Barnaba da Modena (1328–1386) Madonna and Child, c. 1370s Tempera on panel height: 109 cm (42.9 in); width: 72 cm (28.3 in) Louvre Museum
The panel, probably originally rectangular, was cut at the top following the profile of the moldings in relief. Central element of a polyptych.
The Nursing Madonna, Virgo Lactans, or Madonna Lactans, is an iconography of the Madonna and Child in which the Virgin Mary is shown breastfeeding the infant Jesus. In Italian it is called the Madonna del Latte (“Madonna of milk”). It was a common type in painting until the change in atmosphere after the Council of Trent, in which it was rather discouraged by the church, at least in public contexts, on grounds of propriety…
DUTCH MASTER Crowning of Mary Oil/tempera on oak. Parqueted 78 x 51cm. Private collection
Surrounded by a cloud aureole God the Father (to the left) and Christ (to the right) are sitting on a throne bank with high rests. God the Father is dressed in a coat of brocade and has a tiara on his head. Christ wears a green-lined red coat and holds the globe in his left hand. Together they hold the crown above Mary’s head who is kneeling in between them, her hands clasped for prayer. In this way she is crowned Queen of Heaven. Behind the throne bank there are two angels observing what is going on. In the upper margin of the painting there is the dove of the Holy Spirit which, together with God the Father and Christ represents the Holy Trinity. All of the flesh tones are overall in a good condition. The background shows a condition, which makes presume a former pressed brocade application. The rather curious rests of the throne also support this presumption, because they would fit more organically into such an original context. The entire colouring of the work shows a harmonic character which is typical for this time. The painting might be a section of a formerly large retable. More on this work
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Lorenzo di Bicci (c. 1350 – 1427), DOCUMENTED IN FLORENCE 1370 – 1427 A PORTABLE TRIPTYCH SHOWING THE MADONNA AND CHILD ENTHRONED WITH SAINTS, WITH THE ANNUNCIATION, NATIVITY, AND CRUCIFIXION DEPICTED ON THE WINGS Tempera on panel, gold ground, pointed tops central panel: 73.9 by 39.8 cm.; 29 by 15 5/8 in. wings, each: 56.4 by 13.5 cm.; 22 1/8 by 5 1/2 in Private collection
The arrangement and combination of subjects in this devotional triptych were common throughout the Florentine Trecento and early Quattrocento, a tried and tested formula which found its origin in Bernardo Daddi’s Bigallo Triptych of 1333, in the Museo del Bigallo, Florence. The left wing depicts the Nativity; the right wing shows the Crucifixion. The pinnacles above each wing form a single narrative representing the Annunciation. At centre, below a blessing Christ, the Virgin sits on a Gothic throne, adorned with a red and gold cloth of honour. A corporeal Christ Child sits upon her lap and, with an innovative gesture of tenderness, clutches her finger. Surrounding them are a group of six saints, which include John the Baptist and John the Evangelist.
Lorenzo di Bicci (c. 1350–1427) was an Italian painter of the Florentine school, traditional in outlook. He is believed to have learned his trade from his father, about whom little other than his name, Bicci, is known. By 1370, Lorenzo was a member of the Guild of Saint Luke, the painters’ guild of Florence. Lorenzo’s earliest documented work, Saint Martin Enthroned, dates from 1380 and is now in the Depositi Galleria Arte in Florence. More on Lorenzo di Bicci
Eastern Europe, Russia, ca. 1760 to 1780 CE Virgin of the Burning Bush Egg tempera and gold leaf on wood 14.125″ L x 12.125″ W (35.9 cm x 30.8 cm) Private collection
The subject of Our Lady of the Burning Bush is based on the Old Testament prophecy of the incarnation of Christ. Such theologians as St Gregory of Nyssa and Theodoret of Cyrrhus regarded Moses’s vision of the burning bush as a symbol and prototype of the Virgin Mary and the Immaculate Conception.
The iconography of the scene was inspired by the Russian Orthodox hymns comparing the Virgin to the burning bush seen by Moses — engulfed in flames, yet not burning (Exodus 2:1–6). Icons of the subject were popular from the sixteenth century onwards and were believed to offer protection from fire. The Russian Orthodox Church celebrates the festival of the icon on 4/17 September, which is also the day of Moses. More on Our Lady of the Burning Bush
19th C. Russian Icon St. Alexander Svirsky Egg tempera and gold leaf on wood 3.25″ W x 4.25″ H (8.3 cm x 10.8 cm) Private collection
St. Alexander Svirsky spent much of time of his life as a monk, including some period of total isolation from society.
In 1506, Serapion, Archbishop of Novgorod, appointed him Hegumen of the Trinity monastery, which later became known as Alexander-Svirsky Monastery, at the place of the saint’s eremitic life between Roschinsky and Holy lakes.A rendition of the the appearance of the Holy Trinity ot St. Alexander Svirsky.
The Trinity appeared to St. Alexander in 1508, twenty-three years after he came to this secluded location. One night when he was praying in his cabin, a radiant light shone brightly, and the three haloed angels in billowing white robes approached him. Taken aback by this event, the monk fell down with fright. Once he came to again, he prostrated himself on the ground out of respect. The angels took him by the hand, said, “Have trust, blessed one, and fear not”, and asked him to build a church and a monastery. More on St. Alexander Svirsky
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Unknown iconographer 19th C. Russian Icon with Chosen Saints Egg tempera and gold leaf on wood 14.25″ W x 17.75″ H (36.2 cm x 45.1 cm) Private collection
An icon presenting an ensemble of blessed saints, including Catherine , Natalya, Ann the Prophetess, Ljubov (Love, more commonly interpreted as Charity), John, and Alexander standing in two rows. The seventh saint is most likely John the Evangelist. Each saint is identified with a gold on blue banner, all beneath Saint Anne in the celestial realm aloft billowing clouds donning red and blue robes. More on this Icon
Saint Catherine of Alexandria is, according to tradition, a Christian saint and virgin, who was martyred in the early 4th century at the hands of the pagan emperor Maxentius. According to her hagiography, she was both a princess and a noted scholar, who became a Christian around the age of fourteen, and converted hundreds of people to Christianity. More on Saint Catherine of Alexandria
Saint Natalia‘s hagiography is closely tied to the life of her husband, Saint Adrian. Adrian was struck by divine grace and told the Roman officials to write his own name with the rest of the martyrs. When his wife Natalia heard that he had been imprisoned with the martyrs, she ran with joy to the gaol and lauded his resolve while embracing his chains. She imploring the other martyrs to pray to God.
When Adrian appeared before the emperor and confessed Christ, he was tutored, and killed, with the other martyrs. Their hands and feet were then cut off. Natalie managed to steal one of her husband’s severed hands from the pile. The fire that was supposed to burn the relics was miraculously put out by a sudden shower of rain, and a Christian named Eusebius was able to retrieve the relics and transport them for burial to Argyroupolis, a town near Byzantium. Some time later, Natalia visited the tomb where she gave up her soul to God and was herself subsequently buried. More on Saint Natalia
Anna the Prophetess is a woman mentioned in the Gospel of Luke. According to that Gospel, she was an elderly Jewish woman who prophesied about Jesus at the Temple of Jerusalem. She appears in Luke, during the presentation of Jesus at the Temple. More on Anna the Prophetess
Saint Ljubov, Saints Faith, Hope and Charity are a group of Christian martyred saints. In the reign of Roman Emperor Hadrian (2nd century AD), a matron Sophia (Wisdom), with her three youthful daughters, Pistis, Elpis, and Agape (Greek for Faith, Hope and Charity), became martyrs.
The guards took Sophia’s daughters one by one, from the oldest to the youngest and beat and tortured them to death in an attempt to force her to renounce her faith in Christ. She proved her unconditional faith in Christ by proving to people that she and her daughters were willing to go through hard times for their faith. Afterwards, Sophia buried her daughters’ bodies and remained by their graves for three days until she died herself. More on Saint Ljubov and Saint Sofia
Saint John the Apostle, also called Saint John the Evangelist or Saint John the Divine (flourished 1st century ce), in Christian tradition, the author of three letters, the Fourth Gospel, and the Revelation to John in the New Testament. He played a leading role in the early church at Jerusalem. More on Saint John
Saint Anne (also known as Ann or Anna) of David’s house and line, was the mother of the Virgin Mary and grandmother of Jesus Christ, according to apocryphal Christian and Islamic tradition. More on Saint Anne
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Unknown iconographer Christ Emmanuel, 18th C. Russian Icon Egg tempera and gold leaf on wood 10.25″ W x 12.25″ H (26 cm x 31.1 cm) Private collection
The text beneath may refer to a passage of Isaiah that Christ read in the synagogue of Nazareth, “The Spirit of the Lord GOD is upon me, because the Lord has anointed me to preach good tidings to the afflicted”.
The prophet Isaiah coined the term Emmanuel which means God is with us, and this icon captures that sense of immediate presence. According to Alfredo Tradigo, “We see not a child before us, but the mysterious, unknowable face of God, who is eternally young and old at once, as emphasized by the Church Fathers. The figure’s young age stands not for the Child but, rather, for the incorruptible, timeless youth of the sacrificial Lamb, daily renewed on the altar in the bloodless sacrifice of the Eucharist. Tradigo continues to explain that the placement of an Emmanuel icon at the Cathedral of the Dormition in Moscow, in a Deesis over the northern doors of the iconostasis that lead to the prosthesis (the special room where these holy gifts are prepared) attests to this interpretation. The smooth-faced Christ Emmanuel is traditionally inserted in an angelic Deesis between Gabriel and Michael the holy archangels who protect the Divine Liturgy). In some cases a grand ensemble of angels forms an assembly around Emmanuel. More on this Icon
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Unknown artist A Greek icon of St John the Baptist, ‘Slave (of God) Apostolis’, late 17th century Painted against a gilt ground 61 x 38cm; 24½ x 15 in. Private collection
The Winged Saint shown carrying a chalice containing his own head and an open scroll. More on this Icon John the Baptist, known as the prophet Yahya in the Qur’an, was a Jewish itinerant preacher in the early first century AD. John is revered as a major religious figure in Christianity, Islam, the Bahá’í Faith, and Mandaeism. He is called a prophet by all of these traditions, and honoured as a saint in many Christian traditions.
John used baptism as the central sacrament of his messianic movement.[ Most scholars agree that John baptized Jesus. Scholars generally believe Jesus was a follower or disciple of John and several New Testament accounts report that some of Jesus’ early followers had previously been followers of John. John the Baptist is also mentioned by the Jewish historian Josephus. Some scholars maintain that John was influenced by the semi-ascetic Essenes, who expected an apocalypse and practiced rituals corresponding strongly with baptism, although no direct evidence substantiates this.
According to the New Testament, John anticipated a messianic figure greater than himself, and Jesus was the one whose coming John foretold. Christians commonly refer to John as the precursor or forerunner of Jesus, since John announces Jesus’ coming. John is also identified with the prophet Elijah. More on John the Baptist
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Spanish School. First half of the 16th century The Annunciation Oil on panel 41 x 31 cm Private collection
The Virgin appears kneeling in front of a table decorated with a red cloth with gold trim.. The arrival of the archangel has caused the Virgin to put down her book and turn her face to observe the unexpected visitor. Saint Gabriel, is in the act of approaching the Virgin. In his left hand he grasps a golden sceptre topped with a kind of fleur-de-lys: it is the messenger’s staff. He extends his right arm pointing with his index and middle fingers towards the sky to emphasise the fact that the message he brings comes directly from God.
Mary brings her left hand to her chest as a sign of compliance with the divine message, while with her right she still holds a page of the book she was reading. More on this painting
The Annunciation referred to as the Annunciation to the Blessed Virgin Mary, the Annunciation of Our Lady, or the Annunciation of the Lord, is the Christian celebration of the announcement by the angel Gabriel to the Virgin Mary that she would conceive and become the mother of Jesus, the Son of God, marking his Incarnation. Gabriel told Mary to name her son Yehoshua, meaning “YHWH is salvation”.
According to Luke 1:26, the Annunciation occurred “in the sixth month” of Elizabeth’s pregnancy. Many Christians observe this event with the Feast of the Annunciation on 25 March, an approximation of the northern vernal equinox nine full months before Christmas, the ceremonial birthday of Jesus. In England, this came to be known as Lady Day. It marked the new year until 1752. The 2nd-century writer Irenaeus of Lyon regarded the conception of Jesus as 25 March coinciding with the Passion. More The Annunciation
Spanish School, 16th Century. In the sixteenth century when Spain became a world power with vast possessions and sources of wealth in the New World, as well as possessions dotted about Europe, it might have been expected that a vigorous national school of painting would emerge, transforming the somewhat tentative or imitative character that painting in Spain had shown up to then. It turned out otherwise. For most of the 16th century, painting remained spiritless. Both the Emperor Charles V and his son Philip II of Spain were patrons with a feeling for art, but the great Venetians, especially Titian, claimed most of their interest. Philip also highly approved of the fantasies of Hieronymus Bosch (1450-1516) – although the top Spanish clergy suspected heresy in these strange pictures from the Netherlands. More on Spanish School, 16th Century
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Northern Netherlandish School, circa 1500 The Nativity Oil on panel 24¾ x 23 in. (62.8 x 58.4 cm.) Private collection
This painted Nativity, which emphasises the humble nature of Christ’s birth, offers an intimate portrayal of the Holy Family. Kneeling in a ruined stable, the Virgin gazes devoutly down at the Christ Child, His small and vulnerable body resting on a fold of her drapery, while Joseph is shown removing his hat as a sign of reverence. Through the arch of the crumbling building, an angel announces Christ’s miraculous birth to shepherds on the hillside, two of whom have already come to witness the event: their strongly characterised faces can be seen peering through a window on the right. The original function of this panel is not known. It may have stood on its own as an aid for private devotion, or functioned as part of a larger ensemble: as the central panel of a triptych; or as one of the panels of a polyptych, depicting scenes from the life of Christ or the Virgin. More on this painting
Early Netherlandish painting is the work of artists active in the Burgundian and Habsburg Netherlands during the 15th- and 16th-century Northern Renaissance; especially in the flourishing cities of Bruges, Ghent, Mechelen, Louvain, Tournai and Brussels, all in contemporary Belgium. Their work follows the International Gothic style and begins approximately with Robert Campin and Jan van Eyck in the early 1420s. It lasts at least until the death of Gerard David in 1523, although many scholars extend it to the start of the Dutch Revolt in 1566 or 1568 Early Netherlandish painting coincides with the Early and High Italian Renaissance but is seen as an independent artistic culture, separate from the Renaissance humanism that characterised developments in Italy. Because these painters represent the culmination of the northern European medieval artistic heritage and the incorporation of Renaissance ideals, they are sometimes categorised as belonging to both the Early Renaissance and Late Gothic. More on the Netherlandish School
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Stefano di Giovanni, detto il Sassetta (Cortona? 1400 c. – Siena 1450) Madonna of the Snow Altarpiece, c. 1432 Tempera on panel 240 x 256 cm The Uffizi
White, soft, icy snow is a rare sight in the Mediterranean city of Rome during winter, let alone during summer. Yet, according to tradition, the founding of one of Rome’s most important Catholic churches took place on an extraordinary snowfall day in August of 352. On August 5 of 352, a wealthy Roman nobleman and Pope Liberius both had dreams in which snow was falling over the Esquiline Hill, one of Rome’s seven hills. The two men resolved to visit the place of the unusual event, bumped into one another and testified to the unusual snowfall. It so happened that the nobleman had been looking for a way to donate some of his possessions to the Catholic Church. He then restored to build a beautiful place of worship on top of the hill where the miraculous snow fell. Pope Liberius then proceeded to trace the perimeter of the soon-to-be-church by moving a stick over the thick white blanket. Since then, Santa Maria Maggiore has become one of the most important worship sites for Catholics and the largest Marian worship site in Rome. More on Madonna of the Snow Stefano di Giovanni di Consolo, known as il Sassetta (ca.1392–1450 or 1451) was a Tuscan painter of the Renaissance, and a significant figure of the Sienese School. While working within the Sienese tradition, he innovated the style by introducing elements derived from the decorative Gothic style and the realism of contemporary Florentine innovators as Masaccio.
Sassetta was probably trained alongside artists like Benedetto di Bindo and Gregorio di Cecco but he had a style all of his own. He achieved a high level of technical refinement and was aware of artistic innovations of talented painters in Florence such as Gentile da Fabriano and Masolino. His work differs from the late Gothic style of many of his Sienese contemporaries.
The Madonna of the Snow altarpiece for the Siena Cathedral was a prestigious commission for Sassetta, and is considered his second major work. Not only does he excel at infusing his figures with a natural light that convincingly molds their shape, he also has an amazing handle on spatial relationships, creating cohesive and impressive work. From this point on, under Gothic influence, Sassetta’s style increases its decorative nature. The polyptych done by Sassetta in San Domenico at Cortona (around 1437) depicts scenes from the legend of St. Anthony the Abbot. He shows great skill in narration through his painting as well as combining a sophisticated color palette and rhythmic compositions.
He died from pneumonia contracted while decorating the Assumption fresco on the Porta Romana of Siena. The work was finished by his pupil Sano di Pietro. More on Stefano di Giovanni di Consolo
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George Klontzas (1540 – circa 1608) Three Church Hierarchs; St Basil The Great, St John Chrysostom and St Gregory the Theologian, Cretan, late 16th century Tempera on wood Private collection
The Saints are depicted against a gold ground, in frontal position with elongated bodies and relatively small heads, each making a blessing gesture and holding a jewelled closed Book of Gospels, robed in precious bishop’s garments with striking geometric ornament of crosses set within squares and circles of a type worn during the Byzantine period. More on this painting
The Three Hierarchs of Eastern Christianity refers to Basil the Great, Gregory the Theologian and John Chrysostom. They were highly influential bishops of the early church who played pivotal roles in shaping Christian theology. In Eastern Christianity they are also known as the Three Great Hierarchs and Ecumenical Teachers, while in Roman Catholicism the three are honored as Doctors of the Church. The three are venerated as saints in Eastern Orthodoxy, Catholicism, Anglicanism, and other Christian churches. More on Three Church Hierarchs
Basil of Caesarea, also called Saint Basil the Great (330[8] – January 1 or 2, 379), was a Byzantine bishop of Caesarea Mazaca in Cappadocia, Asia Minor (modern-day Turkey). He was an influential theologian who supported the Nicene Creed and opposed the heresies of the early Christian church, fighting against both Arianism and the followers of Apollinaris of Laodicea. His ability to balance his theological convictions with his political connections made Basil a powerful advocate for the Nicene position.
In addition to his work as a theologian, Basil was known for his care of the poor and underprivileged. More on Basil of Caesarea
John Chrysostom ( 347 – 14 September 407) was an important Early Church Father who served as archbishop of Constantinople. He is known for his preaching and public speaking, his denunciation of abuse of authority by both ecclesiastical and political leaders, Divine Liturgy of Saint John Chrysostom, and his ascetic sensibilities. Chrysostom was among the most prolific authors in the early Christian Church.
He is honoured as a saint in the Oriental Orthodox, Eastern Orthodox, Catholic, Anglican, and Lutheran churches, as well as in some others. The Eastern Orthodox, together with the Byzantine Catholics, hold him in special regard as one of the Three Holy Hierarchs (alongside Basil the Great and Gregory of Nazianzus). More on John Chrysostom
Gregory of Nazianzus (329 – 25 January 390), also known as Gregory the Theologian or Gregory Nazianzen, was a 4th-century Archbishop of Constantinople and theologian. He is widely considered the most accomplished rhetorical stylist of the patristic age. As a classically trained orator and philosopher he infused Hellenism into the early church, establishing the paradigm of Byzantine theologians and church officials, More on Gregory of NazianzusGeorgios Klontzas (1535-1608) was a scholar, painter, and manuscript illuminator. He is one of the most influential artists of the post-Byzantine period. He defined the Cretan Renaissance. He worked for both Catholic and Orthodox patrons. His artistic output included: icons, miniatures, triptychs, and illuminated manuscripts. He is known for occupying his icons with countless figures. The technique is extremely complex and unique to Klontzas. Andreas Pavias attempted this technique in the Crucifixion of Jesus. Klontzas’s painting All Creation rejoices in thee is his most popular work. Klontzas influenced Theodore Poulakis he created an extremely similar painting called In Thee Rejoiceth. Klontzas’s work is strongly influenced by the Venetian school. His triptychs strongly resemble the works of Gentile da Fabriano, namely the Intercession Altarpiece. Klontzas’s Last Judgement resembles Michelangelo’s Last Judgement in the Sistine Chapel. There are very close similarities. There is no indication that Klontzas saw the work but it is a possibility. According to the Institute of Neohellenic Research fifty-four items of his art exist today. More on Georgios Klontzas
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Sano di Pietro Madonna and Child, Siena 1406 – 1481 Tempera on panel 7 3/8 by 6 1/8 in.; 18.8 by 15.6 cm. Private collection
This work in particularly displays an extremely refined and very high level of craftsmanship, probably reinforced by Pietro’s work as a miniaturist for major institutions like the Opera Metropolitana di Siena, and the monastery of Monte Oliveto Maggiore. In this small-scale devotional painting the Virgin appears in half-length in front of a gold background as she bends her head gently toward the Christ Child whom she supports on her right arm. The infant is dressed in a yellow tunic and a long red cloak. The delicate treatment of the faces, sharp nose, and pronounced chin of the Virgin are typical of the artist’s style. More on this Icon
Sano di Pietro or Ansano di Pietro di Mencio (1406–1481) was an Italian painter of the Sienese school of painting. He was active for about half a century during the Quattrocento period, and his contemporaries included Giovanni di Paolo and Sassetta.
Sano was born in 1406. His name enters the roll of painters in 1428 where it remained until his death in 1481. In addition to his own painting and overseeing the pupils and assistants in his workshop, Sano was also part of the civic fabric of Siena, in 1431 and 1442 he was the leader of the San Donato district of Siena. Sano was also employed as an arbitrator; in 1475 he was called upon to settle a dispute between fellow painters Neroccio di Bartolommeo and Francesco di Giorgio Martini.
It was, however, as a painter that he made his living. The workshop he ran produced huge number of artworks. He wasn’t merely a painter of altar pieces. He also produced frescoes, miniatures, and book bindings. Sano died in 1481. More on Sano di Pietro
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Saint Athanasius of Alexandria, Saint Nicholas and Saint Charalambos
An icon painted in two registers. Greece, 1744Heavy Softwood single panel. Egg tempera on gesso (gypsum), Konturritzungen, partially gilded. In the upper frame a full figure enthroned Christ flanked by the Virgin Mary and John the Baptist. The underlying three selected saints: St. Athanasius, St. Nicholas and St. Charalampi.… The upper frame is dated ‘1744’ ‘. 36.4 x 26.6 cm .
Saint Athanasius of Alexandria (c. 296–298 – 2 May 373), was the twentieth bishop of Alexandria (as Athanasius I). His episcopate lasted 45 years (c. 8 June 328 – 2 May 373), of which over 17 were spent in five exiles ordered by four different Roman emperors. Athanasius is a renowned Christian theologian, a Church Father, the chief defender of Trinitarianism against Arianism, and a noted Egyptian leader of the fourth century.
Conflict with successive Roman emperors shaped Athanasius’s career. In 325, at the age of 27, Athanasius began his leading role against the Arians as his bishop’s assistant during the First Council of Nicaea. Roman emperor Constantine the Great had convened the council in May–August 325 to address the Arian position that the Son of God, Jesus of Nazareth, is of a distinct substance from the Father. Three years after that council, Athanasius succeeded his mentor as archbishop of Alexandria. In addition to the conflict with the Arians (including powerful and influential Arian churchmen led by Eusebius of Nicomedia), he struggled against the Emperors Constantine, Constantius II, Julian the Apostate and Valens. He was known as “Athanasius Contra Mundum” (Latin for Athanasius Against the World). More on Saint Athanasius of Alexandria
Arianism is a nontrinitarian belief which asserts that Jesus Christ is the Son of God, but is entirely distinct from and subordinate to God the Father. Arianism is defined as those teachings attributed to Arius, which are in opposition to current mainstream Christian teachings on the nature of the Trinity and the nature of Christ. It was first attributed to Arius (c. AD 250–336), a Christian presbyter in Alexandria, Egypt. The Arian concept of Christ is that the Son of God did not always exist, but was created by—and is therefore distinct from—God the Father. This belief is grounded in the Gospel of John (14:28) passage: “You heard me say, ‘I am going away and I am coming back to you.’ If you loved me, you would be glad that I am going to the Father, for the Father is greater than I.” More on Arianism
Saint Nicholas (15 March 270 – 6 December 343), also called Nikolaos of Myra, was a historic 4th-century Christian saint and Greek Bishop of Myra, in modern-day Demre, Turkey). He had a reputation for secret gift-giving, such as putting coins in the shoes of those who left them out for him, a practice celebrated on his feast day―St Nicholas Day (6 December, and thus became the model for Santa Claus, whose modern name comes from the Dutch Sinterklaas, itself from a series of elisions and corruptions of the transliteration of “Saint Nikolaos”. His reputation evolved among the faithful, as was common for early Christian saints. In 1087, part of his relics (about half of his bones) were furtively transported to Bari, in Apulia, Italy; for this reason, he is also known as Nikolaos of Bari. The remaining bones were taken to Venice in 1100.
Saint Nicholas is the patron saint of sailors, merchants, archers, repentant thieves, children, brewers, pawnbrokers and students in various cities and countries around Europe. More on Saint Nicholas
Saint Charalambos was an early Christian bishop in Magnesia, a region of Asia Minor. He lived during the reign of Septimius Severus (193-211), when Lucian was Proconsul of Magnesia. It is believed that at the time of his martyrdom in 202, Charalambos was 113 years old.
Charalambos spread the Gospel in that region for many years. However, when news of his preaching reached the authorities of the area, the proconsul Lucian and military commander Lucius, the saint was arrested and brought to trial, where he confessed his faith in Christ and refused to offer sacrifice to idols.
Despite his advanced age, he was tortured mercilessly. They lacerated his body with iron hooks, and scraped all the skin from his body. The saint had only one thing to say to his tormentors: “Thank you, my brethren, for scraping off the old body and renewing my soul for new and eternal life.”
More tortures, the legend says, were wrought upon the saint after he was brought to Septimius Severus himself. Condemned to death and led to the place of execution, Charalambos prayed that God grant that the place where his relics would repose would never suffer famine or disease. After praying this, the saint gave up his soul to God even before the executioner had laid his sword to his neck. Tradition says that Severus’ daughter Gallina[4] was so moved by his death, that she was converted and buried Charalambos herself. More on Saint Charalambos
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Unknown artist Eastern Europe, Russia, ca. 19th century CE Saints Sergey and Barlaam kneeling at the feet of Jesus Christ Egg tempera on gesso atop wood 10″ W x 12.25″ H (25.4 cm x 31.1 cm) Private collection
An icon portraying Saints Sergey and Barlaam kneeling at the feet of Jesus Christ who stands on a small plinth. Jesus wears flowing red vestments beneath a dark-blue robe, holds the open Holy Gospel in his left hand, reaches his right hand toward Saint Sergey, and has a coronal halo behind his gentle visage. Saints Sergey and Barlaam wear burgundy-hued robes atop citrine robes and reach out toward Christ as if awed by his radiance. Both saints have their respective names displayed above their heads, and Christ’s monogram ‘IC XC’ flanks either side of his head. The venerated scene is framed with a dark-brown border and a thin yellow stripe that imbues this icon with a holy presentation indicative of the Russian Orthodoxy. More on this Icon
Sergius is well-known for his visions of the Trinitarian mystery, whose messages he advocated, and is believed to be the first Russian saint to record his visions of the Mother of God. He is also the founder of the Monastery of the Holy Trinity near Moscow. Barlaam is famous for being named as the first abbot of the Pecherska Lavra Monastery in Kiev around 1057 CE.. More on Sergius
Barlaam is famous for being named as the first abbot of the Pecherska Lavra Monastery in Kiev around 1057 CE. More on Saints Sergey and Barlaam
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Luca Signorelli Saint Nicholas of Bari saving three knights from execution, Cortona circa 1450 – 1523 Oil on panel 10 5/8 by 8 3/4 in.; 27 by 22.2 cm. Private collection
The reign of Constantine The Great was not always stable. Borders had to be protected, laws enforced and if unrest broke out or even a sniff of conspiracy surfaced, Constantine also dealt with these matters seriously and harshly. Often though he left law enforcement in regional centres to be carried out by governors and local authorities.
In the story of the three condemned innocents, the corrupt prefect Eustathios had accepted bribes to bring about the deaths of three men. As word had spread of the planned execution of these three innocent men, Nicholas made it his business to save them and headed for where a great crowd had gathered to watch the executioner about to swing his sword across the neck of the first man. Arriving on the scene, he was disgusted to see the three men kneeling, heads bowed and their hands tied behind their back. Nicholas then stepped in front of the executioner and grabbed the sword from him and threw it to the ground. The courageous bishop was not one to be intimidated by the power of others, especially the power of the corrupt. Nicholas then stormed into the prefect’s office and demanded that the charges against the three men be dropped. Nicholas also threatened to inform the Emperor of the prefect’s involvement in the crime against the innocent men. Frightened, Eustathios begged Nicholas for forgiveness and quickly pardoned the three condemned innocents. More on Saint Nicholas of Bari saving three knights from execution
Saint Nicholas (15 March 270 – 6 December 343), also called Nikolaos of Myra, was a historic 4th-century Christian saint and Greek Bishop of Myra, in Asia Minor. Because of the many miracles attributed to his intercession, he is also known as Nikolaos the Wonderworker. His reputation evolved among the faithful, as was common for early Christian saints, and his legendary habit of secret gift-giving gave rise to the traditional model of Santa Claus through Sinterklaas.
The historical Saint Nicholas, as known from strict history: He was born at Patara, Lycia in Asia Minor. In his youth he made a pilgrimage to Egypt and the Palestine area. Shortly after his return he became Bishop of Myra and was later cast into prison during the persecution of Diocletian. He was released after the accession of Constantine and was present at the Council of Nicaea.
He was buried in his church at Myra, and by the 6th century his shrine there had become well-known. In 1087 Italian sailors or merchants stole his alleged remains from Myra and took them to Bari, Italy; this removal greatly increased the saint’s popularity in Europe, and Bari became one of the most crowded of all pilgrimage centres. Nicholas’s relics remain enshrined in the 11th-century basilica of San Nicola at Bari. More of Saint Nicholas
Luca Signorelli (c. 1445 – 16 October 1523) was an Italian Renaissance painter who was noted in particular for his ability as a draughtsman and his use of foreshortening. His massive frescoes of the Last Judgment (1499–1503) in Orvieto Cathedral are considered his masterpiece. More on Luca Signorelli
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Artist unknown Saint Nicholas the Wonderworker Egg tempera and gold leaf on wood 14″ W x 17.5″ H (35.6 cm x 44.4 cm) Private collection
Saint Nicholas of Myra (traditionally 15 March 270 – 6 December 343), was an early Christian bishop of the ancient Greek city of Myra in Asia Minor during the time of the Roman Empire. Saint Nicholas is the patron saint of sailors, merchants, archers, repentant thieves, children, brewers, pawnbrokers, and students in various cities and countries around Europe. His reputation evolved among the faithful, as was common for early Christian saints, and his legendary habit of secret gift-giving gave rise to the traditional model of Santa Claus (“Saint Nick”) through Sinterklaas.
Very little is known about the historical Saint Nicholas. The earliest accounts of his life were written centuries after his death. He is said to have been born in Patara, Lycia in Asia Minor to wealthy Christian parents. In one of the earliest attested and most famous incidents from his life, he is said to have rescued three girls from being forced into prostitution by dropping a sack of gold coins through the window of their house each night for three nights so their father could pay a dowry for each of them. He was cast into prison during the persecution of Diocletian, but was released after the accession of Constantine. An early list makes him an attendee at the First Council of Nicaea in 325, but he is never mentioned in any writings by people who were actually at the council. Late, he was temporarily defrocked and imprisoned during the Council for slapping the heretic Arius. Another famous late legend tells how he resurrected three children who had been murdered and pickled in brine by a butcher planning to sell them as pork during a famine. More on Saint Nicholas
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SIR ROBIN PHILIPSON R.A., P.R.S.A., R.S.W., R.G.I. (BRITISH, 1916-1992) Iconostasis Oil on canvas 77 x 96cm (30 5/16 x 37 13/16in) Private collection
Sir Robert (Robin) James Philipson RA RSA FRSE RSW (1916–1992) was a Lancashire-born painter who was influential within the Scottish art scene for over three decades.
He was then schooled at Dumfries Academy and then studied at Edinburgh College of Art from 1936 to 1940. On the outbreak of the Second World War he joined the King’s Own Scottish Borderers and was posted to India, seeing action in Burma. After the war, he returned to Edinburgh and became a lecturer at the College of Art in 1947, later taking the post of Head of the Drawing and Painting Department from 1960 to 1982.
Philipson’s early work was mainly of landscapes, still lifes and interiors. He was strongly influenced by Gillies and Maxwell, with whom, amongst others, he shared membership of the group known as The Edinburgh School. He is particularly renowned for his cockfight paintings, a series begun in the early 1950s. His later work in the 1960s explored more general figurative studies plus church and cathedral interiors and crucifixions.
Philipson was well known for his bold use of colour and his liberal use of heavy impasto in his works. He was appointed as President of the Royal Scottish Academy in 1973, a position he held until 1983.
Philipson received four honorary doctorates: DUniv (from both Stirling and Heriot Watt); LLD (from Aberdeen}; and Dlitt (from Glasgow). In 1977 he was elected a Fellow of the Royal Society of Edinburgh. His proposers were John Cameron, Lord Cameron, Alick Buchanan-Smith, Anthony Elliot Ritchie, R. Martin and S. Smellie.
He also received many honours during his career, including a knighthood in 1976 for his services to art in Scotland.
He died in Edinburgh on 26 May 1992.hire-born painter who was influential within the Scottish art scene for over three decades. More on Sir Robert
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Lady Achtyrskaja (of Akhtyrka), Veneto-Cretan, 17th century Hardwood single panel, back tiling Tempera on chalk ground, background gilded 29.5 x 25.5 cm Private collection
Nimbus hallmarked ornamental. Image-filling representation of the seated Virgin in three-quarter figure, holding the crucifix with the crucified Christ in her hands. About her green tunic she wears the red maphorion which is contoured by white and black shades. a western-style transparent head-cover complimented by the traditional maphorion. The halo is finely tooled.Okhtyrka, also known by its Russian variant Akhtyrka, is a small city in Ukraine, a town of Hussar and Cossack Fame. It was also once a regional seat of Sloboda Ukraine and the Ukrainian SSR. It is home to historical and religious places of interest. More on Okhtyrka,
In the town of Akhtyrka, there had long been a parish dedicated to the Protection of the Most-pure Theotokos (The Virgin Mary). In 1739, Fr. Daniel Vasiliev was serving at that church. Once, as he was mowing the grass in his garden he saw an icon of the Mother of God praying before the crucified Lord Jesus Christ, and shining with an indescribable light. In awe, Fr. Daniel carried it into his house. Three years later, while dozing, he dreamt of the Mother of God, and heard her direct that he wash the icon with clean water, and then drape a cover over the icon. The priest did as he was told, intending to later pour the water into the river, he put the water into a container. He again fell asleep, whereby the Most-holy Theotokos said to him: “Keep this water; it will heal all those who suffer from the fever.” The priest had a daughter who suffered with fever. Awaking, he gave her some of the water to drink, and she immediately was healed.
Thereafter, all those who suffered with fever would run to the Most-holy Theotokos, and as soon as they drank of the water from her icon, would be healed. Recognizing the miraculous signs coming from the icon, the priest took it to his parish church. There the icon shone forth with the power of working miracles.
One noteworthy miracle was to Elizabeth, the ill wife of General Vedel, who came and fervently prayed before the icon that she might be healed. The next night she saw the Mother of God in a dream, and heard her direction: “You ask in vain for healing from illness. You do not need that. You will soon depart from life. Give all of your possessions to the churches and to the poor. That sacrifice will be for the good of your soul.” The ill one answered, “O Mother of God, I have children, and if I give away my estate, my children will be left in extreme poverty and need.” In response, the Mother of God said, “Do not be concerned for your children. I will be their eternal protectress.” Then, the Mother of God became invisible. Elizabeth, five days later, as told to her by the Mother of God, peacefully reposed. Empress Catherine II, learning of the miraculous protection promised to the children of the late Mrs. Vedel, took her two daughters into her care, and later gave them in marriage, one to Count Palen, the other to Count Chernishev. This miraculous icon used to be in the cathedral church of the town of Akhtyrka, Kharkov province. More on this Icon
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Goldsmithing Punch: A. Vassilieff, active from 1858 to 1863. POKROFF ICON OF THE MOTHER OF GOD, c. before 1896 Tempera on wood, preserved under riza in vermeil, with white enameled plates . H.: 31 cm – L.: 27 cm. Private collection
The Dormition of the Mother of God is a Great Feast of the Eastern Orthodox, Oriental Orthodox and Eastern Catholic Churches which commemorates the “falling asleep” or death of Mary the Theotokos (“Mother of God”, literally translated as God-bearer), and her bodily resurrection before being taken up into heaven. More on POKROFF ICON OF THE MOTHER OF GOD
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Zaidan Gallery 