!!'"THE APOSTLE PAUL

GREEK, 17TH CENTURY

Seated on an impressive throne structured of various kinds

of marble, with a footrest, the saint blessing and holding the

Gospels; somewhat bold, with a short curly beard, his mature

features executed masterly, emphasised with white brushstrokes;

his chiton outlined in black, the himation in yellow, its folds

rendered in grading shades of ochre to white, on gold background

0"#$#!1#)*

+1,"""-%!,"""

!!&"!""#$ 82(527,)*$)$!1)5)2/$!'$!0&/27)$)8$7=9&/)9&!1"2$789:;<4$wBw�w$=>²²$IE

A$ DFHYOFP$ HFIJWUHF$ XHFVWUMDLFOR$ `JITHR$ VDTY$ WDQURY4$DXJWMOORF$D$UHFYLGXMWUORF$MHZJ$J$GUVFLFOORF$VHTI$GU$VHTIM$ZGHJO`WZG@$ZGLGOOG@E$$ JDGXJW_$XG$ZHMQP$MHGZ$J$PFaVT$OJPJ$JPJUJHTFU$ HF[_KT$ XG$ VFHFDTE$ CDE$ uMHLMPXJ@$ OJWXGWRLMFU$KLMIGWLGDFOJF$VFHaM$D$HTZMY$9DMOIFLJFE$CDE$CUJLJMO$VFHaJU$NFUZJ$ J$ WXFLFOTUMIG$ PLMVFObME$ ~GHaFWUDFOOGF$ DRHMaFOJF$LJZGD$ WDQURY$ VGWUJIMFUWQ$ OMLGaFOJFP$ ZGHJNOFDRY$ UGOGD$HM[ORY$ GUUFOZGDE$ $ |LJOORF$ KGHGVR$ WDQURY$ XHGXJWMOR$ W$XGPG\_^$ XLGUORY$ KFLRY$ KGHG[VGZE$ $ ;Y$ OJPKR$ TZHMSFOR$UJWOFOJFPE$ A$ OJaOFP$ HFIJWUHF$ JZGOR$ XHFVWUMDLFOR$ VDF$WbFOR$ PTNFOJNFWUDM$ J$ ZM[OJ$ WDE$ uMHLMPXJQE$ BGPXG[JbJ^$GKHMPLQÛ$ DRWGZJF$ XGLQ$ W$ DJUG@$ XFHFZHTNFOOG@$ HF[_KG@$ D$DJVF$DFHFDZJE

!!&"STS. HARALAMBOS AND STYLIANOS WITH SCENES

OF FORMER’S MARTYRDOM

��4$hª�h�$=>²²

�!&$ *33&,$ ,&1"#(&,$ +"#3%-6".1$ (!&$ (0)$ c1*,&#$ ".$ (,"%)e&+$ -,2!$settings, the painting of the spandrels emulating wood carving,

(!&$2)%*5.$".$(!&$2&.(,&$0"(!$-$h),".(!"-.$2-3"(-%d$�(E$®-,-%-5e)#$#"1.".1$".$e&.&+"2(").$-.+$e&-,".1$-$�)#3&%$e))g4$�(E$�(6%"-.)#$carrying prayer beads and holding a swaddled infant, their solemn

features rendered in stylised shades of brown, complemented by

long beards rendered with dense white striations, their haloes

'),5&+$e6$#("33%&+$+&2),-(").d$#2&.&#$)'$�(E$®-,-%-5e)#i$(),5&.($and execution in the register below, the entire composition

#*,,)*.+&+$e6$-$,-"#&+$1"%($e),+&,$)'$,)3&?(0"#($+&#"1.00'(#$#/.'(#)*

+%","""-%(,"""

!!)"!"#$)'2//$3521'=!1$B8;~4$=¦?@$A9B

;ZGOM$ XHFVWUMDLQFU$ WGKG@$ XGIHTVOGF$ `HGOUML_OGF$J[GKHMaFOJF$ WDE$ ;GMOOM$ zLMUGTWUM$ �$ GVOGIG$ J[$ HMOOJY$GUbGD$:FHZDJE$ $�JZ$ WUMHbM$ OMXJWMO$ UGOZJPJ4$ J[RWZMOORPJ$PM[ZMPJE$ zMVTPNJDR@$ D[ILQV$ WDQUGIG$ GUDFVFO$ D$ WUGHGOT$ GU$[HJUFLQE$|DM$ZHFWUM$XHGYGVQU$T[GHGP$XG$FIG$GPG`GHTE${JPK$TZHMSFO$ UJWOFORPJ$ HMWUJUFL_ORPJ$ [MDJUZMPJ4$ JVT\JPJ$XG$ [GLGUGPT$ `GOTE$ ;ZGOM$ GXHMDLFOM$ D$ [GLGNFOT^$ HF[OT^$VFHFDQOOT^$HMPTE

!!)"ST. CHRYSOSTOM


The bust of the Church Father shown frontal, his elderly features

3-".(&+$ ".$ ,&c.&5&.(4$ %))g".1$ -0-6$ ',)5$ (!&$ e&!)%+&,$ 0"(!$ -$meditative expression, two prominent crosses decorating his

omophorion, his halo punched with foliate scrolls on gold ground,

presented in a carved and gilt wooden frame

!/'("#$#%.'?#)*2#34)567348#9:;#<=>*;#//#$#!&#)*

+!(,"""-/(,"""

$%(

!!("7'/=7&/125>/24$ ):'/2$ !$ '-(23'7$ !"#$/):'524+9=.'1"'(02$789:;<4$|�~;8wA�{w$=>¨¤$IE

BHTXOMQ$ ZGPXG[JbJQ4$ `HGOUML_OG$ XHFVWUMDLQ^\MQ$ WDE${JZGLMQ?$ �TVGUDGHbM4$ VFHaM\FIG$ GUZHRUGF$ 9DMOIFLJF$ J$OJWXGWRLM^\FIG$ KLMIGWLGDFOJFE$ CDQUJUFL_$ DGWWFVMFU$ OM$DFLJZGLFXOGP$ VFHFDQOOGP$ UHGOF$ WG$ WXJOZG@4$ TZHMSFOOG@$HF[ORP$HMWUJUFL_ORP$GHOMPFOUGP4$ZGUGHR@$XFHFZLJZMFUWQ$W$DRSJURP$TZHMSFOJFP$OM$DMLJZMYE$CDE${JZGLM@$XHFVWUMDLFO$D$ FXJWZGXWZGP$ GKLMNFOJJE$ $ {M$ FIG$ FXJWZGXWZG@$ XMLJbF$DRSJU$ GKHM[$ CXMWM$ ;PPMOTJLME$ A$ DFHYOF@$ NMWUJ$ JZGOR$XG$ GKF$ WUGHGOR$ GU$ LJZM$ WDQUGIG$ J[GKHMaFOR$ uHJWUGW$ J$vGIGHGVJbM4$[MZL^NFOORF$D$ZHTIJ$VDG@OG@$WLMDR4$OMXJWMOORF$D$ NFHFVT^\JYWQ$ [FLFORY$ J$ ZHMWORY$ UGOMYE$ uHJWUGW$XHFXGVOGWJU$ WDE$ {JZGLM^$ 9DMOIFLJF4$ M$ vGIGPMUFH_�FXJUHMYJL_E$ �JZ$ WDQUGIG$ DRXGLOFO$ WPFLRPJ$ PM[ZMPJE$9IG$ WFVRF$ DGLGWR$ J$ ZGHGUZMQ$ KGHGVM$ GKG[OMNFOR$ KFLRPJ$KGHG[VZMPJE$ A$ OJaOF@$ NMWUJ$ JZGOR$ JPFFUWQ$ VMHWUDFOOMQ$OMVXJW_�$Ì$ÍÎ¸¹Ä¼$ÏºÇ$Èº»ÅºÇ$ÏºÇ$rÆº»$Ð¾ÑÆÏÒÉ$lÈÒÓºÇ$ÔÁ¸¹¸Ðº»4$ ÄÕ¼$ÏºÇ$½ÒÉºÇ$¾ÑÕ$ÖÀÁÂºÉ$½ÄÐºÅÂÏ¹¾$¶$=>¨¤�$x�GLJUDM$HMKM$vGaJFIG$ZMXJUMOM$�VMPGWM$uHJWJZGWM4$WROM${MOGWM$J[$WFLFOJQ${JZGLJbM$¶$=>¨¤$IEy

!!("A MONUMENTAL ICON OF ST. NICHOLAS

��4$��$=>¨¤

�.$"2).$)'$%-,1&$+"5&.#").#4$3),(,-6".1$�(E$j"2!)%-#$',).(-%4$".$blessing, the open Gospels on his lap, seated on a sumptuous,

wooden throne with curved back, intriguingly carved in foliate

forms, complemented by two bolsters applied with embroidered

decoration; the saints wearing Episcopal vestments, his

\R(*")&+(")$#!)0".1$-.$"5-1&$)'$h!,"#($�55-.*&%d$/-.g&+$e6$(!&$ !-%'?%&.1(!$ c1*,&#$ )'$ h!,"#($ -.+$ ®"#$�)(!&,4$ e)(!$ -1-".#($double glories of alternate colours; Christ presenting the saint

0"(!$(!&$f))g$)'$�)#3&%#4$®"#$�)(!&,$)''&,".1$�(E$j"2!)%-#$(!&$omophorion; the face of the saint rendered with bold lines and his

1,&6$!-",$-.+$#!),($e&-,+$+&c.&+$e6$0!"(&$#(,"-(").#d$(!&$+&+"2-(").$).$ (!&$ %)0&,$3-,($ ,&2),+".1$ (!&$ "2).i#$ 2)55"##").�$ �Ì$ÍÎ¸¹Ä¼$ÏºÇ$Èº»ÅºÇ$ÏºÇ$rÆº»$Ð¾ÑÆÏÒÉ$lÈÒÓºÇ$ÔÁ¸¹¸Ðº»4$ÄÕ¼$ÏºÇ$½ÒÉºÇ$¾ÑÕ$ÖÀÁÂºÉ$½ÄÐºÅÂÏ¹¾$¶$=>¨¤�$xThe supplication of the

/-#9&)+%";%Y"$%'&R+&()%3$&B"/%Q,#(/(8"/:%+,-%/")%";%F&)"/%;#"B%

+,-%9(00&*-%";%F(8"0(+/&%�%HSW~)

?('(#$#&"#)*

+0","""-(","""

$%)

$%*

!!*"!1(2i/6*$!=.$8wCC;<4$=t?@$A9B

CPRWLGDRP$ bFOUHGP$ ZGPXG[JbJJ$ QDLQFUWQ$ }·UJPMWJQ�$JLJ$ }~HGO$ ¢IGUGDMOOR@�$ W$ GHTVJQPJ$ CUHMWUF@4$ ZGUGHR@$GZHTaMÛ$VDM$MOIFLM4$DWUHFNM^\JF$uHJWUM?CTVJÊ$$uHJWUGW$J[GKHMaFO$WYGVQ\JP$W$OFKFW$$D$WJQOJJ$WLMDR$J$D$GZHTaFOJJ$vGIGPMUFHJ$J$;GMOOM$]HFVUFNJE$$]FHFV${JP$WUGQU$D$PGLFOJJ$ZGLFOGXHFZLGOFOORF$�VMP$J$9DME$A$WMPGP$DFHYOFP$HFIJWUHF4$[MZL^NFOOR@$ D$ ZHTILR@$ OJPK4$ DGWWFVMFU$ AFUYJ@$ |FO_PJE$CLFDM$GU${FIG$XHFVWUMDLFO$OFKFWOR@$XJHd$WXHMDM$vGI?$wUFb$OMWUMDLQFU$ vGIM?CROME$ A$ bFOUHF$ ZGPXG[JbJJ$ HQVMPJ$ WUGQU$MXGWUGLR$ J$ WDQURF4$ HMWXGLGaFOORF$ WGILMWOG$ JFHMHYJJE$AOJ[T$ XGV$ ·UJPMWJF@$ HM[PF\FOR$ MXGZMLJXUJNFWZJF$WJPDGLR$ FDMOIFLJWUGDE$ A$ bFOUHF$ J[DJDMQW_$ XGL[FU$ [PF@4$WJDGLJ[JHT^\J@$IHFY$J$VGWUJIM^\J@$WbFO$W$JYGKHMaFOJFP$MVM$D$OJaOFP$XHMDGP$TILTE$$A$OJaOFP$LFDGP$TILT$J[GKHMaFOR$DFUYG[MDFUORF$XMUHJMHYJ$J$�GOG$�DHMMPGDGE

!!*"THE LAST JUDGEMENT


�!&$ ')2*#$ )'$ (!&$ 2)53)#"(").$ e&".1$ (!&$ ��,&3-,&+$ �!,).&�$ ".$(!&$2&.(,&$)'$(!&$3-.&%4$".2%*+".1$(!&$ª.#(,*5&.(#$)'$(!&$�-##").4$/-.g&+$ e6$ (0)$�.1&%#4$ ,&-+6$ ()$ ,&2&"�&$ h!,"#($ (!&$ �*+1&d$ (!&$latter shown above, descending from heavens in a circular

1%),64$ /-.g&+$ e6$ ®"#$ �)(!&,$ -.+$ �)!.$ (!&$ f-3("#(4$ g.&&%".1$".$ ',).($ )'$ ®"5$ (!&$ �),&'-(!&,#$�+-5$ -.+$ ��&4$ -%%$ c1*,&#$ ".$supplication; on the uppermost register, the Ancient of the Days

".$-$2",2*%-,$5-.+),%-4$()$(!&$%&'($-$2&%&#("-%$e-.�*&(4$()$(!&$,"1!($the Father instructing His Son; in the middle of the icon groups

of the apostles and other saints arranged in tiers according to

(!&",$!"&,-,2!6d$ (!&$-,&-$e&%)0$(!&$��,&3-,-(").$)'$ (!&$�!,).&�$".2%*+".1$ (!&$ -3)2-%63("2$ 3&,#)."c2-(").#$ )'$ (!&$��-.1&%"#(#4$ -$large serpent with rings each representing a human sin; at the

%)0&#($ ,&1"#(&,$ ()$ (!&$,"1!($ (!&$%+$�&#(-5&.($�-(,"-,2!#$-.+$ ()$the right scenes from Hell

/?'(#$#!?#)*

+?,"""-%!,"""

$%!

$%"

!!+"-'%'!5=?&-/6&$()36$Vf&5'/>b$)3$:(2!/'%'$-2(8212@$ (2!i)1'%'$ 3'5'1'*$ /)1>B#$/2$ !,)/&$ "6i)1$ '-(23$ !$ (23"&(/=167$.&)!)!'7$8wCC;<4$=¦?@$A9B$

vGIGWLTaFKORF$ HJ[R$ J[$ KMHYMUM$ TZHMSFOR$ DRSJURP$GHOMPFOUGP$XG$XLFNMPE${M$WXJOF4$OMXGVGKJF$XHQPGTIGL_OGIG$\JUM4$XGPF\FO$HM[DFHOTUR@$VFJWJW�$uHJWUGW4$DGWWFVM^\J@$OM$ UHGOF$ D$ GZHTaFOJJ$ `JITH$ VDTY$ MOIFLGD4$ DOJPMFU$vGIGPMUFHJ$ J$ ;GMOOT$ ]HFVUFNF4$ [M$ ZGUGHRPJ$ WUGQU$ XG$NFUDFHG$WDQURYE$$9\F$VDGF$WDQURY4$XHFXE$�OUGOJ@$J$WDE$;GMOO$vGIGWLGD4$ J[GKHMaFOR$ XG$ GKF$ WUGHGOR$ OM$ DGHGUF$ HQVGP$ W$[MWUFaZMPJE$ «JITHR$ WDQURY$ J$ JY$ GKLMNFOJQ$ DRXGLOFOR$WFHFKHQOG@$J$KFLG@$OJU_^$W$[GLGURPJ$DZHMXLFOJQPJE${JPKR$HMWSJUR$ [GLGUGPd$ LJZJ$ XG[OMPFOFOR$ NFHORPE$ {MVXJWJ4$JVFOUJ`JbJHT^\JF$WDQURY4$DRXGLOFOR$KFLG@$J$WFHFKHQOG@$OJUQPJE$ :DFUGNOMQ$ UFW_PM$ XHGYGVJU$ ZM@PG@$ XG$ HJ[F4$ ZMZ$KR$GKHMPLQQ$DW^$ZGPXG[JbJÊ$8QVGP$W$ZHMFP$HJ[R$DRSJUM$vGIGPMUFH_?wHMOUM$xPGLQ\MQWQyE$8J[R$WZHGFOR$J[$ZHMWOGIG$KMHYMUM$J$GKSJUR$VFZGHMUJDORPJ$$WUFaZMPJ4$GKHM[T^\JPJ$[GLGURF$J$WFHFKHQORF$bDFUGNORF$T[GHR

!!+"H$ LPI$ FPGFPE@$ PggGPDJHDEJgHG$ gMUP$PKQLMJIPLPI$ lJES$ NMGI$ ESLPHIe$ ESP$ QHgT$EMBROIDERED WITH AN EXTENDED DEISIS

��ª�j4$=¦TH$h�j��Ê

Ornamented across the shoulders with a rectangular shield of

raised, embroidered laid work displaying an extended Deisis

0!&,&$(!&$&.(!,).&+$h!,"#($-((&.+&+$e6$(0)$-.1&%#4$"#$/-.g&+$e6$!"#$�)(!&,$-.+$ �)!.$ (!&$f-3("#(4$ &-2!$ ')%%)0&+$e6$ ')*,$ #-".(#d$(0)$5),&$#-".(#4$�.().6$-.+$�)!.$(!&$�!&)%)1"-.4$-33&-,".1$).$the sides of the neckline, shown at the front when the cope is

'-#(&.&+4$(!&$c1*,&#$-.+$(!&",$�&#(5&.(#$2)53)#&+$)'$#"%�&,$-.+$white thread with gold details on the halos, the facial features

delineated in black, the identifying inscriptions above stitched in

#"%�&,$-.+$0!"(&4$-$/),-%$e-.+$#*,,)*.+".1$(!&$&.(",&$2)53)#"(").4$a further embroidery of the Mother of God Orans on the lower

centre of the garment, the entire cope made of red velvet and

(,"55&+$0"(!$-$#(&5$#("(2!$)'$1)%+$-.+$#"%�&,$/),-%$3-((&,.#%/&#$#%.&#)*

+!,"""-/,"""

detail

$%#

$$%

$$$

!#,"A PORCELAIN EASTER EGG

��ª�j4$hª�h�$=t²²Representing the Resurrection of Christ; an angel holding the tomb slab, the

three guards struck by the event fallen on the ground; the gold pattern on the

e-2g$#!)0".1$(!&$h!-%"2&$/-.g&+$e6$(0)$2!&,*e#4$).$0!"(&$1,)*.+.'?#)*#:38:

+%,(""-!,"""

!##"A PORCELAIN EASTER EGG


�!&$,)e*#($c1*,&$)'$h!,"#($0"(!$-$,&+$2!"().$+)5".-(".1$(!&$"5-1&d$()$(!&$%&'($-.$angel bearing the marble slab, to the right a fully armed soldier; the reverse in

1)%+4$#!)0".1$(!&$h,)##$/-.g&+$e6$(!&$�)#3&%$-.+$(!&$�-e%&(#$)'$(!&$%-01'(#)*#:38:

+!,(""-/,(""

!##"f2(f'('"'&$,2!825>/'&$4*0'8wCC;<4$= ?@$A9B

]LGUOMQ$ `JITHM$ uHJWUM$ D$ ZHMWOGP$ YJUGOF$ XHFGKLMVMFU$ D$ ZGPXG[JbJJE$CLFDM$ GU$ OFIG$ ¶$ MOIFL4$ XGVVFHaJDM^\J@$ XLJUT$ IHGKOJbR4$ WXHMDM$ ¶$DGGHTaFOOR@$LFIJGOFHE$C$GKHMUOG@$WUGHGOR$OM$[GLGUGP$`GOF$J[GKHMaFO$BHFWU$W$9DMOIFLJFP$J$CZHJaMLQPJ$zMXGDFVF@E

!#!"f2(f'('"'&$,2!825>/'&$4*0'8wCC;<4$= ?@$A9B

]G$ WHMDOFOJ^$ W$ XHFVRVT\JP$ VMOOR@$ LGU$ WGVFHaJU$ LJS_$ GWOGDOT^$WZTXT^$JZGOGIHM`J^$WGKRUJQ�$uHJWUGW$XMHJU4$DGWWUMD$J[$IHGKOJbRd$MOIFL$XGVVFHaJDMFU$ IHGKGDT^$ XLJUTd$ XG$ VHTIT^$ WUGHGOT$ GU$ MOIFLM$ J[GKHMaFO$LFIJGOFHE$ C$ GKHMUOG@$ WUGHGOR$ Q@bG$ DRZHMSFOG$ ZJOGDMH_^4$ XG$ ZGUGHG@$[GLGURPJ$KTZDMPJ$XHGYGVJU$XMWYML_OGF$XHJDFUWUDJF$}uHJWUGW$AGWZHFWF��

!#,"f2(f'('"'&$,2!825>/'&$4*0'('!!)4@$':'5'$WY__$s#

C$LJbFDG@$ WUGHGOR$ Q@bM$ XHFVWUMDLFOM$ WbFOM$AGWZHFWFOJQ$uHJWUM�$ MOIFL$XGVVFHaJDMFU$XLJUT$IHGKOJbRd$UHGF$WUHMaF@$D$J[TPLFOJJ$XMVMÛ$OM[FP_E$C$ GKHMUOG@$ WUGHGOR$ OM$ KFLGP$ `GOF$ W$ [GLGUGPJ$ T[GHMPJ$ J[GKHMaFOM$9DYMHJWUJNFWZMQ$�MSM$W$VDTPQ$YFHTDJPMPJE

!#!"A PORCELAIN EASTER EGG


In comparison to the previous lot, this one is limited to the most basic iconographic

&%&5&.(#d$h!,"#($/)-(".1$-e)�&$(!&$#-,2)3!-1*#4$-.$-.1&%$#*33),(".1$(!&$#().&$and opposite a guard; the back of the Egg in cinnabar inscribed in Cyrillic,

Christ is Risen

?#)*#:38:

+!,"""-/,"""

$$&

!#'"A PODEA SHOWING THE MOTHER OF GOD OF THE

SIGN

RUSSIAN, 17TH$h�j��Ê

The central section made of embroidered laid work of gold, silver,

)''?0!"(&$-.+$1,&&.$(!,&-+#4$(!&$)*(%".&#$)'$(!&$c1*,&#$-.+$'-2"-%$details in black, framed by blue and silver brocade fabric

0(#$#0('!#)*

+1""-%,%""

j)(&�A podea is a veil made to hang directly at the foot of an icon, often

+*,".1$ &22%&#"-#("2-%$ 3,)2&##").#E$ ª($ "#$ &5e,)"+&,&+$ 0"(!$ ,&%"1")*#$#2&.&#$ ),$ "5-1&#$ )'$ #-".(#4$ ".2%*+".1$ %"(*,1"2-%$0,"(".1E$�!&$ 3)+&-$ !-#$a complementary role to the icon, which increasingly developed to a

sophisticated level according to its own representation and interaction

0"(!$(!&$"2).i#$#*e�&2(E

!#'""6i)16*$ ,':('"$ !$ '-(23'7$ -'%'('.)06$;3/27&/)&<$ "$ ':(=?&/))$ 8&(=")7'"$ )$!&(2f)7'"$8wCC;<4$=>?@$A9B$

A$ bFOUHF$ XFLFOR$ ILMV_^$ DRSJU$ GKHM[$ vGIGHGVJbR$}zOMPFOJF�$ W$ XHJPFOFOJFP$ [GLGURY4$ WFHFKHQORY4$ KFLRY$ J$[FLFORY$OJUF@E$BGOUTHR$`JITH$J$LJZGD$DRXGLOFOR$NFHORPE$]FLFOR$XHJZHFXLFOR$Z$VGWZFE]HJPFNMOJF�]GVGKORF$XFLFOR$xD$7HFbJJ$??$3)+&-y$XHFVWUMDLQÛ$WGKG@$XGVDFWOG@$XLMU$ Z$ JZGOMP$ xZMZ$ XHMDJLG4$ D$ OJaOFP$ HQVT$ JZGOGWUMWM$ JLJ$ GWGKG$NUJPRP$ GKHM[MPy$ J$ TNMWUDTÛ$ D$ KGIGWLTaFKORY$ XHGbFWWJQYE$ BMZ$XHMDJLG4$ XGVGKORF$ XFLFOR$ HMWSJUR$ HFLJIJG[ORPJ$ WbFOMPJ$ JLJ$GKHM[MPJ$ WDQURY$ J$ OFHFVZG$ DZL^NMÛ$ J$ LJUTHIJNFWZJF$ UFZWURE$]GVDFWORF$ XFLFOR$ DRXGLOQÛ$ DWXGPGIMUFL_OT^$ `TOZbJ^$ XG$GUOGSFOJ^$ Z$ JZGOFE$ ;Y$ XHJPFOFOJF$ XHFVWUMDLQFU$ WGKG@$ DFW_PM$WLGaOT^4$ J[G\HFOOT^$ XHMZUJZT4$ XGWZGL_ZT$ ZMaVMQ$ XFLFOM$VGLaOM$ WGGUDFUWUDGDMU_$ WUHGIG$ GXHFVFLFOOG@$ JZGOF$ J$ WâFUT4$J[GKHMaFOOGPT$OM$OF@E

!#$"A PORTABLE TRIPTYCH WITH THE PROTECTIVE

VEIL OF THE MOTHER OF GOD

��ª�j4$ ��$ �$ �� ¯ªh®$ �ª��¯$ x��$�ª��¯y4$��h°4$= ²t?= =¤

Enclosing three painted enamel plates; the central one showing

(!&$ �)(!&,$ )'$ �)+$ 2-,,6".1$ !&,$ 5",-2*%)*#$ �&"%4$ (!&$ /-.g".1$).&#$0"(!$2!&,*e#$".$-+),-(").d$#*,,)*.+&+$e6$2%)"#)..µ$&.-5&%$foliafe; the closed wings and ogee upper part etched with stylised

3-((&,.#4$-$2,)##$0"(!$(,"%)e&$c."-%#4$'-#(&.".1$(!&$(0)$0".1#1#$#%%'&#)*#;$9;47;7

+%,(""-!,(""

!#$",&(&/'!/'*$ !:52.&/>$ !$ '-(23'7$ ,':('"2$,(&!"#$-'%'('.)06$"$':(=?&/))$8&(=")7'"$8wCC;<4$ B�9¡�w$ ��C~98�$ ]E$ �;�£BwA�$ x]9~8$�;�£BwAy$�wCBA�4$= ²t?= =¤$IE

closed

]%i_KtbllKj%]fab

124

$$'

!#&"THE MOTHER OF GOD OF KAZAN WITH A SILVER-

GILT AND ENAMEL OKLAD IN A KYOT

��ª�j4$��i�$��$��$ªj$h��ª��ªh4$��h°4$= ²t?=>

The faces depicted realistically in mild shades conveying a calm

&�3,&##").4$ (!&$ #"%�&,?1"%($ )g%-+$ &.1,-�&+$ 0"(!$ +&2),-(").#4$5),&$.)(-e%6$(!&$�,&&g?g&6$5)("'$,*..".1$-%).1$(!&$!&5$)'$(!&$Mother of God’s maphorion and the stylised undulations and

/)0&,?e*+#$).$(!&$,-"#&+$e),+&,4$(!&$2*(?)*($!-%)&#$0"(!$%-2&+$,"5#4$5-+&$)'$#!-+&+$2%)"#)..µ$&.-5&%$ ".$-$�-,"&(6$)'$3-#(&%$colours accentuated by dark blue details, set in a glazed case

made of Russian Birchwood

/"'.#$#!(#)*#34)567348#9:;#<=>*;

+%,(""-!,"""

!#&"-'%'('.)02$ :232/!:24$ $ !&(&-(4/6*$':52.$ !$ ,'3'5'1'*$ )$ C725>B$ "$ :)'1&$8wCC;<4$B�9¡�w$��C~98�$}CE�E�4$�wCBA�4$= ²t?=>

8FMLJWUJNOG$J[GKHMaFOORP$D$PQIZJY$UGOMY$LJZMP$XHJVMOG$DRHMaFOJF$ WXGZG@WUDJQE$ zGLGNFOR@$ WFHFKHQOR@$ GZLMV$TZHMSFO$ IHMDJHGDZG@$ xD$ NMWUOGWUJ4$ XHJPFNMUFL_ORP$IHFNFWZJP$GHOMPFOUGP$DVGL_$ZHMQ$PM`GHJQ$vGIGHGVJbR$J$WUJLJ[GDMOORPJ$DGLOMPJ$J$KTUGOMPJ$OM$XGLQY$ZGDNFIMy$J$HF[ORPJ$OJPKMPJ$W$MaTHORPJ$GZMOUGDZMPJ4$DRXGLOFOORPJ$D$ UFYOJZF$ bDFUOG@$ XFHFIGHGVNMUG@$ ¬PMLJ$ HM[OGGKHM[ORY$XMWUFL_ORY$ UGOGD$ W$ MZbFOUGP$ UFPOG?WJOJY$ [MDJUZGD$ J$LJOJ@E$;ZGOM$XGPF\FOM$D$GWUFZLFOOR@$ZJGU$J[$KFHF[RE

!#)"CHRIST PANTOKRATOR WITH A SILVER OKLAD

��ª�j4$ ��i�$ ��$ �E�E$ ªj$ h��ª��ªh4$��h°4$=t ¦?= ²t

Depicted realistically in sombre tones, blessing and supporting

the Gospels, the background of the oklad plain, Christ’s

himation$&.1,-�&+$0"(!$/),-%$5)("'#$-.+$&5e&%%"#!&+$!&5#4$(!&$-33%"&+$(,"3-,("(&$!-%)$0"(!$-$3"&,2&+4$2*(?)*($,"5!%'(#$#%.'(#)*

+%,"""-%,(""

!#)"!,2!+"!&.&(?)1&5>$ !&(&-(4/6*$ ':52.$8wCC;<4$B�9¡�w$��C~98�$}CE$7E�4$�wCBA�4$=t ¦?= ²t$IE$

CXMW$ AWFVFHaJUFL_$ J[GKHMaFO$ D$ HFMLJWUJNOG@$ PMOFHF$ D$WTHGDRY$UGOMYE$wO$VFHaJU$D$HTZMY$9DMOIFLJF$J$OJWXGWRLMFU$KLMIGWLGDFOJF$ [HJUFLÊ$ «GO$ GZLMVM$ WXLGSOG@4$ KF[$TZHMSFOJ@E$7JPMUJ@$uHJWUM$W$GHOMPFUJHGDMOOG@$GUGHGNZG@$TZHMSFO$IHMDJHGDMORP$bDFUGNORP$GHOMPFOUGPE${MZLMVOG@$UHFYNMWUOR@$HF[OG@$OJPK$DFONMFU$IGLGDT$CXMWJUFLQE$

$$(

!#*"THE CRUCIFIX IN RELIEF ON A WOODEN PANEL


�!&$#2*%3(&+$c1*,&$)'$h!,"#($'-#(&.&+$).$-$0))+$0"(!$2-,�&+$details; the cross crowned by the tabula ansata, a circular

glory of beams emanating from its centre; the lower part

occupied by the summit of Golgotha, inclusive of the scull

and bones of Adam, scattered throughout with rock fragments,

the background stippled; visible in numerous areas under the

gilding, the layer of red preparation

/0#$#!?#)*

+%,!""-!,!""

!#*"(&3/'&$(&5>&f/'&$(2!,41)&$$8wCC;<4$= ?@$A9B

!#("A GROUP OF MINIATURE BRASS ICONS


h%)2g0"#&4$ ,&3,&#&.(".1$ (!&$ 5).-("2$ �(E$ �-"#")#4$ (!&$�..*.2"-(").4$(!&$�)(!&,$)'$�)+$)'$(!&$�"1.$-.+$�(E$j"2!)%-#$the last three miniatures with enamel decoration

&'/#$#0'&#)*#C9:;#5>=8;E9D

+/""-0""

!#("%(=,,2$7&./'5)1/68$):'/$8wCC;<4$= ?@$A9B

]HFVPFUR$HMWXGLGaFOR$XG$NMWGDG@$WUHFLZF�$XFHDRP$WLFVTFU$GKHM[$ vLMIGDF\FOJQ4$ [M$ OJP$ vGIGPMUFH_$ }zOMPFOJF�4$WDE$ {JZGLM@$ �TVGUDGHFb$ J$ WDQUG@$ XHFXGVGKOR@$ ]MJWJ@$AFLJZJ@E$]FHDRF$UHJ$JZGOR$DRXGLOFOR$D$UFYOJZF$bDFUOG@$¬PMLJE

$$)

!#+"TWO DEACONS BEARING THE RELICS OF ST.

NICHOLAS


Dressed in complete Episcopal attire and a beaming halo, two

e-..&,#$0"(!$ (!&$�)(!&,$)'$�)+$-.+$ (!&$�-.+6%").$c�&+$).$(!&$,&%"�*-,64$(!&$3,)2&##").$&.(&,".1$(!&$1-(&#$)'$-$#&((%&5&.(4$headed by a boy carrying a cross and followed by Orthodox

�22%&#"-#("2-%$c1*,&#/1'.#$#0%'0#)*

+%,0""-%,?""

!#+"."2$ .)2:'/2@$ ,&(&/'!4A)&$ 7'A)$ !"#$/):'524+9=.'1"'(028wCC;<4$=t?@$A9B

¢WGXSJ@$ WDQUG@$ OM$ OGWJLZMY$ J[GKHMaFO$ D$ XGLOGP$FXJWZGXWZGP$GKLMNFOJJ$$J$TDFONMO$OJPKGPE$8QVGP$DJVOFÛWQ$YGHTIDJ$ W$ GKHM[GP$ vGIGPMUFHJE$ wKHM[$ {FHTZGUDGHOGIG$CXMWM$ TZHMSMFU$ HMZT$ W$ PG\MPJ$ WDQUJUFLQE$ ]HGbFWWJQ4$DG[ILMDLQFPMQ$ PML_NJZGP4$ OFWT\JP$ ZHFWU4$ DWLFV$ [M$ZGUGHRP$ WLFVTÛ$ bFHZGDORF$ JFHMHYJ4$ OMXHMDLQFUWQ$ Z$DGHGUMP$IGHGVME$

!$,"A DEISIS


Christ seated on a large wooden throne with cushion and

'))(,&#(4$ e%&##".1$ -.+$ e&-,".1$ (!&$ �)#3&%#4$ /-.g&+$ e6$ (!&$�)(!&,$)'$�)+$-.+$�)!.$(!&$f-3("#(4$&-2!$e&-,".1$-$#2,)%%4$(!&$garments executed in saturated colours, the haloes in gold

/(#$#/%#)*

+.""-1""

!$,".&)!)!$8wCC;<4$=t?@$A9B

uHJWUGW$ DGWWFVMFU$ OM$ XHGWUGHOGP$ VFHFDQOOGP$ UHGOF$ WG$WXJOZG@$ J$ XGVOGaJFPE$ wO$ KLMIGWLGDLQFU$ PGLQ\FIGWQ$VFHaM$ D$ HTZF$ 9DMOIFLJFE$ ]G$ GKF$ WUGHGOR$ FIG$ GZHTaMÛ$vGIGPMUFH_$J$;GMOO$]HFVUFNM$WG$WDJUZMPJ$D$HTZMYE$wVFQOJQ$XFHWGOMaF@$DRXGLOFOR$D$OMWR\FOORY$UGOMY4$OJPKR$WJQÛ$[GLGUGPE

$$*

!$!"!1"'(:)$.),1)82789:;<4$=>?@$A9B

CDQURF$�OUGOJ@$xWLFDMy$$J${JZGLM@$xWXHMDMy$XHFVWUMDLFOR$D$PGLFOJJE$CDE$�OUGOJ@$HM[DGHMNJDMFU$ WDJUGZ4$ M$ WDE${JZGLM@$VFHaJU$9DMOIFLJF$ D$ XGZHRUG@$XLM\GP$HTZFE$wOJ$GKLMNFOR$D$GVFQOJQ4$XRSOG$TZHMSFOORF$$[GLGURP$SJU_FPE$]G$OJPKMP$XHGYGVJU$ UJWOFOR@$ GHOMPFOUE$ «GO$ GKG[OMNFO$ XHJ$ XGPG\J$JPJUMbJJ$ PHMPGHOGIG$ XGLME$ CUDGHZJ$ VJXUJYM$ XGPF\FOR$ D$HF[OT^$GXHMDT$W$DJURPJ$ZGLGOOMPJ$XG$ZHMQP$J$HMWUJUFL_ORP$T[GHGP$D$DFHYOJY$TILMYE$

!$!"A PAIR OF DIPTYCH WINGS

GREEK, 17TH CENTURY

�!&$ #-".(#$ ".$ #*33%"2-(").4$ �(E$�.().")#$ ()$ (!&$ %&'($ )3&.".1$ -$#2,)%%4$()$(!&$,"1!($�(E$j"2!)%-#$!)%+".1$(!&$�)#3&%#$".$!"#$+,-3&+$hand; both dressed in generously decorated vestments with gilt

embroidery, their haloes punched, the background gold with

1,&&.$ 5-,e%&?%"g&$ /)),d$ (!&$ (0)$ 0".1#$ 3,&#&.(&+$ ".$ -$ 2-,�&+$0))+&.$#&((".14$/-.g&+$e6$#(,"1"%-(&+$2)%*5.#$-($ (!&$#"+&#$-.+$spandrels with arrangements of three leaves

%"'?#$#1'.#)*2#%&#$#%&#)*#34)567348#9:;#<=>*;

+?""-%,!""

!$#"."=!1'('//&&$ (&3/24$ 7)/)21B(2$ !$."&/2.021>B$ '!/'"/67)$ 0&(:'"/67)$,(23./):27)$VIMIPTHMLEMOb789:;<4$x7w8�$�«w{y4$=t?@$A9B

]HFZHMWOMQ$ HF[OMQ$ PJOJMU^HM4$ XGDFWUDT^\MQ$ GK$ GWOGDORY$¬XJ[GVMY$ aJ[OJ$ uHJWUME$ C$ LJbFDG@$ WUGHGOR$ XHFVWUMDLFOR$`HMIPFOUR$ J[$ VFUWUDM$ uHJWUM4$ M$ UMZaF$ HM[LJNORF$ ¬UMXR$XHGXGDFVJ$ 9DMOIFLJQ�$ D$ bFOUHF$ XGPF\FO$ GKHM[$ 8GaVFWUDM$uHJWUGDM4$W$XHJPRZM^\JPJ$Z$OFPT$GKHM[MPJ$vLMIGDF\FOJQ4$CHFUFOJQ4$BHF\FOJQ4$]HFGKHMaFOJQ$J$AGWZHFSFOJQ$�M[MHQE$C$ GKHMUOG@$ WUGHGOR$ HMWXGLMIMÛWQ$ WbFOR$ 8MWXQUJQ4$GZHTaFOORF$ ¬XJ[GVMPJ$ AYGVM$ D$ ;FHTWMLJP4$ AGWZHFWFOJQ4$¢DFHFOJQ$ «GPR4$ AG[OFWFOJQ$ J4$ D$ [MZL^NFOJF4$ ¢WXFOJQ$vGIGPMUFHJ4$ DG$ DHFPQ$ ZGUGHGIG$ uHJWUGW$ XGWLFVOJ@$ HM[$XGQDJLWQ$ OM$ [FPLF4$ NUGKR$XHJQU_$ VTST$9IG$PMUFHJE$�FaVT$PFVML_GOMPJ$ W$ YHJWUGLGIJNFWZJPJ$ WbFOMPJ$ HMWXGLGaFOR$PFVML_GOR$PFO_SFIG$HM[PFHM$W$GKHM[MPJ$XHGHGZGD4$VFHaM\JY$HM[DFHOTURF$WDJUZJE$·LFPFOUR$ZGPXG[JbJJ$WGFVJOFOR$PFaVT$WGKG@$XHJ$XGPG\J$UGOZGIG$HF[OGIG$HMWUJUFL_OGIG$GHOMPFOUME$$

!$#"A DOUBLE-SIDED WOOD CARVING SHOWING

THE TWELVE MAJOR ECCLESIASTICAL FEASTS

(DODEKAORTON)

��$x��j�$��®�y4$=tTH CENTURY

�!&$-,(0),g$3,)�"+".1$-$�"#*-%$.-,,-("�&$)'$h!,"#(i#$%"'&d$(!&$c,#($side focusing on His childhood and public ministry prior to His

�-##").4$".2%*+".1$(!&$j-("�"(6$".$(!&$2&.(,&4$#*,,)*.+&+$e6$(!&$�..*.2"-(").4$�,&#&.(-(").$)'$(!&$ª.'-.($()$(!&$�&53%&4$f-3("#54$�,-.#c1*,-(").$-.+$�-"#".1$)'$�-�-,*#d$(!&$,&�&,#&$')2*#".1$).$(!&$h,*2"c�").4$&.2",2%&+$e6$(!&$�.(,6$".()$�&,*#-%&54$�.-#(-#"#4$(!&$�)*e(".1$�!)5-#4$(!&$�#2&.#").$-.+$c.-%%64$(!&$�),5"(").$)'$the Mother of God, during which Christ made His last appearance

on earth in order to receive the soul of His Mother; in between the

roundels with Christological events appear smaller medallions

".2%*+".1$!-%'?%&.1(!$ "5-1&#$)'$�,)3!&(#$0"(!$)3&.$#2,)%%#d$ (!&$&.(",&$2)53)#"(").$*."c&+$�"-$+&%"2-(&%6$3"&,2&+$')%"-1&%!'.#$#.'(#)*2#%.'(#$#%/#)*#34)567348#9:;#<=>*;

+&,"""-?,"""

reverse

$$!

KLKMKN

!$$"!&(&-(4/6*$ :'"9&?&0t$ ,'."&!:2$ !$(&3/67)$'-(2327)$)3$.&(&"2$!""#$%&'(%)4+,'-&.'/'!02$)$.)7)1()4$789:;<4$=t?@$A9B$

]GVDFWZM$ $ DRXGLOFOM$ D$ HFL_F`FE$ {M$ LJbFDG@$ WUGHGOF$XHFVPFUM$ J[GKHMaFOR$ WDDE$ DWMVOJZJ$ 7FGHIJ@$ J$ |JPJUHJ@4$XGDFHIM^\JF$VHMZGOM$J$Q[RNFWZGIG$bMHQ$BMLGQOME$A$bFOUHF$ZGPXG[JbJJ$ XGV$ ZTXGLGP$ WUGJU$ WXMWFOOMQ$ bMHFDOM$ 9LJWMDME$]G$ DFHUJZML_OG@$ GWJ$ OMV$ OF@$ HMWXGLMIMFUWQ$ DG[OJZM^\J@$J[$ GKLMZGD$ GKHM[$ KLMIGWLGDLQ^\FIG$ CXMWM$ AWFVFHaJUFLQ$W$ UHFYNMWUORP$ LTNM\JPWQ$ OJPKGPE$ C$ GKHMUOG@$ WUGHGOR$ D$ZHTILRY$ $ PFVML_GOMY4$ GZHTaFOORY$ GHOMPFOUGP$ J[$ DJURY$HMWUJUFL_ORY$ T[GHGD4$ XGPF\FOR$ VDF$ HF[ORF$ VFHFDQOORF$ZGPXG[JbJJ�$ $W$XGDUGHQ^\JPWQ$PGUJDGP4$[MXFNMULFDM^\JP$WDDE$ 7FGHIJQ$ J$ |JPJUHJQ4$ J$ W$ DGWWFVM^\F@$ OM$ UHGOF$vGIGPMUFH_^$D$GZHTaFOJJ$XHGHGZGDE$]GVDFWZM$[MZHRDMFUWQ$XHJ$ XGPG\J$ WXFbJML_OG@$ KTLMDZJ$ J$ W$ GKFJY$ WUGHGO$XHJZHFXLFOM$Z$XGVDFWOG@$bFXJE

!$$"H$ DJGFPL$ gHDP$ t$ UPOIHOE$ JOgGmIJON$ gHLFPI$WOODEN IMAGES OF STS. GEORGE AND DEMETRIOS

GREEK, 18TH CENTURY

�!&$ +&2),-(").$ )'$ (!&$ 2-#&$ &�&2*(&+$ ".$ ,&3)*##µ4$ (!&$ ',).($#!)0".1$ (!&$ &�*&#(,"-.#$�(#E$�&),1&$ -.+$�&5&(,")#$ g"%%".1$ (!&$dragon and king Kaloyanni respectively, in the centre under a

2*3)%-$ (!&$ ,&#2*&+$ 3,".2&##$ �%"#-e-4$ -e)�&$ h!,"#($ �-.()g,-(),$with a tripartite and radiating halo appearing amidst the billowing

clouds to bless the scene; the back showing circular constructions

on a raised pedestal, both sides with rich foliate scrolls; the open

2-#&$,&�&-%".1$(0)$0))+$2-,�".1#$)'$2",2*%-,$'),54$(!&$c,#($).&$,&3&-(".1$(!&$#*e�&2($)'$(!&$2)�&,$0"(!$�(#E$�&),1&$-.+$�&5&(,")#4$(!&$#&2).+$,&3,&#&.(".1$(!&$&.(!,).&+$�)(!&,$)'$�)+$/-.g&+$e6$3,)3!&(#$0),#!"33".1$(!&$2&.(,-%$c1*,&d$(!&$2-#&$'-#(&.".1$0"(!$-$3".4$-$%).1$2!-".$'),$!-.1".1$c�&+$()$(!&$#"+&#

+&,"""-?,"""

reverse KLKMKN

!$'",'!&(&-(&//6*$':52.$$&"2/%&5)4$789:;<4$=t?@$A9B

�JbFDMQ$WUGHGOM$GZLMVM$9DMOIFLJQ$VFZGHJHGDMOM$OMZLMVORP$WFHFKHQORP$ GKHM[GP$ 8MWXQUJQE$ A$ TILMY$ LJbFDG@$ ZHRSZJ$$HMWXGLGaFOR$ DRWGZJF$ OMZLMVZJ$ W$ GKHM[MPJ$ NFURHFY$FDMOIFLJWUGD$ D$ WGXHGDGaVFOJJ$ JY$ WJPDGLGD$ J[$ BOJIJ$wUZHGDFOJQE$ wKGHGUOMQ$ WUGHGOM$ GZLMVM$ VFZGHJHGDMOM$ZMHUTSFP$ WG$ WbFOG@$ AGWZHFWFOJQ$ uHJWUGDM4$ KGIMUG$TZHMSFOOG@$ GHOMPFOUGP$ D$ WUJLF$ HGZGZG4$ XHGYGVQ\JP$ XG$UFPOG?ZHMWOGPT$ KMHYMUOGPT$ `GOTE$ wZLMV$ XGVVFHaJDMÛ$NFURHF$XHJVFLMOORF$$OGaZJ?$}aTZGDJOR�E

!$'"A SILVERED GOSPEL COVER

GREEK, 18TH CENTURY

�!&$ ',).($ -33%"&+$0"(!$ -$ 2&.(,-%$ "5-1&$ )'$ (!&$ h,*2"c�").4$ (!&$spandrels including the Four Evangelists accompanied by their

�3)2-%63("2$ 3&,#)."c2-(").#4$ (!&$ ,&�&,#&$ e&-,".1$ -$ 2-,()*2!&$of the Resurrection of Christ, heavily ornamented with Rococo

designs on a deep red velvet background, with four stump feet

0"'&#$#!1'(#)*

+&""-?""

reverse KLKMKN

!$&"):'/2$ !$ 9&16(>74$ '-(2327)$ -'%'('.)06@$.&)!)!'7$)$!"4167)+,':('")1&547)#$$!&(&-(4/6*$':52.$!$,'3'5'1'*#$$B�9¡�w$��C~98�$}~E7E�4$B�z�{�4$=t¥§$IE

CHFVOJZ$JZGOR$W$aFLURP$`GOGP$HM[VFLFO$OM$NFURHF$TNMWUZM4$D$ZMaVGP$J[$ZGUGHRY$HMWXGLMIMFUWQ$GKHM[$vGIGPMUFHJE${MV$OJPJ$ XGPF\FO$ VFJWJWd$ D$ OJaOF@$ NMWUJ$ JZGOR$ J[GKHMaFOR$UHJ$ WDQUJUFLQ4$ M$ OM$ XGLQY$ HMWXGLMIMÛWQ$ GKHM[R$ NFURHFY$FDMOIFLJWUGD4$ WDDE$ AMHDMHR$ J$ �MHJJ$ 9IJXFUWZG@4$ M$ UMZaF$WDQURY$ bFLJUFLF@$ BGW_PR$ J$ |MPJMOM$ J$ WDDE$ «FGVGHM$ J$uHJWUG`GHME$ CFHFKHQOR@$ XG[GLGNFOOR@$ GZLMV$ TZHMSFO$HMWUJUFL_ORPJ$ [MDJUZMPJ4$ THOMPJ$ J$ HMZGDJOMPJ$ OM$ `GOF$SUHJYGGKHM[ORY$XGLGWE$A$ OMTIGL_OJZMY$ XGPF\FO$GHOMPFOU$D$DJVF$bDFUGDE

!$&"hMmL$JKHNPD$Mh$ESP$KMESPL$Mh$NMI@$ESP$IPJDJD$AND FAMILY PATRONS WITH A SILVER-GILT OKLAD

��i�$��$�E�$ªj$h��ª��ªh4$��³�j4$=t¥§

The central section on yellow ground, divided into four

compartments, each showing an image of the Mother of God;

directly above the Deisis, below the Three Hierarchs and on

(!&$#"+&#$(!&$�)*,$��-.1&%"#(#4$�(#E$f-,e-,-$-.+$�-,6$)'$�163($-.+4$ (!&$ 5&+"2-%$ #-".(#$ h)#5-#$ -.+$ �-5"-.d$ �(#E$ �!&)+),&$and Christopher portrayed on the border; the silver gilt oklad

decorated with scrolling foliage, urn and shell motifs on stippled

1,)*.+4$(!&$,-"#&+$#3-.+,&%#$2).(-".".1$/)0&,#/&#$#!?#)*

+&,"""-?,"""

$&%

!$)"THE MOTHER OF GOD FROM A DEISIS

��ª�j$x��y4$=tTH CENTURY

Looking at the beholder while pointing to the right where an image

of Christ would have been, holding an open scroll with a prayer, the

"."("-%#$)'$(!&$�)(!&,$)'$�)+$".#2,"e&+$".$(0)$2-,()*2!&#$)'$e-,)�*&$style, against a dazzling gold background

/('(#$#/"#)*

+%,(""-!,(""

!$)"):'/2$-'%'('.)06$)3$.&)!=!/'%'$9)/2$8wCC;<$x�C~98�y4$=t?@$A9B$

vGIGHGVJbM$ D[JHMFU$ OM$ [HJUFLQ$ TZM[TQ$ DXHMDG4$ IVF$ VGLaFO$KRL$ OMYGVJUWQ$ GKHM[$uHJWUME$ $ wOM$ VFHaJU$ GUZHRUR@$ WDJUGZ$W$PGLJUDG@E$ $�KKHFDJMUTHR$W$JPFOFP$vGIGPMUFHJ$[MZL^NFOR$D$ VDM$ KMHGNORY$ ZMHUTSM4$ XHGWUTXM^\JY$ OM$ GWLFXJUFL_OGP$[GLGUGP$`GOFE

$&$

!$("THE CRUCIFIXION

��ª�j4$hª�h�$=t²²

An extremely detailed visual narrative of the episode of the

h,*2"c�").d$ h!,"#(i#$ %"'&%&##$ e)+6$ ).$ (!&$ 2,)##4$ (!&$ %-.2&$-.+$ #3).1&$ c�&+$ ()$ (!&$ %&'($ -.+$ ,"1!($ ,&#3&2("�&%64$ (0)$ -.1&%#$2)%%&2(".1$(!&$e%))+$',)5$®"#$0)*.+#$".$2!-%"2&#d$/-.g&+$e6$(!&$2,*2"c&+$(!"&�&#4$-.+$".$(!&$'),&1,)*.+4$(!&$�!,&&$�-,6#$-.+$�(E$�)!.$ (!&$�!&)%)1"-.$ ".$5)*,.".1$-.+$ (!&$h&.(*,").d$ (!&$e%))+$from His feet dripping on the bones of Adam in the cave below

(!&$#*55"($)'$�)%1)(!-d$(!&$0-%%#$)'$�&,*#-%&5$e&!".+d$(!&$*33&,$part of the icon including God the Father against golden rayed

#g"&#$+",&2(".1$(!&$®)%6$�3","($3&,#)."c&+$-#$-$+)�&$()0-,+#$®"#$Son, two angels with veiled hands bowing forward to receive

Christ’s soul; the uppermost corners of the composition occupied

e6$ (!&$+-,g&.&+$#*.$-.+$e%))+&+$5)).d$ (!&$3-(,).$#-".(#$�)!.$and Anna on the gilt border, the composition rendered in vibrant

yet saturated colours projecting against the dark sky

0(#$#/?#)*

+!,"""-/,"""

!$("(2!,41)&$8wCC;<4$wBw�w$=t²²$IE

vGIGHGVJbM$ D[JHMFU$ OM$ [HJUFLQ$ TZM[TQ$ DXHMDG4$ IVF$ VGLaFO$KRL$OMYGVJUWQ$GKHM[$uHJWUME$wOM$VFHaJU$GUZHRUR@$WDJUGZ$W$PGLJUDG@E$$�KKHFDJMUTHR$W$JPFOFP$vGIGPMUFHJ$[MZL^NFOR$D$ VDM$ KMHGNORY$ ZMHUTSM4$ XHGWUTXM^\JY$ OM$ GWLFXJUFL_OGP$[GLGUGP$`GOFE

!$*"ST. JOHN THE FORERUNNER


�)".(".1$()$!&-�&.$-.+$!)%+".1$-$#(-''$0"(!$2,*2"'),5$c."-%$-.+$e-..&,$".#2,"e&+$0"(!$�)!.i#$#&,5).$).$,&3&.(-.2&d$(!&$'-2&$)'$the saint and his drapery rendered realistically, his tooled gilt halo

and border emulating applied silver work

(/#$#00#)*

+%,(""-!,(""

!$*"!"#$)'2//$,(&.1&928wCC;<4$= ?@$A9B

CDE$;GMOO$]HFVUFNM$TZM[TFU$OM$OFKFWM$J$VFHaJU$D$HTZMY$XGWGY$W$ ZHFWUGGKHM[ORP$ OMDFHSJFP4$ W$ ZGUGHGIG$ WXTWZMFUWQ$ LFOUM$W$ FIG$ XHGHGNFWUDGP$ XGZMQOJQE$ �JbG$ WDQUGIG$ J$ VHMXJHGDZJ$GVFaV$DRXGLOFOR$D$HFMLJWUJNOG@$PMOFHFE$~JWOFOR@$OJPK$J$XGLQ$ JZGOR$ JPJUJHTÛ$ OMZLMVORF$ WFHFKHQORF$ TZHMSFOJQ4$YMHMZUFHORF$VLQ$= ?IG$DFZME

$&&

!$+"ELEOUSA MOTHER OF GOD ENCIRCLED BY LITURGICAL FEASTS

��ªjª�j4$hª�h�$=t²²

The Mother of God holding her Son, His hand around her neck, pressing his check

gently to hers; surrounded by the twelve Cardinal Festivals in oval arrangements,

depicted either in tiled, interior spaces or against naturalistically rendered

landscapes, the haloes and borders that separate the scenes gilded

(/'&#$#00'/#)*

+/,"""-0,"""

!$+"-'%'721&(>$ ;=7)5&/)&<$ "$ ':(=?&/))$ '!/'"/68$5)1=(%)9&!:)8$,(23./):'"$¢B8�;{�4$wBw�w$=t²²$I

vGIGHGVJbM$ VFHaJU$ OM$ HTZMY$ WDGFIG$ CROME$ �LMVFOFb4$ GKDJD$ HTZG@$ FF$SF^4$ OFaOG$ XHJaJPMFUWQ$ Z$ OF@$ \FZG@E$ $ :FOUHML_OMQ$ WbFOM$ GZHTaFOM$[MZL^NFOORPJ$ D$ GDML$ ZLF@PMPJ4$ XHFVWUMDLQ^\JPJ$ VDFOMVbMU_$ ILMDORY$XHM[VOJZGD$ LJUTHIJNFWZGIG$ IGVME$ $ CâFUR$ HM[DGHMNJDMÛWQ$ OM$ `GOF$JOUFH_FHGD$ J$ D$ XHGWUHMOWUDF$ HFMLJWUJNOG$ DRXGLOFOORY$ XF@[MaF@E${JPKR$WDQURY$ J$ IHMOJbR4$ GUVFLQ^\JF$ ZLF@PM$ VHTI$ GU$ VHTIM4$ DR[GLGNFOR$ J$XHGWUTXMÛ$OM$IGLTKGP$`GOFE

!',"STS. MODESTUS AND BLAISE

��ª�j4$hª�h�$=t²²

�((",&+$".$(!&$1-,5&.(#$)'$(!&",$)'c2&4$�(E$�)+&#(*#$e&-,".1$-$,"2!%6$�&0&%%&+$5"(,&$and a crosier draped with the sudarium4$(&,5".-(".1$()$-$#5-%%$2,)##$/-.g&+$e6$(0)$#2*%3(*,&+$#&,3&.(#$0"(!$(!&",$!&-+#$2*,%&+$e-2g$()$'-2&$&-2!$)(!&,d$�(E$f%-"#&$holding the Gospels; a radiating Christ bearing the globus cruciger depicted in the

open skies above

/"'?#$#!&'(#)*

+?""-%,"""

!',"!""#$7'.&!1$)$"52!)*$8wCC;<4$wBw�w$=t²²$I

!'!"MOTHER OF GOD OF THE LIFE-GIVING SOURCE

GREEK, 19TH CENTURY

Arranged around a large cruciform basin containing a gold fountain, the Mother

)'$�)+$!)%+".1$h!,"#(4$!)�&,".1$-e)�&$-.+$/-.g&+$e6$-.1&%#4$(!&$3))%$#*,,)*.+&+$e&!".+$e6$-$1,)*3$)'$3&)3%&4$".2%*+".1$(!&$"53&,"-%$2)*3%&4$(!&$�-(,"-,2!4$2%&,"2#$and laymen, in front a pair of men pouring water over a paralytic and a man

possessed by demons, both miraculously healed

0/'.#$#/%#)*

+%,!""-%,&""

!'!"-'%'721&(>$;?)"'/'!/6*$)!1'9/):<$789:;<4$= ?@$A9B

BGPXG[JbJQ$WGWHFVGUGNFOM$DGZHTI$ZHFWUGGKHM[OG$DRLGaFOOGIG$JWUGNOJZM$W$[GLGURP$`GOUMOGP$XGWFHFVJOFE${M$DFHSJOF$`GOUMOM$DGWWFVMFU$vGIGHGVJbM$VFHaM$ D$ HTZMY$ uHJWUME$ ]G$ GKF$ WUGHGOR$ GU$ OFF$ $ XMHQU$ MOIFLRE$ $ AGZHTI$JWUGNOJZM$WGKHMLJW_$WUHMaVT\JF$OFVTIMPJ$L^VJ4$DZL^NMQ$JPXFHMUGHWZT^$NFUT4$ XMUHJMHYM4$ ZLJH$ J$ PJHQOE$ {M$ XFHFVOFP$ XLMOF$ VDGF$ WLTaFZ$ L_Û$ J[$ZTDSJOGD$DGVT$OM$XMHMLJUJZM$J$OM$GVFHaJPGIG$VFPGOMPJ4$ZGUGHRF$XGLTNMÛ$NTVFWOGF$JWbFLFOJF$GU$NTVGUDGHOGIG$JWUGNOJZME

$&'

!'#";,=!1)1&$.&1&*$,()8'.)1>$:'$7/&<8wCC;<$xC�{B~?]9~98v¢87y4$=t?@$A9B

|MOOMQ$ JZGOM$ OMXJWMOM$ OM$ WâFU4$ JLL^WUHJHT^\J@$GUHRDGZ$ J[$ 9DMOIFLJQ$ GU$ �MU`FQ$ = E=¨�$ }XTWUJUF$ VFUF@$ J$OF$ XHFXQUWUDT@UF$ JP$ XHJYGVJU_$ ZG$�OF4$ JKG$ UMZGDRY$ FWU_$:MHWUDJF$ {FKFWOGF�E$ :FOUHGP$ ZGPXG[JbJJ$ ¬UG@$ ZHTXOG@$JZGOR$WLTaJU$ JITHM$uHJWUM4$WJVQ\FIG$D$WMVT$J$GZHTaFOOGIG$NFURH_PQ$ VFU_PJ$ D$ KFLRY$ GVFaVMYE$ AVMLFZF$ DJVOFÛWQ$WUFOR$ IGHGVME$ ¢PJHGUDGHFOOMQ$ ZGPXG[JbJQ4$ DRXGLOFOOMQ$ D$HFMLJWUJNFWZG@$PMOFHFE

!'#"“LET THE CHILDREN COME TO ME”

��ª�j$x��E$��f��y4$=tTH CENTURY

ª%%*#(,-(".1$(!&$�&,#&$',)5$�-((!&0$= �=¨4$“Let the little children

'"B-%+"%B-:%&)$%$"%)"+%,()$-#%+,-B:%;"#%+,-%8()*$"B%";%,-&9-)%

belongs to such as these”, the large icon focusing on Christ

seated in a garden, surrounded by four children dressed in white

garments, in the far background the walls of a town; the peaceful

image executed realistically

&!'.#$#0.'(#)*

+(,"""-.,"""

$&(

!''"A PORCELAIN EGG WITH ST. SERAPHIM OF SAROV


Looking away from the beholder, his mature face framed by

white hair and a beard, raising his hand on his chest, his nimbus

+&c.&+$e6$-$#"53%&$,"54$).$e%*&$1,)*.+$0"(!$1)%+$3&,"5&(&,%"#)*#:38:

+%,!""-%,?""

!'&"A PORCELAIN EGG OF ST. MARY MAGDALENE


Shown realistically, crossing her hands in prayer, facing down,

her pale face covered by a yellow veil, draped in bright red and

blue; the hazy background enlightened by her luminous halo

1#)*#:38:

+%,(""-!,"""

!')"A PORCELAIN EGG WITH THE MOTHER OF GOD

FROM THE SCENE OF THE ANNUNCIATION


Standing, spinning the skein of wool, unusually dressed in

a green robe with gilt crosses matching those of her purple

maphorion, dense rays emanating from her nimbus, the oval

surround framed by lace patterns

%!#)*#:38:

+%,"""-!,"""

!'("A PORCELAIN EGG WITH A BUNCH OF FLOWERS

��ª�j4$hª�h�$=t²²�$�-,"&(6$)'$2)%)*,'*%$/)0&,#4$-1-".#($-$1,&6$)�-%$e-2g1,)*.+4$the rest of the surface pink with gold decorative scrolls

%%'(#)*#:38:

+?""-%,"""

!'$"A GOLD AND ENAMEL EASTER EGG SHOWING

ST.NICHOLAS


�!&$!-%'$c1*,&$)'$(!&$#-".($,&.+&,&+$".$3-".(&+$&.-5&%4$3),(,-6&+$realistically with bright colours, dressed in Episcopal attire and

e&-,".1$-$1)%+$-.+$1&5?#(*++&+$5"(,&4$!"#$ ,"1!($!-.+$ ,-"#&+$ ".$benediction, carrying a large Book of Gospels, the engraved

cartouche on the back of the egg including the troparion to the

#-".(�$��)*$0&,&$,&�&-%&+$()$6)*,$/)2g$-#$-$5&-#*,&$)'$'-"(!4$6)*$0&,&$(!&$"5-1&$)'$!*5"%"(6$-.+$-$(&-2!&,$)'$#&%'?2).(,)%�4$0"(!$-$loop for hanging

!'?#)*#:38:

+%,(""-!,"""

!'$",2!825>/'&$ 4*0'$ !$ '-(23'7$ !"#$ /):'524+9=.'1"'(02$8wCC;<4$= ?@$A9B$8FMLJWUJNOGF$ XGQWOGF$ J[GKHMaFOJF$ WDQUGIG$ DRXGLOFOG$QHZG@$HMWXJWOG@$¬PML_Ê$wO$GVFU$D$FXJWZGXWZGF$GKLMNFOJF$J$ [GLGUT^$ PJUHT$ W$ WMPGbDFUMPJE$ 9IG$ XHMDMQ$ HTZM$ XGVOQUM$D$ KLMIGWLGDLQ^\FP$ aFWUF4$ D$ LFDG@$ GO$ VFHaJU$ KGL_SGF$9DMOIFLJFE$ 7HMDJHGDMOOR@$ ZMHUTS$ OM$ GKHMUOG@$ WUGHGOF$WGVFHaJU$ UHGXMH_$ XHFXGVGKOGPT�$ }]HMDJLG$ DFHR$ J$ GKHM[$ZHGUGWUJ4$ DG[VFHaMOJQ$ TNJUFLQ$ QDJ$ UQ$ WUMVT$ UDGFPT4$ QaF$DF\F@$JWUJOM�E$<@bG$WOMKaFOG$ZGL_bGP$VLQ$XGVDFWZJE

!''"f2(f'('"'&$,2!825>/'&$ 4*0'$ !$ '-(23'7$!"#$!&(2f)72$!2('"!:'%'8wCC;<4$= ?@$A9B

!'&"f2(f'('"'&$,2!825>/'&$ 4*0'$ !$ '-(23'7$!"#$72())$72%.25)/68wCC;<4$= ?@$A9B

!')"f2(f'('"'&$ ,2!825>/'&$ 4*0'$ !$-'%'721&(>B$)3$!0&/6$-52%'"&A&/)48wCC;<4$= ?@$A9B

!'("f2(f'('"'&$,2!825>/'&$4*0'$!$-=:&1'7$0"&1'"8wCC;<4$wBw�w$=t²²$IE

$&)

144

145

146 147

$&*

!'*"MOTHER OF GOD “JOY TO ALL WHO GRIEVE”


�!&$)�&,#"�&+$c1*,&$)'$(!&$�)(!&,$)'$�)+4$/-.g&+$e6$#*33%"-.(#$0"(!$�-,")*#$-'/"2(").#4$2).#)%&+$e6$-.1&%#4$h!,"#($e%&##".1$',)5$-e)�&4$(!&$#*.$-.+$(!&$moon on the upper corners, the composition richly coloured on gold ground

/%#$#!&#)*

+!,"""-/,"""

!'*"'-(23$-'%'('.)06$;"!&8$!:'(-4A)8$(2.'!1><$8wCC;<4$= ?@$A9B$

¢DFLJNFOOMQ$ D$PMWSUMKF$`JITHM$vGIGPMUFHJ$ J[GKHMaFOM$ WUGQ\F@$ OM$ZHMWOGP$ DG[DRSFOJJ$ D$ GZHTaFOJJ$ PGLQ\JYWQ4$ XHGWQ\JY$ JWbFLFOJQ$GU$ DWQNFWZJY$ OFVTIGDE$ ;Y$ TUFSMÛ$ MOIFLRE$ ADFHYT$ XGWHFVJ$ GKLMZGD$XGQDLQFUWQ$ uHJWUGW$ D$ GKLMNFOJJ$ XFHDGWDQ\FOOJZM$ J$ KLMIGWLGDLQFU$UGLXTE$ CDJVFUFLQPJ$ WbFOR$ QDLQÛWQ$ WGLObF$ J$ LTOM$ D$ DFHYOJY$ TILMY$ZGPXG[JbJJE$;ZGOM$DRXGLOFOM$D$OMWR\FOORY$UGOMY$XG$[GLGUGPT$`GOTE$

!'+"ST. JOHN THE THEOLOGIAN


Depicted bust length holding the Book of Revelation, touching his mouth

to imply silence, behind his ear an angel conveying to him the Apocalyptic

message of God, the garments rendered in bright red and green, on gold

background and ochre border

/1#$#/%#)*

+!,(""-/,(""

!'+"!"#$)'2//$-'%'!5'"$=t?@$A9B

;GMOO$vGIGWLGD$D$XGIHTVOGP$J[GKHMaFOJJ$VFHaJU$BOJIT$wUZHGDFOJQE$9DMOIFLJWU$ XGVOGWJU$ XML_bR$ Z$ TWUMP$ D$ [OMZ$ OFJ[HFNFOOGWUJ$GUZHRDM^\F@WQ$FPT$UM@ORE${M$FIG$XLFNF$WJVJU$MOIFL4$DF\M^\J@$FPT$wUZHGDFOJF$vGaJFE$wVFQOJQ$DRXGLOFOR$D$QHZJY$ZHMWOG?[FLFORY$UGOMY$XG$[GLGUGPT$`GOT$W$GYHJWURPJ$XGLQPJE

!&,"A MENOLOGICAL ICON FOR JANUARY


ª.$c�&$,&1"#(&,#4$e&1"..".1$',)5$(!&$*33&,$ %&'(4$ "%%*#(,-(".1$ (!&$&�&.(#$-.+$#-".(#$2)55&5),-(&+$".$(!&$5).(!$)'$�-.*-,64$(!&$'-2&#$+&3"2(&+$".$+&(-"%4$the names of the feasts inscribed above

00'(#$#/?#)*

+%,?""-!,&""

!&,"7)/&*/24$):'/2#$4/"2(>$8wCC;<$4=t?@$A9B$

A$XQUJ$HFIJWUHMY4$OMNJOMQ$W$LFDGIG$DFHYOFIG$TILM4$J[GKHMaFOR$WDQURF$J$WGKRUJQ$WDQ\FOOG@$JWUGHJJ4$XMPQU_$ZGUGHRY$WGDFHSMFUWQ$D$QODMHFE$�JZJ$ U\MUFL_OG$ XHGHMKGUMOR4$ JPFOM$ WDQURY$ J$ OM[DMOJQ$ XMPQUORY$WGKRUJ@$TZM[MOR$D$OMVXJWQY$OMDFHYTE

$&!

!&!"ESP$ hHKJGR$ UHELMOD$ DHJOED$ HOEJUH@$ NLPNMLR$ HOI$ANNA

��ª�j4$hª�h�$=t²²

The three saints signing in benediction, the Church Hierarchs carrying

(!&$�)#3&%#4$ +,&##&+$ ".$ ),.-(&$ �3"#2)3-%$ 1-,5&.(#4$ �(E$�..-$ 2)�&,&+$e6$-$ %))#&$2%)-g4$ (!&$)3&.$ #g"&#$ -e)�&$ ,&�&-%".1$ (!&$c1*,&$)'$h!,"#(4$executed in deep colours

/%#$#!&'.#)*

+!,(""-/,(""

!&!"!"416&+,':('")1&5)$!""#$2/1),)*@$$%()%'()*$)$2//2$8wCC;<4$wBw�w$=t²²$IE

~HGF$ WDQURY$ [MXFNMULFOR$ D$ KLMIGWLGDLQ^\FP$ aFWUFE$ :FHZGDORF$WDQUJUFLJ4$ GKLMNFOORF$ D$ TZHMSFOORF$ GHOMPFOUGP$ FXJWZGXWZJF$GVFQOJQ4$ $ J[GKHMaFOR$ W$ ZOJIMPJ$ 9DMOIFLJQE$ «JITHM$ WDE$ �OOR$XGZHRUM$ SJHGZJP$ XHGWUGHORP$ XLM\GPE$ A$ GUDFHWURY$ OFKFWMY$DDFHYT$XGQDLQFUWQ$DRXGLOFOOMQ$D$ILTKGZJY$UGOMY$`JITHM$uHJWUME

!&#"THE MOST PROMINENT FEASTS OF THE LITURGICAL

CALENDAR

��ª�j$x¯��ª�ª�$��¯ªjh�y4$hª�h�$=t²²

�!&$2&.(,-%$"5-1&$#!)0".1$(!&$�.-#(-#"#4$/-.g&+$e6$(0)$3-(,).$#-".(#$against triangular settings, surrounded by images of the twelve Cardinal

Feasts; the white rims of the haloes standing out against the saturated

colours of the composition

!&'.#$#!!#)*

+%,!""-%,?""

j)(&��!&$ 3-(,).$ #-".(#$ -33&-,$ *#*-%%6$ -%).1$ (!&$ e),+&,$ )'$ -.$ "2).E$ �!&,&'),&4$ (!&$appearance of the hermit saint and female martyr in this instance within the main

2)53)#"(").$"#$!"1!%6$*.*#*-%E$�*,(!&,5),&4$(!&",$3)#"(").$.&�($()$(!&$�.-#(-#"#$suggests that the patron of the icon wanted to emphasise his special connection

()$(!"#$&�&.(E

!&#"):'/2$ !$ "&5):)7)$ $ ,(23./):27)$5)1=(%)9&!:'%'$0&(:'"/'%'$%'.2$8wCC;<$xA��|;�;8CB�<$wv��C~�y4$wBw�w$=t²²$IE$

A$ WHFVOJZF$ JZGOR$ XGPF\FOM$ WbFOM$CYGaVFOJQ$uHJWUM$ DG$�VE$]G$KGZMP$D$ZJLFDJVORY$MHGNZMY$J[GKHMaFOR$VDGF$WDQURY?XGZHGDJUFLF@E$$CHFVOJZ$GZHTaFO$VDFOMVbMU_^$ZLF@PMPJ4$XHGWLMDLQ^\JPJ$AFLJZJF$XHM[VOJZJ$bFHZGDOGIG$LJUTHIJNFWZGIG$IGVME$vFLRF$ZGOUTHR$OJPKGD$WJQÛ$OM$`GOF$OMWR\FOORY$UFPORY$UGOGD$ZGPXG[JbJJE

]HJPFNMOJF�CDQURF$XGZHGDJUFLJ4$ZMZ$XHMDJLG4$J[GKHMaMÛWQ$OM$XGLQY$JZGOOG@$VGWZJE$]G$¬UG@$XHJNJOF$$XGQDLFOJF$WDE$XHFXGVGKOGIG$WUMHbM?GUSFL_OJZM$J$WDQUG@$aFOR?PTNFOJbR$ D$ WHFVOJZF$ JZGOR$ ZHM@OF$ OFGKRNOGE$ ]GLGaFOJF$ WDQURY$XGZHGDJUFLF@$HQVGP$WG$WbFOG@$CGSFWUDJQ$DG$�V$PGaFU$TZM[RDMU_$OM$UG4$NUG$[MZM[NJZ$NTDWUDGDML$ GWGKT^$VTYGDOT^$WDQ[_$ W$ ¬UJP$ WGKRUJFP$J$ XHJVMDML$FPT$GWGKGF$[OMNFOJFE$

$&"

!&$"!'-'($2(82/%&52$7)82)52$('!!)4@$W^+u$"&:$

¢DFLJNFOOMQ$ D$ PMWSUMKF$ `JITHM$ MHYMOIFLM$ �JYMJLM$ D$bFOUHF$ ZGPXG[JbJJ$ GZHTaFOM$ VDTPQ$ IHTXXMPJ$ WDQURY4$HMWXGLGaFOORPJ$ D$ XQU_$ HQVGDE$ $ {MV$ OJPJ$ XGPF\FO-$ WbFOM$CGSFWUDJQ$uHJWUM$DG$�V4$XGDFHY$ZGUGHG@$DOGD_$XGQDLQFUWQ$$uHJWUGW$ D$ KFLRY$ GVFQOJQY$ OJWXGWRLMQ$ KLMIGWLGDFOJFE$ {M$XGLQY$ZGDNFIM$J[GKHMaFOR$WDE$WUGLXOJZJ$CJPFGO$J$|MOJJL$W$XHFXGVGKORPJ$;GMOOGP$J$�GOIJOGP?ZL^NOJZGP4$YHMOJUFLFP$ZJFDWZJY$XF\FHE$

!&$"THE CONVOCATION OF ARCHANGEL MICHAEL


�!&$ )�&,#"�&+$ c1*,&$ )'$ (!&$ �,2!-.1&%$ ".$ (!&$ 2&.(,&$ )'$ (!&$2)53)#"(").4$/-.g&+$e6$(0)$1,)*3#$)'$#-".(#$-,,-.1&+$)�&,$c�&$tiers, above an image of the Anastasis and on the border Christ in

blessing, on the sides the Stylite saints Symeon and Daniel and

(!&$e%&##&+$5).g#$ ª)-..$-.+$�).1".*#$ (!&$�-(&?�&&3&,$)'$ (!&$Kievan Caves

/('(#$#/"'(#)*

+0,"""-&,"""

$&#

!&'"A PAIR OF ICONS PORTRAYING STS. NICHOLAS AND

JOHN THE BAPTIST

��ª�j$x��y4$��$= TH CENTURY

�!&$3-.&%#$)'$2*(?)*($),.-(&$#!-3&4$ (&,5".-(".1$ ()$)1&&$c."-%#d$e)(!$ #-".(#$ +&3"2(&+$ ',).(-%4$ (!&$ &%+&,%6$ �(E$ j"2!)%-#$ e%&##".1$-.+$ +"#3%-6".1$ (!&$ �)#3&%#4$ /-.g&+$ e6$ h!,"#($ -.+$ !"#$�)(!&,$in medallions, respectively presenting him with the Bible and

the Episcopal stole, the Saint’s vestments elaborately decorated

with cruciform patterns predominantly in red, greens and gold;

(!&$ f-3("#($ 3)".(".1$ ()$ (!&$ 2!-%"2&$0"(!$ (!&$ #-2,"c2"-%$ e)+6$ )'$Christ, additionally holding an inscribed scroll, the facial features

rendered with great precision, the gold details shimmering against

the green and brown shades of the composition

F9'#G3):B5>EH#(!'(#$#!?'.#)*2#F9'#IB:4H#(!#$#!1#)*# C!D

+0,"""-&,"""

!&'"."&$ ):'/6$ !$ '-(2327)$ !"#$ /):'524$$9=.'1"'(02$)$)'2//2$:(&!1)1&54$8wCC;<4$= ?@$A9B$

|DF$JZGOORY$VGWZJ$OFGKRNOG@$`GHPR4$TZHMSFOORF$HF[_KG@4$DFONMÛWQ$ WUHFL_NMURPJ$ WDGVMPJE$ {M$ GKFJY$ `HGOUML_OG$D$ XGQWOGP$ J[GKHMaFOJJ$ XHFVWUMDLFOR$ WDQURF$ {JZGLM@?�TVGUDGHFb$ J$ ;GMOO$ BHFWUJUFL_E$ $ {JZGLM@?$ �TVGUDGHFb$D$ KLMIGWLGDLQ^\FP$ aFWUF$ W$ ZOJIG@$ 9DMOIFLJQ$ D$ HTZMY$GZHTaFO$PFVML_GOMPJ$W$GKHM[MPJ$CXMWJUFLQ$J$vGIGHGVJbR4$VMHT^\JPJ$FPT$vJKLJ^$J$FXJWZGXWZGF$GKLMNFOJFE$wVFaVR$WDQUGIG$TZMSFOR$ZHFWUGGKHM[ORPJ$T[GHMPJ$D$VGPJOJHT^\JY$ZHMWORY4$ [FLFORY$ J$ [GLGURY$ UGOMYE$ $ ;GMOO$ BHFWUJUFL_$TZM[TFU$XFHWUGP$OM$NMST$W$aFHUDFOORP$UFLGP$uHJWUGDRP$J$VFHaJU$D$HTZMY$WDJUGZ$WG$WDJVFUFL_WUDGPE$�JZJ$WDQURY$UGNOG$J$U\MUFL_OG$XHGXJWMORE$]G[GLGUM$OM$GVFQOJQY$WJQFU$OM$`GOF$[FLFORY$J$ZGHJNOFDRY$UGOGDE

!&&"STS. JULITA AND HER SON KIRIKOS


The boy standing in front of his Mother, clutching a red martyr’s cross;

�(E$ �*%"(-$ 1&#(*,".1$ ".$ e%&##".1$ -.+$ 3)".(".1$ ()$ (!&$ "5-1&$ )'$h!,"#($ ".$the open skies above; the haloes with shaded gilt rims, the bright yet

#-(*,-(&+$ 2)%)*,#$ )'$ (!&$c1*,&#$ 2)55-.+".1$ '*%%$ -((&.(").$ -1-".#($ (!&$olive background

/%'/#$#!&'?#)*

+/,"""-0,"""

!&&"!""#$:)():$)$=5)12$8wCC;<$x�wCBwACB�<$±Bw��y4$Bw{9:$= ?IG$A9B�

CDE$ BJHJZ$ WUGJU$ XFHFV$ PMUFH_^4$ WaJPMQ$ ZHMWOR@$ PTNFOJNFWZJ@$ZHFWUE$ CDE$ ;TLJUM$ TZM[TFU$ OM$ GKHM[$ uHJWUM$ J$ HM[DFHWURF$ OFKFWM$DDFHYTE${JPKR$GUVFLMOR$[GLGUG@$UGOJHGDZG@E$«JITHR4$DRXGLOFOORF$D$ QHZJY$ OMWR\FOORY$ UGOMY$ OM$ GLJDZGDGP$ `GOF4$ WLTaMU$ bFOUHGP$ZGPXG[JbJJE$

$'%

!&)"A VITA ICON OF STS. ZOSIMA AND SAVATII


In the centre of the composition, the two elderly monks

presenting a model of the monastery they founded in the

Solovetsky archipelago to the Mother of God of the Sign; the

h!*,2!&#i$+)5&#$-.+$2,*2"'),5$c."-%#4$(!&$#*,,)*.+".1$0-%%$0"(!$its towers and gates, all clearly discernible; the twelve pictures all

around providing a pictorial narrative of the Monastery’s story;

rendered mostly with reds and greens on gold ground and ochre

borders

(/'(#$#0('(#)*

+!,(""-/,(""

�,)�&.-.2&�ª2).-#(-#4$�).+).4$�&2&5e&,$= Ë

!&)"):'/2$!$ $?)1)&7$!""#$ 3'!)76$)$!2""21)4$!'5'"&0:)8$8wCC;<4$= ?@$A9B$

CUMHbR?$GUSFL_OJZJ$XHFXGVOGWQU$PGVFL_$GWOGDMOOGIG$JPJ$D$CGLGDFbZGP$MHYJXFLMIF$PGOMWURHQ$vGIGHGVJbF$}zOMPFOJF�$xXHJ$¬UGP$PGaOG$HMWWPGUHFU_$XGVHGKOR@$XLMO$PGOMWURHQ$W$FIG$KMSOQPJ$J$DGHGUMPJ4$J$VMaF$TDFONMOORF$ZHFWUMPJ$ILMDR$bFHZDF@yE$ $ |DFOMVbMU_$ ZLF@P4$ GZHTaM^\JY$ bFOUHML_OT^$WbFOT$D$WHFVOJZF$JZGOR4$XGDFWUDTÛ$GK$GWOGDMOJJ$PGOMWURHQE$A$ XHGJ[DFVFOJJ$ XHFGKLMVMÛ$ ZHMWORF$ J$ [FLFORF$ UGOM4$DRXGLOFOORF$XG$[GLGUGPT$`GOT$D$GYHJWUGP$GKHMPLFOJJE

$'$

!&("7)/&*/24$):'/2$!$'-(2327)$$"'!:(&!&/)4$)$!1(2!1&*$8()!1'"68$$"$':(=?&/))$:5&*7$$!$%52"/67)$0&(:'"/67)$,(23./):27)$8wCC;<4$wBw�w$=t²²$IE

A$ bFOUHF$ ZGPXG[JbJJ$ J[GKHMaFO$ uHJWUGW4$ J[DGVQ\J@$ J[$�VM$ �VMPM4$ 9DT$ J$ DFUYG[MDFUORY$ XHMDFVOJZGDE$ CbFOM$ D$WHFVOJZF$ GZHTaFOM$ VDFOMVbMU_^$ ZLF@PMPJ$ W$ J[GKHMaFOJFP$9IG$CUHMWUF@�$XGDFWUDGDMOJF$OMNJOMFUWQ$W$ZLF@PM$W$~M@OG@$AFNFHF@$ $ D$ DFHYOFP$ LFDGP$ TILT$ J$ GZMONJDMFUWQ$ GKHM[GP$ W$UHFPQ$�MHJQPJ$T$IHGKOJbR$uHJWUM$D$OJaOFP$$XHMDGP$TILTE$8FIJWUHR$HM[VFLFOR$KFLRPJ$NFHUMPJ4$XG$ZGUGHRP$XHGYGVQU$OMVXJWJ$ W$ OMJPFOGDMOJQPJ$ J[GKHMaFOORY$ WGKRUJ@E$ $B$ OJP$XHJPRZMÛ$ J[GKHMaFOJQ$ SFWUOMVbMUJ$ ILMDORY$ bFHZGDORY$XHM[VOJZGDE$ BGPXG[JbJ^$ DFONMFU$ GKHM[$ ~HGJbRE$ A$ TILMY$JZGOR$ XGPF\FOR$ GKHM[R$ NFURHFY$ FDMOIFLJWUGD4$ XJST\JY$FDMOIFLJF$ D$ WZHJXUGHJQYE$ $ «JITHR$ XFHWGOMaF@$ NFUZG$DRXGLOFOR4$JY$[GLGNFORF$OJPKR$GKDFVFOR$KFLRP$ZGOUTHGPE$$|FUMLJ$ZMaVG@$WbFOR$U\MUFL_OG$XHGHMKGUMOR$J$OMXJWMOR$D$QHZJY$UGOMY$XG$[GLGUGPT$`GOT$W$GYHJWURPJ$XGLQPJE$

!&("A CALENDAR ICON INCLUDING THE PASSION CYCLE

AND THE MAJOR ECCLESIASTICAL FEASTS

��ª�j4$hª�h�$=t²²

The central image depicting Christ raising Adam, Eve and the

�*#($�&)3%&$)'$ (!&$%+$�&#(-5&.(4$#*,,)*.+&+$e6$(0&%�&$#2&.&#$from His suffering before the Anastasis, beginning in the upper

left with the Last Supper, ending in the lower right with the

�!,&&$ �-,6#$ -($ (!&$ �&3*%2!,&4$ (!&$ ,&1"#(&,#$ +&c.&+$ e6$ 0!"(&$bands bearing identifying inscriptions of the represented events;

enclosed further by pictures of sixteen major feasts; the entire

composition surmounted by an image of the Holy Trinity in

an arched setting; the corners of the panel portraying the four

��-.1&%"#(#$ ".$ (!&",$ #2,"3(),"-d$ (!&$ c1*,&#$ &�&2*(&+$ +"#(".2(%64$their gilt haloes with white rims, each panel precisely detailed,

painted in bright colours on gold ground, with an ochre border

.%#$#&!#)*

+/,(""-0,(""

$'&

!&+"TWO WINGS FROM A TRIPTYCH WITH SILVER

BASMA


Organised in four compartments, showing the Annunciation

and the Old Testament Trinity above and below, depicting the

Dormition and Entrance of the Mother of God to the Temple;

the upper ogee section of the diptych including the darkened

sun and bloody moon; the images divided by silver and gilt

metal strips applied to the panel, engraved with the titles of the

feasts and tooled with foliate scroll decoration

0(#$#/!#)*

+!,(""-/,(""

!&+"."&$ !1"'(:)$ !:52./4$ !$ !&(&-(4/67)$-2!727)$8wCC;<$4=t?@$A9B

!&*"THE MOTHER OF GOD “SOOTHER OF SORROWS”

��ª�j4$hª�h�$=t²²

Bringing her right hand on her head in a contemplative manner,

Christ reclining on her lap and displaying an open scroll, their

'-2&#$ ,&.+&,&+$ ".$+&&3$#!-+&#$-22&.(*-(&+$e6$c.&$!"1!%"1!(#4$the golden haloes shining against the dark olive background

/%#$#!&'(#)*

+%,(""-!,(""

!&*"'-(23$ -'%'('.)06$ ;=1'5)$ 7'4$ ,&925)<$8wCC;<4$wBw�w$=t²²$IE$$

vGIGHGVJbM$ WG[FHbMUFL_OG$ XGVOGWJU$ XHMDT^$ HTZT$ Z$ \FZF$ILQVQ$OM$uHJWUME$�LMVFOFb$$XGLTLFaJU$T$OFF$OM$ZGLFOQY$W$HM[DFHOTURP$WDJUZGP$D$HTZMYE$�JZJ$DRXJWMOR$D$ILTKGZJY$UGOMY4$ GaJDLFOORY$ UGOZJPJ$ XHGKFLMPJE$ zGLGUG$ OJPKGD$DRVFLQFUWQ$OM$UFPOGP$GLJDZGDGP$`GOFE

!),"f2(f'('"'&$,2!825>/'&$4*0'$!$ $7'1)"'7$)3$:2(1)/6$)#$2*"23'"!:'%'$8wCC;<4$= ?@$A9B

C$ LJbFDG@$ WUGHGOR$ OM$ Q@bF$ DGWXHGJ[DFVFOM$ ZMHUJOM$�@DM[GDWZGIG4$ J[GKHMaM^\MQ$ PGHWZG@$ SUGHP$ W$ HQVGP$`JITH$OM$KFHFITE$C$GKHMUOG@$WUGHGOR$XGPF\FO$GKHM[$�MSM$9DYMHJWUJJ$ J$ WGSFWUDJF$ WDE$ |TYME$ ]G$ ZHMQP$ J[GKHMaFOJQ$TZHMSFOR$ XG[GLGNFOORPJ$ HF[ORPJ$ HGPMSZMPJ$ J$HFL_FÒRPJ$KMHGNORPJ$[MDJUZMPJE

!),"A PORCELAIN EASTER EGG WITH A PAINTING AFTER

AIVAZOVSKY


�!&$ ',).($ "%%*#(,-(".1$ -$ #(),5$ -($ #&-$ 0"(!$ c1*,&#$ ).$ (!&$ #!),&$after a painting of Ivan Aivazovksy, the back showing in gold

the Chalice of Salvation and the descent of the Holy Spirit; the

3&,"3!&,6$)'$ (!&$&11$+&2),-(&+$0"(!$1"%+&+$+-"#"&#$-.+$e-,)�*&$scrolls in relief

?#)*#:38:

+!,"""-/,"""

+,-./0.123+

$'(

g.)0%&+1&4$-.+$1&.&,-%%6$-22&3(&+$,&#&-,2!$-.+$#2!)%-,#!"3$-($(!&$("5&E

+E$�#("5-(&#$)'$(!&$#&%%".1$3,"2&$)'$(!&$�,)3&,(6$%)(#$#!)*%+$.)($e&$+&3&.+&+$).$-#$(!&$3,"2&$-($0!"2!$(!&$"(&5$0"%%$#&%%$),$"(#$�-%*&$).$-.6$)(!&,$1,)*.+#E

§y$ ��$�®�$��h�ªj

-E$�!&$�*2(").&&,#$!-�&$(!&$,"1!(4$-($)*,$2)53%&(&$+"#2,&(").4$()$,&'*#&$admission to the premises or participation in the auction and to reject any bid;

eE$�)(&.("-%$f*6&,#$5*#($2)53%&(&$-.+$#"1.$-$e"++&,$,&1"#(,-(").$'),5$-.+$3,)�"+&$"+&.("c2-(").E$°&$5-6$,&�*",&$e-.g$+&(-"%#$',)5$0!"2!$3-65&.($0"%%$e&$5-+&$),$)(!&,$c.-.2"-%$,&'&,&.2&#E$°!&.$5-g".1$-$e"+4$-$f"++&,$"#$-22&3(".1$3&,#).-%$%"-e"%"(6$()$3-6$(!&$�*,2!-#&$�,"2&4$".2%*+".1$(!&$f*6&,i#$�,&5"*5$-.+$-%%$-33%"2-e%&$(-�&#4$3%*#$-%%$)(!&,$-33%"2-e%&$2!-,1&#E$Bidders are personally liable for their bid;

2E$�!&$f"++&,$5-6$-2($-#$-1&.($).$e&!-%'$)'$-.$"+&.("c&+$(!",+$3-,(6$"'$"($!-#$been explicitly agreed in writing with the Auctioneers before the

2)55&.2&5&.($)'$(!&$#-%&E$°&$0"%%$).%6$%))g$()$(!&$3,".2"3-%$'),$payment, but Bidders acting as agent are jointly and severally liable with their

principal;

+E$ª'$f"++&,#$-,&$.)($-e%&$()$-((&.+$(!&$-*2(").4$),$e"+$�"-$-.$-1&.($),$e6$telephone, Auctioneers will carry out absentee written bids provided they are

+&%"�&,&+$()$*#$3,"),$()$(!&$#-%&E$f"+#$5*#($e&$3%-2&+$".$�*,)#E$�%&-#&$,&'&,$()$(!&$2-(-%)1*&$'),$(!&$�e#&.(&&$f"+#$�),5E$ª'$0&$,&2&"�&$0,"((&.$e"+#$).$-$#3&2"c2$%)($'),$"+&.("2-%$-5)*.(#4$(!&$c,#($0,"((&.$e"+$()$e&$,&2&"�&+$-.+$-22&3(&+$0"%%$!-�&$3,"),"(6E$�,)�"+&+$(!-($0&$!-�&$&�&,2"#&+$,&-#).-e%&$2-,&$".$the handling of written bids, we cannot accept liability in any single instance

for failing to carry out a written bid or for errors in connection with it arising

from situations beyond our reasonable control;

&E$ª'$-$f"++&,$5-g&#$-,,-.1&5&.(#$0"(!$(!&$�*2(").&&,#$3,"),$()$(!&$#(-,($)'$(!&$auction, we will use reasonable attempts to contact them for them to

participate in the bidding by telephone, but we do not accept liability for

failure to do so or for errors in connection with telephone bidding arising from

situations beyond our reasonable control;

'E$�.%&##$)(!&,0"#&$#(-(&+4$-%%$�,)3&,(6$%)(#$-,&$)''&,&+$#*e�&2($()$-$�&#&,�&E$�!&$�&#&,�&$0"%%$.)($e&$!"1!&,$(!-.$(!&$%)0$&#("5-(&$3,".(&+$".$(!&$2-(-%)1*&E$The auctioneer may open the bidding on any lot below the Reserve by placing

-$e"+$).$e&!-%'$)'$(!&$�&%%&,E$�!&$-*2(").&&,$5-6$2).(".*&$()$e"+$).$e&!-%'$)'$the Seller up to the amount of the Reserve, either by placing successive bids or

by placing bids in response to other bidders;

1E$�!&$-*2(").&&,$!-#$(!&$,"1!($()$&�&,2"#&$+"#2,&(").$".$,&'*#".1$-.6$e"+4$-+�-.2".1$(!&$e"++".1$),$0"(!+,-0".1$-.6$�,)3&,(6$%)(E$ª.$(!&$2-#&$)'$&,,),$or dispute, whether during or after the sale, he may take such action as he

,&-#).-e%6$#&&#$c(E$ª'$-.6$+"#3*(&$-,"#&#$-'(&,$(!&$#-%&4$-.+$".$(!&$-e#&.2&$)'$any evidence to the contrary, the sale record maintained by the auctioneer will

be conclusive;

�E$�*e�&2($()$(!&$-*2(").&&,i#$,&-#).-e%&$+"#2,&(").4$(!&$!"1!&#($f"++&,$,&2)1."�&+$e6$(!&$-*2(").&&,$0"%%$e&$(!&$f*6&,E$�!&$#(,"g".1$)'$(!&$auctioneer’s hammer marks the acceptance of the highest bid and the

2).2%*#").$)'$(!&$2).(,-2($'),$#-%&$e&(0&&.$(!&$�&%%&,$-.+$(!&$f*6&,E$�"#g$-.+$,&#3).#"e"%"(6$'),$(!&$�,)3&,(6$%)($3-##&#$()$(!&$f*6&,$-($(!&$&�3",-(").$)'$(!,&&$2-%&.+-,$+-6#$',)5$(!&$+-(&$)'$(!&$#-%&$),$).$2)%%&2(").$e6$(!&$f*6&,$"'$&-,%"&,E

¦y$��$�®�$��h�ªj

-E$�!&$f*6&,$5*#($3-6$(!&$�*,2!-#&$�,"2&$'),$-$�,)3&,(6$%)($-.+$-.6$f*6&,i#$��3&.#&#$"55&+"-(&%6$-'(&,$(!&$#-%&E$�!"#$-33%"&#$,&1-,+%&##$"'$,&�*",&5&.(#$for export, import or other permits apply;

eE$ª'$(!&$�,("#(i#$�&#-%&$�"1!($�&1*%-(").#$¤²²¦$x��$�",&2("�&$¤²²=×t¨×�hy$-33%6$()$(!&$�,)3&,(6$%)(4$(!&$f*6&,$-%#)$-1,&&#$()$3-6$(!&$�*2(").&&,#$-.$-5)*.($&�*-%$()$(!&$,&%-3#&$,)6-%(6$3,)�"+&+$'),$".$(!)#&$�&1*%-(").#E$°&$-,&$responsible to pay such amount to the artist’s collection agent on behalf of the

Buyer;

2E$�!&$f*6&,$0"%%$.)($-2�*",&$("(%&$()$(!&$�,)3&,(6$%)($*.("%$(!&$�*,2!-#&$�,"2&$and Buyer’s Expenses have been received by the Auctioneers in cleared

'*.+#E$�.6$&-,%"&,$,&%&-#&$+)&#$.)($-''&2($(!&$3-##".1$)'$("(%&$),$(!&$f*6&,i#$*.2).+"(").-%$)e%"1-(").$()$3-6$(!&$�*,2!-#&$�,"2&$-.+$f*6&,i#$��3&.#&#$&�&.$".$2",2*5#(-.2&#$0!&,&$0&$!-�&$,&%&-#&+$(!&$%)($()$(!&$f*6&,d+E$°&$#!-%%$e&$

�!&$(63&$)'$(!&$,&%-(").#!"3$e&(0&&.$�-$�-,)%&$�"�".&$�"5"(&+$x!&,&".-'(&,$,&?'&,,&+$()$-#$�(!&$�*2(").&&,#�y4$(!&$�&%%&,#$x-#$+&c.&+$!&,&".e&%)0y$-.+$f*6&,#$x-#$+&c.&+$!&,&".e&%)0y$-.+$(!&$(&,5#$).$0!"2!$(!&$�*2(").&&,#$2).(,-2($0"(!$f*6&,#$-,&$)*(%".&+$e&%)0E

1) The Auctioneers’ and Sellers’ legal relationship with prospective Buyers is

,&1*%-(&+$e6�i) these Condition of Sale;

ii) the Consignment Agreement for Sellers;

iii) any additional notices and terms printed in the sale catalogue as amended

e6$-.6$#-%&,))5$.)("2&$),$(!&$-*2(").&&,i#$-..)*.2&5&.($-($(!&$-*2(").E

¤y$ �!&$�*2(").&&,#i$-2($-#$-1&.($'),$(!&$�&%%&,E$�!&,&'),&4$-$#-%&$2).(,-2($"#$5-+&$+",&2(%6$e&(0&&.$(!&$�&%%&,$-.+$(!&$f*6&,E$�!&$�*2(").&&,#$5-6$)0.$-$%)($x-.+$".$#*2!$".#(-.2&#$-2(#$".$-$3,".2"3-%$2-3-2"(6$-#$�&%%&,y$-.+×),$5-6$!-�&$-$%&1-%4$e&.&c2"-%$),$c.-.2"-%$".(&,&#($".$-$%)($-#$#&2*,&+$2,&+"(),$-.+$),$)(!&,0"#&E

3) DEFINITIONS

Auctioneers$5&-.#$��$��$�ª¯ªj�$��4$-$%"5"(&+$-$2)53-.6$,&1"#?(&,&+$*.+&,$(!&$%-0#$)'$h63,*#$*.+&,$,&1E$j)$®�$¤¨§²¤>$!-�".1$"(#$,&1"#(&,&+$)'c2&$-($=¨$�,)5"(!&)#$�(,&&(4$�1")#$�)5&(")#4$¤¥>²$j"2)#"-4$h63,*#d

Bidder means any person considering, making or attempting to make a bid, by

whatever means, and includes Buyers;

Buyer means any person who makes the highest bid or offer accepted by the

auctioneer, and includes such person’s principal when bidding as agent;

Buyer’s Expenses means any costs or expenses due to the Auctioneers from

(!&$f*6&,$-.+$-.6$-,("#(i#$,&?#-%&$,"1!($%&�6$3-6-e%&$".$,&#3&2($)'$(!&$#-%&$)'$(!&$�,)3&,(6$x-#$+&c.&+$".$(!&$h).#"1.5&.($�1,&&5&.(y4$".2%*+".1$-.$-5)*.($in respect of any applicable VAT thereon;

Buyer’s Premium means the commission payable by the Buyer on the

®-55&,$�,"2&$x-#$+&c.&+$!&,&".e&%)0y$-($(!&$,-(&$)'$¤²Ø$)'$(!&$®-55&,$�,"2&$)'$&-2!$%)($*3$()$-.+$".2%*+".1$Ù=²4²²²4$-.+$=§Ø$).$(!&$&�2&##$)'$(!&$®-55&,$�,"2&$-e)�&$Ù=²4²²²d

Hammer Price means the highest bid accepted by the auctioneer by the fall of

(!&$!-55&,4$),$".$(!&$2-#&$)'$-$3)#(?-*2(").$#-%&4$(!&$-1,&&+$#-%&$3,"2&d

Purchase Price$5&-.#$(!&$®-55&,$�,"2&$-.+$(!&$-33%"2-e%&$f*6&,i#$�,&5"*5$and VAT;

Reserve$5&-.#$(!&$2).c+&.("-%$5"."5*5$®-55&,$�,"2&$-($0!"2!$(!&$�&%%&,$!-#$-1,&&+$()$#&%%$-$�,)3&,(6$%)(d

Seller$5&-.#$(!&$3&,#).$)''&,".1$-$�,)3&,(6$%)($'),$#-%&$x".2%*+".1$(!&",$-1&.($x)(!&,$(!-.$(!&$�*2(").&&,#y4$&�&2*(),#$),$3&,#).-%$,&3,&#&.(-("�&#yd

VAT$"#$ -%*&$�++&+$�-�$-($(!&$2*,,&.($,-(&E

ÿ$ h��$��h�ª��ªj�$�j�$hj�ª�ªj

�!&$�*2(").&&,#$#&%%$(!&$�,)3&,(6$%)(#$-#$+&#2,"e&+$),$)(!&,0"#&$".$(!&$2).+"(").$(!&6$-,&$".$-($(!&$("5&$)'$(!&$#-%&4$e-#&+$).$(!&$')%%)0".1$5&(!)+#�

-E$�*&$()$(!&$(63&$-.+$-1&$)'$(!&$%)(#$#)%+4$(!&6$0"%%$#&%+)5$e&$".$3&,'&2($2).+"(").4$-.+$-,&$%"g&%6$()$#!)0$#"1.#$)'$0&-,4$+-5-1&4$,&#(),-(").$),$,&3-",E$�.6$,&'&,&.2&$()$2).+"(").$".$-$2-(-%)1*&$&.(,6$0"%%$.)($&�*-(&$()$-$'*%%$+&#2,"3(").$)'$2).+"(").E$h).+"(").$,&3),(#$-,&$-�-"%-e%&$).$,&�*&#(E$�-2!$%)($offered for sale by the Auctioneers is available for inspection prior to the sale,

-.+$0&$,&2)55&.+$(!-($6)*$-%0-6#$�"&0$(!&$�,)3&,(6$".$3&,#).E$ª%%*#(,-(").#$-,&$'),$"+&.("c2-(").$3*,3)#&#$).%64$-.+$2-..)($2).�&6$(!&$'*%%$2).+"(").$)'$-$�,)3&,(6$%)(d

eE$�%%$+"5&.#").#$)'$(!&$�,)3&,(6$%)(#$".$(!&$2-(-%)1*&$&.(,"&#$-,&$-33,)�"5-(&E

2E$�.6$#(-(&5&.(#$5-+&$e6$(!&$�*2(").&&,#$-e)*($-.6$�,)3&,(6$%)(4$0!&(!&,$written or oral, concerning attribution to an artist, school, or country of origin;

history; provenance; or any date or period; is not a representation of fact but

,-(!&,$"#$-$#(-(&5&.($)'$)3".").E$*,$)3".").#$!-�&$e&&.$'),5&+$1&.*".&%6$and in accordance with a reasonable standard of care, taking into account

information provided by the Seller, the Auctioneers’ scholarship and technical

!"#$%&%"#'(")('*+,

$')

>y$ °��j��ª.$-++"(").$()$(!&$�*2(").&&,#i$%"-e"%"(6$()$f*6&,#$#&($)*($".$2%-*#&$¨$)'$(!&#&$Conditions, but subject to the terms and conditions of this paragraph, the

�*2(").&&,#$0-,,-.($'),$-$3&,")+$)'$).&$6&-,$(!-($"'$(!&6$#&%%$-$�,)3&,(6$%)($0!"2!$"#$%-(&,$')*.+$()$e&$-$'),1&,6$x-#$+&c.&+$!&,&".e&%)0y$(!&6$0"%%$2-.2&%$(!&$#-%&$-.+$,&'*.+$(!&$f*6&,$(!&$),"1".-%$3*,2!-#&$3,"2&$3-"+$'),$(!&$�,)3&,(6$%)($".$(!&$2*,,&.26$)'$(!&$),"1".-%$#-%&E$�$'),1&,6$5&-.#$-$�,)3&,(6$%)($(!-($in the Auctioneers’ reasonable opinion is a fraudulent imitation created to

+&2&"�&$-#$()$-*(!),#!"3$),$+-(&4$-.+$0!&,&$(!&$�,)3&,(6$%)($"#$.)($+&#2,"e&+$-#$#*2!$".$!&-+".1#$3,".(&+$".$��$h��$��$".$(!&$2-(-%)1*&$x-#$#*2!$+&#2,"3(").$5-6$e&$-5&.+&+$e6$-.6$#-%&,))5$.)("2&$),$-..)*.2&5&.(yE

The Auctioneers’ warranty does not apply to supplemental material which

-33&-,#$e&%)0$(!&$*33&,$2-#&$(63&$!&-+".1#$)'$&-2!$�,)3&,(6$%)($-.+$(!&$�*2(").&&,#$-,&$.)($,&#3).#"e%&$'),$-.6$&,,),#$),$)5"##").$".$#*2!$5-(&,"-%E$The warranty does not apply to any heading which is stated to represent a

�*-%"c&+$)3".").E$�!&$0-,,-.(6$"#$#*e�&2($()$(!&$')%%)0".1�

-y$ª($+)&#$.)($-33%6$0!&,&$x"y$(!&$2-(-%)1*&$+&#2,"3(").$),$#-%&,))5$notice corresponded to the generally accepted opinion of scholars or experts

-($(!&$+-(&$)'$(!&$#-%&$),$'-",%6$".+"2-(&+$(!-($(!&,&$0-#$-$2)./"2($)'$)3".").#d$),$x""y$2),,&2($"+&.("c2-(").$)'$-$�,)3&,(6$%)($2-.$e&$+&5).#(,-(&+$).%6$e6$5&-.#$)'$&"(!&,$-$#2"&.("c2$3,)2&##$.)($1&.&,-%%6$-22&3(&+$'),$*#&$*.("%$-'(&,$publication of the catalogue or a process which at the date of publication of

the catalogue was unreasonably expensive or impractical or likely to have

2-*#&+$+-5-1&$()$(!&$�,)3&,(6d

ey$�!&$e&.&c(#$)'$(!&$0-,,-.(6$-,&$.)($-##"1.-e%&$-.+$#!-%%$-33%6$).%6$()$(!&$),"1".-%$f*6&,$)'$(!&$�,)3&,(6$%)($-#$#!)0.$).$(!&$".�)"2&$),"1".-%%6$"##*&+$e6$the Auctioneers when the lot was sold at auction;

2y$�!&$),"1".-%$f*6&,$5*#($!-�&$,&5-".&+$(!&$)0.&,$)'$(!&$�,)3&,(6$%)($without disposing of any interest in it to any third party;

d) Neither the Auctioneers nor the Seller will be liable for any damages

".2%*+".14$0"(!)*($%"5"(-(").4$%)##$)'$3,)c(#$.),$'),$".(&,&#(E

e) The Buyer must give written notice of claim to us within two years form the

+-(&$)'$(!&$-*2(").E$�!&$�*2(").&&,#$#!-%%$!-�&$(!&$,"1!($()$,&�*",&$(!&$f*6&,$()$)e(-".$(!&$0,"((&.$)3".").#$)'$(0)$&#(-e%"#!&+$&�3&,(#$".$(!&$c&%+4$5*(*-%%6$acceptable to the Auctioneers and the Buyer, before the Auctioneers decides

0!&(!&,$),$.)($()$2-.2&%$(!&$#-%&$*.+&,$(!&$0-,,-.(6E

'y$�!&$f*6&,$5*#($,&(*,.$(!&$�,)3&,(6$%)($()$(!&$�*2(").&&,#$".$(!&$#-5&$2).+"(").$-#$-($(!&$("5&$)'$(!&$#-%&E

8) The copyright in all images, illustrations and written material produced by or

'),$(!&$�*2(").&&,#$,&%-(".1$()$-$�,)3&,(6$%)($".2%*+".1$(!&$2).(&.(#$)'$(!"#$catalogue, is and shall remain at all times the property of the Auctioneers and

shall not be used by the Buyer, nor by anyone else, without our prior written

2).#&.(E$�!&$�*2(").&&,#$-.+$(!&$�&%%&,$5-g&$.)$,&3,&#&.(-(").$),$0-,,-.(6$(!-($(!&$f*6&,$)'$-$3,)3&,(6$0"%%$-2�*",&$-.6$2)36,"1!($),$)(!&,$,&3,)+*2(").$,"1!(#$".$"(E

9) If any part of these Conditons of Sale is found by any court to be invalid,

illegal or unenforceable, that part shall be discounted and the rest of the

2).+"(").#$#!-%%$2).(".*&$()$e&$�-%"+$()$(!&$'*%%&#($&�(&.+$3&,5"((&+$e6$%-0E

=²y$ �!&$,"1!(#$-.+$)e%"1-(").#$)'$(!&$3-,("&#$0"(!$,&#3&2($()$(!&#&$h).+"(").#$)'$Sale, and all aspects of all matters, transactions or disputes to which they

relate or apply shall be governed and interpreted by the laws of the Republic

)'$h63,*#E$f6$e"++".1$-($-*2(").4$0!&(!&,$3,&#&.($".$3&,#).$),$e6$-1&.(4$e6$written bid, telephone or other means, the Buyer shall be deemed to have

#*e5"((&+$'),$(!&$e&.&c($)'$(!&$�*2(").&&,#4$()$(!&$&�2%*#"�&$�*,"#+"2(").$)'$(!&$2)*,($)'$(!&$�&3*e%"2$)'$h63,*#E

entitled to retain items sold until all amounts due to us, have been received in

full in cleared funds or until the Buyer has performed any other outstanding

)e%"1-(").#$-#$0&$#!-%%$,&�*",&4$".2%*+".1$2)53%&(".1$-.6$-.("?5).&6$%-*.+&,?".1$c.-.2".1$2!&2g#$0&$5-6$,&�*",&$()$)*,$#-("#'-2(").E$ª.$(!&$&�&.($-$f*6&,$'-"%#$()$2)53%&(&$-.6$-.("?5).&6$%-*.+&,".1$c.-.2".1$2!&2g#$()$)*,$#-("#'-2?tion, the Auctioneers shall be entitled to cancel the sale and to take any other

-2(").#$(!-($-,&$,&�*",&+$),$3&,5"((&+$*.+&,$-33%"2-e%&$%-0E$�*e�&2($()$(!"#$(!&$f*6&,$#!-%%$2)%%&2($3*,2!-#&+$�,)3&,(6$%)(#$0"(!".$(0)$2-%&.+-,$+-6#$',)5$(!&$date of sale unless otherwise agreed between us and the Buyer;

&E$�%(!)*1!$0&$#!-%%$*#&$,&-#).-e%&$&''),(#$()$(-g&$2-,&$0!&.$!-.+%".14$3-2g".1$-.+$#!"33".1$-$3*,2!-#&+$�,)3&,(6$%)($-.+$".$#&%&2(".1$(!",+$3-,("&#$for these purposes, we are not liable for the acts or omissions of any such third

parties;

'E$�.%&##$)(!&,0"#&$-1,&&+$e6$*#$".$0,"(".14$(!&$'-2($(!-($(!&$f*6&,$0"#!&#$to apply for an export licence does not affect his or her obligation to make

payment immediately after the sale nor our right to charge interest or storage

2!-,1&#$).$%-(&$3-65&.(E$ª'$(!&$f*6&,$,&�*&#(#$*#$()$-33%6$'),$-.$&�3),($licence on his or her behalf, we shall be entitled to make a charge for this

#&,�"2&E$°&$#!-%%$.)($e&$)e%"1&+$()$,&#2".+$-$#-%&$.),$()$,&'*.+$-.6$".(&,&#($),$other expenses incurred by the Buyer where payment is made by the Buyer in

2",2*5#(-.2&#$0!&,&$-.$&�3),($%"2&.2&$"#$,&�*",&+d

1E$ª'$(!&$f*6&,$'-"%#$()$5-g&$3-65&.($".$'*%%$".$1))+$2%&-,&+$'*.+#$0"(!".$>$days after the auction, we shall have the right to exercise a number of legal

,"1!(#$-.+$,&5&+"&#E$�!&#&$".2%*+&4$e*($-,&$.)($%"5"(&+$()$(!&$')%%)0".1�

i) hold the defaulting Buyer liable for the total amount due and to commence

legal proceedings for its recovery together with interest, and costs for such

proceedings to the fullest extent permitted under applicable law;

""y$2-.2&%$(!&$#-%&$)'$(!&$�,)3&,(6$$%)(d

"""y$,&#&%%$(!&$�,)3&,(6$3*e%"2%6$),$3,"�-(&%6$).$#*2!$(&,5#$-#$0&$#!-%%$(!".g$c(d

iv) pay the Seller an amount up to the net proceeds payable in respect of the

amount bid by the defaulting Buyer;

�y$2!-,1&$".(&,&#($-($-.$-..*-%$,-(&$&�*-%$()$§Ø$-e)�&$(!&$e-#&$,-(&$)'$(!&$Central Bank of Cyprus;

vi) set off any amounts which the Auctioneers owe the Buyer against the

outstanding amount remaining unpaid by the Buyer;

vii) where several amounts are owed by the Buyer to us in respect of

different transactions to apply any amount paid to discharge any amount

owed in respect of any particular transaction, whether or not the Buyer so

authorises;

viii) exercise a lien over any of the Buyer’s property which is in the

3)##&##").$)'$(!&$�*2(").&&,#E$°&$#!-%%$".'),5$(!&$f*6&,$)'$(!&$&�&,2"#&$)'$-.6$#*2!$%"&.$-.+$0"(!".$=¨$+-6#$)'$#*2!$.)("2&$5-6$-,,-.1&$the sale of such property and apply the proceeds to the amount owed to the

Auctioneers;

"�y$(-g&$#*2!$)(!&,$-2(").$-#$0&$+&2"+&$.&2&##-,6$),$-33,)3,"-(&E

ª'$0&$,&#&%%$(!&$�,)3&,(6$*.+&,$3-,-1,-3!$x"""y$-e)�&4$(!&$+&'-*%(".1$f*6&,$#!-%%$e&$%"-e%&$'),$3-65&.($)'$-.6$+&c2"&.26$e&(0&&.$(!&$()(-%$-5)*.($originally due to us and the price obtained upon resale as well as for all

reasonable costs, expenses, damages, legal fees and commissions and

premiums of whatever kind associated with both sales or otherwise arising

',)5$(!&$+&'-*%(E$ª'$0&$3-6$-.6$-5)*.($()$(!&$�&%%&,$*.+&,$3-,-1,-3!$x"�y$above, the Buyer acknowledges that the Auctioneers shall have all of the

rights of the Seller, however arising, to pursue the Buyer for such amount

°!&,&$3*,2!-#&#$-,&$.)($2)%%&2(&+$0"(!".$(0)$2-%&.+-,$+-6#$',)5$(!&$+-(&$of the sale, whether or not payment has been made, we shall be permitted

to remove the property to a third party warehouse at the Buyer’s expense,

and only release the items after payment in full has been made of removal,

storage, handling, and any other costs reasonably incurred, together with

3-65&.($)'$-%%$)(!&,$-5)*.(#$+*&$()$*#E

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