РУССКИЕ И ГРЕЧЕСКИЕ ИКОНЫ И ДЕКОРАТИВНО-ПРИКЛАДНОЕ ИСКУССТВО

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РУССКИЕ И ГРЕЧЕСКИЕ ИКОНЫ И ДЕКОРАТИВНО-ПРИКЛАДНОЕ ИСКУССТВО

Четверг 15 Декабря 2011 года Отель Four Seasons, Кипр

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ЧАСТЬ I РУССКИЕ И ГРЕЧЕСКИЕ ИКОНЫ И ДЕКОРАТИВНОПРИКЛАДНОЕ ИСКУССТВО

Part 1 Russian and Greek Icons and Works of Art (lots 1-120)

ЧАСТЬ II ПРОИЗВЕДЕНИЯ ИСКУССТВА ГРЕЦИИ И КИПРА (ЛОТЫ 121 – 158)

Part 2 Greek and Cypriot Art (lots 121-158)

АУКЦИОН

Auction

Четверг 15 Декабря 2011 года

Thursday 15 December 2011

в 8 вечeрa

at 8:00 p.m.

Отель Four Seasons

Four Seasons Hotel

Лимассол, Кипр

Limassol, Cyprus

ПРЕДВАРИТЕЛЬНЫЙ ПОКАЗ ЛОТОВ

Viewing

Воскресенье 11 Декабря

9:00 - 21:00

Sunday

11 December 9:00 - 21:00

Понедельник 12 Декабря

9:00 - 21:00

Monday

12 December 9:00 - 21:00

Вторник

13 Декабря

9:00 - 21:00

Tuesday

13 December 9:00 - 21:00

Среда

14 Декабря

9:00 - 21:00

Wednesday

14 December 9:00 - 21:00

Четверг

15 Декабря

9:00 - 18:00

Thursday

15 December 9:00 - 18:00

(ЛОТЫ 1 -120)

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russiangreekart.com

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A key objective of Gold is to promote Cyprus as an international business and investment centre and, by extension, to promote the professionals offering services in this sector. The magazine is written for a global audience of senior business, political and financial decision-makers. Gold Magazine is published by IMH. Иллюстрированный журнал Gold предназначается международной и кипрской англоязычной аудитории – в первую очередь, состоятельным иностранным и локальным инвесторам, а также профессионалам, предоставляющим услуги инвестиционным компаниям. Основная задача Gold – информировать потенциальных клиентов о Кипре как о международном деловом и инвестиционном центре, попутно рассказывая о профессионалах, работающих в этих областях. Журнал адресован бизнесменам высшего ранга и лицам, занимающим ключевые посты в мире финансов и политики по всему миру. Выпуск Gold осуществляется компанией IMH. Agora Ltd. is a company established by an international team of professionals in journalism and marketing. Agora is the Moscow publisher of the Russian-language review Ellada and owner of the bilingual site ellada-russia.ru /ellada-russia.gr. Agora’s activities aim at familiarising the Russian public with all aspects of contemporary Greek and Cypriot life. Since 2007 Ellada has been issued five times per annum with a print run of 20,000-25,000 copies. The I.I. Savvidi Fund sponsors the journal. The site ellada-russia is an active communication platform between Cypriots, Russians, and Greeks and serves as a hub where matters of public interest are regularly initiated and implemented. Компания «Агора», издающая в Москве русскоязычный журнал «Эллада», и владеющая двуязычным порталом elladarussia.ru ellada-russia.gr, была создана международной группой профессионалов в области журналистики и маркетинга. Деятельность компании «Агора» нацелена на ознакомление российской общественности практически со всеми сферами современной жизни Греции и Кипра - политикой, экономикой и инвестиционными возможностями, а также культурой, искусством, туризмом, историей, религией, образованием, спортом и многим другим. Начиная с марта 2007 года, альманах «Эллада» выпускается 5 раз в год тиражом 20-25.000 экземпляров. С 2011 года генеральным спонсором журнала выступает фонд И.И.Саввиди. Портал ellada-russia стал реальной площадкой общения между гражданами трех стран, где непрерывно рождаются и реализуются совместные инициативы высокой общественной значимости. Founded in 1997, the SPI Group (headquartered in Luxembourg) operates across 120 markets all over the world and is one of the world’s leading spirits groups with primary operations in the production, sale and distribution of its portfolio of spirit brands. The Group owns or manages over 350 brands, including its global vodka brands such as the iconic Stolichnaya and Moskovskaya. SPI Group has been a strong acquirer and integrator of spirits and wine companies, having completed 15 acquisitions of producers, importers, distributors and retailers of beverages. Основанная в 1997 году SPI Group (штаб-квартира в Люксембурге) работает на 120 рынках по всему миру и является одним из ведущих спиртовых групп, с передовыми операциями в производстве, продаже и дистрибуции своего портфеля брендов. Группа владеет или управляет более чем 350 брендами, включая всемирно известные водочные бренды как Столичная и Московская. SPI Group стала значительным игроком м и интегратором спиртных и винных компаний, приобретя 15 производителей, импортеров, дистрибьюторов и розничных точек продаж .

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Maria Paphiti Head of Sale & Icons Specialist Мария Пафити Директор По Продажам И Специалист maria@laparoledivine.com

Victor Papadopoulos Director of Communications Виктор Пападопулос Директор по Связям с Общественностью victorp@cy.net

Philip Duckworth Auctioneer Филип Дакворт Аукционист

Maggie Devers Sale & Marketing Manager Мэгги Деверз Менеджер По Продажам И Связям С Прессой maggie@laparoledivine.com

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Illustrations Front Cover: Lot 21 Back Cover: Lot 120 Inside Front Cover: Lot 125 Inside Back Cover: Lot 140 Page 2: Lot 20

russiangreekart.com

Иллюстрации Передняя обложка: лот 21 Задняя обложка: лот 120 Вторая сторона обложки: лот 125 Третья сторона обложки: лот 140 Страница 2: лот 20

*+ A PORTABLE DIPTYCH SHOWING THE HODEGETRIA MOTHER OF GOD WITH STS. NICHOLAS AND HARALAMBOS GREEK, 18TH CENTURY

*+ É‰ČżÉŠČżÉ‡ÉˆÉ‹É‡ÉˆÉƒ É‹É„É…ȺȞȿɇɖ É‹ ÉˆČťÉŠČşÉ ÉˆÉ† ČťÉˆČ˝ÉˆÉ†ČşÉŒČżÉŠÉ‚ ÉˆČžÉ‚Č˝É‚ÉŒÉŠÉ‚É‚ Čź ɈɄɊÉ?ɀȿɇɂɂ É‹ȟȟ É‡É‚É„ÉˆÉ…ČşÉ™ É‚ É?ȺɊɅȺɆɉɂə ȽɊȿÉ?É‚É™ ÉŁ ȟȿÉ„

Christ seated on His Mother’s forearm, turning his gaze away from the viewer and blessing with both hands, the archangels Michael and Gabriel crowning the Mother of God, the latter pointing to her Son while facing the onlooker; the other wing portraying the two saints frontal, full-length, each gesturing in benediction and carrying a Book of Gospels, the image of Christ appearing in the open skies above to bless the saints; rendered in vivid colours, the haloes and garments’ details in gold !"#$%&$&'()*("(+*,-(./

ɆɼɚɞÉ&#x;ɧÉ&#x;É° É?ɪɢɍɏɨɍ ÉœɨɍɍÉ&#x;ɞɚÉ&#x;ÉŹ ɧÉš ÉŠÉŞÉ&#x;ɞɊɼÉ&#x;ɹɜÉ&#x; ȝɨÉ?ɨɪɨÉžɢɰɾ ɨɏÉœɨɞɚ ÉœÉĄÉ?ɼɚɞ ɨɏ ɥɪɢɏÉ&#x;ÉĽÉš ɢ ɛɼɚÉ?ɨɍɼɨÉœɼɚɚ ɨÉ›É&#x;ɢɌɢ ɪɭɤÉšɌɢ ȺɪɯÉšɧÉ?É&#x;ÉĽÉľ ɆɢɯÉšɢɼ ɢ Č˝ÉšÉœɪɢɢɼ ÉœÉ&#x;ɧɹÉšɸɏ ɤɨɪɨɧɨɣ ȝɨÉ?ɨɌɚɏÉ&#x;ÉŞÉś ɤɨɏɨɪɚɚ ɭɤɚɥɭÉ&#x;ÉŹ ɧÉš ÉŤÉœɨÉ&#x;É?ɨ ɍɾɧÉš É?ɼɚɞɚ ɧÉš ɌɨɼɚɳÉ&#x;É?ɨɍɚ ɇɚ ɞɪɭÉ?ɨɣ ÉŤÉŹÉœɨɪɤÉ&#x; ɍɤɼɚɞɧɚ ɎɪɨɧɏÉšɼɜɧɨ ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧɾ ɞɜɨÉ&#x; ÉŤÉœɚɏɾɯ Éœ Ɋɨɼɧɾɣ ɪɨɍɏ É?ɪɢɍɏɨɍ ɊɨɚÉœɼɚɸɳɢɣɍɚ Éœ ÉŞÉšÉĄÉœÉ&#x;ɪɍɏɾɯ ɧÉ&#x;É›É&#x;ɍɚɯ ɛɼɚÉ?ɨɍɼɨÉœÉĽÉšÉ&#x;ÉŹ ÉŤÉœɚɏɾɯ É„ɨɌɊɨɥɢɰɢɚ Éœ ɚɪɤɢɯ É É˘Éœɾɯ ɏɨɧɚɯ ɧɢɌɛɾ ɢ ɍɤɼɚɞɤɢ ɨÉžÉ&#x;ɚɧɢɣ ɊɪɨɪɚɛɨɏÉšɧɾ ɥɨɼɨɏɨɌ É‹ɤɼɚɞÉ&#x;ɧɜ Éœ ÉŞÉšÉĄÉœÉ&#x;ɪɧɭɏɨɌ ÉœɢÉžÉ&#x; ÉŻ ÉŤÉŚ

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,+ A DOUBLE REGISTER ICON WITH OLD TESTAMENT EPISODES AND SELECTED SAINTS GREEK, CIRCA 1650 A privately commissioned icon, depicting on the upper section Daniel the Prophet in the lions’ den, kneeling and extending his hands in prayer, to the left the three youths aided by an DQJHO UHPDLQ XQFRQVXPHG LQ WKH ÀHU\ IXUQDFH WKH ORZHU IULH]H VKRZLQJ 6WV 1LFKRODV %DUEDUD DQG 6DYYDV WKH ÀJXUHV rendered with bright shades, the deeper, saturated foregrounds complemented by gold skies 3*("()*,-(./

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,+ ȞȟÉ?É?ɔəɊÉ?ɋɇȺə É‚É„ÉˆÉ‡Čş É‹ É‚É ÉˆČťÉŠČşÉ€ČżÉ‡É‚ČżÉ† ȟȿÉŒÉ?ÉˆÉ ČşČźČżÉŒÉ‡É•É? É‹É˜É€ČżÉŒÉˆČź É‚ É‚É ČťÉŠČşÉ‡É‡É•É? É‹ČźÉ™ÉŒÉ•É? ȽɊȿÉ?É‚É™ ɈɄɈɅɈ É? É„ɨɌɊɨɥɢɰɢɚ ɞɚɧɧɨɣ ɢɤɨɧɾ ÉœɾɊɨɼɧÉ&#x;ɧɧɨɣ ɞɼɚ ɹɚɍɏɧɨÉ?ɨ ÉĄÉšɤÉšɥɹɢɤÉš ɪɚɥɛɢɏÉš ɧÉš ɞɜɚ ÉŞÉ&#x;É?ɢɍɏɪÉš Éœ ÉœÉ&#x;ɪɯɧÉ&#x;ÉŁ ɹɚɍɏɢ Éœɨ ÉŞÉœÉ­ ɍɨ ÉĽÉśÉœÉšɌɢ ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧ ɤɨɼÉ&#x;ɧɨɊɪÉ&#x;ɤɼɨɧÉ&#x;ɧɧɾɣ Ɋɪɨɪɨɤ Ȟɚɧɢɢɼ ɊɪɨɍɏɢɪÉšɸɳɢɣ Éœ ɌɨɼɢɏÉœÉ&#x; ɪɭɤɢ ÉŤÉĽÉ&#x;ɜɚ ɨɏ ɧÉ&#x;É?ɨ ɧÉšɯɨÉžɚɏɍɚ ɏɪɨÉ&#x; ɨɏɪɨɤɨÉœ ɍɊɚɍɚÉ&#x;Ɍɾɯ ÉšɧÉ?É&#x;ɼɨɌ ɨɏ ɊɼɚɌÉ&#x;ɧɢ ÉŠÉ&#x;ɳɢ ɨÉ?ɧÉ&#x;ɧɧɨɣ Éœ É§É˘É É§É&#x;ÉŚ ɚɪɭɍÉ&#x; ÉŠÉŞÉ&#x;ÉžÉŤÉŹÉšÉœÉĽÉ&#x;ɧɾ ÉŤÉœÉœ ɇɢɤɨɼɚɣ ČźÉšÉŞÉœÉšÉŞÉš ɢ ɋɚɜɜɚɏɢɣ ÉŽɢÉ?É­ÉŞÉľ ÉŤÉœɚɏɾɯ ÉœɾɊɨɼɧÉ&#x;ɧɾ Éœ ɚɪɤɢɯ ɏɨɧɚɯ É?ÉĽÉ­É›ɨɤɢÉ&#x; ɧÉšɍɾɳÉ&#x;ɧɧɾÉ&#x; ɏɨɧÉš É›ÉĽÉ˘É É§É&#x;É?ɨ ÉŠÉĽÉšɧÉš ÉœÉľÉžÉ&#x;ɼɚɸɏɍɚ ɧÉš ɥɨɼɨɏɨɌ ɧÉ&#x;É›É&#x;ɍɧɨɌ ɎɨɧÉ&#x;

-+ ST. GEORGE WITH THE BOY FROM MYTILENE GREEK (AEGEAN OR ASIA MINOR), 18TH CENTURY

.+ ST. PROKOPIOS GREEK, CIRCA 1900

Riding a white, rearing horse, plunging his spear through the serpent’s mouth, the boy clutching onto his saddle and carrying a wine carafe, since he was rescued the moment he was about to serve wine to the pasha, the princess Elisaba to the right and her parents observing the gallant deed from the upper storey of the tower +),5("(67,+(./

The youthful, early 4th-century great martyr, depicted on horseback, attired in full armour, carrying a lance, against a realistically rendered landscape and golden skies, the Divine manifested through the light beams on the upper left corner +5("(+*,5(./

0+1***2)1*** -+ É‹Čź ȽȿÉˆÉŠČ˝É‚Éƒ É‹ ɈɌɊɈɄɈɆ É‚É É†É‚ÉŒÉ‚É…ČżÉ‡É• ȽɊȿÉ?É‚É™ É—ȽȿÉƒÉ‹É„É‚Čż ɈɋɌɊɈȟȺ É‚É…É‚ ɆȺɅȺə ČşÉ É‚É™ ÉŁ ȟȿÉ„ É‹Éœ Č˝É&#x;ɨɪÉ?ɢɣ ÉŠÉŞÉšÉœɢɏ É›É&#x;ɼɾɌ ÉœÉĄÉžÉľÉ›ÉĽÉ&#x;ɧɧɾɌ ɤɨɧÉ&#x;ÉŚ ɊɨÉ?ÉŞÉ­É ÉšÉš ɨɍɏɪɢÉ&#x; ɤɨɊɜɚ Éœ Ɋɚɍɏɜ ɥɌɢɚ Ɇɚɼɜɹɢɤ ÉžÉ&#x;ÉŞÉ É˘ÉŹÉŤÉš ÉĄÉš ÉŤÉ&#x;Éžɼɨ ÉŤÉ É˘ÉŚÉšÉš Éœ ɪɭɤÉ&#x; ɤɭÉœɲɢɧ Ɋɨ ÉŠÉŞÉ&#x;ɞɚɧɢɸ ÉŤÉœɚɏɨɣ ɍɊɚɍ ɨɏɪɨɤÉš Éœ ɏɨɏ ɌɨɌÉ&#x;ɧɏ ɤɨÉ?ɞɚ ɨɧ ɧÉšɼɢÉœÉšÉĽ Éœɢɧɨ ÉŠÉšɲÉ&#x; ÉĄÉš ɏɪɚɊÉ&#x;ɥɨɣ É‚ÉĄ ÉœÉ&#x;ɪɯɧɢɯ ɨɤɨɧ ɛɚɲɧɢ ɧÉš ɛɼɚÉ?ɨɪɨÉžɧɨÉ&#x; ÉžÉ&#x;ɚɧɢÉ&#x; ÉŤÉœɚɏɨÉ?ɨ ÉœɥɢɪÉšɸɏ ɊɪɢɧɰÉ&#x;ÉŤÉŤÉš ȿɼɢɍɚɜɚ ɢ É&#x;É&#x; ɪɨÉžɢɏÉ&#x;ɼɢ

/+ STS. THEODORE TYRON AND THEODORE STRATELATES GREEK, CIRCA 1700 (?) Turning towards each other, the saints wearing military garments and bearing spears, St. Theodore Stratelates also holding a shield and trampling a bleeding snake, their facial features boldly rendered +*("(63(./

061+**2615** /+ É‹ȟȟ ÉŽČżÉˆČžÉˆÉŠ ɌɂɊɈɇ É‚ ÉŽČżÉˆČžÉˆÉŠ É‹ÉŒÉŠČşÉŒÉ‚É…ČşÉŒ ȽɊȿÉ?É‚É™ ɈɄɈɅɈ É? " ÉŽɢÉ?É­ÉŞÉľ ÉŤÉœɚɏɾɯ Éœ ÉœɨɢɧɍɤɨɌ ɨɛɼɚɹÉ&#x;ɧɢɢ ɢ ÉŤ ɤɨɊɜɚɌɢ ɊɨÉœÉ&#x;ɪɧɭɏɾ ɞɪɭÉ? ɤ ɞɪɭÉ?É­ É‹Éœ ÉŽÉ&#x;ɨÉžɨɪ É‹ÉŹÉŞÉšɏɢɼɚɏ ÉŤÉ É˘ÉŚÉšÉ&#x;ÉŹ ɳɢɏ ɢ ɊɨɊɢɪÉšÉ&#x;ÉŹ ɢɍɏÉ&#x;ɤÉšɸɳÉ&#x;É?ɨ ɤɪɨÉœɜɸ ɥɌɢɚ É…ɢɤɢ ÉŤÉœɚɏɾɯ ÉœɾɊɨɼɧÉ&#x;ɧɾ ÉŤÉŚÉ&#x;ɼɾɌɢ ɲɢɪɨɤɢɌɢ ÉŚÉšɥɤÉšɌɢ

0+1***2)1*** .+ É‹Čź ɉɊɈɄɈɉɂɃ ȽɊȿÉ?É‚É™ ɈɄɈɅɈ É? ɘɧɾɣ ÉŤÉœɚɏɨɣ ɊɪɢɧɚÉœɲɢɣ ÉŚÉ­ÉąÉ&#x;ɧɢɹÉ&#x;ÉŤÉŹÉœɨ Éœ ,9 ÉŚ ÉœÉ&#x;ɤÉ&#x; ɧ ɡ ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧ ÉœÉ&#x;ɪɯɨɌ ɧÉš ɤɨɧÉ&#x; ÉŤ ɤɨɊɜÉ&#x;ÉŚ ɢ Éœ Éœɨɢɧɍɤɢɯ ÉžɨɍɊÉ&#x;ɯɚɯ ɧÉš ɎɨɧÉ&#x; ÉŞÉ&#x;Éšɼɢɍɏɢɹɧɨ ÉœɾɊɨɼɧÉ&#x;ɧɧɨÉ?ɨ ÉŠÉ&#x;ÉŁÉĄÉšÉ Éš ɢ ɥɨɼɨɏɾɯ ɧÉ&#x;É›É&#x;ÉŤ Čź ÉĽÉ&#x;ÉœɨɌ ÉœÉ&#x;ɪɯɧÉ&#x;ÉŚ É­É?ÉĽÉ­ ɼɭɹɢ ÉŤÉœÉ&#x;ÉŹÉš ɍɢɌÉœɨɼɢɥɢɪɭɸɏ ɊɪɢɍɭɏɍɏÉœɢÉ&#x; ȝɨÉ?Éš

0+ A QUADRIPARTITE ICON WITH THE CRUCIFIX IN THE CENTRE, SURROUNDED BY FOUR PORTRAITS OF THE MOTHER OF GOD RUSSIAN (NIZHNY NOVGOROD), CIRCA 1750 7KH ÀJXUHV UHQGHUHG WUDGLWLRQDOO\ LQ DFFRUG ZLWK WKH %\]DQWLQH colour palette, the silver oklad with gilt areas and cut-out, applied haloes )*("(+-(./

0+1-**2)1-**( 0+ É‘ČżÉŒÉ•ÉŠČżÉ?É‘ČşÉ‹ÉŒÉ‡ČşÉ™ É‚É„ÉˆÉ‡Čş É‹ ÉŠČşÉ‹É‰É™ÉŒÉ‚ČżÉ† É‰ÉˆÉ†ČżÉ“ČżÉ‡É‡É•É† Čź É?ČżÉ‡ÉŒÉŠ É‚ ɈɄɊÉ?ɀȿɇɇɕɆ É‘ČżÉŒÉ•ÉŠÉ–É†É™ ÉˆČťÉŠČşÉ ČşÉ†É‚ ČťÉˆČ˝ÉˆÉŠÉˆČžÉ‚É?É• ɊɈɋɋɂə ɇɂɀɇɂɃ ɇɈȟȽÉˆÉŠÉˆČž ɈɄɈɅɈ É? ÉŽɢÉ?É­ÉŞÉľ ÉœɾɊɨɼɧÉ&#x;ɧɾ Éœ ɏɪɚɞɢɰɢɨɧɧɨɣ ÉŚÉšɧÉ&#x;ÉŞÉ&#x; ɢ Éœ É°ÉœÉ&#x;ɏɨÉœɨɣ É?ɚɌɌÉ&#x; ɯɚɪɚɤɏÉ&#x;ɪɧɨɣ ɞɼɚ ÉœɢɥÉšɧɏɢɣɍɤɨɣ ɢɤɨɧɨɊɢɍɢ É‹É&#x;ÉŞÉ&#x;É›ɪɚɧɾɣ ɨɤɼɚɞ ÉŤ ɧÉ&#x;ÉŞÉ&#x;É?ɭɼɚɪɧɨɣ Ɋɨɥɨɼɨɏɨɣ ɢ ÉŞÉ&#x;ɥɧɾɌɢ ɧɢɌɛɚɌɢ

1+ MOTHER OF GOD OF KAZAN WITH A SILVER OKLAD AND CUT-OUT GILT HALOES RUSSIAN, THE OKLAD WITH MAKER’S MARK TBD IN CYRILLIC, ST. PETERSBURG, 1848; THE ICON DATING TO THE MIDDLE OF THE 18TH CENTURY )*,-("(+4,-(./8(9:;<&'()*,=("(+4,5(./

0+1+**2)1+** Note: The icon is accompanied by a second panel that reproduces the original and can be used when the original is exhibited without the oklad.

1+ ČťÉˆČ˝ÉˆÉ†ČşÉŒČżÉŠÉ– É„ČşÉ ČşÉ‡É‹É„ČşÉ™ ɋȿɊȿȝɊəɇɕɃ ɈɄɅȺȞ É‹ É‰ÉˆÉ ÉˆÉ…ÉˆÉ‘ČżÉ‡É‡É•É† ÉŠČżÉ É‡É•É† É‡É‚É†ČťÉˆÉ† ɊɈɋɋɂə ɈɄɅȺȞ É‹ É„É…ČżÉƒÉ†ÉˆÉ† É†ČşÉ‹ÉŒČżÉŠČş ŠÉŒÉ‹ȝª É‹ČşÉ‡É„ÉŒ É‰ČżÉŒČżÉŠČťÉ?ÉŠČ˝ É? É‚É„ÉˆÉ‡Čş ȞȺɌɂɊÉ?ČżÉŒÉ‹É™ ɋȿɊȿȞɂɇɈɃ É?ɨ ȟȿÉ„Čş [ ÉŤÉŚ ɨɤɼɚɞ [ ÉŤÉŚ ɉɪɢɌÉ&#x;ɹɚɧɢÉ&#x; Ȟɚɧɧɚɚ ɢɤɨɧÉš ÉœɾɍɏÉšÉœÉĽÉ&#x;ɧÉš ɧÉš ɊɪɨÉžÉšÉ É­ ÉœÉŚÉ&#x;ÉŤÉŹÉ&#x; ÉŤ ɤɨɊɢÉ&#x;ÉŁ ÉœɨɍɊɪɨɢɥÉœɨÉžɚɳÉ&#x;ÉŁ ɨɪɢÉ?ɢɧÉšɼɜɧɭɸ ɤɨɌɊɨɥɢɰɢɸ ɤɨɏɨɪɚɚ ÉŚÉ¨É É&#x;ÉŹ ÉŤÉĽÉ­É É˘ÉŹÉś ɥɚɌÉ&#x;ɧɨɣ ɊɨÉžɼɢɧɧɢɤɭ Éœ ɍɼɭɹɚÉ&#x; ɧÉ&#x;ɨÉ›ɯɨÉžɢɌɨɍɏɢ ɢɥÉœÉĽÉ&#x;ɹɜ É&#x;É?ɨ ɢɥ ɨɤɼɚɞɚ

2+ THE ENTRY OF THE MOTHER OF GOD TO THE TEMPLE RUSSIAN, 19TH CENTURY Sts. Joachim and Anna accompanied by a procession of virgins, presenting their daughter to Zachariah, the High Priest of the Temple; the Mother of God portrayed for a second time in the composition, seated on the top of the staircase under a ciborium, EHLQJ QRXULVKHG E\ DQ DQJHO WKH HORQJDWHG ÀJXUHV UHQGHUHG gracefully with saturated colours, the architecture in the background painted in pastels with gold details )6("(+4(./

0-1***2=1***

2+ ȟȟȿȞȿɇɂȿ ČťÉˆČ˝ÉˆÉŠÉˆČžÉ‚É?É• ČźÉˆ É?ɊȺɆ ɊɈɋɋɂə ÉŁ ȟȿÉ„ É‹Éœ É‚ɨÉšɤɢɌ ɢ ȺɧɧÉš Éœ ɍɨɊɪɨÉœÉ¨É ÉžÉ&#x;ɧɢɢ ÉžÉ&#x;Éœ ÉœÉŞÉ­ÉąÉšɸɏ ÉŤÉœɨɸ Éžɨɹɜ É ÉšÉŻÉšɪɢɢ Âą ÉŠÉ&#x;ÉŞÉœɨɍÉœɚɳÉ&#x;ɧɧɢɤɭ É‚É&#x;ÉŞÉ­ÉŤÉšɼɢɌɍɤɨÉ?ɨ É?ɪɚɌɚ ȝɨÉ?ɨɪɨÉžɢɰÉš ÉžÉœÉšÉ ÉžÉľ ɊɨɚÉœÉĽÉšÉ&#x;ÉŹÉŤÉš Éœ ɤɨɌɊɨɥɢɰɢɢ ɨɧÉš ɍɢÉžɢɏ ɧÉš ÉœÉ&#x;ÉŞÉŻÉ­ ÉĽÉ&#x;ɍɏɧɢɰɾ ɊɨÉž ɛɚɼɞɚɯɢɧɨɌ É&#x;Éş ɊɢɏÉšÉ&#x;ÉŹ ÉšɧÉ?É&#x;ÉĽ ȟɾɏɚɧɭɏɾÉ&#x; ɎɢÉ?É­ÉŞÉľ ɢɥɚɳɧɨ ɧÉšɊɢɍÉšɧɾ Éœ ɧÉšɍɾɳÉ&#x;ɧɧɾɯ É°ÉœÉ&#x;ɏɚɯ ÉšɪɯɢɏÉ&#x;ɤɏɭɪÉš ɧÉš ɞɚɼɜɧÉ&#x;ÉŚ ÉŠÉĽÉšɧÉ&#x; ɤɨɌɊɨɥɢɰɢɢ ÉœɾɊɨɼɧÉ&#x;ɧÉš Éœ ɊɚɍɏÉ&#x;ɼɜɧɾɯ ɏɨɧɚɯ ÉŤ Ɋɨɥɨɼɨɏɨɣ

3+ THE NATIVITY OF CHRIST RUSSIAN, 18TH CENTURY

3+ ɊɈɀȞȿÉ‹ÉŒČźÉˆ É?ÉŠÉ‚É‹ÉŒÉˆČźÉˆ ɊɈɋɋɂə ÉŁ ȟȿÉ„

In the centre of the composition the Mother of God seated next to the sarcophagus-shaped manger; to the left the Three Wise Men offering their gifts to the newborn Infant, a pair of holy ÀJXUHV RSSRVLWH REVHUYLQJ WKH VFHQH WKH JXLGLQJ VWDU DSSHDULQJ in the dark skies above, the summit of the mountain surrounded by angels, in the foreground a shepherd conveying the news of Christ’s birth to Joseph, two maids preparing the Baby for +LV ÀUVW EDWK WKH HYHQWV WDNLQJ SODFH LQ D EDUUHQ URFN\ SODWHDX rendered with deep colours, the subjects of the depicted events listed on the border )+("(+5(./

Čź É°É&#x;ɧɏɪÉ&#x; ɢɤɨɧɾ ɪɚɞɨɌ ÉŤ ɚɍɼɚɌɢ ɧÉšɊɨɌɢɧÉšɸɳɢɌɢ Ɋɨ ɨɹÉ&#x;ÉŞÉŹÉšɧɢɚɌ É?ɪɨÉ›ɧɢɰɭ ɍɢÉžɢɏ ȝɨÉ?ɨɌɚɏÉ&#x;ÉŞÉś É‹ÉĽÉ&#x;ɜɚ ɨɏ ɧÉ&#x;É&#x; ɏɪɨÉ&#x; ÉœɨɼɯÉœɨÉœ ɊɨÉžɧɨɍɚɏ ɞɚɪɾ ɧɨÉœÉ¨ÉŞÉ¨É ÉžÉ&#x;ɧɧɨɌɭ ɆɼɚɞÉ&#x;ɧɰɭ ɉɨ ɞɪɭÉ?ɭɸ ɍɏɨɪɨɧɭ ɞɜɨÉ&#x; ÉŠÉŞÉšÉœÉ&#x;ÉžɧɢɤɨÉœ ɧɚɛɼɸɞɚɸɏ ÉĄÉš ɊɪɨɢɍɯɨÉžɚɳɢɌ ɉɭɏÉ&#x;ÉœɨÉžɧɚɚ ÉĄÉœÉ&#x;ɥɞɚ ÉŤÉœÉ&#x;ɏɢɏ Éœ ɧÉ&#x;É›É&#x;ɍɚɯ ÉœÉ&#x;ɪɲɢɧÉš É?ɨɪɾ É¨É¤ÉŞÉ­É É&#x;ɧÉš ɍɨɧɌɨɌ ÉšɧÉ?É&#x;ɼɨÉœ ɇɚ ÉŠÉ&#x;ÉŞÉ&#x;ÉžɧÉ&#x;ÉŚ ÉŠÉĽÉšɧÉ&#x; Ɋɚɍɏɭɯ ÉœɨɥÉœÉ&#x;ɳɚÉ&#x;ÉŹ ɪɚɞɨɍɏɧɭɸ ÉœÉ&#x;ÉŤÉŹÉś ɨ ÉŠÉ¨É ÉžÉ&#x;ÉŤÉŹÉœÉ&#x; É?ɪɢɍɏÉš É‚ɨɍɢɎɭ ČžÉœÉ&#x; ÉŤÉĽÉ­É Éšɧɤɢ ɤɭɊÉšɸɏ ɧɨÉœÉ¨ÉŞÉ¨É ÉžÉ&#x;ɧɧɨÉ?ɨ ɆɼɚɞÉ&#x;ɧɰÉš É‹ɨÉ›ɾɏɢɚ ÉŞÉšÉĄÉœɨɪÉšɹɢɜɚɸɏɍɚ ɧÉš ɎɨɧÉ&#x; ɊɭɍɏɾɧɧɨÉ?ɨ ɍɤÉšɼɢɍɏɨÉ?ɨ ÉĽÉšɧÉžɲɚɎɏɚ É„ɨɌɊɨɥɢɰɢɚ ÉœɾɊɼɧÉ&#x;ɧÉš Éœ É?ÉĽÉ­É›ɨɤɢɯ ɏɨɧɚɯ ɧɚɞɊɢɍɢ ɧÉš Ɋɨɼɚɯ ɢɤɨɧɾ Ɋɨɚɍɧɚɸɏ ɍɌɾɍɼ ɊɪɨɢɍɯɨÉžɚɳÉ&#x;É?ɨ

0-1***2=1***

*4+ SAINT NICHOLAS RUSSIAN, THE FIGURES DATING TO CIRCA 1600 (INSET IN AN 18TH CENTURY PANEL) 7KH à DQNLQJ PHGDOOLRQV FRQWDLQLQJ LPDJHV RI &KULVW DQG +LV Mother, presenting the Saint with the Book of Gospels and the Bishop’s omophorion UHVSHFWLYHO\ KLV HOGHUO\ IHDWXUHV ÀQHO\ rendered, the drapery of his garments formed by intricate chrysography )+,-("(+=(./

0)1***231***( *4+ É‹Čź É‡É‚É„ÉˆÉ…ČşÉƒ É‘É?ČžÉˆÉŒČźÉˆÉŠČżÉ? ɊɈɋɋɂə ÉŽÉ‚Č˝É?ÉŠÉ• É‹ČźÉ™ÉŒÉ•É? ɇȺɉɂɋȺɇɕ ɈɄɈɅɈ É? ɉȿɊȿɇȿɋȿɇɕ ɇȺ ČžÉˆÉ‹É„É? É?ɨ ȟȿÉ„Čş

Čź ɊɪɢɌɾɤÉšɸɳɢɯ ÉŚÉ&#x;ɞɚɼɜɨɧɚɯ ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧɾ É?ɪɢɍɏɨɍ ɢ ȝɨÉ?ɨɌɚɏÉ&#x;ÉŞÉś ÉœÉŞÉ­ÉąÉšɸɳɢÉ&#x; Éœ ɞɚɪ ÉŤÉœɚɏɨɌɭ ɤɧɢÉ?É­ ČżÉœÉšɧÉ?É&#x;ɼɢɚ ɢ É&#x;ɊɢɍɤɨɊɍɤɢɣ ɨɌɨɎɨɪ É‘É&#x;ÉŞÉŹÉľ ÉŠÉ¨É É˘ÉĽÉ¨É?ɨ ÉŤÉœɚɏɢɏÉ&#x;ÉĽÉš ÉŠÉ&#x;ÉŞÉ&#x;ɞɚɧɾ ɏɨɧɤɢɌɢ ÉŚÉšɥɤÉšɌɢ ɞɪɚɊɢɪɨÉœɤɢ É&#x;É?ɨ ɨÉžÉ&#x;ɚɧɢɣ ÉœɾɊɨɼɧÉ&#x;ɧɾ Ɋɪɢ ɊɨɌɨɳɢ ɌɨÉžÉ&#x;ɼɢɪɨÉœɤɢ Éœ ÉŤÉĽÉ¨É É§É¨ÉŁ ÉŹÉ&#x;ɯɧɢɤÉ&#x; ɯɪɢɥɨÉ?ÉŞÉšɎɢɢ **+ AN ICON IN THREE REGISTERS WITH THE ANASTASIS ON THE TOP FLANKED BY THE KAZANSKAYA AND ST. NICHOLAS AND A SELECTION OF PRIVATE SAINTS RUSSIAN (TVER?), LATE 17TH CENTURY A privately commissioned icon including the patron’s chosen subjects; the Anastasis being the only Christological Feast on the panel, St. Nicholas holding a predominate position among the saints as he appears on the same register with the Mother of God of Kazan; executed traditionally mainly with deep JUHHQ DQG VKDGHV RI UHG WKH Ă€JXUHV DSSOLHG ZLWK JLOW KDORHV )6,5("(+=(./

0615**2+13** **+ É‚É„ÉˆÉ‡Čş É‹ É„ÉˆÉ†É‰ÉˆÉ É‚É?É‚ČżÉƒ Čź ɌɊɂ ÉŠÉ™ȞȺ É‹ÉˆÉ’ČżÉ‹ÉŒČźÉ‚Čż É?ÉŠÉ‚É‹ÉŒČş ČźÉˆ ȺȞ Čź ȟȿÉŠÉ?ɇȿɆ ɊəȞÉ? É‹ É‰ÉŠÉ‚É†É•É„ČşÉ˜É“É‚É†É‚ ÉˆČťÉŠČşÉ ČşÉ†É‚ É„ČşÉ ČşÉ‡É‹É„ÉˆÉƒ ČťÉˆČ˝ÉˆÉ†ČşÉŒČżÉŠÉ‚ É‹Čź ɇɂɄɈɅȺȿɆ É‘É?ČžÉˆÉŒČźÉˆÉŠÉ?ȿɆ É‚ ȽɊÉ?ɉɉɈɃ É‹ČźÉ™ÉŒÉ•É? É‰ÉˆÉ„ÉŠÉˆČźÉ‚ÉŒČżÉ…ČżÉƒ ɊɈɋɋɂə ÉŒȟȿÉŠÉ–" É„ÉˆÉ‡ČżÉ? É?ɨ ȟȿÉ„Čş Ȟɚɧɧɚɚ ɢɤɨɧÉš É›ɾɼÉš ɧÉšɊɢɍÉšɧÉš Ɋɨ ɹɚɍɏɧɨɌɭ ÉĄÉšɤɚɥɭ ɢ ɨɏɪÉšÉ ÉšÉ&#x;ÉŹ Éœɤɭɍɾ ɢ ÉŠÉŞÉ&#x;ÉžɊɨɹɏÉ&#x;ɧɢɚ ÉĄÉšɤÉšɥɹɢɤÉš ÉˆÉ›ÉŞÉšÉĄ É‹ɨɲÉ&#x;ÉŤÉŹÉœɢɚ Éœɨ Ⱥɞ Âą É&#x;ÉžɢɧɍɏÉœÉ&#x;ɧɧɚɚ ɯɪɢɍɏɨɼɨÉ?ɢɹÉ&#x;ɍɤɚɚ ÉŹÉ&#x;ÉŚÉš ɤɨɌɊɨɥɢɰɢɢ Čź ɨɍɏÉšɼɜɧɨɌ ÉžɨɌɢɧɢɪɭɸɳɭɸ Ɋɨɥɢɰɢɸ ÉŤÉŞÉ&#x;Éžɢ ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧɧɾɯ ÉŤÉœɚɏɾɯ ÉĄÉšɧɢɌÉšÉ&#x;ÉŹ ɎɢÉ?É­ÉŞÉš ÉŤÉœ ɇɢɤɨɼɚɚ É?É?ɨÉžɧɢɤÉš ɊɨɌÉ&#x;ÉłÉ&#x;ɧɧɚɚ Éœ ɏɨɏ É É&#x; ɚɪɭɍ ɹɏɨ ɢ ɨɛɪɚɥ Ʉɚɥɚɧɍɤɨɣ ȝɨÉ?ɨɌɚɏÉ&#x;ɪɢ É‚ɤɨɧÉš ÉœɾɊɨɼɧÉ&#x;ɧÉš Éœ É?ÉĽÉ­É›ɨɤɢɯ ÉĄÉ&#x;ÉĽÉ&#x;ɧɾɯ ɢ ɤɪÉšɍɧɾɯ ɏɨɧɚɯ É?ɨɼɨÉœÉľ ÉŤÉœɚɏɾɯ ÉœÉ&#x;ɧɹÉšɸɏ ɥɨɼɨɹÉ&#x;ɧɾÉ&#x; ɧɢɌɛɾ

*,+ A DEISIS INCLUDING THE HIERACHS STS. BASIL AND GREGORY RUSSIAN, EARLY 17TH CENTURY

*,+ ÉŠČşÉ ČźČżÉŠÉ‡É?ɌɕɃ ȞȿÉ‚É‹É‚É‹ ɋɈ É‹ČźÉ™ÉŒÉ‚ÉŒČżÉ…É™É†É‚ ȟȺɋɂɅɂȿɆ É‚ Č˝ÉŠÉ‚Č˝ÉˆÉŠÉ‚ČżÉ† ɊɈɋɋɂə É‡ČşÉ‘ČşÉ…Éˆ É?ɨ ȟȿÉ„Čş

Christ “the King of Kingsâ€? crowned, seated on an elaborate throne with cushions and a suppedaneum, raising his right hand LQ EOHVVLQJ DQG KROGLQJ WKH RSHQ *RVSHOV Ă DQNHG E\ KLV 0RWKHU and St. John the Baptist and additionally by the Church Fathers, Sts. Basil and Gregory; executed in the traditional manner with dark colours on dazzling gold; the inclusion of the two Hierarchs suggesting that the icon was privately commissioned 6=,-("(66,5(./

É?ɪɢɍɏɨɍ ÉŠÉŞÉ&#x;ÉžÉŤÉŹÉšÉœÉĽÉ&#x;ɧɧɾɣ ɤÉšɤ ŠÉ?ɚɪɜ É?ɚɪÉ&#x;ÉŚÂŞ ɢ É­ÉœÉ&#x;ɧɹÉšɧɧɾɣ ɤɨɪɨɧɨɣ ÉœɨɍɍÉ&#x;ɞɚÉ&#x;ÉŹ ɧÉš ɢɍɤɭɍɧɨɌ ÉŞÉ&#x;ɥɧɨɌ ɏɪɨɧÉ&#x; ÉŤ ÉŠÉ­ÉŽÉšɌɢ ɢ ɊɨÉžÉ§É¨É É˘É&#x;ÉŚ Ɉɧ Éœɨɥɧɨɍɢɏ ÉŠÉŞÉšÉœɭɸ ɪɭɤɭ Éœ ɛɼɚÉ?ɨɍɼɨÉœÉ&#x;ɧɢɢ ÉžÉ&#x;ÉŞÉ Éš ɨɏɤɪɾɏɭɸ ɤɧɢÉ?É­ ČżÉœÉšɧÉ?ɢÉ&#x;ɼɢɚ É‹ ɨÉ›É&#x;ɢɯ ɍɏɨɪɨɧ ɤ ɧÉ&#x;ÉŚÉ­ ɊɪɢɌɾɤÉšɸɏ ɎɢÉ?É­ÉŞÉľ ȝɨÉ?ɨɪɨÉžɢɰɾ É‚ɨÉšɧɧÉš É„ÉŞÉ&#x;ɍɏɢɏÉ&#x;ÉĽÉš ɢ ɨɏɰɨÉœ É?É&#x;ɪɤÉœɢ Âą ÉŤÉœɚɏɢɏÉ&#x;ÉĽÉ&#x;ÉŁ ȟɚɍɢɼɢɚ ɢ ȽɪɢÉ?ɨɪɢɚ É‚ɤɨɧÉš ÉœɾɊɨɼɧÉ&#x;ɧÉš Éœ ɏɪɚɞɢɰɢɨɧɧɨɣ ÉŚÉšɧÉ&#x;ÉŞÉ&#x; Éœ ÉŹÉ&#x;Ɍɧɾɯ ɏɨɧɚɯ Ɋɨ ɨɍɼÉ&#x;ɊɢɏÉ&#x;ɼɜɧɨɌɭ ɥɨɼɨɏɨɌɭ Ɏɨɧɭ ɉɪɢɍɭɏɍɏÉœɢÉ&#x; ÉžÉœÉ­ÉŻ ÉŤÉœɚɏɢɏÉ&#x;ÉĽÉ&#x;ÉŁ ɭɤÉšÉĄÉľÉœÉšÉ&#x;ÉŹ ɧÉš ɏɨ ɹɏɨ ɢɤɨɧÉš É›ɾɼÉš ÉœɾɊɨɼɧÉ&#x;ɧÉš Ɋɨ ɹɚɍɏɧɨɌɭ ÉĄÉšɤɚɥɭ

0=1***271***

*-+ THE MOTHER OF GOD OF KORSUN RUSSIAN, CIRCA 1600

*-+ ČťÉˆČ˝ÉˆÉ†ČşÉŒČżÉŠÉ– ɄɈɊɋÉ?ɇɋɄȺə ɊɈɋɋɂə ɈɄɈɅɈ É?

A close-up image of the Mother of God tenderly embracing her Son, Christ pressing his cheek against hers, gesturing in blessing and holding a closed scroll; the elongated facial features, the sombre colours with dense gold highlights, and the gilded background all drawing on the traditional Byzantine aesthetics +4,-("(67,=(./

É„ɨɌɊɨɥɢɰɢɚ ÉŠÉŞÉ&#x;ÉžÉŤÉŹÉšÉœÉĽÉšÉ&#x;ÉŹ ɍɨÉ›ɨɣ ÉŠÉŞÉ&#x;ÉžÉŤÉŹÉšÉœÉĽÉ&#x;ɧɧɾɣ ɤɪɭɊɧɾɌ ÉŠÉĽÉšɧɨɌ ɨɛɪɚɥ ÉšÉœÉĽÉšÉ&#x;ÉŹ ɧÉ&#x;É É§É¨ ɨÉ›ɧɢɌÉšɸɳÉ&#x;ÉŁ É‹ɾɧÉš ɆɼɚɞÉ&#x;ɧÉ&#x;É° É?ɪɢɍɏɨɍ ÉŠÉŞÉ˘É É˘ÉŚÉšÉ&#x;ÉŹÉŤÉš ɤ ȝɨÉ?ɨɌɚɏÉ&#x;ɪɢ ÉłÉ&#x;ɤɨɣ ɧɢɍɊɨɍɾɼɚɚ ɛɼɚÉ?ɨɍɼɨÉœÉ&#x;ɧɢÉ&#x; ɌɨɼɚɳÉ&#x;ÉŚÉ­ÉŤÉš ɢ ÉŤÉ É˘ÉŚÉšÉš ÉŤÉœÉ&#x;ɪɧɭɏɾɣ ÉŤÉœɢɏɨɤ É„ɨɌɊɨɥɢɰɢɚ ɧÉšɊɢɍÉšɧÉš Éœ ɍɨɨɏÉœÉ&#x;ÉŹÉŤÉŹÉœɢɢ ɤÉšɧɨɧɚɌ ÉœɢɥÉšɧɏɢɣɍɤɨɣ ɡɍɏÉ&#x;ɏɢɤɢ ɯɚɪɚɤɏÉ&#x;ɪɧɾ É­ÉžɼɢɧÉ&#x;ɧɧɾÉ&#x; ÉąÉ&#x;ÉŞÉŹÉľ ɼɢɰ ÉŹÉ&#x;ɌɧɾÉ&#x; ɏɨɧÉš ÉŤ ɯɚɪɚɤɏÉ&#x;ɪɧɾɌɢ É­ÉžɼɢɧÉ&#x;ɧɧɾɌɢ ÉąÉ&#x;ÉŞÉŹÉšɌɢ ɼɢɰ ÉŹÉ&#x;ɌɧɾɌɢ ɏɨɧÉšɌɢ ÉŤ ɊɼɨɏɧɾɌ ɥɨɼɨɹÉ&#x;ɧɢÉ&#x;ÉŚ ÉœÉľÉžÉ&#x;ɼɚɸɳɢÉ&#x;ÉŤÉš ɧÉš ɥɨɼɨɏɨɌ ɎɨɧÉ&#x;

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*.+ THE NATIVITY RUSSIAN, CIRCA 1600

*.+ ɊɈɀȞȿÉ‹ÉŒČźÉˆ É?ÉŠÉ‚É‹ÉŒÉˆČźÉˆ ɊɈɋɋɂə ɈɄɈɅɈ É?

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É„ɨɌɊɨɥɢɰɢɚ ÉœɾɍɏɪÉšɢɜɚÉ&#x;ÉŹÉŤÉš ÉœɨɤɪɭÉ? É°É&#x;ɧɏɪÉšɼɜɧɨɣ ɎɢÉ?É­ÉŞÉľ ȝɨÉ?ɨɪɨÉžɢɰɾ ÉœɨɥɼÉ&#x;É ÉšÉłÉ&#x;ÉŁ ɧÉš ÉĽÉ¨É É&#x; ÉŠÉ&#x;ÉŞÉ&#x;Éž ÉœɯɨÉžɨɌ Éœ ÉŠÉ&#x;ÉłÉ&#x;ÉŞÉ­ É?ÉžÉ&#x; Éœ ɚɍɼɚɯ ɧÉšɯɨÉžɢɏɍɚ ɌɼɚɞÉ&#x;ɧÉ&#x;É° É?ɪɢɍɏɨɍ ɤ ɤɨɏɨɪɨɌɭ ɍɤɼɨɧɚɸɏɍɚ Éœɨɼ ɢ ɨɍÉ&#x;ÉĽ É‹ÉĽÉ&#x;ɜɚ ÉŠÉŞÉ&#x;Éžɍɏɨɚɏ ÉœɨɼɯÉœÉľ ÉŤ ɞɚɪɚɌɢ ɜɜÉ&#x;ÉŞÉŻÉ­ ɞɜɚ ÉšɧÉ?É&#x;ÉĽÉš ÉœɨɥÉœÉ&#x;ɳɚɸɏ ɪɚɞɨɍɏɧɭɸ ÉœÉ&#x;ÉŤÉŹÉś ɇɚ ÉŠÉ&#x;ÉŞÉ&#x;ÉžɧÉ&#x;ÉŚ ÉŠÉĽÉšɧÉ&#x; Ɋɚɍɏɭɯ ɍɨɛɳɚÉ&#x;ÉŹ ɧɨÉœɨɍɏɜ É‚ɨɍɢɎɭ Éš ÉŤÉĽÉ&#x;ɜɚ Âą ÉŤÉĽÉ­É Éšɧɤɢ ɤɭɊÉšɸɏ ɧɨÉœÉ¨ÉŞÉ¨É ÉžÉ&#x;ɧɧɨÉ?ɨ É‚ɤɨɧÉš ÉœɾɊɨɼɧÉ&#x;ɧÉš Éœ ɏɪɚɞɢɰɢɨɧɧɨɣ ÉŚÉšɧÉ&#x;ÉŞÉ&#x; Éœ ÉŠÉŞÉ&#x;ɨɛɼɚɞɚɸɳɢɯ ɨɯɪɚɧɾɯ ɢ ɤɪÉšɍɧɾɯ ɏɨɧɚɯ ÉŤ É›É&#x;ɼɾɌɢ É¨É É˘ÉœɤÉšɌɢ ɇɢɌɛɾ ÉŤÉœɚɏɾɯ ɢ ɤɪɾɼɜɚ ÉšɧÉ?É&#x;ɼɨÉœ ÉœɾɥɨɼɨɹÉ&#x;ɧɾ

0+-1***2)*1***

*/+ THE WORSHIP OF THE MOTHER OF GOD RUSSIAN, 17TH CENTURY The icon does not depict a single biblical event, instead it forms a complex image that celebrates the role of the Mother of God in the incarnation of the Christ by using elements from a number RI VRXUFHV 7KH FRPSRVLWLRQ RUJDQLVHG DURXQG WKH FHQWUDO ÀJXUH 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 three Wise Men who proceed from the left in order to meet the newborn King, the latter responding by signing in benediction; an angel on the upper left corner gazing in amazement at the open heavens, and opposite, a second angel announcing the Nativity to a young Shepherd; the lower part of the part of the image deriving from the icons of Axion Estin, where a JURXS RI 2OG 7HVWDPHQW 3URSKHWV DUH à DQNHG E\ 6WV &RVPDV of Maiuma and John of Damascus, both presenting scrolls inscribed with exaltations to the Mother of God; lastly, the caves RQ WKH ORZHU FRUQHUV HQFORVLQJ WZR ÀJXUHV LQ /LPER VHHNLQJ salvation looking upwards at the Mother of God and suggesting the participation of the Underworld in her adoration; the icon SDLQWHG ÀQHO\ LQ WKH W\SLFDO VW\OH RI WKH WK FHQWXU\ UHQGHUHG mostly with shades of red and green on ochre background )6("()=,-(./

0+-1***2)-1***

*/+ ɊɈɀȞȿÉ‹ÉŒČźÉˆ É?ÉŠÉ‚É‹ÉŒÉˆČźÉˆ É‚ ɉɊɈɋɅȺȟɅȿɇɂȿ ČťÉˆČ˝ÉˆÉŠÉˆČžÉ‚É?É• ɊɈɋɋɂə ÉŁ ȟȿÉ„ É„ɨɌɊɨɥɢɰɢɚ ɢɤɨɧɾ ÉŠÉŞÉ&#x;ÉžÉŤÉŹÉšÉœÉĽÉšÉ&#x;ÉŹ ɍɨÉ›ɨɣ ɧÉ&#x; ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧɢÉ&#x; ɤÉšɤɨÉ?ɨ ɏɨ ɤɨɧɤɪÉ&#x;ɏɧɨÉ?ɨ É›ɢɛɼÉ&#x;ɣɍɤɨÉ?ɨ ÉŤÉ¸É É&#x;ÉŹÉš Éš ÉŤÉĽÉ¨É É§É­É¸ ɤɨɌɊɢɼɚɰɢɸ ÉŞÉšɥɼɢɹɧɾɯ ɢɤɨɧɨÉ?ÉŞÉšɎɢɹÉ&#x;ɍɤɢɯ ÉŤÉ¸É É&#x;ɏɨÉœ Ɋɪɨɍɼɚɜɼɚɸɳɢɯ ȝɨÉ?ɨɪɨÉžɢɰɭ ɢ ÉœɨɊɼɨɳÉ&#x;ɧɢÉ&#x; ȝɨÉ?Éš É‹ɼɨɜɚ Čź É°É&#x;ɧɏɪÉ&#x; ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧɢɚ ɧÉšɯɨÉžɢɏɍɚ ȝɨÉ?ɨɌɚɏÉ&#x;ÉŞÉś ÉžÉ&#x;ÉŞÉ ÉšÉłÉšÉš ɧÉš ɤɨɼÉ&#x;ɧɚɯ ɌɼɚɞÉ&#x;ɧɰÉš É?ɪɢɍɏÉš É‚ÉŻ ɎɢÉ?É­ÉŞÉľ ÉĄÉšɤɼɸɹÉ&#x;ɧɾ Éœ ÉŹÉ&#x;Ɍɧɨ ÉĄÉ&#x;ÉĽÉ&#x;ɧɭɸ ɨɜɚɼɜɧɭɸ ÉŚÉšɧÉžɨɪɼɭ ɍɢɌÉœɨɼɢɥɢɪɭɸɳɭɸ ɍɢɚɧɢÉ&#x; ÉŤÉĽÉšÉœÉľ ÉŽɨɧ ɨɛɪɚɥɭɸɏ ÉĽÉ&#x;ɳɚɞɤɢ Čź ÉœÉ&#x;ɪɯɧÉ&#x;ÉŁ ɹɚɍɏɢ ɢɤɨɧɾ ɥɚɊÉ&#x;ɹɚɏɼÉ&#x;ɧ ÉŤÉ¸É É&#x;ÉŹ ÉŠÉ¨É ÉžÉ&#x;ÉŤÉŹÉœÉš É?ɪɢɍɏɨɜɚ Éœ ÉœÉ&#x;ɪɯɧÉ&#x;ÉŁ ÉĽÉ&#x;Éœɨɣ ɹɚɍɏɢ ɤɨɌɊɨɥɢɰɢɢ ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧɾ ɏɪɢ ÉŠÉ­ÉŹÉ&#x;ɲÉ&#x;ÉŤÉŹÉœɭɸɳɢɯ Éœɨɼɯɜɚ ɊɪɢɲÉ&#x;Éžɲɢɯ Ɋɨɤɼɨɧɢɏɜɍɚ ɧɨÉœÉ¨ÉŞÉ¨É ÉžÉ&#x;ɧɧɨɌɭ ɤɨɏɨɪɾɣ Éœ ɧɢɍɊɨɍɾɼÉšÉ&#x;ÉŹ ɢɌ ɛɼɚÉ?ɨɍɼɨÉœÉ&#x;ɧɢÉ&#x; Éœ ɨɏÉœÉ&#x;ÉŹ É‹ÉœÉ&#x;ÉŞÉŻÉ­ ÉšɧÉ?É&#x;ÉĽ Éœ ɢɥɭɌɼÉ&#x;ɧɢɢ ɍɌɨɏɪÉ&#x;ÉŹ ɧÉš ÉŞÉšÉĄÉœÉ&#x;ɪɥɲɢÉ&#x;ÉŤÉš ɧÉ&#x;É›É&#x;ÉŤÉš ÉŤÉŠÉŞÉšÉœÉš ɞɪɭÉ?ɨɣ ÉšɧÉ?É&#x;ÉĽ ÉœɨɥÉœÉ&#x;ɳɚÉ&#x;ÉŹ ɧɨÉœɨɍɏɜ ɨ ÉŠÉ¨É ÉžÉ&#x;ÉŤÉŹÉœÉ&#x; É?ɪɢɍɏÉš ɌɨɼɨÉžɨɌɭ Ɋɚɍɏɭɯɭ Čź É§É˘É É§É&#x;ÉŁ ɹɚɍɏɢ ɢɤɨɧɾ ÉŠÉŞÉ&#x;ÉžÉŤÉŹÉšÉœÉĽÉ&#x;ɧ ÉŤÉ¸É É&#x;ÉŹ ɨɊɢɪÉšɸɳɢɣɍɚ ɧÉš ɢɤɨɧɨÉ?ÉŞÉšɎɢɸ ŠȞɨɍɏɨɣɧɨ ȿɍɏɜª ɪɚɞ ÉœÉ&#x;ɏɯɨɥɚɜÉ&#x;ɏɧɾɯ ɊɪɨɪɨɤɨÉœ ÉœÉŚÉ&#x;ÉŤÉŹÉ&#x; ɍɨ ÉŤÉœÉœ É„ɨɍɜɌɨɣ ɆɚɸɌɍɤɢɌ ɢ É‚ɨɚɚɧɨɌ ȞɚɌɚɍɤɢɧɾɌ ÉžÉ&#x;ÉŞÉ ÉšɳɢɌɢ ÉŤÉœɢɏɤɢ ÉŤ É°É&#x;ɪɤɨÉœɧɾɌɢ ÉŠÉ&#x;ɍɧɨɊÉ&#x;ɧɢɚɌɢ Ɋɪɨɍɼɚɜɼɚɸɏ ȝɨÉ?ɨɪɨÉžɢɰɭ Čź É§É˘É É§É˘ÉŻ É­É?ɼɚɯ ɤɨɌɊɨɥɢɰɢɢ ÉœɢÉžɧÉ&#x;ɸɏɍɚ ÉŠÉ&#x;ÉłÉ&#x;ÉŞÉľ ÉŤ ÉžÉœÉ­ÉŚÉš ɎɢÉ?É­ÉŞÉšɌɢ ɢɥ ɚɞɚ ÉœɥɾɍɤɭɸɳɢɌɢ ɍɊɚɍÉ&#x;ɧɢÉ&#x; ɢ ÉœɥɢɪÉšɸɳɢɌɢ ɧÉš ȝɨÉ?ɨɪɨÉžɢɰɭ ÉŤÉœɢÉžÉ&#x;ÉŹÉ&#x;ɼɜɍɏɜɭɚ ɨ ɏɨɌ ɹɏɨ ȝɨÉ?ɨɌɚɏÉ&#x;ÉŞÉś Ɋɪɨɍɼɚɜɼɚɸɏ ɢ Éœ ÉŠÉŞÉ&#x;ɢɍɊɨÉžɧÉ&#x;ÉŁ É‚ɤɨɧÉš ɧÉšɊɢɍÉšɧÉš Éœ ɯɚɪɚɤɏÉ&#x;ɪɧɨɣ ɞɼɚ É?ɨ ÉœÉ&#x;ɤÉš ɍɏɢɼɢɍɏɢɤÉ&#x; ÉŤ ÉŠÉŞÉ&#x;ɨɛɼɚɞɚɧɢÉ&#x;ÉŚ ɤɪÉšɍɧɾɯ ɢ ÉĄÉ&#x;ÉĽÉ&#x;ɧɾɯ ɏɨɧɨÉœ ɧÉš ɨɯɪɢɍɏɨɌ ɎɨɧÉ&#x;

*0+ THE APOSTLES’ CREED RUSSIAN (MSTERA), 19TH CENTURY

*0+ É‹É‚É†ČźÉˆÉ… ȟȿÉŠÉ• ɊɈɋɋɂə É†É‹ÉŒČżÉŠČş ÉŁ ȟȿÉ„

A visual representation of the Symbol of Faith, also known as the Apostle’s Creed, since according to the Christian tradition it was jointly composed by Christ’s twelve disciples; hence WKH WZHOYH FRPSDUWPHQWV UHà HFWLQJ WKH FRQWULEXWLRQ RI HDFK of the Apostles; starting from the upper left corner, the scenes correspond to the following verses: 1. I believe in one God, the Father Almighty, Maker of heaven and earth, and of all things visible and invisible. 2. And in one Lord Jesus Christ, the Son of God, the Onlybegotten, begotten of the Father before all ages. Light of Light; True God of True God; begotten, not made; of one essence with the Father, by Whom all things were made; 3. Who for us men and for our salvation came down from heaven, and was incarnate of the Holy Spirit and the Virgin Mary, and became man. $QG +H ZDV FUXFLÀHG IRU XV XQGHU 3RQWLXV 3LODWH DQG suffered, and was buried. 5. And the third day He rose again, according to the Scriptures; 6. And ascended into heaven, and sits at the right hand of the Father; 7. And He shall come again with glory to judge the living and the dead; Whose Kingdom shall have no end. 8. And in the Holy Spirit, the Lord, the Giver of Life, Who proceeds from the Father; Who with the Father and the 6RQ WRJHWKHU LV ZRUVKLSSHG DQG JORULÀHG :KR VSRNH E\ WKH prophets. 9. In one Holy, Catholic, and Apostolic Church. 10. I acknowledge one Baptism for the remission of sins. 11. I look for the resurrection of the dead; 12. And the life of the world to come. )3("(+5(./

Čź ÉŤÉ°É&#x;ɧɚɯ ɧÉš ɢɤɨɧÉ&#x; ɢɼɼɸɍɏɪɢɪɭÉ&#x;ÉŹÉŤÉš ÉŹÉ&#x;ɤɍɏ É‹ɢɌÉœɨɼÉš ÉœÉ&#x;ÉŞÉľ ɤɪÉšɏɤɨÉ?ɨ É˘ÉĄÉĽÉ¨É É&#x;ɧɢɚ ÉžɨÉ?ÉŚÉšɏɨÉœ É‰ÉŞÉšÉœɨɍɼɚɜɢɚ É‹ɨÉ?ÉĽÉšɍɧɨ ÉŠÉŞÉ&#x;ɞɚɧɢɸ É‹ɢɌÉœɨɼ ÉœÉ&#x;ÉŞÉľ É›ɾɼ ɍɨɍɏÉšÉœÉĽÉ&#x;ɧ ɞɜÉ&#x;ɧɚɞɰɚɏɜɸ É­ÉąÉ&#x;ɧɢɤÉšɌɢ É?ɪɢɍɏÉš É—ɏɢɌ ɨÉ›ɴɚɍɧɚÉ&#x;ÉŹÉŤÉš ɢ ɏɨ ɹɏɨ ɤɨɌɊɨɥɢɰɢɚ ɢɤɨɧɾ ɪɚɥɛɢɏÉš ɧÉš ɤɼÉ&#x;ÉŁÉŚ ɍɢɌÉœɨɼɢɹÉ&#x;ɍɤɢ ɍɨɨɏÉœÉ&#x;ÉŹÉŤÉŹÉœɭɸɳɢɯ ɤÉšÉ ÉžɨɌɭ ÉšɊɨɍɏɨɼɭ ɇɚɹɢɧɚɚ ÉŤ ÉœÉ&#x;ɪɯɧÉ&#x;É?ɨ ÉĽÉ&#x;ÉœɨÉ?ɨ É­É?ÉĽÉš ɤÉšÉ ÉžÉšÉš ÉŤÉ°É&#x;ɧÉš ɍɨɨɏÉœÉ&#x;ÉŹÉŤÉŹÉœÉ­É&#x;ÉŹ ÉŤÉĽÉ&#x;ÉžɭɸɳɢɌ ɍɏɪɨɤɚɌ É‹ɢɌÉœɨɼÉš ÉœÉ&#x;ÉŞÉľ ČźÉ&#x;ɪɭɸ Éœɨ É&#x;ÉžɢɧÉšÉ?ɨ ȝɨÉ?Éš ÉˆÉŹÉ°Éš ȟɍÉ&#x;ÉžÉ&#x;ÉŞÉ É˘ÉŹÉ&#x;ÉĽÉš ɌɜɨɪɰÉš ɧÉ&#x;ɛɭ ɢ ÉĄÉ&#x;Ɍɼɢ ÉœɢÉžɢɌɾɌ É É&#x; ÉœÉŤÉ&#x;ÉŚ ɢ ɧÉ&#x;ÉœɢÉžɢɌɾɌ É‚ Éœɨ É&#x;ÉžɢɧÉšÉ?ɨ ȽɨɍɊɨɞɚ É‚ɢɍɭɍÉš É?ɪɢɍɏÉš É‹ɾɧÉš ČťÉ¨É É˘Éš ȿɞɢɧɨɪɨÉžɧÉšÉ?ɨ É‚É É&#x; ɨɏ ÉˆÉŹÉ°Éš ÉŞÉ¨É ÉžÉ&#x;ɧɧÉšÉ?ɨ ÉŠÉŞÉ&#x;É ÉžÉ&#x; ÉœÉŤÉ&#x;ÉŻ ÉœÉ&#x;ɤ É‹ÉœÉ&#x;ÉŹÉš ɨɏ É‹ÉœÉ&#x;ÉŹÉš ȝɨÉ?Éš ɢɍɏɢɧɧÉš ɨɏ ȝɨÉ?Éš ɢɍɏɢɧɧÉš ÉŞÉ¨É ÉžÉ&#x;ɧɧÉš ɧÉ&#x;ɍɨɏÉœɨɪÉ&#x;ɧɧÉš É&#x;ÉžɢɧɨɍɭɳɧÉš ÉˆÉŹÉ°É­ É‚ÉŚ É É&#x; ÉœÉŤÉš É›ɾɲÉš ɇɚɍ ɪɚɞɢ ÉąÉ&#x;ɼɨÉœÉ&#x;ɤ ɢ ɧÉšɲÉ&#x;É?ɨ ɪɚɞɢ ɍɊɚɍÉ&#x;ɧɢɚ ɍɲÉ&#x;ÉžɲÉšÉ?ɨ ÉŤ ɧÉ&#x;É›É&#x;ÉŤ ɢ ÉœɨɊɼɨɏɢÉœɲÉšÉ?ɨɍɚ ɨɏ ȞɭɯÉš É‹ÉœɚɏÉš ɢ Ɇɚɪɢɢ ČžÉ&#x;ÉœÉľ ɢ ÉœɨɹÉ&#x;ɼɨÉœÉ&#x;ɹɲɚɍɚ ÉŠÉšɍɊɚɏÉšÉ?ɨ É É&#x; ÉĄÉš ɧɾ Ɋɪɢ ɉɨɧɏɢɣɍɏÉ&#x;ÉŚ ɉɢɼɚɏÉ&#x; ɢ ÉŤÉŹÉŞÉšÉžÉšÉœɲÉš ɢ ɊɨÉ?ÉŞÉ&#x;É›É&#x;ɧɧÉš É‚ ÉœɨɍɤɪÉ&#x;ɍɲÉšÉ?ɨ Éœ ÉŹÉŞÉ&#x;ɏɢɣ ÉžÉ&#x;ɧɜ Ɋɨ ɉɢɍÉšɧɢÉ&#x;ÉŚ É‚ ÉœɨɍɲÉ&#x;ÉžɲÉšÉ?ɨ ɧÉš ɧÉ&#x;É›É&#x;ÉŤÉš ɢ ÉŤÉ&#x;ÉžɚɳÉš ɨÉžÉ&#x;ɍɧɭɸ ÉˆÉŹÉ°Éš É‚ ÉŠÉšɤɢ É?ɪɚɞɭɳɚÉ?ɨ ɍɨ ÉŤÉĽÉšÉœɨɸ ÉŤÉ­Éžɢɏɢ É É˘ÉœɾɌ ɢ ÉŚÉ&#x;ÉŞÉŹÉœɾɌ ČżÉ?É¨É É&#x; É?ÉšÉŞÉŤÉŹÉœɢɸ ɧÉ&#x; ɛɭɞÉ&#x;ÉŹ ɤɨɧɰÉš É‚ Éœ ȞɭɯÉš É‹ÉœɚɏÉšÉ?ɨ ȽɨɍɊɨɞɚ É€ɢÉœɨɏÉœɨɪɚɳÉšÉ?ɨ É‚É É&#x; ɨɏ ÉˆÉŹÉ°Éš ɢɍɯɨÉžɚɳÉšÉ?ɨ É‚É É&#x; ɍɨ ÉˆÉŹÉ°É&#x;ÉŚ ɢ É‹ɾɧɨɌ ɍɊɨɤɼÉšɧɚÉ&#x;ÉŚÉš ɢ ÉŤÉŤÉĽÉšÉœɢɌÉš É?ÉĽÉšÉ?ɨɼɚɜɲÉšÉ?ɨ Ɋɪɨɪɨɤɢ ȟɨ ȿɞɢɧɭ É‹Éœɚɏɭɸ É‹ɨÉ›ɨɪɧɭɸ ɢ ȺɊɨɍɏɨɼɜɍɤɭɸ É?É&#x;ɪɤɨÉœÉś É‚ɍɊɨÉœÉ&#x;Éžɭɸ É&#x;Éžɢɧɨ É„ÉŞÉ&#x;ÉłÉ&#x;ɧɢÉ&#x; Éœɨ ɨɍɏÉšÉœÉĽÉ&#x;ɧɢÉ&#x; É?ÉŞÉ&#x;ɯɨÉœ É‘Éšɸ ÉœɨɍɤɪÉ&#x;ÉŤÉ&#x;ɧɢɚ ÉŚÉ&#x;ÉŞÉŹÉœɾɯ É‚ É É˘ÉĄÉ§É˘ ɛɭɞɭɳɚÉ?ɨ ÉœÉ&#x;ɤÉš ȺɌɢɧɜ

06+1***26-1***

*1+ AN IMAGE OF A RUSSIAN ICONOSTASIS RUSSIAN, LATE 18TH CENTURY

*1+ ÉˆČťÉŠČşÉ É‚É„ÉˆÉ‡ÉˆÉ‹ÉŒČşÉ‹Čş ɊɈɋɋɂə É„ÉˆÉ‡ČżÉ? É?ɨ ȟȿÉ„Čş

2UJDQLVHG LQ ÀYH WLHUV ZLWK VHYHQ DUFKHG LPDJHV RQ WKH WRS WKH latter bearing domes with crosses; the lower register showing the Royal and Deacons’ Doors and between them the icons of the Mother of God, the Old Testament Trinity and favourite saints, below each icon appears an image of a podea; the frieze DERYH GHSLFWLQJ WKH $QDVWDVLV LQ WKH FHQWUH à DQNHG E\ VL[ Calendar Feasts on each side; the next tier featuring the Apostles advancing towards the central image of the Deisis, the two upper rows crowded with Prophets praying to Christ in Majesty and Lord Sabaoth; the semi-circular images above showing scenes from the Passion Cycle, staring from the left, the Betrayal of &KULVW E\ -XGDV IROORZHG E\ WKH 'HSRVLWLRQ WKH &UXFLÀ[LRQ the Lamentation and the Prayer at the Mount of Olives; the two images behind portraying selected saints; the image executed in saturated colours with gold details on ochre background )-("()6(./

ɇɚ ɢɤɨɧÉ&#x; ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧ Ɋɚɏɢɚɪɭɍɧɾɣ ɢɤɨɧɨɍɏɚɍ É­ÉœÉ&#x;ɧɹÉšɧɧɾɣ ÉŤÉ&#x;Ɍɜɸ ɊɨɼɭɤɪɭÉ?ɼɾɌɢ ɨɛɪɚɥɚɌɢ ɧɚɞ ɤɨɏɨɪɾɌɢ Éœɾɍɚɏɍɚ ɤɭɊɨɼÉš ÉŤ ɤɪÉ&#x;ÉŤÉŹÉšɌɢ Čź É§É˘É É§É&#x;ÉŚ ÉŞÉ&#x;É?ɢɍɏɪÉ&#x; ÉŞÉšɍɊɨɼÉšÉ?Éšɸɏɍɚ É?ÉšɪɍɤɢÉ&#x; ɢ ȞɢÉšɤɨɧɍɤɢÉ&#x; ÉœÉŞÉšÉŹÉš ÉŚÉ&#x;É É¤É¨ÉŹÉ¨ÉŞÉľÉŻ ɊɨɌÉ&#x;ÉłÉ&#x;ɧɾ ɢɤɨɧɾ ȝɨÉ?ɨɪɨÉžɢɰɾ ÉŒɪɨɢɰɾ ČźÉ&#x;ɏɯɨɥɚɜÉ&#x;ɏɧɨɣ ɢ ɧÉšɢÉ›ɨɼÉ&#x;É&#x; ɊɨɹɢɏÉšÉ&#x;Ɍɾɯ ÉŠÉŞÉšÉœɨɍɼɚɜɧɾɯ ÉŤÉœɚɏɾɯ ɉɨÉž ɤÉšÉ Éžɨɣ ɢɤɨɧɨɣ ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧɾ ɊɨɞɜÉ&#x;ɍɧɾÉ&#x; ÉŠÉ&#x;ÉĽÉ&#x;ɧɾ ɇɚɞ É°ÉšɪɍɤɢɌɢ ÉœÉŞÉšÉŹÉšɌɢ Éœ É°É&#x;ɧɏɪÉ&#x; ɊɪɚɥɞɧɢɹɧɨÉ?ɨ ɚɪɭɍÉš ÉœɨɥÉœɾɲÉšÉ&#x;ÉŹÉŤÉš ɨɛɪɚɥ ȟɨɍɤɪÉ&#x;ÉŤÉ&#x;ɧɢɚ ɤ ɤɨɏɨɪɨɌɭ ÉŤ ɤÉšÉ Éžɨɣ ɍɏɨɪɨɧɾ ɊɪɢɌɾɤÉšÉ&#x;ÉŹ Ɋɨ ɲÉ&#x;ÉŤÉŹÉś ɢɤɨɧ ÉŤ ɨɍɧɨÉœɧɾɌɢ É°É&#x;ɪɤɨÉœɧɾɌɢ ɊɪɚɥɞɧɢɤÉšɌɢ Čź ÉŤÉĽÉ&#x;ÉžɭɸɳÉ&#x;ÉŚ ɹɢɧÉ&#x; ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧɾ ÉšɊɨɍɏɨɼɾ ɨɛɪɚɳÉ&#x;ɧɧɾÉ&#x; ɤ É°É&#x;ɧɏɪÉšɼɜɧɨɣ ɤɨɌɊɨɥɢɰɢɢ ČžÉ&#x;ɢɍɢɍÉš Čź ÉžÉœÉ­ÉŻ ÉœÉ&#x;ɪɯɧɢɯ ɚɪɭɍɚɯ ɧÉšɯɨÉžɚɏɍɚ ɨɛɪɚɥɾ ɊɪɨɪɨɤɨÉœ Ɋɨɤɼɨɧɚɸɳɢɯɍɚ ɋɊɚɍɭ ȟɍÉ&#x;ÉžÉ&#x;ÉŞÉ É˘ÉŹÉ&#x;ɼɸ ɢ ȽɨɍɊɨɞɭ ɋɚɜɚɨɎɭ Čź ɊɨɼɭɤɪɭÉ?ɼɾɯ ɧɚɜÉ&#x;ɪɲɢɚɯ ÉŞÉšɍɊɨɼÉšÉ?Éšɸɏɍɚ ÉŤÉ°É&#x;ɧɾ ɢɥ É‹ÉŹÉŞÉšɍɏɧɨÉ?ɨ ɰɢɤɼÉš ÉŤÉĽÉ&#x;ɜɚ ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧɨ ÉŠÉŞÉ&#x;ɞɚɏÉ&#x;ɼɜɍɏÉœɨ ɂɭɞɾ ÉĄÉš ɤɨɏɨɪɾɌ ÉŤÉĽÉ&#x;Éžɭɸɏ É‰É¨ÉĽÉ¨É É&#x;ɧɢÉ&#x; Éœɨ ȽɪɨÉ› ÉˆÉŠÉĽÉšɤɢɜɚɧɢÉ&#x; É?ɪɢɍɏÉš ɢ ɆɨɼÉ&#x;ɧɢÉ&#x; ɨ É‘ÉšɲÉ&#x; ČžÉœÉš ɨɛɪɚɥɚ Ɋɨɨɞɚɼɜ ɥɚɊÉ&#x;ɹɚɏɼÉ&#x;ɼɢ ɢɥɛɪɚɧɧɾɯ ÉŤÉœɚɏɾɯ É‚ɤɨɧÉš ÉœɾɊɨɼɧÉ&#x;ɧÉš Éœ ɧÉšɍɾɳÉ&#x;ɧɧɾɯ ɏɨɧɚɯ ÉŤ ɥɨɼɨɏɾɌɢ É¨É É˘ÉœɤÉšɌɢ Ɋɨ ɨɯɪɚɧɨɌɭ Ɏɨɧɭ

041***251***

front reverse *2+ A DOUBLE SIDED ICON SHOWING ST. NICHOLAS AND THE MANDYLION RUSSIAN (PALEKH), LATE 18TH CENTURY

*2+ ȞȟÉ?ɋɌɈɊɈɇɇəə É‚É„ÉˆÉ‡Čş É‹ ÉˆČťÉŠČşÉ ÉˆÉ† É‹Čź É‡É‚É„ÉˆÉ…ČşÉ™ É‘É?ČžÉˆÉŒČźÉˆÉŠÉ?Čş É‚ ɇȿɊÉ?É„ÉˆÉŒČźÉˆÉŠÉ‡ÉˆČ˝Éˆ ɋɉȺɋȺ ɊɈɋɋɂə ɉȺɅȿÉ? É„ÉˆÉ‡ČżÉ? É?ɨ ȟȿÉ„Čş

The ogee upper part of the panel responding to an inverted stepped form at the bottom; one side portraying St. Nicholas, WXUQLQJ KLV H\HV DZD\ IURP WKH RQORRNHU KLV UHĂ€QHG IDFLDO features 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 Hands, with a short beard and well-groomed hair, imprinted on a green cloth lifted by two angels, both sides with ochre background )*,=("(67,=(./

ČźÉ&#x;ɪɯɧɚɚ ɹɚɍɏɜ ɢɤɨɧɾ ÉŠÉ¨ÉŻÉ¨É ÉšÉš ɧÉš ɤɢɼÉ&#x;ÉœɢÉžɧɭɸ Éšɪɤɭ ÉŠÉ&#x;ÉŞÉ&#x;ɤɼɢɤÉšÉ&#x;ÉŹÉŤÉš ɍɨ ÉŤÉŹÉ­ÉŠÉ&#x;ɧɹÉšɏɾɌɢ ɨɹÉ&#x;ÉŞÉŹÉšɧɢɚɌɢ É§É˘É É§É&#x;ÉŁ ÉąÉ&#x;ɍɏɢ ɇɚ ɼɢɰÉ&#x;Éœɨɣ ɍɏɨɪɨɧÉ&#x; ɢɤɨɧɾ ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧ ÉŤÉœ ɇɢɤɨɼɚɣ É‘É­ÉžɨɏÉœɨɪÉ&#x;É° ČżÉ?ɨ ÉœÉĄÉ?ɼɚɞ ɨɏÉœÉ&#x;ÉžÉ&#x;ɧ Éœ ɍɏɨɪɨɧɭ ɨɏ ɌɨɼɚɳÉ&#x;É?ɨɍɚ ÉŒɨɧɤɢÉ&#x; ÉąÉ&#x;ÉŞÉŹÉľ ɼɢɰÉš ÉŤÉœɚɏɨÉ?ɨ ÉŤÉœɢÉžÉ&#x;ÉŹÉ&#x;ɼɜɍɏÉœɭɸɏ ɨ É&#x;É?ɨ ɌɨɼɢɏÉœÉ&#x;ɧɧɨɌ ɍɨɍɏɨɚɧɢɢ Ɉɧ ɧɢɍɊɨɍɾɼÉšÉ&#x;ÉŹ ɛɼɚÉ?ɨɍɼɨÉœÉ&#x;ɧɢÉ&#x; ÉžÉ&#x;ÉŞÉ Éš ɤɧɢÉ?É­ ČżÉœÉšɧÉ?É&#x;ɼɢɚ ɢɍɤɭɍɧɨ ɭɛɪɚɧɧɭɸ ɥɨɼɨɏɨɌ ɢ ɞɪɚÉ?ɨɰÉ&#x;ɧɧɾɌɢ ɤÉšɌɧɚɌɢ ÉŽÉ&#x;ɼɨɧɜ ÉŤÉœɚɏɨÉ?ɨ ɭɤɪÉšɲÉ&#x;ɧÉš ɤɪÉ&#x;ɍɏɨɨɛɪɚɥɧɾɌ ɭɥɨɪɨɌ ɧÉš ɨɌɨɎɨɪÉ&#x; Âą ɞɜɚ ɨÉ?ɪɨɌɧɾɯ ɤɪÉ&#x;ÉŤÉŹÉš ɇɚ ɞɪɭÉ?ɨɣ ɍɏɨɪɨɧÉ&#x; Âą ɨɛɪɚɥ ɋɊɚɍɚ ɇÉ&#x;ɪɭɤɨɏÉœɨɪɧɨÉ?ɨ ÉŤ ɤɨɪɨɏɤɨɣ É›ɨɪɨÉžɤɨɣ ɢ ɪɚɍɹÉ&#x;ÉŤÉšɧɧɾɌɢ ɧÉš ɊɪɨÉ›ɨɪ ÉœɨɼɨɍÉšɌɢ É…ɢɤ É‹ÉŠÉšɍɢɏÉ&#x;ÉĽÉš ɥɚɊÉ&#x;ɹɚɏɼÉ&#x;ɧ ɧÉš ÉĄÉ&#x;ÉĽÉ&#x;ɧɨɌ ɊɼɚɏÉ&#x; ɊɨɞɞÉ&#x;ÉŞÉ É˘ÉœÉšÉ&#x;ɌɨɌ ÉžÉœÉ­ÉŚÉš ÉšɧÉ?É&#x;ÉĽÉšɌɢ ɈɛÉ&#x; ɤɨɌɊɨɥɢɰɢɢ ÉŤ ɼɢɰÉ&#x;Éœɨɣ ɢ ɨɛɪɚɏɧɨɣ ɍɏɨɪɨɧɾ ɧÉšɊɢɍÉšɧɾ Ɋɨ ɨɯɪɢɍɏɨɌɭ Ɏɨɧɭ

06+1***2641***

*3+ A DEISIS RUSSIAN, 18TH CENTURY

*3+ ȞȿÉ‚É‹É‚É‹ ɊɈɋɋɂə ÉŁ ȟȿÉ„

Christ seated on an striking throne, decorated with exuberant foliage, complemented by a matching suppedaneum, signing in EHQHGLFWLRQ DQG GLVSOD\LQJ DQ RSHQ %RRN RI *RVSHOV Ă DQNHG by His Mother and St. John the Baptist, both leaning towards Him, gesturing in supplication and unrolling scrolls inscribed with prayers; the classical composition painted traditionally, the facial features rendered in detail, the drapery of the garments emphasized by white highlights, the red and white rims of the haloes standing out against the dazzling gold background )6,+("()4,6(./

É?ɪɢɍɏɨɍ ÉœɨɍɍÉ&#x;ɞɚÉ&#x;ÉŹ ɧÉš ÉœÉ&#x;ɼɢɤɨɼÉ&#x;ɊɧɨɌ ɏɪɨɧÉ&#x; ÉŤ ɊɨÉžÉ§É¨É É˘É&#x;ÉŚ ɭɤɪÉšɲÉ&#x;ɧɧɨɌ ɊɾɲɧɾɌ ɼɢɍɏÉœÉ&#x;ɧɧɾɌ ɭɥɨɪɨɌ Ɉɧ ɧɢɍɊɨɍɾɼÉšÉ&#x;ÉŹ ɛɼɚÉ?ɨɍɼɨÉœÉ&#x;ɧɢÉ&#x; ÉžÉ&#x;ÉŞÉ Éš Éœ ɪɭɤÉ&#x; ɨɏɤɪɾɏɭɸ ɤɧɢÉ?É­ ČżÉœÉšɧÉ?É&#x;ɼɢɚ ɉɨ ɨÉ›É&#x; ɍɏɨɪɨɧɾ ɨɏ ɏɪɨɧÉš ÉŠÉŞÉ&#x;ÉžÉŤÉŹÉšÉœÉĽÉ&#x;ɧɾ ȝɨÉ?ɨɌɚɏÉ&#x;ÉŞÉś ɢ É‚ɨÉšɧɧ É„ÉŞÉ&#x;ɍɏɢɏÉ&#x;ÉĽÉś ɍɤɼɨɧÉ&#x;ɧɧɾÉ&#x; ɤɨ É?ɪɢɍɏɭ ɤɨɏɨɪɨÉ?ɨ ɨɧɢ Ɋɪɨɍɚɏ ɨ Ɍɢɼɨɍɏɢ ÉžÉ&#x;ÉŞÉ Éš Éœ ɪɭɤɚɯ ÉŤÉœɢɏɤɢ ÉŤ ɌɨɼɢɏɜɚɌɢ É„ÉĽÉšɍɍɢɹÉ&#x;ɍɤɚɚ ɤÉšɧɨɧɢɹɧɚɚ ɤɨɌɊɨɥɢɰɢɚ ɧÉšɊɢɍÉšɧɧɚɚ Éœ ɏɪɚɞɢɰɢɨɧɧɨɌ ɍɏɢɼÉ&#x; É‘É&#x;ÉŞÉŹÉľ ɼɢɰ ɏɳɚɏÉ&#x;ɼɜɧɨ ÉœɾɊɢɍÉšɧɾ ȞɪÉšɊɢɪɨÉœɤɢ ɨÉžÉ&#x;ɚɧɢɣ ɭɍɢɼÉ&#x;ɧɾ É›É&#x;ɼɾɌɢ É¨É É˘ÉœɤÉšɌɢ É„ÉŞÉšɍɧɾɣ ɢ É›É&#x;ɼɾɣ ɤɨɧɏɭɪɾ ɧɢɌÉ›ɨÉœ ÉœÉľÉžÉ&#x;ɼɚɸɏɍɚ ɧÉš ɥɨɼɨɏɨɌ ɎɨɧÉ&#x;

051***26+1***

,4+ AN IMPRESSIVE ICON OF ST. JOHN THE BAPTST AND FIVE PATRON SAINTS RUSSIAN (PALEKH), 19TH CENTURY

,4+ É‹Čź É‚ÉˆČşÉ‡É‡ É„ÉŠČżÉ‹ÉŒÉ‚ÉŒČżÉ…É– ȺɇȽȿÉ… ɉÉ?ɋɌɕɇɂ É‚ ɉəɌɖ É‹ČźÉ™ÉŒÉ•É? É‰ÉˆÉ„ÉŠÉˆČźÉ‚ÉŒČżÉ…ČżÉƒ ɊɈɋɋɂə ɉȺɅȿÉ? ÉŁ ȟȿÉ„

7KH SDQHO GRPLQDWHG E\ WKH LPSRVLQJ ÀJXUH RI WKH %DSWLVW ZLWK large wings, standing on a barren, rocky summit, raising his right hand in blessing and bearing in his left a scroll, together ZLWK D FKDOLFH FRQWDLQLQJ WKH VDFULÀFLDO ERG\ RI &KULVW WKH ORZHU IULH]H GLYLGHG LQWR ÀYH FRPSDUWPHQWV HDFK SRUWUD\LQJ D saint chosen by the icon’s patron, beginning from the left, the military St. Dimitry, followed by Sts. Nifon, Feodot, Paisiy and %RQLIDWL\ WKH IDFH DQG KHDG RI WKH VDLQW ÀQHO\ UHQGHUHG ZLWK delicate brushstrokes, the striking chrysography of his wings highlighted by greens and blues 7*("(-=(./

É?É&#x;ɧɏɪÉšɼɜɧɚɚ ɪɨɼɜ Éœ ɤɨɌɊɨɥɢɰɢɢ ɨɏÉœÉ&#x;ÉžÉ&#x;ɧÉš ɎɢÉ?É­ÉŞÉ&#x; ÉŤÉœ É‚ɨÉšɧɧÉš É„ÉŞÉ&#x;ɍɏɢɏÉ&#x;ÉĽÉš ɍɏɨɚɳÉ&#x;É?ɨ ɧÉš ɍɤÉšɼɢɍɏɨɣ Ɋɭɍɏɾɧɧɨɣ ÉœÉ&#x;ɪɲɢɧÉ&#x; É‹Éœɚɏɨɣ ÉŤ ɨÉ?ɪɨɌɧɾɌɢ ÉšɧÉ?É&#x;ɼɜɍɤɢɌɢ ɤɪɾɼɜɚɌɢ Éœɨɥɧɨɍɢɏ Éœ ɛɼɚÉ?ɨɍɼɨÉœÉ&#x;ɧɢɢ ÉŠÉŞÉšÉœɭɸ ɪɭɤɭ ÉžÉ&#x;ÉŞÉ Éš Éœ ÉĽÉ&#x;Éœɨɣ ÉŤÉœɢɏɨɤ ɢ É&#x;ÉœÉŻÉšɪɢɍɏɢɹÉ&#x;ɍɤɭɸ ɹɚɲɭ ÉŤ É É&#x;ÉŞÉŹÉœÉ&#x;ɧɧɾɌ ÉŹÉ&#x;ɼɨɌ É?ɪɢɍɏÉš É‡É˘É É§É˘ÉŁ ɪɚɞ ɢɤɨɧɾ ɪɚɥɞÉ&#x;ÉĽÉ&#x;ɧ ɧÉš Ɋɚɏɜ ɨɏÉžÉ&#x;ÉĽÉ&#x;ɧɢɣ Éœ ɤɨɏɨɪɾɯ ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧɾ ÉŤÉœɚɏɾÉ&#x; ɊɨɤɪɨÉœɢɏÉ&#x;ɼɢ ÉŤÉ&#x;Ɍɜɢ ÉĄÉšɤÉšɥɹɢɤÉš ɇɚɹɢɧɚɚ ÉŤ ÉĽÉ&#x;ÉœɨÉ?ɨ É­É?ÉĽÉš ÉŤÉĽÉ&#x;Éžɭɸɏ ÉŤÉœ ȞɢɌɢɏɪɢɣ É‹ɨɼɭɧɍɤɢɣ ÉŤÉœ ɇɢɎɨɧɏ ɢ ÉŽÉ&#x;ɨÉžɨɏ ÉŤÉœ ɉɚɢɍɢɣ ɢ ÉŤÉœ ȟɨɧɢɎÉšɏɢɣ É…ɢɰɨ ɢ É?ɨɼɨɜɚ ÉŤÉœ É‚ɨÉšɧɧÉš ɧÉšɊɢɍÉšɧɾ ɏɨɧɤɢɌɢ ÉŚÉšɥɤÉšɌɢ ɥɨɼɨɏɨ ɤɪɾɼɜÉ&#x;Éœ ɭɍɢɼÉ&#x;ɧɨ É?ɨɼɭÉ›ɾɌɢ ɢ ÉĄÉ&#x;ÉĽÉ&#x;ɧɾɌɢ ÉŚÉšɥɤÉšɌɢ

071***26)1***

,*+ MOTHER OF GOD OF THE BURNING BUSH WITH THE FAMILY PATRONS STS. SERGEI AND TATIANA ON THE BORDER RUSSIAN (PALEKH), 19TH CENTURY

,*+ ČťÉˆČ˝ÉˆÉ†ČşÉŒČżÉŠÉ– É‡ČżÉˆÉ‰ČşÉ…É‚É†ČşÉ™ É„É?ɉɂɇȺ ɋɈ É‹ČźÉ™ÉŒÉ•É†É‚ É‰ÉˆÉ„ÉŠÉˆČźÉ‚ÉŒČżÉ…É™É†É‚ ɋȿɊȽɂȿɆ É‚ ÉŒČşÉŒÉ‚ČşÉ‡ÉˆÉƒ ɇȺ ɉɈɅəÉ? ɂɄɈɇɕ ɊɈɋɋɂə ɉȺɅȿÉ? ÉŁ ȟȿÉ„

,Q WKH FRUH RI WKH FRPSRVLWLRQ WKH EXVW OHQJWK Ă€JXUH RI WKH Mother of God holding Christ, on her lap an image of Mount Sinai with the Heavenly Ladder and a portrait of Christ as the “King of Kingsâ€?, shown against two rhombuses, the blue one representing the unconsumed Bush, the red standing for the EXUQLQJ Ă€UH LQFOXGLQJ WKH $SRFDO\SWLF SHUVRQLĂ€FDWLRQV RI WKH Four Evangelists, surrounded by the angelic powers; the corners illustrating the visions that the prophets Moses, Isaiah, Ezekiel and Jacob had about the Burning Bush; the family saints Sergei and Tatiana on the border in supplication to the central image; WKH LFRQ UHQGHUHG Ă€QHO\ ZLWK D YDULHW\ RI FRORXUV VWDQGLQJ RXW against the gold background )6,-("(+4,3(./

Čź É°É&#x;ɧɏɪÉ&#x; ɤɨɌɊɨɥɢɰɢɢ ÉŠÉŞÉ&#x;ÉžÉŤÉŹÉšÉœÉĽÉ&#x;ɧÉš ȝɨÉ?ɨɪɨÉžɢɰÉš ÉžÉ&#x;ÉŞÉ ÉšÉłÉšÉš É?ɪɢɍɏÉš É? ɧÉ&#x;É&#x; ɧÉš ɤɨɼÉ&#x;ɧɚɯ ÉĽÉ&#x;É É˘ÉŹ ɨɛɪɚɥ ÉŤÉœ É?ɨɪɾ É‹ɢɧɚɣ ÉŤ ÉĽÉ&#x;ÉŤÉŹÉœɢɰÉ&#x;ÉŁ É‚Éšɤɨɜɚ ɢ ÉŚÉ&#x;ɞɚɼɜɨɧ É?ɪɢɍɏÉš ŠÉ?ɚɪɚ É?ɚɪÉ&#x;ÉŁÂŞ ÉˆÉ›ÉŞÉšÉĄ ȝɨÉ?ɨɪɨÉžɢɰɾ ÉĄÉšɤɼɸɹÉ&#x;ɧ Éœ ɍɢɧɢɣ ɢ ɤɪÉšɍɧɾɣ ɪɨɌɛɾ ɍɢɧɢɣ Âą ɍɢɌÉœɨɼ ɧÉ&#x;ÉŤÉ?ɨɪÉšɸɳÉ&#x;ÉŁ Éœ ɨÉ?ɧÉ&#x; ɤɭɊɢɧɾ ɤɪÉšɍɧɾɣ Âą ɨɛɪɚɥ ČťÉ¨É É&#x;ÉŤÉŹÉœÉ&#x;ɧɧɨÉ?ɨ ɊɼɚɌÉ&#x;ɧɢ ɉɨ ÉąÉ&#x;ɏɾɪÉ&#x; ɍɏɨɪɨɧɾ ɤɪÉšɍɧɨÉ?ɨ ɪɨɌɛɚ ÉŠÉŞÉ&#x;ÉžÉŤÉŹÉšÉœÉĽÉ&#x;ɧɾ ÉąÉ&#x;ɏɾɪÉ&#x; ÉšɊɨɤÉšɼɢɊɏɢɹÉ&#x;ɍɤɢɯ ɍɢɌÉœɨɼÉš É&#x;ɜɚɧÉ?É&#x;ɼɢɍɏɨÉœ É¨É¤ÉŞÉ­É É&#x;ɧɧɾɯ ɍɨɧɌÉšɌɢ ÉšɧÉ?É&#x;ɼɨÉœ ÉŒÉšÉŚ É É&#x; ɧÉšɯɨÉžɚɏɍɚ ɨɛɪɚɥɾ ÉœɢÉžÉ&#x;ɧɢɣ ɊɪɨɪɨɤɨÉœ ɆɨɢɍÉ&#x;Éš É‚ÉŤÉšɣɢ É‚É&#x;ÉĄÉ&#x;ɤɢɢɼɚ ɢ É‚Éšɤɨɜɚ ɇɚ Ɋɨɼɚɯ ɢɤɨɧɾ Âą ÉŤÉœɚɏɾÉ&#x; ɊɨɤɪɨÉœɢɏÉ&#x;ɼɢ ÉŤÉ&#x;Ɍɜɢ ÉĄÉšɤÉšɥɹɢɤÉš É‹É&#x;ÉŞÉ?É&#x;ÉŁ ɢ ɌɚɏɢÉšɧÉš ɌɨɼɢɏÉœÉ&#x;ɧɧɨ ɨɛɪɚɳÉ&#x;ɧɧɾÉ&#x; ɤ ȝɨÉ?ɨɌɚɏÉ&#x;ɪɢ É‚ɍɤɭɍɧɨ ÉœɾɊɨɼɧÉ&#x;ɧɧɚɚ ɢɤɨɧÉš Éœ ÉŞÉšɥɧɨɨɛɪɚɥɧɨɣ ɤɨɼɨɪɢɍɏɢɹÉ&#x;ɍɤɨɣ É?ɚɌɌÉ&#x; ÉœÉľÉžÉ&#x;ɼɚɸɳÉ&#x;ÉŁÉŤÉš ɧÉš ɥɨɼɨɏɨɌ ɎɨɧÉ&#x;

0651***2+31***

,,+ THE BAPTISM OF CHRIST RUSSIAN, 18TH CENTURY

,,+ ČťÉˆČ˝ÉˆÉ™ČźÉ…ČżÉ‡É‚Čż ɊɈɋɋɂə Ƀ ȟȿÉ„

On the vertical axis, Christ standing in the waters of the river Jordan, wearing a loin cloth, leaning forward to receive by John’s blessing the grace of the Holy Spirit, the latter shown in the form of a dove in a circular mandorla on the golden skies, the radiating, heavenly segment above denoting the presence of God the Father; three angels on the right bank of the river attending the event, the leading one offering Christ a cloth; the deep colours of the composition contrasting with the shiny gold of the sky, the haloes, and the wings of the angels )-,-("()*,-(./

ɉɨ ÉœÉ&#x;ɪɏɢɤÉšɼɜɧɨɣ ɨɍɢ ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧ É?ɪɢɍɏɨɍ ɍɏɨɚɳɢɣ Éœ Éœɨɞɚɯ ÉŞÉ&#x;ɤɢ É‚ɨɪɞɚɧ ČżÉ?ɨ ɎɢÉ?É­ÉŞÉš ɍɤɼɨɧÉ&#x;ɧÉš Ɋɨ ɧÉšÉŠÉŞÉšÉœÉĽÉ&#x;ɧɢɸ ɤ É‚ɨÉšɧɧɭ É„ÉŞÉ&#x;ɍɏɢɏÉ&#x;ɼɸ ɧɢɍɊɨɍɾɼÉšɸɳÉ&#x;ÉŚÉ­ ɛɼɚÉ?ɨɍɼɨÉœÉ&#x;ɧɢÉ&#x; ȞɭɯÉš É‹ÉœɚɏɨÉ?ɨ É‹Éœɚɏɨɣ Ȟɭɯ ÉŠÉŞÉ&#x;ÉžÉŤÉŹÉšÉœÉĽÉ&#x;ɧ Éœ ÉœɢÉžÉ&#x; É?ɨɼɭɛɚ Éœ ɤɪɭÉ?ɼɨɌ ɧɢɌÉ›É&#x; ɧÉš ɎɨɧÉ&#x; ɥɨɼɨɏɾɯ ɧÉ&#x;É›É&#x;ÉŤ ČźÉ&#x;ɪɯɧɢɣ ÉŤÉ&#x;É?ÉŚÉ&#x;ɧɏ ɢɤɨɧɾ ɍɢɌÉœɨɼɢɥɢɪɭɸɳɢɣ ɧÉ&#x;É›É&#x;ÉŤÉš ÉŤÉœɢÉžÉ&#x;ÉŹÉ&#x;ɼɜɍɏɜɭÉ&#x;ÉŹ ɨ ɊɪɢɍɭɏɍɏÉœɢɢ ȝɨÉ?Éš ÉˆÉŹÉ°Éš ɇɚ ÉŠÉŞÉšÉœɨɌ É›É&#x;ÉŞÉ&#x;É?É­ ÉŞÉ&#x;ɤɢ ɧÉšɯɨÉžɚɏɍɚ ɏɪɢ ÉšɧÉ?É&#x;ÉĽÉš ɨÉžɢɧ ɢɥ ɤɨɏɨɪɾɯ ɊɨɞɚÉ&#x;ÉŹ É?ɪɢɍɏɭ ɏɤÉšɧɜ ȽɼɭÉ›ɨɤɢÉ&#x; ɏɨɧÉš ɤɨɌɊɨɥɢɰɢɢ ɤɨɧɏɪÉšɍɏɢɪɭɸɏ ÉŤ ɥɨɼɨɏɾɌ ÉŤÉœÉ&#x;ÉąÉ&#x;ɧɢÉ&#x;ÉŚ ɧÉ&#x;É›É&#x;ÉŤ ɧɢɌɛɚɌɢ ɢ ɤɪɾɼɜɚɌɢ ÉšɧÉ?É&#x;ɼɨÉœ

051***26+1***

,-+ CHRIST PANTOKRATOR RUSSIAN (MOSCOW), CIRCA 1900 Turning His gaze away from the onlooker, His hair arranged over His right shoulder, wearing a chiton of orange-pink shades embellished with pearl and gem-studded trimmings, the himation in complementary green with gilt highlights -),5("(33,-(./

031***241*** ,-+ ɋɉȺɋ ȟɋȿȞȿÉŠÉ€É‚ÉŒČżÉ…É– ɊɈɋɋɂə ɆɈɋɄȟȺ ɈɄɈɅɈ É? É‹ÉŠÉšɍɢɏÉ&#x;ÉĽÉś ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧ ɍɨ ÉœÉĄÉ?ɼɚɞɨɌ ɨɏÉœÉ&#x;ÉžÉ&#x;ɧɧɾɌ ɨɏ ɌɨɼɚɳÉ&#x;É?ɨɍɚ ČżÉ?ɨ Éœɨɼɨɍɾ ɧɢɍɊɚɞɚɸɏ ɧÉš ÉŠÉĽÉ&#x;ɹɢ ÉˆÉŞÉšÉ§É É&#x;Éœɨ ɪɨɥɨÉœɾɣ ɯɢɏɨɧ É‹ÉŠÉšɍɢɏÉ&#x;ÉĽÉš ɨɏÉžÉ&#x;ÉĽÉšɧ Ɋɨ ɤɪÉšɚɌ ɤɚɌÉ&#x;ɧɜɚɌɢ ɢ É É&#x;ɌɹɭÉ?ɨɌ ȽɢɌÉšɏɢɣ Éœ ɤɨɌɊɼɢɌÉ&#x;ɧɏÉšɪɧɾɯ ÉĄÉ&#x;ÉĽÉ&#x;ɧɾɯ ɏɨɧɚɯ ɭɤɪÉšɲÉ&#x;ɧ ɥɨɼɨɹÉ&#x;ɧɢÉ&#x;ÉŚ

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,.+ A DOUBLE-SIDED PROCESSIONAL ICON RUSSIAN, 18TH CENTURY

,.+ ȞȟÉ?ɋɌɈɊɈɇɇəə ČźÉ•É‡ÉˆÉ‹É‡ČşÉ™ É‚É„ÉˆÉ‡Čş ɊɈɋɋɂə ÉŁ ȟȿÉ„

Showing on one side the Mother of God with a jewelled crown, her garments adorned with wavy patterns and three cherubs on her forehead and shoulders, Her Son reaching out to embrace Her, his himation exposing his left shoulder and leg; the other side portraying St. John the Baptist with long, dishevelled hair and large wings, diplaying a scroll and a chalice with the minute, UHFOLQLQJ ÀJXUH RI &KULVW 3+,-("()4,)(./

ɇɚ ɼɢɰÉ&#x;Éœɨɣ ɍɏɨɪɨɧÉ&#x; ɢɤɨɧɾ ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧÉš ȝɨÉ?ɨɌɚɏÉ&#x;ÉŞÉś É­ÉœÉ&#x;ɧɹÉšɧɧɚɚ ɞɪɚÉ?ɨɰÉ&#x;ɧɧɨɣ ɤɨɪɨɧɨɣ ÉŤ ɤɚɌÉ&#x;ɧɜɚɌɢ ČżÉ&#x; ɨÉžÉ&#x;ɚɧɢÉ&#x; ɭɤɪÉšɲÉ&#x;ɧɨ ÉœɢɏɢÉ&#x;ɜɚɏɾɌɢ ɭɥɨɪÉšɌɢ ɢ ɨɛɪɚɥɚɌɢ ÉŻÉ&#x;ÉŞÉ­ÉœɢɌɨÉœ Ɋɨ ÉŠÉĽÉ&#x;ɹɚɌ ɢ ɼɛɭ ɆɼɚɞÉ&#x;ɧÉ&#x;É° É?ɪɢɍɏɨɍ ɏɚɧɭɳɢɣɍɚ ɤ ȝɨÉ?ɨɌɚɏÉ&#x;ɪɢ ɹɏɨɛɾ É&#x;É&#x; ɨÉ›ɧɚɏɜ ɨɛɼɚɹÉ&#x;ɧ Éœ É?ɢɌÉšɏɢɣ ɧɢɍɊɚɞɚɸɳɢɣ ÉŤ ÉĽÉ&#x;ÉœɨÉ?ɨ ÉŠÉĽÉ&#x;ɹɚ ɢ ɨɍɏɚɜɼɚɸɳɢɣ É§É¨É É¤É­ ɨɏɤɪɾɏɨɣ ɇɚ ɨɛɪɚɏɧɨɣ ɍɏɨɪɨɧÉ&#x; ɢɤɨɧɾ ÉŠÉŞÉ&#x;ÉžÉŤÉŹÉšÉœÉĽÉ&#x;ɧ É‚ɨÉšɧɧ É„ÉŞÉ&#x;ɍɏɢɏÉ&#x;ÉĽÉś ÉŤ ÉšɧÉ?É&#x;ɼɜɍɤɢɌɢ ɤɪɾɼɜɚɌɢ ɢ ɤɨɍɌÉšɏɾɌɢ ɪɚɍɏɪÉ&#x;ÉŠÉšɧɧɾɌɢ ÉœɨɼɨɍÉšɌɢ Ɉɧ ɛɼɚÉ?ɨɍɼɨÉœÉĽÉšÉ&#x;ÉŹ ɌɨɼɚɳÉ&#x;É?ɨɍɚ ÉžÉ&#x;ÉŞÉ Éš Éœ ɪɭɤɚɯ ÉŤÉœɢɏɨɤ ɢ É&#x;ÉœÉŻÉšɪɢɍɏɢɹÉ&#x;ɍɤɭɸ ɹɚɲɭ ÉŤ ɛɼɚÉ?ɨɍɼɨÉœɼɚɸɳɢɌ É?ɪɢɍɏɨɌ Éœɧɭɏɪɢ ɧÉ&#x;É&#x;

031-**2-1-**

,/+ A PORTABLE DIPTYCH WITH THE WARRIOR SAINTS GEORGE AND DEMETRIOS NORTHERN GREEK, CIRCA 1700

,/+ É‰ČżÉŠČżÉ‡ÉˆÉ‹É‡ÉˆÉƒ É‹É„É…ȺȞȿɇɖ ɋɈ É‹ČźÉ™ÉŒÉ•É†É‚ ČźÉˆÉ‚É‡ČşÉ†É‚ ȽȿÉˆÉŠČ˝É‚ČżÉ† É‚ ČžÉ‚É†É‚ÉŒÉŠÉ‚ČżÉ† É‹ȿȟȿɊɇȺə ȽɊȿÉ?É‚É™ ɈɄɈɅɈ É?

The wings opening to reveal the equestrian, youthful saints performing the miracles for which they are most famous; to the OHIW 6W *HRUJH SOXQJLQJ KLV ORQJ VSHDU LQWR WKH ÀHU\ PRXWK RI the dragon in the foreground, the rescued princess observing the event, along with the saint on horseback, the boy from Mytilene, still holding the jar from which he was going to serve the Ottoman pasha who had kept him captive; the opposite wing LOOXVWUDWLQJ 6W 'HPHWULRV NLOOLQJ WKH SDJDQ ÀJXUH D FLUFXODU building in the background probably referring to the tower of Thessaloniki as a reference to the Saint’s patron town; in both instances the blessing hand of God emerging from the open skies !"#$%&$&'(+6,)("(6)(./

Čź ɨɏɤɪɾɏɾɯ ÉŤÉŹÉœɨɪɤɚɯ ɍɤɼɚɞɧɚ ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧɾ ɞɜɚ ɸɧɾɯ ÉŤÉœɚɏɾɯ ÉœɨɢɧÉš ÉœÉ&#x;ɪɯɨɌ ɧÉš ɤɨɧɚɯ Ɉɛɚ ɍɨÉœÉ&#x;ɪɲÉšɸɏ ɹɭÉžÉ&#x;ÉŤÉš ɊɪɨɍɼɚɜɢÉœɲɢÉ&#x; ɢɯ ɤÉšɤ ÉŤÉœɚɏɾɯ É‹ÉĽÉ&#x;ɜɚ É‹Éœ Č˝É&#x;ɨɪÉ?ɢɣ ɊɪɨɧɥÉšÉ&#x;ÉŹ ɤɨɊɜÉ&#x;ÉŚ Ɋɚɍɏɜ ɨÉ?ɧÉ&#x;ÉžɾɲɚɳÉ&#x;É?ɨ ɞɪɚɤɨɧÉš Čź ɞɚɼɜɧÉ&#x;ÉŚ ÉŠÉŞÉšÉœɨɌ É­É?ÉĽÉ­ ɍɊɚɍÉ&#x;ɧɧɚɚ ɊɪɢɧɰÉ&#x;ÉŤÉŤÉš ɧɚɛɼɸɞɚÉ&#x;ÉŹ ÉĄÉš ɊɪɨɢɍɯɨÉžɚɳɢɌ ɊɚɞɨɌ ɍɨ ÉŤÉœɚɏɾɌ ɧÉš ɤɨɧÉ&#x; ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧ ɨɏɪɨɤ ɢɥ ɆɢɏɢɼÉ&#x;ɧɾ ÉœÉŤÉ&#x; É&#x;ÉłÉ&#x; ÉžÉ&#x;ÉŞÉ Éšɳɢɣ Éœ ɪɭɤɚɯ ɤɭÉœɲɢɧ ÉŤ ÉœɢɧɨɌ ɊɨÉžɧɨɍɢɌɾɣ ÉŹÉ­ÉŞÉ&#x;ɰɤɨɌɭ ÉŠÉšɲÉ&#x; ÉĄÉšÉŻÉœÉšɏɢÉœɲÉ&#x;ÉŚÉ­ É&#x;É?ɨ Éœ ÉŠÉĽÉ&#x;ɧ Čź ɊɪɨɏɢÉœÉ¨ÉŠÉ¨ÉĽÉ¨É É§É¨ÉŁ ÉŤÉŹÉœɨɪɤÉ&#x; ɍɤɼɚɞɧɚ ÉŠÉŞÉ&#x;ÉžÉŤÉŹÉšÉœÉĽÉ&#x;ɧ ÉŤÉœ ȞɢɌɢɏɪɢɣ ɊɨÉœÉ&#x;ÉŞÉ?Éšɸɳɢɣ ɨɥÉ&#x;ÉŚÉś ɚɥɾɹÉ&#x;ɍɤɨÉ?ɨ ɰɚɪɚ É‹ÉĽÉ&#x;ɜɚ Éœɾɍɢɏɍɚ ɤɪɭÉ?ɼɨÉ&#x; ɥɞɚɧɢÉ&#x; Âą ÉŠÉŞÉ&#x;ÉžÉŠÉ¨ÉĽÉ¨É É˘ÉŹÉ&#x;ɼɜɧɨ ɛɚɲɧɚ É?ɨɪɨɞɚ ÉŽÉ&#x;ÉŤÉŤÉšɼɨɧɢɤɢ ɨɏɤɭɞɚ ÉŤÉœɚɏɨɣ ɊɪɨɢɍɯɨÉžɢɼ ɪɨÉžɨɌ É‚ÉĄ ÉŞÉšÉĄÉœÉ&#x;ɪɍɏɾɯ ɧÉ&#x;É›É&#x;ÉŤ ɊɨɚÉœÉĽÉšÉ&#x;ÉŹÉŤÉš ÉžÉ&#x;ɍɧɢɰÉš ČťÉ¨É É˘Éš ɛɼɚÉ?ɨɍɼɨÉœɼɚɸɳɚɚ ɨÉ›ɨɢɯ ÉŤÉœɚɏɾɯ

031-**241-**

,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 +6("(64(./

031-**241-** ,0+ É‹Čź ɌɊɂɎɈɇ ȽɊȿÉ?É‚É™ ÉŁ ȟȿÉ„ ɘɧɨɲÉš ÉŒɪɢɎɨɧ ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧ ɎɪɨɧɏÉšɼɜɧɨ ÉŤ ɤɨɪɨɏɤɢɌɢ ÉœɥɼɨɯɌɚɹÉ&#x;ɧɧɾɌɢ ÉœɨɼɨɍÉšɌɢ Ɉɧ ɨɛɼɚɹÉ&#x;ɧ Éœ ɥɨɼɨɏɨɣ ɯɢɏɨɧ ɊɨÉœÉ&#x;ÉŞÉŻ ɤɨɏɨɪɨÉ?ɨ ɧÉšɤɢɧɭɏ ɤɪÉšɍɧɾɣ É?ɢɌÉšɏɢɣ Ɋɼɚɳ É‹Éœɚɏɨɣ ÉžÉ&#x;ÉŞÉ É˘ÉŹ Éœ ɪɭɤɚɯ ÉŚÉ­ÉąÉ&#x;ɧɢɹÉ&#x;ɍɤɢɣ ɤɪÉ&#x;ÉŤÉŹ ɢ ÉŤÉ&#x;ɪɊ¹ɨɪɭÉžɢÉ&#x; ɞɼɚ ÉŤÉ&#x;ɼɜɍɤɨɯɨɥɚɣɍɏÉœÉ&#x;ɧɧɾɯ ɪɚɛɨɏ ɢɍɊɨɼɜɥɭÉ&#x;ɌɨÉ&#x; ɤɪÉ&#x;ɍɏɜɚɧÉšɌɢ ɍɚɞɨÉœɧɢɤÉšɌɢ ɢ ÉœɢɧɨÉ?ɪɚɞɚɪɚɌɢ ɤɨɏɨɪɾɌ ɊɨɤɪɨÉœɢɏÉ&#x;ɼɜɍɏɜɭÉ&#x;ÉŹ ÉŤÉœ ÉŒɪɢɎɨɧ

,1+ A PORTABLE TRIPTYCH SHOWING A SELECTION OF ECCLESIASTICAL FEASTS AND PATRON SAINTS RUSSIAN, 18TH CENTURY 7KH FHQWUDO ZLQJ IRFXVLQJ RQ WKH $QDVWDVLV DQG WKH &UXFLĂ€[LRQ WKH ODWWHU Ă DQNHG E\ 3HWHU¡V YLVLWDWLRQ WR WKH HPSW\ 6HSXOFKUH and a scene from the Last Supper, the entire composition overlooked by Lord Sabaoth and two family saints on the border; the wings showing the Nativity of Christ, his Presentation to the Temple and Baptism, the Dormition of the Mother of God and two groups of private saints; executed predominantly in reds, greens with gold for the backgrounds and decorative details !"#$%&$&'()+,4("(67,-(./

0-1-**2=1-** ,2+ THE TRANSFIGURATION OF CHRIST GREEK, CIRCA 1700 Christ gesturing in benediction, standing on the peak of Mount 7DERU DJDLQVW D UDGLDWLQJ JORU\ à DQNHG E\ (OLMDK DQG 0RVHV WKH IRUHJURXQG FURZGHG ZLWK WKH SURVWUDWHG ÀJXUHV RI WKH GLVFLSOHV Peter, John and James; the icon executed with bright colours, the edges of the rocky mountains delineated in white, the golden skies framed by an arch decorated with foliate scrolls supported on columns; the arrangement emulating the carved wooden setting of an iconostasis -3,3("()+,7(./

031-**2-1-** ,2+ É‰ÉŠČżÉˆČťÉŠČşÉ€ČżÉ‡É‚Čż É?ÉŠÉ‚É‹ÉŒÉˆČźÉˆ ȽɊȿÉ?É‚É™ ɈɄɈɅɈ É? É?ɪɢɍɏɨɍ ɍɏɨɚɳɢɣ ɧÉš ÉœÉ&#x;ɪɲɢɧÉ&#x; É?ɨɪɾ Ɏɚɜɨɪ ɧɢɍɊɨɍɾɼÉšÉ&#x;ÉŹ ɛɼɚÉ?ɨɍɼɨÉœÉ&#x;ɧɢÉ&#x; ČżÉ?ɨ ɎɢÉ?É­ÉŞÉš ɨɤɭɏÉšɧÉš ɍɢɚɧɢÉ&#x;ÉŚ ÉŤÉĽÉšÉœÉľ ɉɨ ɨÉ›É&#x; ɍɏɨɪɨɧɾ ɨɏ ɧÉ&#x;É?ɨ ɍɏɨɚɏ Ɋɪɨɪɨɤɢ É‚ɼɢɚ ɢ ɆɨɢɍÉ&#x;ÉŁ ɇɚ ÉŠÉ&#x;ÉŞÉ&#x;ÉžɧÉ&#x;ÉŚ ÉŠÉĽÉšɧÉ&#x; ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧɾ ÉŞÉšɍɊɪɨɍɏÉ&#x;ÉŞÉŹÉľÉ&#x; ɎɢÉ?É­ÉŞÉľ ÉšɊɨɍɏɨɼɨÉœ É‚ɨÉšɧɧÉš É‚Éšɤɨɜɚ ɢ ɉÉ&#x;ÉŹÉŞÉš É‚ɤɨɧÉš ÉœɾɊɨɼɧÉ&#x;ɧÉš Éœ ɚɪɤɢɯ ɏɨɧɚɯ ɤɨɧɏɭɪɾ ɍɤÉšɼɢɍɏɾɯ É?ɨɪ ɨɛɜÉ&#x;ÉžÉ&#x;ɧɾ É›É&#x;ɼɾɌ É É¨ÉĽÉ¨ÉŹÉľÉ&#x; ɧÉ&#x;É›É&#x;ÉŤÉš ɨɛɪɚɌɼɚÉ&#x;ÉŹ ÉŤÉœɨÉž ɭɤɪÉšɲÉ&#x;ɧɧɾɣ ɼɢɍɏÉœÉ&#x;ɧɧɾɌɢ ÉĄÉšÉœɢɏɤÉšɌɢ ÉœɜɸɳɢɌɢɍɚ ÉœɨɤɪɭÉ? ɤɨɼɨɧɧ É„ɨɌɊɨɥɢɰɢɚ ɢɌɢɏɢɪɭÉ&#x;ÉŹ ÉŞÉšÉŤÉŠÉ¨ÉĽÉ¨É É&#x;ɧɢÉ&#x; ɎɢÉ?É­ÉŞ ɯɚɪɚɤɏÉ&#x;ɪɧɨÉ&#x; ɞɼɚ ÉŞÉ&#x;ɥɧɾɯ ÉžÉ&#x;ÉŞÉ&#x;Éœɚɧɧɾɯ ɪɚɌ ɢɤɨɧɨɍɏÉšɍɨÉœ

,1+ É‰ČżÉŠČżÉ‡ÉˆÉ‹É‡ÉˆÉƒ É‹É„É…ȺȞȿɇɖ É‹ É‚É ČťÉŠČşÉ‡É‡É•É†É‚ É?ČżÉŠÉ„ÉˆČźÉ‡É•É†É‚ É‰ÉŠČşÉ ČžÉ‡É‚É„ČşÉ†É‚ É‚ É‹ČźÉ™ÉŒÉ•É†É‚ É‰ÉˆÉ„ÉŠÉˆČźÉ‚ÉŒČżÉ…É™É†É‚ ɊɈɋɋɂə ÉŁ ȟȿÉ„ Čź É°É&#x;ɧɏɪÉ&#x; ɍɤɼɚɞɧɚ Âą ɨɛɪɚɥ É‹ɨɲÉ&#x;ÉŤÉŹÉœɢɚ É?ɪɢɍɏÉš Éœɨ Ⱥɞ ɧɚɞ ɤɨɏɨɪɾɌ ÉœɨɥÉœɾɲÉšÉ&#x;ÉŹÉŤÉš ÉŠÉšɍɊɚɏɢÉ&#x; ÉŒÉšÉ¤É É&#x; Éœ ÉœÉ&#x;ɪɯɧÉ&#x;ÉŚ ÉŤÉ&#x;É?ÉŚÉ&#x;ɧɏÉ&#x; ɧÉšɯɨÉžɚɏɍɚ ÉŤÉ°É&#x;ɧɾ ÉŤ Ɍɚɣɧɨɣ ČźÉ&#x;ÉąÉ&#x;ÉŞÉ&#x;ÉŁ ɢ ȺɊɨɍɏɨɼɨɌ ɉÉ&#x;ɏɪɨɌ ɊɪɢɯɨÉžɚɳɢɌ ɤ Ɋɭɍɏɨɣ É?ɪɨÉ›ɧɢɰÉ&#x; É?ɪɢɍɏÉš ɇɚ Ɋɨɼɚɯ ɢɤɨɧɾ Âą ɞɜɨÉ&#x; ÉŤÉœɚɏɾɯ ɊɨɤɪɨÉœɢɏÉ&#x;ÉĽÉ&#x;ÉŁ ɢ ɨɛɪɚɥ ȽɨɍɊɨɞɚ ɋɚɜɚɨɎÉš Éœ ɤɼɭɛɚɯ ɨɛɼɚɤɨÉœ É„ É°É&#x;ɧɏɪÉšɼɜɧɨɣ ɹɚɍɏɢ ɊɪɢɌɾɤÉšɸɏ ÉŤÉŹÉœɨɪɤɢ ÉŤ ɤɼÉ&#x;ÉŁÉŚÉšɌɢ ÉŠÉ¨É ÉžÉ&#x;ÉŤÉŹÉœÉš É‹ÉŞÉ&#x;ÉŹÉ&#x;ɧɢɚ É„ÉŞÉ&#x;ÉłÉ&#x;ɧɢɚ ɢ É?ÉŤÉŠÉ&#x;ɧɢɚ ȝɨÉ?ɨɪɨÉžɢɰɾ Čź É§É˘É É§É&#x;ÉŚ ÉŞÉ&#x;É?ɢɍɏɪÉ&#x; ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧɾ É?ÉŞÉ­ÉŠÉŠÉľ ÉŤÉœɚɏɾɯ ɊɨɤɪɨÉœɢɏÉ&#x;ÉĽÉ&#x;ÉŁ Čź ɤɨɌɊɨɥɢɰɢɢ ÉŠÉŞÉ&#x;ɨɛɼɚɞɚɸɏ ɤɪÉšɍɧɾÉ&#x; ÉĄÉ&#x;ÉĽÉ&#x;ɧɾÉ&#x; ɢ ɥɨɼɨɏɾÉ&#x; ɏɨɧÉš Ɏɨɧ ɢ ɨÉžÉ&#x;ɚɧɢɚ É‹ɤɼɚɞÉ&#x;ɧɜ Éœ ÉŞÉšÉĄÉœÉ&#x;ɪɧɭɏɨɌ ÉœɢÉžÉ&#x; [ ÉŤÉŚ

,3+ THE TRANSFIGURATION OF CHRIST WITH A FAMILY PATRON ON THE BORDER RUSSIAN, 17TH CENTURY 7KH GHLÀHG ERG\ RI &KULVW FODG LQ OXPLQRXV ZKLWH JDUPHQWV KRYHULQJ DERYH 0RXQW 7DERU DJDLQVW D ODUJH DXUHROH à DQNHG by the Prophets Elijah and Moses in prayer, both depicted for a second time in smaller scale behind their main images, each guided by an angel; the lower part focusing on the prostrated ÀJXUHV RI 6WV 3HWHU -DPHV DQG -RKQ VWUXFN E\ WKH OLJKW RI Christ’s ecstasy; to the left and right Christ accompanying His disciples before and after the event; the heavenly part of the composition rendered with pastel and light colours, the events of the earthly realm depicted with solid, deeper shades )6("(+-,+(./

0)1***231*** ,3+ É‰ÉŠČżÉˆČťÉŠČşÉ€ČżÉ‡É‚Čż É?ÉŠÉ‚É‹ÉŒÉˆČźÉˆ ɋɈ É‹ČźÉ™ÉŒÉ•É† É‰ÉˆÉ„ÉŠÉˆČźÉ‚ÉŒČżÉ…ČżÉ† ɇȺ ɉɈɅəÉ? ɊɈɋɋɂə ÉŁ ȟȿÉ„ ɉɪÉ&#x;ɨÉ›ÉŞÉšÉ É&#x;ɧɧɾɣ É?ɪɢɍɏɨɍ Éœ ÉĽÉ­ÉąÉ&#x;ÉĄÉšɪɧɾɯ É›É&#x;ɼɨɍɧÉ&#x;É É§ÉľÉŻ ɨÉžÉ&#x;É ÉžÉšÉŻ ÉŠÉšɪɢɏ ɧɚɞ É?ɨɪɨɣ Ɏɚɜɨɪ ČżÉ?ɨ ɎɢÉ?É­ÉŞÉš ÉĄÉšɤɼɸɹÉ&#x;ɧÉš Éœ ɨÉ?ɪɨɌɧɾɣ ɧɢɌÉ› ɉɨ ɨÉ›É&#x; ɍɏɨɪɨɧɾ É?ɪɢɍɏɭ ɌɨɼɢɏÉœÉ&#x;ɧɧɨ ÉŠÉŞÉ&#x;Éžɍɏɨɚɏ Ɋɪɨɪɨɤɢ É‚ɼɢɚ ɢ ɆɨɢɍÉ&#x;ÉŁ ɨɛɚ É&#x;ÉłÉ&#x; ɪɚɥ ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧɾ Éœ ÉŚÉ&#x;ɧɜɲÉ&#x;ÉŚ ÉŚÉšɍɲɏɚɛÉ&#x; ÉŤ ÉœɨÉžɢɏÉ&#x;ɼɜɍɏÉœɭɸɳɢɌɢ ÉšɧÉ?É&#x;ÉĽÉšɌɢ Ɋɨɥɚɞɢ ȟɧɢɥɭ É­ ɊɨÉžÉ§É¨É É˘Éš É?ɨɪɾ Éœ ɢɥɭɌɼÉ&#x;ɧɢɢ ÉŞÉšɍɊɪɨɍɏÉ&#x;ɪɼɢɍɜ É­ÉąÉ&#x;ɧɢɤɢ É?ɪɢɍɏÉš ÉŤÉœ ɉÉ&#x;ÉŹÉŞ É‚ÉšɤɨÉœ ɢ É‚ɨÉšɧɧ ɨɍɼÉ&#x;ÉŠÉĽÉ&#x;ɧɧɾÉ&#x; ɎɚɜɨɪɍɤɢɌ ÉŤÉœÉ&#x;ɏɨɌ É‹ÉĽÉ&#x;ɜɚ ɢ ÉŤÉŠÉŞÉšÉœÉš ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧɾ ÉŤÉ°É&#x;ɧɾ ɍɨ É?ɪɢɍɏɨɌ ɢ ÉšɊɨɍɏɨɼÉšɌɢ ɊɪɢÉ›ÉĽÉ˘É ÉšɸɳɢɌɢɍɚ ɤ É?ɨɪÉ&#x; Ɏɚɜɨɪ ɢ ɭɞɚɼɚɸɳɢɌɢɍɚ ÉŤ ɧÉ&#x;É&#x; ɑɚɍɏɜ ɤɨɌɊɨɥɢɰɢɢ ɍɢɌÉœɨɼɢɥɢɪɭɸɳɚɚ ɧÉ&#x;É›É&#x;ÉŤÉš ÉœɾɊɨɼɧÉ&#x;ɧÉš Éœ ÉŤÉœÉ&#x;ɏɼɾɯ ɊɚɍɏÉ&#x;ɼɜɧɾɯ ɏɨɧɚɯ É‹ɨÉ›ɾɏɢɚ ɊɪɨɢɍɯɨÉžɚɳɢÉ&#x; Éœ ɌɢɪÉ&#x; ÉžɨɼɜɧÉ&#x;ÉŚ ɧÉšɊɢɍÉšɧɾ Éœ Ɋɼɨɏɧɾɯ É?ÉĽÉ­É›ɨɤɢɯ ɏɨɧɚɯ

-4+ A CRUCIFIX INSERTED IN A PANEL, FLANKED BY IMAGES OF THE DEPOSITION AND LAMENTATION, WITH STS. PETER AND ANNA ON THE BORDER RUSSIAN, 19TH CENTURY Standing to either side of the Cross the Three Marys and Christ’s disciple, John, with the Centurion; on the border the patron saints Peter and Anna, against a gilt background painted to emulate silver and enamel design of the time )-,-("()*(./

0+1-**2)1-** -4+ ÉŠČşÉ‹É‰É™ÉŒÉ‚Čż ČźÉ‹ÉŒȺȟÉ…ČżÉ‡É‡ÉˆČż Čź É‰ČşÉ‡É‡Éˆ É‹ É‰ÉŠÉ‚É†É•É„ČşÉ˜É“É‚É†É‚ ÉˆČťÉŠČşÉ ČşÉ†É‚ ɋɇəɌɂə É‹ É„ÉŠČżÉ‹ÉŒČş É‚ ÉˆÉ‰É…ČşÉ„É‚ȟȺɇɂə É‚ ɋɈ É‹ȟȟ ČşÉ‡É‡ÉˆÉƒ É‚ É‰ČżÉŒÉŠÉˆÉ† ɇȺ ɉɈɅəÉ? ɊɈɋɋɂə ÉŁ ȟȿÉ„ ɉɨ ɨÉ›É&#x; ɍɏɨɪɨɧɾ ɨɏ ɤɪÉ&#x;ÉŤÉŹÉš ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧɾ ÉŒɪɢ Ɇɚɪɢɢ ɢ É­ÉąÉ&#x;ɧɢɤ É?ɪɢɍɏÉš É‚ɨÉšɧɧ ȝɨÉ?ɨɍɼɨÉœ ɪɚɞɨɌ ÉŤ ɍɨɏɧɢɤɨɌ ɇɚ Ɋɨɼɚɯ ɢɤɨɧɾ ÉŠÉŞÉ&#x;ÉžÉŤÉŹÉšÉœÉĽÉ&#x;ɧɾ ÉŤÉœɚɏɾÉ&#x; ɉÉ&#x;ÉŹÉŞ ɢ ȺɧɧÉš ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧɧɾÉ&#x; ɧÉš ɎɨɧÉ&#x; ɢɌɢɏɢɪɭɸɳÉ&#x;ÉŚ ÉŤÉ&#x;ÉŞÉ&#x;É›ɪɨ ɢ ɡɌɚɼɜ ÉŤ Ɋɨɥɨɼɨɏɨɣ

-*+ THE DEPOSITION AND LAMENTATION OF CHRIST RUSSIAN, 18TH CENTURY

-,+ THE ANASTASIS WITH A SILVER BASMA RUSSIAN, MID-19TH CENTURY

The large-scale cross dominating the upper section of the icon, Nicodemus, Joseph of Arimathea and John the Evangelist removing the lifeless body of Christ, the Mother of God kissing her Son’s hand, attended by the other Marys; the lower SDUW VKRZLQJ WKH VDPH ÀJXUHV JDWKHUHG LQ JULHYLQJ DURXQG the unction stone, where the body of Christ is laid the utensils in the foreground containing the scented oils used during the preparation of the body prior to the burial; the balanced composition rendered with a combination of pastel and saturated colours accentuated in gold

The lower part depicting Christ’s descent into the Underworld where he raised Adam, Eve and the Righteous people of the Old Testament; the upper section focusing on His resurrection from WKH 7RPE LOOXVWUDWHG WR WKH OHIW LQ VPDOOHU VFDOH WKH &UXFLÀ[LRQ and the Betrayal, and further down the Holy Women at the 6HSXOFKUH WKH JROGHQ KDORHV RI WKH ÀJXUHV VKLQLQJ DJDLQVW WKH VROLG FRORXUV RI WKH FRPSRVLWLRQ WKH ÀJXUHV RI &KULVW FRYHUHG by silver revetments in the shape of aureoles +5,=("(+-,3(./

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Provenance: Purchased from the Temple Gallery in 2005, stock no. 733

-*+ É‹É‡É™ÉŒÉ‚Čż É‹ É„ÉŠČżÉ‹ÉŒČş É‚ ÉˆÉ‰É…ČşÉ„É‚ȟȺɇɂȿ ɊɈɋɋɂə ÉŁ ȟȿÉ„

-,+ É‹ÉˆÉ’ČżÉ‹ÉŒČźÉ‚Čż ČźÉˆ ȺȞ ɋȿɊȿȝɊɈ ȝȺɋɆȺ ɊɈɋɋɂə ɋȿɊȿȞɂɇȺ É?ɨ ȟȿÉ„Čş

ɈÉ?ɪɨɌɧɾɣ ɤɪÉ&#x;ÉŤÉŹ Éœ ÉœÉ&#x;ɪɯɧÉ&#x;ÉŁ ɹɚɍɏɢ ɢɤɨɧɾ ÉžɨɌɢɧɢɪɭÉ&#x;ÉŹ ɧɚɞ ɤɨɌɊɨɥɢɰɢÉ&#x;ÉŁ ɇɢɤɨÉžɢɌ É‚ɨɍɢɎ ȺɪɢɌɚɎÉ&#x;ɣɍɤɢɣ ɢ É‚ɨÉšɧɧ ȝɨÉ?ɨɍɼɨÉœ ɍɧɢɌÉšɸɏ ÉŤ ɤɪÉ&#x;ÉŤÉŹÉš É›É&#x;ÉĄÉ É˘ÉĄÉ§É&#x;ɧɧɨÉ&#x; ÉŹÉ&#x;ɼɨ É?ɪɢɍɏÉš ȝɨÉ?ɨɌɚɏÉ&#x;ÉŞÉś É°É&#x;ÉĽÉ­É&#x;ÉŹ ɪɭɤɢ É‹ɾɧÉš ɪɚɞɨɌ ÉŤ ɧÉ&#x;ÉŁ Âą Ɇɚɪɢɚ É„ÉĽÉ&#x;ɨɊɨɜɚ ɢ Ɇɚɪɢɚ ɆɚÉ?ɞɚɼɢɧÉš Čź É§É˘É É§É&#x;ÉŁ ɹɚɍɏɢ ɢɤɨɧɾ ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧɾ ÉŹÉ&#x; É É&#x; ÉŤÉœɚɏɾÉ&#x; ÉŠÉŞÉ&#x;ɞɚɸɳɢÉ&#x;ÉŤÉš É?ɨɪɸ ɢ ɍɨÉ›ÉŞÉšÉœɲɢÉ&#x;ÉŤÉš ÉœɨɤɪɭÉ? É„ÉšɌɧɚ ɉɨɌɚɥɚɧɢɚ ɧÉš ɤɨɏɨɪɨɌ ÉĽÉ&#x;É É˘ÉŹ ÉŹÉ&#x;ɼɨ É?ɪɢɍɏÉš ɇɚ ÉŠÉ&#x;ÉŞÉ&#x;ÉžɧÉ&#x;ÉŚ ÉŠÉĽÉšɧÉ&#x; ÉœɢÉžɧÉ&#x;ɸɏɍɚ ɍɨɍɭɞɾ ÉŤ ɞɪɚÉ?ɨɰÉ&#x;ɧɧɾɌɢ ɌɚɍɼɚɌɢ ÉŤ ɊɨɌɨɳɜɸ ɤɨɏɨɪɾɯ ÉŹÉ&#x;ɼɨ É­ÉŚÉ&#x;ɪɲÉ&#x;É?ɨ É?ɨɏɨÉœɢɼɢ ɤ ɊɨɯɨɪɨɧɚɌ ɋɛɚɼɚɧɍɢɪɨɜɚɧɧɚɚ ɤɨɌɊɨɥɢɰɢɚ ÉœɾɊɨɼɧÉ&#x;ɧɧɚɚ Éœ ɍɨɹÉ&#x;ÉŹÉšɧɢɢ ɊɚɍɏÉ&#x;ɼɜɧɾɯ ɢ ɧÉšɍɾɳÉ&#x;ɧɧɾɯ ɏɨɧɨÉœ ÉŤ ɥɨɼɨɏɾɌɢ É¨É É˘ÉœɤÉšɌɢ

Čź É§É˘É É§É&#x;ÉŁ ɹɚɍɏɢ ɤɨɌɊɨɥɢɰɢɢ ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧɨ É‹ɨɲÉ&#x;ÉŤÉŹÉœɢÉ&#x; É?ɪɢɍɏÉš Éœɨ Ⱥɞ ɢ ɨɍÉœɨÉ›É¨É ÉžÉ&#x;ɧɢÉ&#x; ɨɏ É­ÉĄ ɢ ɨɤɨÉœ Ⱥɞɚ ÉœÉ&#x;ɏɯɨɥɚɜÉ&#x;ɏɧɾɯ ÉŠÉŞÉšÉœÉ&#x;ÉžɧɢɤɨÉœ ȺɞɚɌɚ ɢ ČżÉœÉľ Čź ÉœÉ&#x;ɪɯɧÉ&#x;ÉŁ ɹɚɍɏɢ ɤɨɌɊɨɥɢɰɢɢ ɧÉšɯɨÉžɚɏɍɚ ȟɨɍɤɪÉ&#x;ÉŤÉ&#x;ɧɢÉ&#x; É?ɪɢɍɏɨÉœɨ É­ÉŚÉ&#x;ɧɜɲÉ&#x;ɧɧɚɚ Éœ ÉŚÉšɍɲɏɚɛÉ&#x; ÉŤÉ°É&#x;ɧÉš ÉŠÉšɍɊɚɏɢɚ ɉɪÉ&#x;ɞɚɏÉ&#x;ɼɜɍɏÉœɨ ɂɭɞɾ ɢ ÉŤÉ¸É É&#x;ÉŹ ÉŤ É€É&#x;ɧÉšɌɢ ɌɢɪɨɧɨɍɢɰÉšɌɢ É­ Ƚɪɨɛɚ ȽɨɍɊɨÉžɧɚ ɉɼɨɏɧɾÉ&#x; ɏɨɧÉš ɤɨɌɊɨɥɢɰɢɢ ÉœÉľÉžÉ&#x;ɼɚɸɏɍɚ ɧÉš ɎɨɧÉ&#x; ɍɢɚɸɳɢɯ ɥɼɨɏɾɯ ɧɢɌÉ›ɨÉœ ÉŽɢÉ?É­ÉŞÉš É?ɪɢɍɏÉš ɧÉš ɢɤɨɧÉ&#x; ɭɛɪɚɧÉš Éœ ÉŤÉ&#x;ÉŞÉ&#x;É›ɪɚɧɭɸ ɪɢɥɭ ɢɌÉ&#x;ɸɳɭɸ ɨɜɚɼɜɧɾÉ&#x; ɨɹÉ&#x;ÉŞÉŹÉšɧɢɚ ɉɪɨÉœÉ&#x;ɧÉšɧɍ É‚ɤɨɧÉš ɊɪɢɨɛɪÉ&#x;ÉŹÉ&#x;ɧÉš Éœ 7HPSOH *DOOHU\ Éœ É? ɢɧÉœÉ&#x;ɧɏÉšɪɧɾɣ ɧɨɌÉ&#x;ÉŞ

--+ THE MYSTIC MARRIAGE OF ST. CATHERINE ITALO-BYZANTINE, 17TH CENTURY

--+ É†É‚É‹ÉŒÉ‚É‘ČżÉ‹É„É‚Éƒ ȝɊȺɄ É‹Čź ČżÉ„ČşÉŒČżÉŠÉ‚É‡É• É‚ÉŒČşÉ…Éˆ ČźÉ‚É ČşÉ‡ÉŒÉ‚ÉƒÉ‹É„ČşÉ™ É’É„ÉˆÉ…Čş ÉŁ ȟȿÉ„

7KH RYHUVL]HG ÀJXUH RI WKH QXUVLQJ 0RWKHU RI *RG ZHDULQJ a chiton with embroidered foliate patterns, her deep red maphorion ornamented with gold trimmings, Christ gazing at the onlooker; the youthful St. Catherine crowned, holding a palm branch, the facial features emphasized with red highlights, the gold background creating an illusion of depth >?$(@<%$;()*,-("(+3(./8(AB#?(CD</$(3*,4("()=(./

É?É&#x;ɧɏɪÉšɼɜɧɨÉ&#x; ÉŚÉ&#x;ɍɏɨ Éœ ɤɨɌɊɨɥɢɰɢɢ ÉĄÉšɧɢɌÉšÉ&#x;ÉŹ É­ÉœÉ&#x;ɼɢɹÉ&#x;ɧɧɚɚ Éœ ÉŚÉšɍɲɏɚɛÉ&#x; ɎɢÉ?É­ÉŞÉš ȝɨÉ?ɨɌɚɏÉ&#x;ɪɢ ɨɛɼɚɹÉ&#x;ɧɧɚɚ Éœ ɯɢɏɨɧ ÉŤ ÉŞÉšɍɲɢɏɾɌɢ ɼɢɍɏÉœÉ&#x;ɧɧɾɌɢ ɭɥɨɪÉšɌɢ ɢ ɤɪÉšɍɧɾɣ ÉŚÉšɎɨɪɢɣ ÉŤ ɥɨɼɨɏɨɣ ɤÉšɣɌɨɣ ȝɨÉ?ɨɌɚɏÉ&#x;ÉŞÉś ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧÉš ɤɨɪɌɚɳÉ&#x;ÉŁ É‹ɾɧÉš ÉœÉĄÉ?ɼɚɞ ɤɨɏɨɪɨÉ?ɨ ɧÉšÉŠÉŞÉšÉœÉĽÉ&#x;ɧ Éœ ɍɏɨɪɨɧɭ ɌɨɼɚɳÉ&#x;É?ɨɍɚ ɘɧɚɚ ÉŤÉœ ɄɚɏÉ&#x;ɪɢɧÉš É­ÉœÉ&#x;ɧɹÉšɧÉš ɤɨɪɨɧɨɣ ɢ ÉžÉ&#x;ÉŞÉ É˘ÉŹ Éœ ɪɭɤÉ&#x; ÉŠÉšɼɜɌɨÉœɭɸ ÉœÉ&#x;ÉŹÉœÉś É‘É&#x;ÉŞÉŹÉľ ɼɢɰÉš ÉŤÉœɚɏɨɣ ɭɍɢɼÉ&#x;ɧɾ ɤɪÉšɍɧɾɌɢ É¨É É˘ÉœɤÉšɌɢ É É¨ÉĽÉ¨ÉŹÉ¨ÉŁ Ɏɨɧ ɊɪɢɞɚÉ&#x;ÉŹ ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧɢɸ ɢɼɼɸɥɢɸ É?ÉĽÉ­É›ɢɧɾ ɉɚɪɚɌÉ&#x;ÉŹÉŞÉľ ɢɤɨɧɧɨɣ Éžɨɍɤɢ ÉŻ ÉŤÉŚ Éœ ɪɚɌÉ&#x; ÉŻ ÉŤÉŚ

031-**2-1-**

-.+ THE CIRCUMCISION OF CHRIST DALMATIAN, 18TH CENTURY A rare representation showing in an interior space the High Priest of the Temple performing the circumcision of the Child, attended by His family and another Priest reciting from a book; inserted in the foreground an icon showing a Church Father, probably the patron of the person who commissioned the icon; the faces rendered boldly with dark shades, the drapery of the garments shaped by rich chrysography 3-("()3,-(./

0)1***231*** -.+ ÉˆČťÉŠČżÉ ČşÉ‡É‚Čż É?ÉŠÉ‚É‹ÉŒÉˆČźÉˆ ȞȺÉ…É†ČşÉŒÉ‚É™ ÉŁ ȟȿÉ„ ÉŠÉ&#x;Éžɤɢɣ ɢɤɨɧɨÉ?ÉŞÉšɎɢɹÉ&#x;ɍɤɢɣ ɢɥÉœɨÉž ɢɥɨÉ›ÉŞÉšÉ Éšɸɳɢɣ ÉœɧɭɏɪÉ&#x;ɧɧÉ&#x;É&#x; ɊɪɨɍɏɪÉšɧɍɏÉœɨ É‚É&#x;ÉŞÉ­ÉŤÉšɼɢɌɍɤɨÉ?ɨ É?ɪɚɌɚ ÉŤ ɉÉ&#x;ÉŞÉœɨɍÉœɚɳÉ&#x;ɧɧɢɤɨɌ ɢɍɊɨɼɧɚɸɳɢɌ ɨɛɪɚɞ ɨɛɪÉ&#x;ÉĄÉšɧɢɚ ɆɼɚɞÉ&#x;ɧɰÉš É‚ÉŻ É¨É¤ÉŞÉ­É Éšɸɏ ɪɨÉžÉŤÉŹÉœÉ&#x;ɧɧɢɤɢ ɍɨɊɪɨÉœÉ¨É ÉžÉšÉ&#x;ÉŚÉľÉ&#x; ɞɪɭÉ?ɢɌ ÉŻÉŞÉšɌɨÉœɾɌ ÉŤÉœɚɳÉ&#x;ɧɧɢɤɨɌ ɹɢɏÉšɸɳɢɌ ÉœÉŤÉĽÉ­ÉŻ ÉŹÉ&#x;ɤɍɏɾ ɢɥ ɉɢɍÉšɧɢɚ ɇɚ ÉŠÉ&#x;ÉŞÉ&#x;Éžɧɢɣ ÉŠÉĽÉšɧ ɢɤɨɧɾ ɊɨɌÉ&#x;ÉłÉ&#x;ɧ ÉœÉŞÉ&#x;ɥɨɤ ÉŤ ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧɢÉ&#x;ÉŚ ÉˆÉŹÉ°Éš É?É&#x;ɪɤÉœɢ Âą ÉœÉ&#x;ɪɨɚɏɧɨ ÉŤÉœɚɏɨÉ?ɨ ɊɨɤɪɨÉœɢɏÉ&#x;ÉĽÉš ÉĄÉšɤÉšɥɹɢɤÉš ɢɤɨɧɾ É…ɢɤɢ ɧÉšɊɢɍÉšɧɾ ÉŤÉŚÉ&#x;ɼɾɌɢ ÉŚÉšɥɤÉšɌɢ Ɋɪɢ ɊɨɌɨɳɢ ÉŹÉ&#x;Ɍɧɾɯ ɏɨɧɨÉœ ɌɨÉžÉ&#x;ɼɢɪɨÉœɤɢ ɞɪɚɊɢɪɨÉœɨɤ ÉœɾɊɨɼɧÉ&#x;ɧɾ Éœ ÉŹÉ&#x;ɯɧɢɤÉ&#x; ɯɪɢɥɨÉ?ÉŞÉšɎɢɢ

-/+ STS. EVSTATHIOS AND STYLIANOS GREEK, DEDICATED 1800 7KH UREXVW ÀJXUH RI WKH PLOLWDU\ PDUW\U SRUWUD\HG LQ D contra-postal posture, carrying a palm branch and a cross; St. Stylianos with a long beard, dressed in ecclesiastical garments, supporting a swaddled baby and displaying a scroll, traditionally painted, on gold ground +5,=("(+6,-(./

0+1-**2)1-** -/+ É‹Čź ȿȟÉ‹ÉŒČşÉŽÉ‚Éƒ É‚ É‹Čź É‹ÉŒÉ‚É…É‚ČşÉ‡ ȽɊȿÉ?É‚É™ ȞȺÉŠÉ‹ÉŒȟȿɇɇȺə ɇȺȞɉɂɋɖ É? É„ÉŞÉ&#x;Ɋɤɚɚ ɎɢÉ?É­ÉŞÉš ÉŤÉœɚɏɨÉ?ɨ ÉœɨɢɧÉš ÉŚÉ­ÉąÉ&#x;ɧɢɤÉš ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧÉš Éœ ɤɨɧɏɪÉšɊɊɨɍɏɧɨɌ ɊɨÉœɨɪɨɏÉ&#x; Ɉɧ ÉŤÉ É˘ÉŚÉšÉ&#x;ÉŹ ÉŠÉšɼɜɌɨÉœɭɸ ÉœÉ&#x;ÉŹÉœÉś ɢ ɤɪÉ&#x;ÉŤÉŹ ɊɚɞɨɌ ÉŤ ɧɢɌ ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧ ÉžɼɢɧɧɨÉ›ɨɪɨÉžɾɣ ÉŤÉœ É‹ɏɢɼɢÉšɧ Éœ É°É&#x;ɪɤɨÉœɧɨɌ ɨɛɼɚɹÉ&#x;ɧɢɢ ɊɨɞɞÉ&#x;ÉŞÉ É˘ÉœÉšɸɳɢɣ ÉŤÉŠÉ&#x;ÉĽÉ&#x;ɧɭɏɨÉ?ɨ ɌɼɚɞÉ&#x;ɧɰÉš ɢ ÉŤÉ É˘ÉŚÉšɸɳɢɣ Éœ ɪɭɤÉ&#x; ÉŤÉœɢɏɨɤ É‚ɤɨɧÉš ÉœɾɊɨɼɧÉ&#x;ɧÉš Éœ ɏɪɚɞɢɰɢɨɧɧɨɌ ɍɏɢɼÉ&#x; Ɋɨ ɥɨɼɨɹÉ&#x;ɧɨɌɭ Ɏɨɧɭ

-0+ THE ENTRY OF THE MOTHER OF GOD TO THE TEMPLE PRESENTED IN AN ELABORATE CARVED WOODEN AND POLYCHROME SETTING GREEK (IONIAN ISLANDS), CIRCA 1700 The High Priest standing at the entrance to the Temple, receiving the Mother of God, the latter accompanied by her parents and IROORZHG E\ D FURZG RI FDQGOH EHDULQJ PDLGHQV WKH ÀJXUHV rendered with dark shades, the haloes, garments and background richly rendered in gold, the carved and polychrome frame IHDWXULQJ à RZHU EXGV DQG ELUGV WKH XSSHU SDUW VKRZLQJ WKH Mandylion, crowned by two cherubs -*("()-,-(./

0-1-**241-**

-0+ ȟȟȿȞȿɇɂȿ ČťÉˆČ˝ÉˆÉŠÉˆČžÉ‚É?É• ČźÉˆ É?ɊȺɆ Čź É‚É‹É„É?ɋɇɈɃ ÉŠČżÉ É‡ÉˆÉƒ ɉɈɅɂÉ?ɊɈɆɇɈɃ ɊȺɆȿ É‚É ČžČżÉŠȿȟȺ ȽɊȿÉ?É‚É™ É‚ÉˆÉ‡É‚É‘ČżÉ‹É„É‚Čż ɈɋɌɊɈȟȺ ɈɄɈɅɈ É? ɉÉ&#x;ÉŞÉœɨɍÉœɚɳÉ&#x;ɧɧɢɤ É‚É&#x;ÉŞÉ­ÉŤÉšɼɢɌɍɤɨÉ?ɨ ɯɪɚɌɚ ɍɏɨɢɏ É­ Éœɯɨɞɚ ɢ ɊɪɢɧɢɌÉšÉ&#x;ÉŹ ÉœɯɨÉžɚɳɭɸ ȝɨÉ?ɨɌɚɏÉ&#x;ÉŞÉś ɍɨɊɪɨÉœÉ¨É ÉžÉšÉ&#x;Ɍɭɸ ɪɨÉžɢɏÉ&#x;ɼɚɌɢ ɢ ÉžÉ&#x;ɜɚɌɢ ÉŤ ÉĄÉšÉ É&#x;ɧɧɾɌɢ ÉŤÉœÉ&#x;ɹɚɌɢ ÉŽɢÉ?É­ÉŞÉľ ÉœɾɊɨɼÉ&#x;ɧɾ Éœ ÉŹÉ&#x;Ɍɧɾɯ ɏɨɧɚɯ ɧɢɌɛɾ ɨÉžÉ&#x;ɚɧɢɚ ɢ Ɏɨɧ ɨÉ›ɢɼɜɧɨ ÉœɾɥɨɼɨɹÉ&#x;ɧɾ ɇɚ ÉŞÉ&#x;ɥɧɨɣ ɊɨɼɢɯɪɨɌɧɨɣ ɪɚɌÉ&#x; ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧɾ É°ÉœÉ&#x;ɏɨɹɧɾÉ&#x; É›ɭɏɨɧɾ ɢ ÉŞÉšɣɍɤɢÉ&#x; Ɋɏɢɰɾ Čź ÉœÉ&#x;ɪɯɧÉ&#x;ÉŁ ɹɚɍɏɢ ɧÉšɯɨÉžɢɏɍɚ ɨɛɪɚɥ ɇÉ&#x;ɪɭɤɨɏÉœɨɪɧɨÉ?ɨ ɋɊɚɍɚ ɤɨɏɨɪɾɣ ɞɜɚ ÉŻÉ&#x;ÉŞÉ­ÉœɢɌÉš É­ÉœÉ&#x;ɧɹɢɜɚɸɏ ɤɨɪɨɧɨɣ

-1+ THE ANNUNCIATION MELCHITE, DATED 1882 The Mother of God interrupting her reading and in a contrapostal stance turning to observe the angel’s arrival; the latter shown on clouds, holding a blooming branch, pointing with KLV OHIW KDQG WR KHDYHQV WKH IDFHV RI WKH ÀJXUHV H[HFXWHG LQ GDUN DQG VPRRWK VKDGHV WKHLU JDUPHQWV ZLWK ÀQH JROG GUDSHU\ the buildings of a town in the background, against dazzling golden skies ))("(+3(./

061-**2+1*** -1+ ȝɅȺȽɈȟȿɓȿɇɂȿ ɆȿɅɖÉ?É‚ÉŒÉ‹É„É‚Čż ÉˆČťÉ“É‚É‡É• ȞȺɌɂɊɈȟȺɇɈ É? ȝɨÉ?ɨɪɨÉžɢɰÉš ÉŠÉŞÉ&#x;ÉŞÉľÉœÉšÉ&#x;ÉŹ ɹɏÉ&#x;ɧɢÉ&#x; ɉɢɍÉšɧɢɚ ɢ Éœ ɤɨɧɏɪÉšɊɊɨɍɏɧɨɌ ɊɨÉœɨɪɨɏÉ&#x; ɨɛɪɚɳɚÉ&#x;ÉŹÉŤÉš ɤ ɊɪɢɼÉ&#x;ÉŹÉšɸɳÉ&#x;ÉŚÉ­ ÉšɧÉ?É&#x;ÉĽÉ­ ȺɧÉ?É&#x;ÉĽ ÉŠÉšɪɢɏ ɧÉš ɨɛɼɚɤɚɯ ÉžÉ&#x;ÉŞÉ Éš É°ÉœÉ&#x;ɏɭɳɭɸ ÉœÉ&#x;ÉŹÉœÉś ɢ ɭɤɚɥɭɚ ɪɭɤɨɣ ɧÉš ɧÉ&#x;É›ɨ É…ɢɤɢ ÉœɾɊɨɼɧÉ&#x;ɧɾ Éœ ÉŹÉ&#x;Ɍɧɾɯ ÉŠÉĽÉšÉœɧɾɯ ɏɨɧɚɯ ɈɞÉ&#x;ɚɧɢɚ ɧɢɍɊɚɞɚɸɏ ɥɨɼɨɏɾɌɢ ɍɤɼɚɞɤÉšɌɢ ɇɚ ɞɚɼɜɧÉ&#x;ÉŚ ÉŠÉĽÉšɧÉ&#x; ÉœɢÉžɧÉ&#x;ɸɏɍɚ É?ɨɪɨÉžɍɤɢÉ&#x; ɍɏɪɨÉ&#x;ɧɢɚ É„ɨɌɊɨɥɢɰɢɚ ÉŠÉŞÉ&#x;ɞɍɏɚÉ&#x;ÉŹ ɧÉš ɎɨɧÉ&#x; ɨɍɼÉ&#x;ɊɢɏÉ&#x;ɼɜɧɾɯ ɥɨɼɨɏɾɯ ɧÉ&#x;É›É&#x;ÉŤ

-2+""" THE ENTHRONED MOTHER OF GOD SURROUNDED BY OLD AND NEW TESTAMENT FIGURES MELCHITE, 18TH CENTURY Holding Christ on her knees, the throne exuberantly carved, attended by St. John the Baptist and the Prophet Elijah; the lower frieze portraying the emperor St. Constantine and KLV PRWKHU (OHQD GLVSOD\LQJ WKH 7UXH &URVV à DQNHG E\ WKH equestrian saints George and Demetrios, both under WUL OREHG DUUDQJHPHQWV ÀQHO\ H[HFXWHG SUHGRPLQDQWO\ ZLWK complimentary reds and greens on dazzling gold +7("(+)(./8()6("(+-,-(./(B%.;E&B%F(#?$(CD</$

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-3+ TOPOGRAPHY OF THE HOLY LAND PALESTINIAN, DATED 1870

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A pilgrimage artefact from the Holy Land, which summarises visually the places visited by the Christian pilgrims; the representation of the events that had taken place at the respective locations, thus sanctifying the latter, reminded the pilgrim/owner of the painting of his experience to the Holy Land and more importantly, kept alive in his memory the religious episodes that occurred there; possession of such an artefact further proved that the owner travelled to the Holy Land.

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ɋ ɝɨɥɨɜɨɣ ɱɭɬɶ ɩɨɜɟɪɧɭɬɨɣ ɜɩɪɚɜɨ ɚɪɯɚɧɝɟɥ ɫɦɨɬɪɢɬ ɫɨ ɫɩɨɤɨɣɧɵɦ ɜɵɪɚɠɟɧɢɟɦ ɢ ɩɪɟɢɫɩɨɥɧɟɧɧɨɣ ɦɢɥɨɫɬɢ ɭɥɵɛɤɨɣ ȿɝɨ ɞɥɢɧɧɵɟ ɜɶɸɳɢɟɫɹ ɜɨɥɨɫɵ ɭɤɪɚɲɟɧɧɵɟ ɞɢɚɞɟɦɨɣ ɧɢɫɩɚɞɚɸɬ ɟɦɭ ɧɚ ɩɥɟɱɢ Ɂɟɥɟɧɵɣ ɯɢɬɨɧ ɨɬɞɟɥɚɧ ɡɨɥɨɬɨɣ ɤɚɣɦɨɣ ɭɫɟɹɧɧɨɣ ɤɚɦɟɧɶɹɦɢ Ⱥɥɵɣ ɩɥɚɳ ɡɚɫɬɟɝɧɭɬ ɮɢɛɭɥɨɣ ɜ ɜɢɞɟ ɪɨɡɟɬɤɢ Ɂɨɥɨɬɨ ɞɪɚɩɢɪɨɜɨɤ ɩɟɪɟɤɥɢɤɚɟɬɫɹ ɫ ɡɨɥɨɬɨɦ ɧɢɦɛɚ Ʌɢɤ ɧɚɩɢɫɚɧ ɦɹɝɤɢɦɢ ɦɚɡɤɚɦɢ ɦɨɞɟɥɢɪɨɜɤɚ ɜɟɤ ɢ ɳɟɤ ɜɵɩɨɥɧɟɧɚ ɩɪɢ ɩɨɦɨɳɢ ɤɪɚɫɧɵɯ ɬɨɧɨɜ ɋɢɹɸɳɢɟ ɤɪɵɥɶɹ ɚɪɯɚɧɝɟɥɚ ɜɵɞɟɥɹɸɬɫɹ ɧɚ ɡɟɥɟɧɨɦ ɮɨɧɟ

06+1***26-1***

.*+ ST. MARY OF EGYPT RUSSIAN, 16TH CENTURY

.*+ É‹ČźÉ™ÉŒČşÉ™ ɆȺɊɂə ȿȽÉ‚É‰ČżÉŒÉ‹É„ČşÉ™ ɊɈɋɋɂə ÉŁ ȟȿÉ„

Portrayed frontal, half-length, turning her eyes away from the onlooker, raising her hand to her chest, the emaciated body of the saint partially covered by a greenish-blue chiton, her mature features and grey hair rendered in dark outlines and brighter shapes for the curved areas, the golden halo with a red rim, on an ochre ground )*,=("(+4(./

É‚ɥɨÉ›ÉŞÉšÉ É&#x;ɧɧɚɚ ɎɪɨɧɏÉšɼɜɧɨ Éœ Ɋɨɼɧɾɣ ɪɨɍɏ ÉŤÉœ Ɇɚɪɢɚ ɊɨÉžɧɨɍɢɏ ɪɭɤɭ ɤ É?ÉŞÉ­Éžɢ ɨɏÉœÉŞÉšÉłÉšÉš ÉœÉĄÉ?ɼɚɞ ɨɏ ɌɨɼɚɳÉ&#x;É?ɨɍɚ É‚ÉĄÉŚÉ¨É ÉžÉ&#x;ɧɧɨÉ&#x; ÉŹÉ&#x;ɼɨ ÉŤÉœɚɏɨɣ ɊɨɤɪɾɜɚÉ&#x;ÉŹ ÉĄÉ&#x;ÉĽÉ&#x;ɧɨ É?ɨɼɭÉ›ɨɣ ɯɢɏɨɧ ɋɏɚɪɹÉ&#x;ɍɤɢÉ&#x; ÉąÉ&#x;ÉŞÉŹÉľ ɼɢɰÉš ɢ ÉŤÉ&#x;ɞɾÉ&#x; Éœɨɼɨɍɾ ɍɌɨÉžÉ&#x;ɼɢɪɨɜɚɧɾ Ɋɪɢ ɊɨɌɨɳɢ ÉŹÉ&#x;Ɍɧɾɯ ɤɨɧɏɭɪɨÉœ ɢ ÉŤÉœÉ&#x;ɏɼɾɯ ɊɪɨÉ›É&#x;ɼɨÉœ É É¨ÉĽÉ¨ÉŹÉ¨ÉŁ ɧɢɌÉ› ÉŤ ɤɪÉšɍɧɾɌ ɚɛɪɢɍɨɌ ÉœÉľÉžÉ&#x;ÉĽÉšÉ&#x;ÉŹÉŤÉš ɧÉš ɨɯɪɢɍɏɨɌ ɎɨɧÉ&#x;

0641***2+*1***

.,+ ST. MENAS WITH A SCENE DEPICTING HIS MARTYRDOM NORTHERN GREECE, 18TH CENTURY A large panel illustrating the Martyr and Wonder-Worker on a ZKLWH KRUVH GUHVVHG LQ IXOO PLOLWDU\ JDUPHQWV ZLWK D à RDWLQJ green cape, carrying a lance, turning towards the viewer while his horse advances ahead in a green meadow; the lower part of the composition showing in smaller scale the martyrdom of the saint – a Roman soldier cutting his head off with a sword; the features of the saint outlined with dark, grey shades, the gold background decorated with recurring stamped patterns, the two red roundels on the upper part including the initials of the saint’s name 5)("(-),-(./

0631***2651***

.,+ É‹Čź ɆɂɇȺ ɋɈ É‹É?ČżÉ‡ÉˆÉƒ ɆÉ?É‘ČżÉ‡É‚É‘ČżÉ‹ÉŒȟȺ É‹ȿȟȿɊɇȺə ȽɊȿÉ?É‚É™ ÉŁ ȟȿÉ„ ɆɨɧɭɌÉ&#x;ɧɏÉšɼɜɧɚɚ ɢɤɨɧÉš ɢɥɨÉ›ÉŞÉšÉ Éšɸɳɚɚ ÉœÉ&#x;ɼɢɤɨɌɭɹÉ&#x;ɧɢɤÉš ɢ ɹɭÉžɨɏÉœɨɪɰÉš ÉŤÉœ Ɇɢɧɭ ÉœÉ&#x;ɪɯɨɌ ɧÉš ɤɨɧÉ&#x; É‹Éœɚɏɨɣ ɨɛɼɚɹÉ&#x;ɧ Éœ ÉœɨÉ&#x;ɧɧɾÉ&#x; ÉžɨɍɊÉ&#x;ɯɢ ɢ ÉŞÉšÉĄÉœÉ&#x;ɜɚɸɳɢɣɍɚ ÉĄÉ&#x;ÉĽÉ&#x;ɧɾɣ Ɋɼɚɳ Čź É&#x;É?ɨ ɪɭɤÉ&#x; Âą ɤɨɊɜÉ&#x; ȟɥÉ?ɼɚɞ ÉŤÉœɚɏɨÉ?ɨ ɧÉšÉŠÉŞÉšÉœÉĽÉ&#x;ɧ ɧÉš ɌɨɼɚɳÉ&#x;É?ɨɍɚ ČżÉ?ɨ ɤɨɧɜ ɍɤɚɹÉ&#x;ÉŹ ɜɊÉ&#x;ÉŞÉ&#x;Éž Ɋɨ ÉĄÉ&#x;ÉĽÉ&#x;ɧɨɌɭ ÉĽÉ­É?É­ Čź É§É˘É É§É&#x;ÉŁ ɹɚɍɏɢ ɤɨɌɊɨɥɢɰɢɢ Éœ É­ÉŚÉ&#x;ɧɜɲÉ&#x;ɧɧɨɌ ÉŚÉšɍɲɏɚɛÉ&#x; ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧÉš ÉŤÉ°É&#x;ɧÉš ÉŚÉ­ÉąÉ&#x;ɧɢɹÉ&#x;ÉŤÉŹÉœÉš ÉŤÉœɚɏɨÉ?ɨ ɪɢɌɍɤɢɣ ÉĽÉ&#x;É?ɢɨɧÉ&#x;ÉŞ ɨɏɍÉ&#x;ɤÉšÉ&#x;ÉŹ É&#x;ÉŚÉ­ É?ɨɼɨɜɭ ÉŚÉ&#x;ɹɨɌ É…ɢɤ ÉŤÉœɚɏɨÉ?ɨ ɧÉšɊɢɍÉšɧ Ɋɪɢ ɊɨɌɨɳɢ ÉŹÉ&#x;Ɍɧɾɯ ɢ ÉŤÉ&#x;ɪɾɯ ɏɨɧɨÉœ É É¨ÉĽÉ¨ÉŹÉ¨ÉŁ Ɏɨɧ ɭɤɪÉšɲÉ&#x;ɧ ɏɢɍɧÉ&#x;ɧɢÉ&#x;ÉŚ Čź ɞɜɚ ɤɪÉšɍɧɾÉ&#x; ÉŚÉ&#x;ɞɚɼɜɨɧÉš Éœ ÉœÉ&#x;ÉŞÉŻÉ­ ɤɨɌɊɨɥɢɰɢɢ ÉœɊɢɍÉšɧɾ ɧɚɹɚɼɜɧɾÉ&#x; É›ɭɤÉœÉľ ɢɌÉ&#x;ɧɢ ÉœɨɢɧÉš ÉŚÉ­ÉąÉ&#x;ɧɤÉš

.-+ THE PROPHET ELIJAH IN THE DESERT RUSSIAN, 16TH CENTURY

.-+ ɉɊɈɊɈɄ É‚É…É‚É™ Čź ɉÉ?É‹ÉŒÉ•É‡Čż ɊɈɋɋɂə ÉŁ ȟȿÉ„

By the bank of the river Jordan, the old prophet seated on a rock at 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 NHSW EDFN ZLWK D EHDUG ZKLWH EUXVKVWURNHV GHĂ€QLQJ KLV PDWXUH face; attired in a light green robe and a traditional scarf, covered by a mantle made of animal skin, the rocky landscape barren ZLWK RQO\ WZR VKRUW SODQWV Ă DQNLQJ WKH FDYH WKH IDPLO\ SDWURQ the Guardian Angel, 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 )6,)("(+=(./

ɈɛɼɨɤɨɏɢÉœɲɢɍɜ ɧÉš Ɋɨɍɨɯ ÉŠÉ¨É É˘ÉĽÉ¨ÉŁ Ɋɪɨɪɨɤ É‚ɼɢɚ ɍɢÉžɢɏ ɧÉš ɤÉšɌɧÉ&#x; É­ É›É&#x;ÉŞÉ&#x;É?ɨÉœ ÉŞÉ&#x;ɤɢ É‚ɨɪɞɚɧ ɊɚɞɨɌ ÉŤ ɧɢɌ ÉœɢÉžɧÉ&#x;É&#x;ÉŹÉŤÉš ÉœɯɨÉž Éœ ÉŠÉ&#x;ÉłÉ&#x;ÉŞÉ­ Éœ ɤɨɏɨɪɨɣ ÉŤÉœɚɏɨɣ ɭɤɪɾÉœÉšÉĽÉŤÉš ɧÉšɯɨÉžɚɍɜ Éœ ɊɭɍɏɾɧÉ&#x; Čź ɪɭɤɚɯ Ɋɪɨɪɨɤ ÉŤÉ É˘ÉŚÉšÉ&#x;ÉŹ ÉŤÉœÉ&#x;ɪɧɭɏɾɣ ÉŤÉœɢɏɨɤ ɢ ɍɌɨɏɪɢɏ ɜɜɾɍɜ ɧɚɛɼɸɞɚɚ ÉĄÉš ÉąÉ&#x;ɪɧɾɌ ÉœɨɪɨɧɨɌ ɊɪɢɧɨɍɚɳɢɌ É&#x;ÉŚÉ­ É&#x;ɞɭ É‹É&#x;ɞɾÉ&#x; Éœɨɼɨɍɾ É›ɨɪɨɞɚɏɨÉ?ɨ ɍɏɚɪɰɚ ɥɚɹÉ&#x;ÉŤÉšɧɾ ɧɚɥɚɞ É›É&#x;ÉĽÉľÉ&#x; É¨É É˘Éœɤɢ ɨÉ›ɨɥɧɚɹɚɸɏ ÉąÉ&#x;ÉŞÉŹÉľ É&#x;É?ɨ ɼɢɰÉš ɉɪɨɪɨɤ ɨɛɼɚɹÉ&#x;ɧ Éœ ÉŤÉœÉ&#x;ɏɼɨ ÉĄÉ&#x;ÉĽÉ&#x;ɧɨÉ&#x; ɨÉžÉ&#x;ɚɧɢÉ&#x; ɢ ɏɪɚɞɢɰɢɨɧɧɭɸ ɧÉšɤɢÉžɤɭ ɊɨÉœÉ&#x;ÉŞÉŻ ɤɨɏɨɪɨɣ ɧɚɛɪɨɲÉ&#x;ɧ Ɋɼɚɳ ɢɥ ÉĄÉœÉ&#x;ɪɢɧɾɯ ɲɤɭɪ É‹ÉŞÉ&#x;Éžɢ ɍɤÉšɼɢɍɏɨÉ?ɨ ɍɤɭɊɨÉ?ɨ ÉŠÉ&#x;ÉŁÉĄÉšÉ Éš ɊɪɨÉ›ɢɜɚɸɏɍɚ ɞɜɚ ɪɚɍɏÉ&#x;ɧɢɚ ɊɨɍÉšÉ É&#x;ɧɧɾÉ&#x; É­ Éœɯɨɞɚ Éœ ÉŠÉ&#x;ÉłÉ&#x;ÉŞÉ­ ȺɪɯÉšɧÉ?É&#x;ÉĽ ɆɢɯÉšɢɼ ɊɨɤɪɨÉœɢɏÉ&#x;ɼɜɍɏÉœɭɸɳɢɣ ÉŤÉ&#x;ÉŚÉ&#x;ÉŁÉŤÉŹÉœÉ­ ÉĄÉšɤÉšɥɹɢɤÉš ɨɛɼɚɹÉ&#x;ɧɧɾɣ Éœ ɊɾɲɧɾÉ&#x; É°É&#x;ÉŞÉ&#x;ɌɨɧɢÉšɼɜɧɾÉ&#x; ɨÉžÉ&#x;É ÉžÉľ ɢ ɤɪÉšɍɧɾɣ É?ɢɌÉšɏɢɣ Ɋɼɚɳ ÉŠÉšɪɢɏ ɧÉš ɨɛɼɚɤÉ&#x; ÉžÉ&#x;ÉŞÉ Éš Éœ ɪɭɤɚɯ Ɋɨɍɨɯ ɢ ÉĄÉ&#x;ÉŞÉ°Éšɼɨ ÉŤÉŽÉ&#x;ÉŞÉ­ ÉŤ ɢɌÉ&#x;ɧÉ&#x;ÉŚ É?ɪɢɍɏÉš ɉɨɼɚ ɢɤɨɧɾ ÉœɾɥɨɼɨɹÉ&#x;ɧɾ

03*1***2-*1***

..+ A DEISIS NORTHERN GREEK, CIRCA 1600

..+ ȞȿÉ‚É‹É‚É‹ É‹ȿȟȿɊɇȺə ȽɊȿÉ?É‚É™ ɈɄɈɅɈ É?

7KH RYHUVL]HG ÀJXUH RI &KULVW LQ WKH FHQWUH VHDWHG RQ D WKURQH with red and blue cushions and matching suppedaneum, his hand raised in blessing, supporting the Gospels on his knee, His Mother and John the Baptist inclining their heads towards Him, gesturing in supplication; the facial features and expressive KDQGV DFFHQWXDWHG E\ ZKLWH VWULDWLRQV WKH ÀJXUHV GHSLFWHG ZLWK bold outlines, the drapery rendered with stylized graded tones, the background gold 7*,5("(-7,)(./

Čź É°É&#x;ɧɏɪÉ&#x; ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧÉš É­ÉœÉ&#x;ɼɢɹÉ&#x;ɧɧɚɚ Éœ ɊɪɨɊɨɪɰɢɚɯ ɎɢÉ?É­ÉŞÉš É?ɪɢɍɏÉš ÉœɨɍɍÉ&#x;ɞɚɸɳÉ&#x;É?ɨ ɧÉš ɏɪɨɧÉ&#x; ÉŤ ɤɪÉšɍɧɾɌɢ ɢ É?ɨɼɭÉ›ɾɌɢ ɊɨÉžɭɲɤÉšɌɢ ɢ ÉŤ ɊɨÉžÉ§É¨É É˘É&#x;ÉŚ ÉŠÉ&#x;ÉŞÉ&#x;ɤɼɢɤÉšɸɳɢɌɍɚ ÉŤ ɧɢɌɢ Ɋɨ É°ÉœÉ&#x;ÉŹÉ­ ÉŠɭɤÉš É?ɪɢɍɏÉš ɊɨÉžɧɚɏÉš Éœ ɛɼɚÉ?ɨɍɼɨÉœÉ&#x;ɧɢɢ ɧÉš É&#x;É?ɨ ɤɨɼÉ&#x;ɧɚɯ ÉĽÉ&#x;É É˘ÉŹ ČżÉœÉšɧÉ?É&#x;ɼɢÉ&#x; ȝɨÉ?ɨɪɨÉžɢɰÉš ɢ É‚ɨÉšɧɧ ɉɪÉ&#x;ɞɏÉ&#x;ɹɚ ɍɤɼɨɧɚɸɏ É?ɨɼɨÉœÉľ Ɋɨ ɧÉšÉŠÉŞÉšÉœÉĽÉ&#x;ɧɢɸ ɤ É‹ÉŠÉšɍɢɏÉ&#x;ɼɸ ɢ ÉœɨɥÉžÉ&#x;ɜɚɸɏ Éœ ɌɨɼɢɏÉœÉ&#x; ɪɭɤɢ É…ɢɤɢ É¨É É˘ÉœÉĽÉ&#x;ɧɾ ɏɨɧɤɢɌɢ ɊɪɨÉ›É&#x;ÉĽÉšɌɢ ÉŽɢÉ?É­ÉŞÉľ ÉŤÉœɚɏɾɯ ɨɹÉ&#x;ÉŞÉąÉ&#x;ɧɾ ÉąÉ&#x;ɏɤɢɌ ÉąÉ&#x;ɪɧɾɌ ɤɨɧɏɭɪɨɌ ȞɪÉšɊɢɪɭɸɳɢÉ&#x;ÉŤÉš ɍɤɼɚɞɤɢ ɢɯ ɨÉžÉ&#x;ɚɧɢɣ ÉŠÉ&#x;ÉŞÉ&#x;ɞɚɧɾ Ɋɪɢ ɊɨɌɨɳɢ É?ɪɚɞɚɰɢɢ ɏɨɧɨÉœ ÉŽɨɧ ɢɤɨɧɾ ɍɢɚÉ&#x;ÉŹ ɥɨɼɨɏɨɌ

03-1***2--1*** Provenance: Sold at Christie’s London, 9 June 2008, Sale 7596, Lot 132 Literature: Catalogue of the exhibition Golden Light. Masterpieces of the Art of the Icon, Koninklijk Museum, (Antwerp, 1988), no.13

ɉɪɨÉœÉ&#x;ɧÉšɧɍ Ⱥɭɤɰɢɨɧ &KULVWLHÂśV ɢɸɧɚ ɧɨɌÉ&#x;ÉŞ ÉšɭɤɰɢɨɧÉš ɼɨɏ ȝɢÉ›ɼɢɨÉ?ÉŞÉšɎɢɚ ɄɚɏɚɼɨÉ? Éœɾɍɏɚɜɤɢ *ROGHQ /LJKW 0DVWHUSLHFHV RI WKH $UW RI WKH ,FRQ .RQLQNOLMN 0XVHXP É É¨ÉĽÉ¨ÉŹÉ¨É&#x; ɍɢɚɧɢÉ&#x; É’É&#x;ÉžÉ&#x;ÉœÉŞÉľ ɢɤɨɧɨɊɢɍɢ Éœ ÉŚÉ­ÉĄÉ&#x;É&#x; É„ɨɧɢɧɤɼɢɣɤ ȺɧɏÉœÉ&#x;ÉŞÉŠÉ&#x;ɧ É? ɇɨɌÉ&#x;ÉŞ Ɋɨ ɤɚɏɚɼɨÉ?É­

./+ THE MOTHER OF GOD GLYKOFILOUSA CRETAN, 16TH CENTURY

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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 ÀQH ZKLWH EUXVKVWURNHV RQ JROG JURXQG +=,=("(+),)(./

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.0+ MOTHER OF GOD CONSOLAZIONE VENETO-CRETAN, 16TH CENTURY Portrayed half-length, the Mother of God leaning towards the Christ Child, the latter seated on her right forearm, raising one hand in blessing and holding a closed scroll in the other; the Mother of God unusually dressed in garments of green and brown, wearing a white, transparent veil under her maphorion, fastened with a circular brooch, the haloes with punched decoration of foliate patterns )),=("(+=,)(./

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.0+ ČťÉˆČ˝ÉˆÉ†ČşÉŒČżÉŠÉ– É?ÉŒČżÉ’ČżÉ‡É‚Čż ɆȺȞÉŠČż ȞȿÉ…É…Čş É„ÉˆÉ‡É‹ÉˆÉ…ČşÉ?É‚ÉˆÉ‡Čż

ɄɊɂɌɈ ȟȿɇȿÉ?ɂȺɇɋɄȺə É’É„ÉˆÉ…Čş ÉŁ ȟȿÉ„ ɉɪÉ&#x;ÉžÉŤÉŹÉšÉœÉĽÉ&#x;ɧɧɚɚ Éœ ɊɨɚɍɧɨɌ ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧɢɢ ȝɨÉ?ɨɌɚɏÉ&#x;ÉŞÉś ɍɤɼɨɧɚÉ&#x;ÉŹÉŤÉš Ɋɨ ɧÉšÉŠÉŞÉšÉœÉĽÉ&#x;ɧɢɸ ɤ ɍɢÉžɚɳÉ&#x;ÉŚÉ­ ɧÉš É&#x;É&#x; ÉŠÉŞÉšÉœɨɣ ɪɭɤÉ&#x; ɌɼɚɞÉ&#x;ɧɰɭ É?ɪɢɍɏɭ ɤɨɏɨɪɾɣ ɧɢɍɊɨɍɾɼÉšÉ&#x;ÉŹ ɛɼɚÉ?ɨɍɼɨÉœÉ&#x;ɧɢÉ&#x; ɢ ÉžÉ&#x;ÉŞÉ É˘ÉŹ ÉŤÉœÉ&#x;ɪɧɭɏɾɣ ÉŤÉœɢɏɨɤ ɇÉ&#x;ɨÉ›ɾɹɧɾ ɨÉžÉ&#x;É ÉžÉľ ȝɨÉ?ɨɪɨÉžɢɰɾ ÉœÉľÉžÉ&#x;ÉŞÉ ÉšɧɧɾÉ&#x; Éœ ÉĄÉ&#x;ÉĽÉ&#x;ɧɾɯ ɢ ɤɨɪɢɹɧÉ&#x;Éœɾɯ ɏɨɧɚɯ ɆɚɎɨɪɢɣ ɥɚɍɏÉ&#x;É?ɧɭɏɾɣ ɤɪɭÉ?ɼɨɣ É›ɪɨɲɜɸ ɧÉšɤɢɧɭɏ ɧÉš É›É&#x;ɼɾɣ ɊɪɨɥɪÉšɹɧɾɣ É?ɨɼɨÉœɧɨɣ Ɋɼɚɏ ɇɢɌɛɾ ɭɤɪÉšɲÉ&#x;ɧɾ ɏɢɍɧÉ&#x;ɧɾɌ ɼɢɍɏÉœÉ&#x;ɧɧɾɌ ɭɥɨɪɨɌ

.1+ MOTHER OF GOD OF THE INVIOLATE MOUNTAIN RUSSIAN, SECOND HALF OF THE 18TH CENTURY

.1+ ČťÉˆČ˝ÉˆÉ†ČşÉŒČżÉŠÉ– ŠȽÉˆÉŠČş ɇȿɊÉ?É„ÉˆÉ‹ČżÉ‘É‡ČşÉ™ÂŞ ɊɈɋɋɂə ČźÉŒÉˆÉŠČşÉ™ É‰ÉˆÉ…ÉˆČźÉ‚É‡Čş É?ɨ ȟȿÉ„Čş

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 )6,-("(+4,+(./

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.2+ THE CENTRAL PART OF A PORTABLE ICONOSTASIS RUSSIAN (MOSCOW SCHOOL), CIRCA 1600 Organised in three tiers, the bottom one portraying Christ the Saviour in Majesty, his throne with a curved back and a pedestal, Ă DQNHG E\ FKHUXEV UHQGHUHG LQ JULVDLOOH DJDLQVW a double glory, the inner oval in dark green, the outer of diamond shape with the Beasts of the Apocalypse on the four corners; the VHFRQG UHJLVWHU VKRZLQJ WKH &UXFLĂ€[LRQ DQG the Anastasis, the former 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 against starry skies matching those of the &UXFLĂ€[LRQ EHORZ Ă DQNHG E\ .LQJ 'DYLG DQG his son Solomon, both displaying 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 )=,5("(65,7(./

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.3+ THE MAJOR ECCLESIASTICAL FEASTS WITH THE FOUR EVANGELISTS ON THE CORNER RUSSIAN, 18TH CENTURY

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A rare representation of the subject, which in addition to the traditional central scene and twelve surrounding episodes, includes three more images that appear less commonly in the iconography: at the beginning of the narrative on the upper left corner, the Birth of the Mother of God, followed by her Presentation to the Temple and on the bottom register, the Raising of Lazarus; the top of the composition showing a medallion visualizing the Apocalypse, in particular refering to the Four Horsemen as per John’s Book 6:1-8; portrayed below the vision of Revelation, the New Testament Trinity; the corners of the panel occupied by images of the Evangelists in their scriptoria; the detailed composition executed meticulously with a variety of colours on gold ground, the ochre border inscribed with the titles of the represented events

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06+1***26-1***

/4+ PATERNITAS (THE FATHERHOOD) RUSSIAN (MSTERA SCHOOL), SECOND HALF OF THE 19TH CENTURY

/4+ ÉˆÉŒČżÉ‘ČżÉ‹ÉŒČźÉˆ ɌɊɈɂÉ?Čş É‡ÉˆČźÉˆÉ ČşČźČżÉŒÉ‡ČşÉ™

ɊɈɋɋɂə ɆɈɋɄȟȺ É‚É…É‚ É†É‹ÉŒČżÉŠČş ČźÉŒÉˆÉŠČşÉ™ É‰ÉˆÉ…ÉˆČźÉ‚É‡Čş É?ɨ ȟȿÉ„Čş

God the Father with grey locks and a beard, portrayed frontally, seated on billowing clouds, His feet resting on a red seraph, his arms extended, gesturing in benediction, on his lap his Son in precisely the same posture, above Christ’s head, the Holy Spirit DV D KDORHG GRYH LQ SURĂ€OH DJDLQVW D FLUFXODU JUHHQ SODWH WKH )DWKHU¡V QLPEXV GHĂ€QHG E\ WZR LQFLVHG ULPV LQFOXGLQJ D GRXEOH glory, symbolising the Divine wisdom; the Son’s gold tripartite halo matching His garments and standing out against the pastel colours of the Father’s vestments, the latter with ornate gemencrusted hems =6,6("(-)(./

ȝɨÉ? ÉˆÉŹÉ&#x;É° ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧ Éœ Ɏɚɍ ÉŤ ÉŤÉ&#x;ÉžɾɌɢ ÉœɨɼɨɍɚɌ ɢ É›ɨɪɨÉžɨɣ Ɉɧ ÉœɨɍɍÉ&#x;ɞɚÉ&#x;ÉŹ ɧÉš ɤɼɭÉ›ɚɳɢɯɍɚ ɨɛɼɚɤɚɯ ČżÉ?ɨ ɧɨÉ?ɢ Ɋɨɤɨɚɏɍɚ ɧÉš ɤɪÉšɍɧɨɌ ÉŤÉ&#x;ÉŞÉšɎɢɌÉ&#x; ɪɭɤɢ ÉŞÉšɍɊɪɨɍɏÉ&#x;ÉŞÉŹÉľ Éœ ɛɼɚÉ?ɨɍɼɨÉœɼɚɸɳÉ&#x;ÉŚ É É&#x;ÉŤÉŹÉ&#x; ɇɚ ɤɨɼÉ&#x;ɧɚɯ ÉˆÉŹÉ°Éš ɍɢÉžɢɏ É‹ɾɧ Éœ ÉŹÉšɤɨɣ É É&#x; ɊɨɥÉ&#x; ɧɚɞ É?ɨɼɨÉœɨɣ É?ɪɢɍɏÉš Âą É‹Éœɚɏɨɣ Ȟɭɯ Éœ ÉœɢÉžÉ&#x; É?ɨɼɭɛɚ ÉŤ ɧɢɌÉ›ɨɌ ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧɧɨÉ?ɨ Éœ ɊɪɨɎɢɼɜ ɧÉš ɎɨɧÉ&#x; ÉĄÉ&#x;ÉĽÉ&#x;ɧɨÉ?ɨ ɤɪɭÉ?Éš ȟɨɍɜɌɢɭÉ?ɨɼɜɧɾɣ ŠɍɨɎɢɣɧɾɣª ɧɢɌÉ› ÉˆÉŹÉ°Éš ÉŤ ɞɜɨɣɧɨɣ ÉŤÉĽÉšÉœɨɣ ɍɢɌÉœɨɼɢɥɢɪɭÉ&#x;ÉŹ ɉɪÉ&#x;ÉŚÉ­Éžɪɨɍɏɜ ČťÉ¨É ÉśÉ¸ ÉŹÉŞÉ&#x;ɯɹɚɍɏɧɾɣ ɥɨɼɨɏɨɣ ɧɢɌÉ› É‹ɾɧÉš ÉžɨɊɨɼɧɚÉ&#x;ÉŹ ČżÉ?ɨ ɥɨɼɨɏɾÉ&#x; ɨÉžÉ&#x;É ÉžÉľ ɤɨɏɨɪɾÉ&#x; ɚɪɤɨ ÉœÉľÉžÉ&#x;ɼɚɸɏɍɚ ɧÉš ɎɨɧÉ&#x; ɊɚɍɏÉ&#x;ɼɜɧɾɯ ɏɨɧɨÉœ ɨɛɼɚɹÉ&#x;ɧɢɚ ÉˆÉŹÉ°Éš ɭɤɪÉšɲÉ&#x;ɧɧɨÉ?ɨ ɭɥɨɪɹÉšɏɨɣ ɨɤÉšɧɏɨÉœɤɨɣ ÉŤ ÉŤÉšɌɨɰÉœÉ&#x;ÉŹÉšɌɢ

0+*1***2)*1***

/*+ CHRIST EMMANUEL RUSSIAN, 19TH CENTURY A bust-length portrait of Christ, facing frontal, with short, curly hair and a prominent tripartite halo, wearing red regal garments, on ochre ground )6,+("(+4,-(./

031-**2-1-** /*+ ɋɉȺɋ ɂɆɆȺɇÉ?É‚É… ɊɈɋɋɂə É„ÉˆÉ‡ČżÉ? É?ɨ ȟȿÉ„Čş ɉɨÉ?ÉŞÉ­ÉžɧɨÉ&#x; ɎɪɨɧɏÉšɼɜɧɨÉ&#x; ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧɢÉ&#x; É?ɪɢɍɏÉš ÉŤ ɤɨɪɨɏɤɢɌɢ ÉœɜɸɳɢɌɢɍɚ ÉœɨɼɨɍÉšɌɢ ɢ Éœ ɤɪÉšɍɧɾɯ É°Éšɪɍɤɢɯ ɨÉžÉ&#x;ɚɧɢɚɯ ČżÉ?ɨ É?ɨɼɨɜɭ ɨɛɪɚɌɼɚÉ&#x;ÉŹ ÉœɾɊɭɤɼɾɣ ÉŹÉŞÉ&#x;ɯɹɚɍɏɧɾɣ ɧɢɌÉ› É„ɨɌɨɥɢɰɢɚ ÉœɾɊɨɼɧÉ&#x;ɧÉš Ɋɨ ɨɯɪɢɍɏɨɌɭ Ɏɨɧɭ

/,+ ARAPETSKAYA MOTHER OF GOD RUSSIAN, LATE 18TH CENTURY Depicted half-length, facing the viewer, supporting her Son with one hand and pointing to Him with the other, the Child stretching out to grab His Mother’s veil while she faces the onlooker; the volume of their traditional garments rendered with rich gold brushstrokes, the maphorion of the Mother of God featuring gold clouds and three medallions with cherubs -),5("(3),+(./

0)1-**231-** /,+ ČťÉˆČ˝ÉˆÉ†ČşÉŒČżÉŠÉ– ČşÉŠČşÉ‰ČżÉŒÉ‹É„ČşÉ™ ɊɈɋɋɂə É„ÉˆÉ‡ČżÉ? É?ɨ ȟȿÉ„Čş ɉɪÉ&#x;ÉžÉŤÉŹÉšÉœÉĽÉ&#x;ɧɧɚɚ Éœ ɊɨɚɍɧɨɌ ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧɢɢ ɍɨ ÉœÉĄÉ?ɼɚɞɨɌ ɨɛɪɚɳÉ&#x;ɧɧɾɌ ɤ ɥɪɢɏÉ&#x;ɼɸ ȝɨÉ?ɨɌɚɏÉ&#x;ÉŞÉś ɊɨɞɞÉ&#x;ÉŞÉ É˘ÉœÉšÉ&#x;ÉŹ ɆɼɚɞÉ&#x;ɧɰÉš É?ɪɢɍɏÉš ɨÉžɧɨɣ ɪɭɤɨɣ ɢ ɭɤɚɥɭÉ&#x;ÉŹ ɧÉš ɇÉ&#x;É?ɨ ɞɪɭÉ?ɨɣ ɆɼɚɞÉ&#x;ɧÉ&#x;É° ɏɚɧÉ&#x;ÉŹ ɪɭɹɤɢ Ɋɨ ɧÉšÉŠÉŞÉšÉœÉĽÉ&#x;ɧɢɸ ɤ ȝɨÉ?ɨɪɨÉžɢɰÉ&#x; ɊɾɏÉšɚɍɜ É­ÉŻÉœÉšɏɢɏɜ É&#x;É&#x; ÉĄÉš Ɋɨɤɪɾɜɚɼɨ ɈɛɴÉ&#x;ÉŚ ɞɪɚɊɢɪɨÉœɤɚɌ Ɋɪɢɞɚɧ Ɋɪɢ ɊɨɌɨɳɢ ɥɨɼɨɹÉ&#x;ɧɢɚ ɆɚɎɨɪɢɣ ȝɨÉ?ɨɌɚɏÉ&#x;ɪɢ ɭɤɪÉšɲÉ&#x;ɧ ɥɨɼɨɏɾɌɢ ɨɛɼɚɤÉšɌɢ ɢ ÉŹÉŞÉ&#x;ÉŚÉš ÉŚÉ&#x;ɞɚɼɜɨɧÉšɌɢ ÉŤ ÉĄÉšɤɼɸɹÉ&#x;ɧɧɾɌɢ Éœ ɧɢɯ ÉŻÉ&#x;ÉŞÉ­ÉœɢɌÉšɌɢ

/-+ THE POKROV RUSSIAN, 19TH CENTURY

/-+ É‰ÉˆÉ„ÉŠÉˆČź ɊɈɋɋɂə ÉŁ ȟȿÉ„

The composition organized in two levels; the upper part showing the Mother of God in her role as humanity’s intercessor to her Son, spreading her veil and holding a scroll inscribed with a prayer, attended by a group of saints; Christ emerging through the clouds on the upper left corner; the lower plane depicting 6W 5RPDQRV WKH 0HORGLVW RQ DQ DPER à DQNHG E\ WKH 3DWULDUFK the Tsar and St. Andrew the Fool in Christ, followed by the ZRUVKLSSHUV WKH ÀYH GRPHV RI WKH &DWKHGUDO DSSHDULQJ LQ WKH background; the icon painted meticulously with bright colours and gold details )3("(+=,+(./

É„ɨɌɊɨɥɢɰɢɚ ÉœɾɍɏɪɨÉ&#x;ɧÉš Éœ ɞɜɚ ɚɪɭɍÉš Čź ÉœÉ&#x;ɪɯɧÉ&#x;ÉŁ ɹɚɍɏɢ ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧÉš ȝɨÉ?ɨɪɨÉžɢɰÉš Éœ ɪɨɼɢ ÉĄÉšɍɏɭɊɧɢɰɾ ÉĄÉš ɼɸÉžɍɤɨɣ ɪɨÉž ÉŠÉ&#x;ÉŞÉ&#x;Éž É‹ɾɧɨɌ É‹ɨɊɪɨÉœÉ¨É ÉžÉšÉ&#x;Ɍɚɚ ÉŤÉœɚɏɾɌɢ Ɋɨ ɨÉ›É&#x; ɍɏɨɪɨɧɾ ɈɧÉš ɊɪɨɍɏɢɪÉšÉ&#x;ÉŹ ÉŤÉœɨÉ&#x; Ɋɨɤɪɾɜɚɼɨ ɢ ÉžÉ&#x;ÉŞÉ É˘ÉŹ Éœ ɪɭɤÉ&#x; ÉŤÉœɢɏɨɤ ÉŤ ÉŹÉ&#x;ɤɍɏɨɌ ɌɨɼɢɏÉœÉľ É?ɪɢɍɏɨɍ É?ɪɚɞÉ&#x;ÉŹ ɧÉš ɨɛɼɚɤɚɯ Éœ ÉĽÉ&#x;ÉœɨɌ ÉœÉ&#x;ɪɯɧÉ&#x;ÉŚ É­É?ÉĽÉ­ ȟɧɢɥɭ ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧ ÉŤÉœɚɏɨɣ ÉŠɨɌÉšɧ ɋɼɚɞɤɨɊÉ&#x;ÉœÉ&#x;É° É‹É›ɨɤɭ ɨɏ ɧÉ&#x;É?ɨ ɧÉš ÉšÉŚÉœɨɧÉ&#x; ɍɏɨɚɏ ÉŠÉšɏɪɢɚɪɯ ɰɚɪɜ ɢ ÉŤÉœ ȺɧɞɪÉ&#x;ÉŁ ɘɪɨÉžɢÉœɾɣ É¨É¤ÉŞÉ­É É&#x;ɧɧɾÉ&#x; ɏɨɼɊɨɣ Ɍɨɼɚɳɢɯɍɚ ɇɚ ɞɚɼɜɧÉ&#x;ÉŚ ÉŠÉĽÉšɧÉ&#x; ÉœɢÉžɧÉ&#x;ɸɏɍɚ Ɋɚɏɜ ɤɭɊɨɼɨÉœ ɍɨÉ›ɨɪÉš É‚ɤɨɧÉš ɏɳɚɏÉ&#x;ɼɜɧɨ ÉœɾɊɢɍÉšɧÉš Éœ ɚɪɤɢɯ ɏɨɧɚɯ ÉŤ ɥɨɼɨɏɾɌɢ É¨É É˘ÉœɤÉšɌɢ

0-1***2=1***

/.+ THE APPEARANCE OF THE MOTHER OF GOD TO ST. SERGIUS RADONEZH RUSSIAN, MIKHAILO KOZMIN, 23 JUNE 1804

/.+ əȟɅȿɇɂȿ ČťÉˆČ˝ÉˆÉŠÉˆČžÉ‚É?É• É‹Čź É‰ÉŠČżÉ‰ÉˆČžÉˆČťÉ‡ÉˆÉ†É? É‹ČżÉŠČ˝É‚É˜ ÉŠȺȞÉˆÉ‡ČżÉ€É‹É„ÉˆÉ†É? ɊɈɋɋɂə ɆɂÉ?ČşÉƒÉ…Éˆ É„ÉˆÉ É–É†É‚É‡ ɂɘɇə É?

Leaning on a staff, accompanied by Sts. Peter and John the Theologian, the Mother of God gesturing in speech to St. Sergius, the latter together with his disciple, Mikhei, bowing before her, behind, St. Nikon under a canopy, next to an altar raising his hands in astonishment as he observes the incident; WKH HORQJDWHG Ă€JXUHV Ă€QHO\ UHQGHUHG WKH IDFLDO IHDWXUHV IRUPHG by bright shades; the three monks to the right dressed in darker garments, St. Sergius and Nikon wearing the Great Schema, the buildings in 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 “This icon was written in the year 1804 from the Nativity of Christ, in the month of June on the 23rd day. The Moscow icon–painter Mikhailo Kozminâ€?. )6("(+4(./

ȝɨÉ?ɨɌɚɏÉ&#x;ÉŞÉś ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧÉš ɨɊɢɪÉšɸɳÉ&#x;ÉŁÉŤÉš ɧÉš Ɋɨɍɨɯ Éœ É¨É¤ÉŞÉ­É É&#x;ɧɢɢ ÉŤÉœÉœ ÉšɊɨɍɏɨɼÉš ɉÉ&#x;ÉŹÉŞÉš ɢ É‚ɨÉšɧɧÉš ȝɨÉ?ɨɍɼɨɜɚ ȝɨÉ?ɨɪɨÉžɢɰÉš ɨɛɪɚɳɚÉ&#x;ÉŹÉŤÉš ɤ É‹Éœ É‹É&#x;ÉŞÉ?ɢɸ ÉŠÉŞÉ&#x;ɤɼɨɧɚɸɳɢɌ ÉŠÉŞÉ&#x;Éž ɧÉ&#x;ÉŁ É?ÉĽÉšÉœÉ­ ÉœÉŚÉ&#x;ÉŤÉŹÉ&#x; ÉŤ ɊɨɍɼɭɲɧɢɤɨɌ ɆɢɯÉ&#x;É&#x;ÉŚ ɉɨÉž ɛɚɼɞɚɯɢɧɨɌ ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧ ÉŤÉœ ɇɢɤɨɧ Éœɨɥɧɨɍɚɳɢɣ ɪɭɤɢ ɪɚɞɨɌ ÉŤ ɚɼɏɚɪÉ&#x;ÉŚ ɤÉšɤ ɛɾ Éœ ɥɧÉšɤ É­ÉžɢÉœÉĽÉ&#x;ɧɢɚ ÉŠÉ&#x;ÉŞÉ&#x;Éž ɊɪɨɢɍɯɨÉžɚɳɢɌ É?ÉžɼɢɧÉ&#x;ɧɧɾÉ&#x; ɎɢÉ?É­ÉŞÉľ ɢɍɤɭɍɧɨ ɧÉšɊɢɍÉšɧɾ ɼɢɤɢ ɭɍɢɼÉ&#x;ɧɾ ɚɪɤɢɌɢ É¨É É˘ÉœɤÉšɌɢ ÉŒɪɢ Ɍɨɧɚɯɚ ÉŤÉŠÉŞÉšÉœÉš ɨɛɼɚɹÉ&#x;ɧɾ Éœ ÉŹÉ&#x;ɌɧɾÉ&#x; ɨÉžÉ&#x;É ÉžÉľ É‹Éœ É‹É&#x;ÉŞÉ?ɢɣ ɢ ɇɢɤɨɧ ɧÉšɊɢɍÉšɧɾ Éœ ɨÉžÉ&#x;ɚɧɢɚɯ ÉœÉ&#x;ɼɢɤɨɍɯɢɌɧɢɤɨÉœ É ÉžÉšɧɢɚ ɧÉš ɥɚɞɧÉ&#x;ÉŚ ÉŠÉĽÉšɧÉ&#x; ɭɤɪÉšɲÉ&#x;ɧɾ ɨɪɧɚɌÉ&#x;ɧɏɨɌ ɢɌɢɏɢɪɭɸɳɢɌ ÉŞÉ&#x;ÉĽÉśÉ&#x;ÉŽ Čź ÉŚÉ&#x;ɞɚɼɜɨɧɾ ɜɜÉ&#x;ÉŞÉŻÉ­ ÉĄÉšɤɼɸɹÉ&#x;ɧɾ ɨɛɪɚɥɾ ČźÉ&#x;ɏɯɨɥɚɜÉ&#x;ɏɧɨɣ ÉŒɪɨɢɰɾ ɇɚ Ɋɨɼɚɯ ɢɤɨɧɾ ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧɾ ÉŤÉœɚɏɾÉ&#x; Âą ɊɨɤɪɨÉœɢɏÉ&#x;ɼɢ ÉŤÉœÉœ ɇɢɤɨɼɚɣ ȽɪɢÉ?ɨɪɢɣ ȝɨÉ?ɨɍɼɨÉœ ɢ ȽɪɢÉ?ɨɪɢɣ ɇÉ&#x;ɨɤÉ&#x;ÉŤÉšɪɢɣɍɤɢɣ É‚ɍɤɭɍɧɨ ÉœɾɊɨɼɧÉ&#x;ɧɧɚɚ ɤɨɌɊɨɥɢɰɢɚ ÉŤ ɧɚɞɊɢɍɜɸ Éœ É§É˘É É§É&#x;ÉŚ ÉŠÉŞÉšÉœɨɌ É­É?ÉĽÉ­ ŠÉ‡ÉšɊɢɍɚɍɚ ɍɢɚ ɢɤɨɧÉš Éœ ÉĽÉ&#x;ɏɨ ɨɏ ÉŠÉ¨É ÉžÉ&#x;ÉŤÉŹÉœÉš É?ɪɢɍɏɨɜɚ É? ÉŚÉ&#x;ɍɚɰÉš ɢɸɧɚ Éžɧɚ É‚ɤɨɧɨɊɢɍÉ&#x;É° ɆɨɍɤɨÉœɍɤɨɣ ɆɢɯÉšɣɼɨ É„ɨɥɌɢɧª

06-1***2+*1***

//+ ST. SOPHIA “GOD’S WISDOM� IN ADORATION BY THE MOTHER OF GOD AND ST. JOHN THE BAPTIST RUSSIAN, 18TH CENTURY

//+ É‹Čź ɋɈɎɂə ɉɊȿɆÉ?ČžÉŠÉˆÉ‹ÉŒÉ– ČťÉˆÉ€É‚É™ Čź ɈɄɊÉ?ɀȿɇɂɂ ČťÉˆČ˝ÉˆÉ†ČşÉŒČżÉŠÉ‚ É‚ É‚ÉˆČşÉ‡É‡Čş ɉɊȿȞÉŒČżÉ‘É‚ ɊɈɋɋɂə ÉŁ ȟȿÉ„

&KULVW DV WKH SHUVRQLĂ€FDWLRQ RI *RG¡V :LVGRP UHQGHUHG ZLWK D Ă€HU\ UHG IDFH DQG ODUJH H[WHQGHG ZLQJV VHDWHG RQ DQ LPSRVLQJ FDUYHG WKURQH DJDLQVW D FLUFXODU JORU\ Ă DQNHG E\ WKH 0RWKHU RI God holding a roundel inclusive of His image as a Child, and to the right St. John the Baptist signing in benediction and holding an open scroll, above, the blessing Christ; further up, the open skies revealing the 3UHSDUHG 7KURQH (the Throne of the Last Judgment) attended by six angels in supplication; painted mainly with deep colours, limited bright accents and gold for the haloes and the wings 3*("()3,+(./

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/0+ A PRIVATE SILVER TRIPTYCH RUSSIAN, 1910 Portraying an image of Christ Pantokrator, wearing a tripartite halo, blessing and holding an open Book of Gospels, the Ă DQNLQJ ZLQJV LQVFULEHG ZLWK WKH YHUVHV RI 0DWWKHZ DQG 13:43 respectively; the outside right wing inscribed with the dedication date of 8 May 1910 7("(6+(./($"#$%&$&

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/1+ A PRIVATE TRIPTYCH IN A SILVER SETTING RUSSIAN, 19TH CENTURY

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The central panel depicting a spiritual subject, the All-Seeing Eye of God, containing in the inner circle an image of the blessing Christ, the second ring including the Eyes which see in all directions, the third adorned with rays featuring on its upper part the Mother of God Orans and the last circle inhabited by three cherubs, four medallions on the corners representing the Beasts of the Apocalypse, on the summit of the composition a ÀIWK FLUFOH HQFORVLQJ DQ LPDJH RI *RG WKH )DWKHU LQ EOHVVLQJ the side wings portraying the Arabeskaya and Vladimirskaya 0RWKHU RI *RG ÀQHO\ H[HFXWHG WKH IDFLDO IHDWXUHV GHOLFDWHO\ rendered, the garments emphasized with chrysography, on terracotta backgrounds !"#$%&$&'(+3,-("(66(./

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031-**241-**

/2+ THE NARRATIVE OF CHRIST’S NATIVITY RUSSIAN, 17TH CENTURY

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/3+ 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 EHORZ DOOXGLQJ WR WKH PRQDVWHU\ RI WKH &DYHV LQ .LHY à DQNHG by St. Anthony and his disciple St. Theodosius, both displaying VFUROOV DQG H[WHQGLQJ WKHLU KDQGV LQ VXSSOLFDWLRQ DOO ÀJXUHV bearing green haloes, the garments rendered in saturated colours, the folds shaped by white accents )6,+("(+=(./

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/3+ É„É‚ȿȟɈ ɉȿɑȿɊɋɄȺə É‚É„ÉˆÉ‡Čş É?ɋɉȿɇɂə ɉɊȿɋȟ ČťÉˆČ˝ÉˆÉŠÉˆČžÉ‚É?É• ɊɈɋɋɂə ɉȿɊȟȺÉ™ É‰ÉˆÉ…ÉˆČźÉ‚É‡Čş É?ɨ ȟȿÉ„Čş ȝɨÉ?ɨɌɚɏÉ&#x;ÉŞÉś ɊɨɞɞÉ&#x;ÉŞÉ É˘ÉœÉšÉ&#x;ÉŹ É‹ɾɧÉš ɭɤɚɥɭɚ ɧÉš ɇÉ&#x;É?ɨ ɌɨɼɚɳÉ&#x;ÉŚÉ­ÉŤÉš ɈɧÉš ÉœɨɍɍÉ&#x;ɞɚÉ&#x;ÉŹ ɧÉš ÉŚÉšɍɍɢÉœɧɨɌ ÉžÉ&#x;ÉŞÉ&#x;ÉœɚɧɧɨɌ ɏɪɨɧÉ&#x; ÉŤ ɊɨÉžɭɲɤÉšɌɢ ɢ ɊɨÉžÉ§É¨É É˘É&#x;ÉŚ ÉŒɪɨɧ ɭɤɪÉšɲÉ&#x;ɧ Éœ ÉŹÉ&#x;ɯɧɢɤÉ&#x; ɯɪɢɍɨÉ?ÉŞÉšɎɢɢ É‹ɏɪɨÉ&#x;ɧɢÉ&#x; Éœɧɢɥɭ ɍɢɌÉœɨɼɢɥɢɪɭÉ&#x;ÉŹ É„ɢÉ&#x;Éœɨ ɉÉ&#x;ÉąÉ&#x;ɪɍɤɢɣ ɌɨɧÉšɍɏɾɪɜ ȝɨÉ?ɨɌɚɏÉ&#x;ɪɢ ɌɨɼɢɏÉœÉ&#x;ɧɧɨ ÉŠÉŞÉ&#x;Éžɍɏɨɚɏ ɨɍɧɨÉœÉšÉŹÉ&#x;ɼɢ ɌɨɧÉšɍɏɾɪɚ ÉŤÉœɚɏɾÉ&#x; ÉŠÉŞÉ&#x;ɊɨÉžɨÉ›ɧɾÉ&#x; Ⱥɧɏɨɧɢɣ ɢ É&#x;É?ɨ É­ÉąÉ&#x;ɧɢɤ ÉŽÉ&#x;ɨÉžɨɍɢɣ Ɉɛɚ ÉžÉ&#x;ÉŞÉ ÉšÉŹ ÉŤÉœɢɏɤɢ Éœ ɪɭɤɚɯ ɢ ɊɪɨɍɏɢɪÉšɸɏ ɪɭɤɢ Éœ ɌɨɼɢɏÉœÉ&#x; ȽɨɼɨÉœÉľ ÉŠÉŞÉ&#x;ɊɨÉžɨÉ›ɧɾɯ ɢ ȝɨÉ?ɨɪɨÉžɢɰɾ ÉĄÉšɤɼɸɹÉ&#x;ɧɾ Éœ ÉĄÉ&#x;ÉĽÉ&#x;ɧɾÉ&#x; ɧɢɌɛɾ É‚ÉŻ ɨÉžÉ&#x;ɚɧɢɚ ÉœɾɊɨɼɧÉ&#x;ɧɾ Éœ ɧÉšɍɾɳÉ&#x;ɧɧɾɯ ɏɨɧɚɯ ɍɤɼɚɞɤɢ ɤɨɏɨɪɾɯ ÉšɤɰÉ&#x;ɧɏɢɪɨɜɚɧɾ ÉŤ ɊɨɌɨɳɜɸ É›É&#x;ɼɾɯ ɲɏɪɢɯɨÉœ

04+ THE MOTHER OF GOD OF VLADIMIR RUSSIAN, CIRCA 1600

04+ ČťÉˆČ˝ÉˆÉ†ČşÉŒČżÉŠÉ– ȟɅȺȞɂɆɂɊɋɄȺə ɊɈɋɋɂə ɈɄɈɅɈ É?

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 )6,)("(+4(./

É‹ÉĽÉ&#x;ɞɭɚ ɏɪɚɞɢɰɢɨɧɧɨɣ ɢɤɨɧɨÉ?ÉŞÉšɎɢɢ ɞɚɧɧɨÉ?ɨ ÉŤÉ¸É É&#x;ÉŹÉš ȝɨÉ?ɨɌɚɏÉ&#x;ÉŞÉś ÉžÉ&#x;ÉŞÉ É˘ÉŹ É?ɪɢɍɏÉš ɧÉš ɪɭɤɚɯ ɭɤɚɥɭɚ Éœ É&#x;É?ɨ ɍɏɨɪɨɧɭ ɆɼɚɞÉ&#x;ɧÉ&#x;É° ɨɛɜɢɜɚÉ&#x;ÉŹ ɪɭɤɨɣ ɲÉ&#x;ɸ ȝɨÉ?ɨɪɨÉžɢɰɾ ɢ ɏɚɧÉ&#x;ÉŹÉŤÉš ɤ É&#x;É&#x; ɼɢɰɭ ÉłÉ&#x;ɤɨɣ É?ɼɚɞɚ É&#x;ÉŁ Éœ É?ɼɚɥɚ É…ɢɤɢ ÉœɾɊɨɼɧÉ&#x;ɧɾ Éœ É?ÉĽÉ­É›ɨɤɢɯ ɏɨɧɚɯ ɍɨÉ?ÉĽÉšɍɧɨ ɏɪɚɞɢɰɢɨɧɧɨɌɭ ɍɏɢɼɸ ɢɤɨɧɨɊɢɍÉšɧɢɚ É ÉŞÉšɹɤɢ ɭɍɢɼÉ&#x;ɧɾ É›É&#x;ɼɾɌɢ É¨É É˘ÉœɤÉšɌɢ ɇɚɊɢɍÉšɧɧɚɚ ɨɯɪɨɣ ɏɭɧɢɤÉš É?ɪɢɍɏÉš ÉŤ ɢɥɚɳɧɾɌɢ ɥɨɼɨɏɾɌɢ É›ɨɪɨɥÉžɤÉšɌɢ ɍɨɹÉ&#x;ÉŹÉšÉ&#x;ÉŹÉŤÉš ÉŤ ÉŹÉ&#x;ɌɧɾɌ ɨɏÉžÉ&#x;ÉĽÉšɧɧɾɌ ɥɨɼɨɏɨɣ ɛɚɯɪɨɌɨɣ ɢ ɤɢɍɏɚɌɢ ÉŚÉšɎɨɪɢÉ&#x;ÉŚ ȝɨÉ?ɨɌɚɏÉ&#x;ɪɢ ÉŚÉ&#x;ÉŞÉ°ÉšɸɳɢɌ ɥɨɼɨɏɾɌɢ ÉĄÉœÉ&#x;ɥɞɚɌɢ ɧÉš ɼɛɭ ɢ ÉŠÉĽÉ&#x;ɹɚɯ

0++1***2+-1***

0*+ THE ANASTASIS WITH A FAMILY SAINT ON THE BORDER RUSSIAN, EARLY 18TH CENTURY

0*+ É‹ÉˆÉ’ČżÉ‹ÉŒČźÉ‚Čż ČźÉˆ ȺȞ ɋɈ É‹ČźÉ™ÉŒÉ•É† É‰ÉˆÉ„ÉŠÉˆČźÉ‚ÉŒČżÉ…ČżÉ† ɇȺ ɉɈɅəÉ? ɊɈɋɋɂə É‡ČşÉ‘ČşÉ…Éˆ É?ɨ ȟȿÉ„Čş

On the vertical axis of the composition Christ amidst a circular green glory, trampling the gates of the Underworld, pulling Adam out of his sarcophagus, Eve raising her covered hands in SUD\HU VXUURXQGHG E\ 2OG 7HVWDPHQW ÀJXUHV LQFOXGLQJ .LQJV Solomon and David, St. John the Forerunner preaching about Christ’s coming in Hades as he had done during his presence on Earth, and Prophet Moses; in the foreground, two angels GHIHDWLQJ WKH SHUVRQLÀFDWLRQ RI GHDWK WKH ORZHU ULJKW FRUQHU showing the resurrection of Christ from the Tomb attended by sleeping Roman soldiers; the left border featuring a family patron; the composition rendered in warm colours, mainly shades of red and complimentary greens, accentuated with gold details throughout; applied with a silver basma of hammered foliate scroll design )+,)("(+=(./

ɉɨ ÉœÉ&#x;ɪɏɢɤÉšɼɜɧɨɣ ɨɍɢ ɤɨɌɊɨɥɢɰɢɢ ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧ É?ɪɢɍɏɨɍ Éœ ÉĄÉ&#x;ÉĽÉ&#x;ɧɨɌ ɤɪɭÉ?É&#x; ÉŤÉĽÉšÉœÉľ ɊɨɊɢɪÉšɸɳɢɣ ÉœÉŞÉšÉŹÉš Ⱥɞɚ ɢ ɢɥÉœɨÉžɚɳɢɣ ȺɞɚɌɚ ɢ ČżÉœÉ­ ɢɥ É?ɪɨÉ›ɧɢɰɾ ČżÉœÉš ɌɨɼɢɏÉœÉ&#x;ɧɧɨ ÉœɨɥÉžÉ&#x;ɜɚÉ&#x;ÉŹ ɪɭɤɢ ȟɨɤɪɭÉ? ɍɏɨɚɏ ÉœÉ&#x;ɏɯɨɥɚɜÉ&#x;ɏɧɾÉ&#x; Ɋɪɨɪɨɤɢ ÉŤÉŞÉ&#x;Éžɢ ɤɨɏɨɪɾɯ ČžÉšÉœɢÉž ɢ É‹ɨɼɨɌɨɧ ÉŤÉœ É‚ɨÉšɧɧ ɉɪÉ&#x;ɞɏÉ&#x;ɹɚ Ɋɨ ÉŠÉŞÉ&#x;ɞɚɧɢɸ ÉœɨɥÉœÉ&#x;ÉłÉšÉœɲɢɣ ɨ É?ɪɢɍɏÉ&#x; ɭɍɨɊɲɢɌ Éœɨ ɚɞÉ&#x; ɢ Ɋɪɨɪɨɤ ɆɨɢɍÉ&#x;ÉŁ ɇɚ ÉŠÉ&#x;ÉŞÉ&#x;ÉžɧÉ&#x;ÉŚ ÉŠÉĽÉšɧÉ&#x; ɞɜɨÉ&#x; ÉšɧÉ?É&#x;ɼɨÉœ ɊɨɪÉšÉ Éšɸɏ ɎɢÉ?É­ÉŞÉ­ ɍɢɌÉœɨɼɢɥɢɪɭɸɳɭɸ ÉŤÉŚÉ&#x;ÉŞÉŹÉś Čź É§É˘É É§É&#x;ÉŚ ÉŠÉŞÉšÉœɨɌ É­É?ÉĽÉ­ ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧɨ ȟɨɍɤɪÉ&#x;ÉŤÉ&#x;ɧɢÉ&#x; É?ɪɢɍɏɨÉœɨ ɢɥ É?ɪɨɛɚ ÉœɨɤɪɭÉ? ɤɨɏɨɪɨÉ?ɨ ÉĽÉ&#x;É É˘ÉŹ É?ÉŞÉ­ÉŠÉŠÉš ɍɊɚɳɢɯ ÉĽÉ&#x;É?ɢɨɧÉ&#x;ɪɨÉœ É‹ÉĽÉ&#x;ɜɚ ɧÉš Ɋɨɼɚɯ ɧÉšɊɢɍÉšɧ ɨɛɪɚɥ ÉŤÉœɚɏɨÉ?ɨ ɊɨɤɪɨÉœɢɏÉ&#x;ÉĽÉš É„ɨɌɊɨɥɢɰɢɚ ÉœɾɊɨɼɧÉ&#x;ɧÉš Éœ ÉŹÉ&#x;Ɋɼɾɯ ɏɨɧɚɯ ÉŤ ÉŠÉŞÉ&#x;ɨɛɼɚɞɚɧɢÉ&#x;ÉŚ ɤɪÉšɍɧɾɯ ɢ ɤɨɌɊɼɢɌÉ&#x;ɧɏÉšɪɧɾɯ ÉĄÉ&#x;ÉĽÉ&#x;ɧɾɯ ɏɨɧɨÉœ ÉŤ ɥɨɼɨɏɾɌɢ É¨É É˘ÉœɤÉšɌɢ ÉˆÉ›ÉŞÉšÉĄ ɭɤɪÉšɲÉ&#x;ɧ ÉŤÉ&#x;ÉŞÉ&#x;É›ɪɚɧɨɣ ɛɚɍɌɨɣ ÉŤ ÉĄÉšÉœɢɏɤÉšɌɢ ɼɢɍɏÉœÉ&#x;ɧɧɾɯ ɭɥɨɪɨÉœ

06-1***2+-1***

0,+ THE ASCENSION OF CHRIST RUSSIAN, 18TH CENTURY

0,+ ČźÉˆÉ É‡ČżÉ‹ČżÉ‡É‚Čż É?ÉŠÉ‚É‹ÉŒÉˆČźÉˆ ɊɈɋɋɂə ÉŁ ȟȿÉ„

7KH 0RWKHU RI *RG 2UDQV à DQNHG E\ WZR DQJHOV VL[ GLVFLSOHV of Christ on each side, against a rocky landscape, the skies dominated by Christ on clouds ascending in the heavens, his aureole lifted by a pair of angels, the balanced arrangement eloquently rendered with saturated colours, the golden haloes of WKH ÀJXUHV RXWOLQHG E\ SURPLQHQW UHG ULPV )-,-("()-(./

ɇɚ ɢɤɨɧÉ&#x; ÉŠÉŞÉ&#x;ÉžÉŤÉŹÉšÉœÉĽÉ&#x;ɧɾ ȝɨÉ?ɨɌɚɏÉ&#x;ÉŞÉś ÉˆÉŞÉšɧɏÉš ÉšɧÉ?É&#x;ÉĽÉľ ɢ Ɋɨ ɲÉ&#x;ÉŤÉŹÉś ÉšɊɨɍɏɨɼɨÉœ ÉŤ ɨÉ›É&#x;ɢɯ ɍɏɨɪɨɧ ɨɏ ɇÉ&#x;É&#x; É‹ɨÉ›ɾɏɢÉ&#x; ÉŞÉšÉĄÉœɨɪÉšɹɢɜɚÉ&#x;ÉŹÉŤÉš ɧÉš ɎɨɧÉ&#x; ɍɤÉšɼɢɍɏɨÉ?ɨ ÉĽÉšɧÉžɲɚɎɏɚ Čź ɧÉ&#x;É›É&#x;ɍɚɯ ÉŠÉšɪɢɏ É?ɪɢɍɏɨɍ ÉœɨɥɧɨɍɢɌɾɣ ɜɜÉ&#x;ÉŞÉŻ ɨɛɼɚɤÉšɌɢ ɢ ɊɨɞɞÉ&#x;ÉŞÉ É˘ÉœÉšÉ&#x;Ɍɾɣ ÉžÉœÉ­ÉŚÉš ÉšɧÉ?É&#x;ÉĽÉšɌɢ ɋɛɚɼɚɧɍɢɪɨɜɚɧɧɚɚ ɤɨɌɊɨɥɢɰɢɚ ÉœɾɊɨɼɧÉ&#x;ɧɧɚɚ Éœ ɧÉšɍɾɳÉ&#x;ɧɧɾɯ ɏɨɧɚɯ É É¨ÉĽÉ¨ÉŹÉľÉ&#x; ɧɢɌɛɾ ÉŤÉœɚɏɾɯ ɨɛɜÉ&#x;ÉžÉ&#x;ɧɾ É?ɭɍɏɾɌ ɤɪÉšɍɧɾɌ ɤɨɧɏɭɪɨɌ

06+1***26-1***

0-+ THE DORMITION OF THE MOTHER OF GOD RUSSIAN, WORKSHOP OF A.M.THIRIKOV, CIRCA 1700

0-+ É?ɋɉȿɇɂȿ ČťÉˆČ˝ÉˆÉŠÉˆČžÉ‚É?É• ɊɈɋɋɂə É†ČşÉ‹ÉŒČżÉŠÉ‹É„ČşÉ™ Čş Ɇ ɌɂɊɂɄɈȟȺ ɈɄɈɅɈ É?

The lifeless body of the Mother of God lying on a bier, Christ in D UD\HG PDQGRUOD KROGLQJ WKH VRXO RI KLV 0RWKHU SHUVRQLĂ€HG DV a swaddled infant, surrounded by a crowd of apostles, believers and angels, in the background, two constructions suggesting that the event occurred in an interior space, a seraph hovering above the head of Christ, in the foreground, an angel attacking the sacrilegious Jeremiah daring to touch the body of the Mother of God; executed in deep colours, the volume of the garments depicted in gold )-,5("()6,+(./

ČťÉ&#x;ÉĄÉ É˘ÉĄÉ§É&#x;ɧɧɨÉ&#x; ÉŹÉ&#x;ɼɨ ȝɨÉ?ɨɪɨÉžɢɰɾ Ɋɨɤɨɢɏɍɚ ɧÉš ɨɞɪÉ&#x; ČźÉœÉ&#x;ÉŞÉŻÉ­ É?ɪɢɍɏɨɍ É¨É¤ÉŞÉ­É É&#x;ɧɧɾɣ ɼɭɹɚɌɢ ÉŤÉĽÉšÉœÉľ ÉžÉ&#x;ÉŞÉ É˘ÉŹ Éžɭɲɭ ÉŤÉœɨÉ&#x;ÉŁ ɆɚɏÉ&#x;ɪɢ ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧɧɨɣ Éœ ÉœɢÉžÉ&#x; ÉŤÉŠÉ&#x;ÉĽÉ&#x;ɧɭɏɨÉ?ɨ ɌɼɚɞÉ&#x;ɧɰÉš É?ɍɨɊɲɭɸ ȝɨÉ?ɨɌɚɏÉ&#x;ÉŞÉś É¨É¤ÉŞÉ­É ÉšÉ&#x;ÉŹ ɏɨɼɊÉš ÉšɊɨɍɏɨɼɨÉœ ÉœÉ&#x;ɪɭɸɳɢɯ ɢ ÉšɧÉ?É&#x;ɼɨÉœ ɉɨɥɚɞɢ ɧÉš ɞɚɼɜɧÉ&#x;ÉŚ ÉŠÉĽÉšɧÉ&#x; ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧɾ ɞɜɚ ÉŤÉ¨É¨ÉŞÉ­É É&#x;ɧɢɚ ɭɤÉšɥɭɸɳɢɯ ɧÉš ɏɨ ɹɏɨ ɢɥɨÉ›ÉŞÉšÉ ÉšÉ&#x;ɌɨÉ&#x; ɍɨÉ›ɾɏɢÉ&#x; ÉŞÉšÉĄÉœɨɪÉšɹɢɜɚÉ&#x;ÉŹÉŤÉš Éœ ɢɧɏÉ&#x;ÉŞÉśÉ&#x;ÉŞÉ&#x; ɨÉžɧɨÉ?ɨ ɢɥ ɥɞɚɧɢɣ ɇɚɞ É?ɨɼɨÉœɨɣ É?ɪɢɍɏÉš ÉŠÉšɪɢɏ ÉŤÉ&#x;ÉŞÉšɎɢɌ ɇɚ ÉŠÉ&#x;ÉŞÉ&#x;ÉžɧÉ&#x;ÉŚ ÉŠÉĽÉšɧÉ&#x; ÉšɧÉ?É&#x;ÉĽ ɤɚɪɚÉ&#x;ÉŹ ɧÉ&#x;ÉąÉ&#x;ɍɏɢÉœɨÉ?ɨ É‚É&#x;ÉŞÉ&#x;Ɍɢɸ ɨɍɌÉ&#x;ɼɢÉœɲÉ&#x;É?ɨɍɚ Éžɨɏɪɨɧɭɏɜɍɚ Éžɨ ÉŹÉ&#x;ÉĽÉš ȝɨÉ?ɨɪɨÉžɢɰɾ É‚ɤɨɧÉš ÉœɾɊɨɼɧÉ&#x;ɧÉš Éœ É?ÉĽÉ­É›ɨɤɢɯ ɏɨɧɚɯ ɞɪɚɊɢɪɨÉœɤɚɌ ɨÉžÉ&#x;ɚɧɢɣ Ɋɪɢɞɚɧ ɨɛɴÉ&#x;ÉŚ ÉŤ ɊɨɌɨɳɜɸ ɥɨɼɨɹÉ&#x;ɧɢɚ

0631***2651***

front 0.+ A DOUBLE-SIDED CARVED WOODEN BENEDICTION CROSS PRESENTED IN A SILVER FILIGREE SETTING GREEK (MOUNT ATHOS), 18TH CENTURY The cross representing Christological events where the divinity of Christ is manifested (Epiphanies); including on one side WKH &UXFLĂ€[LRQ WKH $QQXQFLDWLRQ DERYH DQG WKH 3UHVHQWDWLRQ of Christ to the Temple below, the other side showing the Baptism of Christ, the New Testament Trinity and the Pentecost, complemented by the four Evangelists and selected saints; carved in boxwood, mounted in a low-grade silver-gilt setting, placed on a marble base +*,5(./(?BF?($".;E&B%F(#?$(/<DI;$

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back 0.+ ȞȟÉ?ɋɌɈɊɈɇɇɂɃ ÉŠČżÉ É‡ÉˆÉƒ É‡ČşÉ‰ÉŠČżÉ‹ÉŒÉˆÉ…É–É‡É•Éƒ É„ÉŠČżÉ‹ÉŒ É‚É ČžČżÉŠȿȟȺ Čź ɋȿɊȿȝɊəɇɈɃ ÉŽÉ‚É…É‚Č˝ÉŠČşÉ‡É‡ÉˆÉƒ ɈɉɊȺȟȿ ȽɊȿÉ?É‚É™ Č˝ÉˆÉŠČş ČşÉŽÉˆÉ‡ ÉŁ ȟȿÉ„ ȟɧɭɏɪɢ ɤɪÉ&#x;ÉŤÉŹÉš ɧÉšɯɨÉžɚɏɍɚ ɤɼÉ&#x;ÉŁÉŚÉš ÉŤ ɯɪɢɍɏɨɼɨÉ?ɢɹÉ&#x;ɍɤɢɌɢ ÉŤÉ°É&#x;ɧÉšɌɢ ÉŞÉšɍɤɪɾɜɚɸɳɢɌɢ É›É¨É É&#x;ÉŤÉŹÉœÉ&#x;ɧɧɨɍɏɜ É?ɪɢɍɏÉš Čź ÉŤÉšɌɨɌ É°É&#x;ɧɏɪÉ&#x; ÉŤ ɼɢɰÉ&#x;Éœɨɣ ɍɏɨɪɨɧɾ ÉŠÉšɍɊɚɏɢÉ&#x; ɇɚɞ ɧɢɌ Âą ȝɼÉšÉ?ɨÉœÉ&#x;ÉłÉ&#x;ɧɢÉ&#x; ÉĄÉš ɤɨɏɨɪɾɌ ÉŤÉĽÉ&#x;ɞɭÉ&#x;ÉŹ É‹ÉŞÉ&#x;ÉŹÉ&#x;ɧɢÉ&#x; ɇɚ ɨÉ›ɨɪɨɏÉ&#x; Éœ É°É&#x;ɧɏɪÉ&#x; ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧÉš ÉŤÉ°É&#x;ɧÉš ȝɨÉ?ɨɚÉœÉĽÉ&#x;ɧɢɚ É„ÉŞÉ&#x;ÉłÉ&#x;ɧɢɚ É?ɪɢɍɏÉš ÉŤ ÉŒɪɨɢɰÉ&#x;ÉŁ ɇɨÉœɨɥɚɜÉ&#x;ɏɧɨɣ ɢ ɉɚɏɢÉžÉ&#x;ɍɚɏɧɢɰÉ&#x;ÉŁ É„ ɧɢɌ ɊɪɢɌɾɤÉšɸɏ ɨɛɪɚɥɾ ÉąÉ&#x;ɏɾɪÉ&#x;ÉŻ É&#x;ɜɚɧÉ?É&#x;ɼɢɍɏɨÉœ ɢ ɢɥɛɪɚɧɧɾɯ ÉŤÉœɚɏɾɯ É„ɨɌɊɨɥɢɰɢɚ ÉœɾɊɨɼɧÉ&#x;ɧÉš ɢɥ ÉŤÉšɌɲɢɏɨÉœɨÉ?ɨ ÉžÉ&#x;ÉŞÉ&#x;ɜɚ ɢ ɊɨɌÉ&#x;ÉłÉ&#x;ɧÉš Éœ ɊɨɍÉ&#x;ÉŞÉ&#x;ɛɪÉ&#x;ɧɧɭɸ ɨɊɪɚɜɭ ɤɪÉ&#x;Ɋɚɳɭɸɍɚ ɧÉš ÉŚÉŞÉšɌɨɪɧɨɣ ɊɨÉžÉŤÉŹÉšÉœɤÉ&#x; ÉŤÉŚ ɧÉ&#x; Éœɤɼɸɹɚɚ ÉŚÉŞÉšɌɨɪ

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0.!+ $ &$59(' :22'(1 '28%/( 6,'(' 3(1'$17 GREEK (MOUNT ATHOS), 18TH CENTURY

0.!+ ÉŠČżÉ É‡ČşÉ™ ȞȟÉ?ɋɌɈɊɈɇɇəə ɉɈȞȟȿÉ‹É„Čş É‚É ČžČżÉŠȿȟȺ ȽɊȿÉ?É‚É™ Č˝ÉˆÉŠČş ČşÉŽÉˆÉ‡ ÉŁ ȟȿÉ„

One side showing Christ the Vineyard; Himself in the core of the image raising his hands in blessing, with the open Bible before Him, the two surrounding circles portraying the Apostles and selected saints, including Jonah coming out of the whale’s mouth, the chiselled inscription reciting John 15:1, I am the vineyard; the reverse showing the enthroned Mother of God holding Christ surrounded by a multitude of prophets, their open scrolls exalting Her virtues, the inscription above quoting the beginning of the hymn, 7KH 3URSKHWV IURP DERYH; the pendant PDGH RI ER[ZRRG ÀQHO\ FKLVHOOHG WKH SLHUFLQJ ZRUN DOORZLQJ the light to go through and emphasise the forms shaped by the ÀQH FDUYLQJ WZR FROXPQHG FDQRSLHV DW WKH WRS DQG ERWWRP RI the pendant Diameter of the pendant: 6.8 cm, including the ciboria: 10.4 cm

ɇɚ ɼɢɰÉ&#x;Éœɨɣ ɍɏɨɪɨɧÉ&#x; ɊɨɞɜÉ&#x;ɍɤɢ Âą ɨɛɪɚɥ ɋɊɚɍ É…ɨɥÉš É‚ɍɏɢɧɧɚɚ Čź É°É&#x;ɧɏɪÉ&#x; ɤɨɌɊɨɥɢɰɢɢ Âą É?ɪɢɍɏɨɍ ɍɊɨÉžɧɚɏɾɌɢ Éœ ɛɼɚÉ?ɨɍɼɨÉœÉ&#x;ɧɢɢ ɪɭɤÉšɌɢ ɢ ÉŤ ÉŞÉšɍɤɪɾɏɨɣ ȝɢÉ›ɼɢÉ&#x;ÉŁ ČżÉ?ɨ É¨É¤ÉŞÉ­É Éšɸɏ Éœ ɞɜɚ ɪɚɞɚ ÉšɊɨɍɏɨɼɾɢ ɢɥɛɪɚɧɧɾÉ&#x; ÉŤÉœɚɏɾÉ&#x; ÉŤÉŞÉ&#x;Éžɢ ɤɨɏɨɪɾɯ ÉŚÉ¨É É§É¨ ɭɥɧɚɏɜ ɊɪɨɪɨɤÉš É‚ɨɧɭ ɢɍɯɨÉžɚɳÉ&#x;É?ɨ ɢɥ ɹɪÉ&#x;ɜɚ ɤɢɏÉš ɉɨɤɨɌɊɨɥɢɰɢɢ ɊɪɨɯɨÉžɢɏ ÉŞÉ&#x;ɥɧɚɚ ɧɚɞɊɢɍɜ ɍɨ ɍɏɪɨɤÉšɌɢ ɢɥ ČżÉœÉšɧÉ?É&#x;ɼɢɚ ɨɏ É‚ɨÉšɧɧÉš ŠÉ™ É&#x;ɍɌɜɢɍɏɢɧɧɚɚ ÉœɢɧɨÉ?ɪɚɞɧɚɚ ɼɨɥɚª ɇɚ ɨÉ›ɨɪɨɏÉ&#x; ÉŠÉŞÉ&#x;ɞɍɏɚÉ&#x;ÉŹ ȝɨÉ?ɨɌɚɏÉ&#x;ÉŞÉś ɧÉš ɏɪɨɧÉ&#x; ÉŤ ɌɼɚɞÉ&#x;ɧɰÉ&#x;ÉŚ É?ɪɢɍɏɨɌ É¨É¤ÉŞÉ­É É&#x;ɧɧɚɚ ÉŚÉ§É¨É É&#x;ÉŤÉŹÉœɨɌ ɊɪɨɪɨɤɨÉœ ÉŤ ÉŞÉšÉĄÉœÉ&#x;ɪɧɭɏɾɌɢ ÉŤÉœɢɏɤÉšɌɢ ɊɢɍÉšɧɢɚ ɊɪɨɍɼɚɜɼɚɸɳɢɌɢ ɉɪɢɍɧɨÉžÉ&#x;ɜɭ ɉɨ ÉœÉ&#x;ÉŞÉŻÉ­ ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧɢɚ ɊɪɨɯɨÉžɚɏ ɧɚɹɚɼɜɧɾÉ&#x; ɍɏɪɨɤɢ É?ɢɌɧÉš ɊɪɨɍɼɚɜɼɚɸɳÉ&#x;É?ɨ ɊɪɨɪɨɤɨÉœ É‚ɍɤɭɍɧɨ ÉœɾɊɨɼɧÉ&#x;ɧɧɚɚ ɢɥ ÉŤÉšɌɲɢɏÉš ɊɨɞɜÉ&#x;ɍɤÉš ɢɌÉ&#x;É&#x;ÉŹ ɧÉ&#x;É›ɨɼɜɲɢÉ&#x;ɊɪɨɪÉ&#x;ɥɢ ɊɨɥÉœɨɼɚɸɳɢÉ&#x; ÉŤÉœÉ&#x;ÉŹÉ­ ɊɪɨɯɨÉžɢɏɜ ÉąÉ&#x;ÉŞÉ&#x;ÉĄ ɧÉ&#x;É&#x; ɧÉšɍɤÉœɨɥɜ ɢ ɊɨɞɹÉ&#x;ɪɤɢÉœÉšÉŹÉś ɤɨɧɏɭɪɾ ÉŞÉ&#x;ɥɧɨɣɤɨɌɊɨɥɢɰɢɢ É?É&#x;ɧɏɪÉšɼɜɧɨÉ&#x; ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧɢÉ&#x; ÉĄÉšɤɼɸɹÉ&#x;ɧɨ ÉŚÉ&#x;É ÉŠÉšɪɧɾɯ ɤɨɼɨɧɧ ɤɢÉœɨɪɢÉ&#x;Éœ ɍɛɚɼɞɚɯɢɧÉšɌɢ ȞɢɚɌÉ&#x;ÉŹÉŞ ɊɨɞɜÉ&#x;ɍɤɢ ÉŤÉŚ ÉœÉŚÉ&#x;ÉŤÉŹÉ&#x; ÉŤ ɤɢÉœɨɪɢɚɌɢ FP

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0/+ 7+( &<35,27 67 63<5,'21 %,6+23 2) 75(0,7+286 :,7+ $ 62/,' *2/' 2./$' GREEK, DATED 1888 Looking upwards to the heavens, signing in benediction and carrying the Book of Gospels, dressed in Episcopal garments GHFRUDWHG ZLWK à RZHU EXGV KLV omophorion with crosses and IROLDWH VFUROOV ZHDULQJ D KDW PDGH RI UHHGV WKH UHOLHI ÀJXUH RI the saint complemented by a cut-out rayed halo, framed by a raised strigilated border; the face executed in sombre colours; the back of the icon bearing a Greek inscription that pertains its dedication; dated 1888. 64,-("(66,-(./

0-1***2=1*** Notes: St. Spyridon (ca.270–348) was born in Asha, Cyprus. He was originally a shepherd, hence the reed hat he appears with on the icons. St. Spyridon became the Bishop of Tremithous. He participated in the First Ecumenical Council of Nicaea (325) where he performed a miracle that proved the Trinitarian doctrine and defeated Arianism. In fact, by using a piece of pottery, he demonstrated how it was possible for one HQWLW\ WR FRQVLVW RI WKUHH VWDQG DORQH HQWLWLHV ÀUH ZDWHU DQG FOD\ 7KH SRWWHU\ KH ZDV KROGLQJ EXUVW LQWR à DPH ZDWHU GULSSHG RQWR WKH JURXQG and only dust remained in his hand. When the Arabs took Cyprus, St. Spyridon’s relics were translated to Constantinople and following the capture of the City by the Ottomans, they were removed to Corfu, where they remain to this day. St. Spyridon is the patron of the potters, the island of Corfu and also the Russian Family of the Tolstoys. Regarding the latter, the Grand Prince of Moscow Basil II (1425–1462) presented a gold cross containing relics of the Saint to Andrei Tolstoy. This reliquary has been kept by the senior member of the Tolstoy family, and is now with the Count Nikolai Tolstoy in the UK.

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00+ THE FOUR METROPOLITANS OF MOSCOW RUSSIAN, 17TH CENTURY

00+ É‘ČżÉŒÉ•ÉŠČż É‹ČźÉ™ÉŒÉ‚ÉŒČżÉ…É™ É†ÉˆÉ‹É„ÉˆČźÉ‹É„É‚É? ɊɈɋɋɂə ÉŁ ȟȿÉ„

Portrayed are the Holy Metropolitans Peter (1308-1326), Alexei (1354-1378), Jonah (1448-1461) and Philip I (14641473), all haloed and dressed in elaborate liturgical vestments, embroidered and applied with pearl-emulating ornaments, Jonah and Philip additionally wearing the Episcopal omophorion, holding a Book of Gospels in their veiled hands; the Mandylion appearing in the ogee upper part; their features rendered in the typical 17th century style with soft, red shades, on a light green background )+,-("(+=,+(./

ɇɚ ɢɤɨɧÉ&#x; ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧɾ ÉąÉ&#x;ɏɾɪÉ&#x; ÉŤÉœɚɏɢɏÉ&#x;ÉĽÉš ɆɨɍɤɨÉœɍɤɢɯ ÉŤÉœ ɆɢɏɪɨɊɨɼɢɏ ɉÉ&#x;ÉŹÉŞ ÉŤÉœ ɆɢɏɪɨɊɨɼɢɏ ȺɼÉ&#x;ɤɍɢɣ ÉŤÉœ ɆɢɏɪɨɊɨɼɢɏ É‚ɨɧÉš ɢ ÉŤÉœ ɆɢɏɪɨɊɨɼɢɏ ÉŽɢɼɢɊɊ , ȽɨɼɨÉœÉľ ÉŤÉœɚɏɾɯ ɨɤÉšɣɌɼɚɸɏ ɧɢɌɛɾ É‹ÉœɚɏɢɏÉ&#x;ɼɢ ɨɛɼɚɹÉ&#x;ɧɾ Éœ É°É&#x;ɪɤɨÉœɧɾÉ&#x; ɨÉžÉ&#x;ɚɧɢɚ ÉŞÉšɍɲɢɏɾÉ&#x; ɨɪɧɚɌÉ&#x;ɧɏɨɌ ɢɌɢɏɢɪɭɸɳɢɌ É É&#x;ɌɹɭÉ? ɋɜɜ ɌɢɏɪɨɊɨɼɢɏɾ É‚ɨɧÉš ɢ ÉŽɢɼɢɊɊ ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧɾ Éœ É&#x;ɊɢɍɤɨɊɍɤɢɯ ɨɌɨɎɨɪɚɯ ÉŤ ɤɧɢÉ?ÉšɌɢ ČżÉœÉšɧÉ?É&#x;ɼɢɚ Éœ ɪɭɤɚɯ ɭɤɭɏÉšɧɧɾɯ ɊɼɚɳɚɌɢ Čź ɤɢɼÉ&#x;ÉœɢÉžɧɨɌ ɧɚɜÉ&#x;ɪɲɢɢ ɢɤɨɧɾ ɊɨɌÉ&#x;ÉłÉ&#x;ɧ ɨɛɪɚɥ ɇÉ&#x;ɪɭɤɨɏÉœɨɪɧɨÉ?ɨ ɋɊɚɍɚ É…ɢɤɢ ÉŤÉœɚɏɾɯ ɧÉšɊɢɍÉšɧɾ Éœ ɏɢɊɢɹɧɨɣ ɞɼɚ É?ɨ ÉœÉ&#x;ɤÉš ÉŚÉšɧÉ&#x;ÉŞÉ&#x; ÉŤ ɊɨɌɨɳɜɸ ÉŚÉšÉ?ɤɢɯ ɤɪÉšɍɧɾɯ ɏɨɧɨÉœ É„ɨɌɊɨɥɢɰɢɚ ÉœɾɊɨɼɧÉ&#x;ɧÉš Ɋɨ ÉĄÉ&#x;ÉĽÉ&#x;ɧɨɌɭ Ɏɨɧɭ

0)-1***23*1***

01+ THE MOTHER OF GOD OF KAZAN RUSSIAN, 17TH CENTURY

01+ ČťÉˆČ˝ÉˆÉŠÉˆČžÉ‚É?Čş É„ČşÉ ČşÉ‡É‹É„ČşÉ™ ɊɈɋɋɂə ÉŁ ȟȿÉ„

Shown bust-length, the Christ Child standing in front of her with 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 IRUHKHDG DQG VKRXOGHUV WKH KDORHV GHÀQHG E\ D VLQJOH ÀQH incised line on gesso background )6,=("(+=,)(./

ȝɨÉ?ɨɌɚɏÉ&#x;ÉŞÉś ÉŠÉŞÉ&#x;ÉžÉŤÉŹÉšÉœÉĽÉ&#x;ɧÉš Éœ ɊɨÉ?ÉŞÉ­ÉžɧɨɌ ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧɢɢ ÉœÉŚÉ&#x;ÉŤÉŹÉ&#x; ɍɨ ɍɏɨɚɳɢɌ ɌɼɚɞÉ&#x;ɧɰÉ&#x;ÉŚ É?ɪɢɍɏɨɌ Ɉɞɧɨɣ ɪɭɤɨɣ É?ɪɢɍɏɨɍ ɧɢɍɊɨɍɾɼÉšÉ&#x;ÉŹ ɛɼɚÉ?ɨɍɼɨÉœÉ&#x;ɧɢÉ&#x; ɞɪɭÉ?ɚɚ ɪɭɤÉš ɊɪɢɤɪɾɏÉš É?ɢɌÉšɏɢÉ&#x;ÉŚ ÉŠÉĽÉšɳɨɌ É‚ɤɨɧÉš ÉœɾɊɨɼɧÉ&#x;ɧÉš Éœ ɏɪɚɞɢɰɢɨɧɧɨɣ ÉŚÉšɧÉ&#x;ÉŞÉ&#x; É—ɤɍɊɪÉ&#x;ɍɍɢÉœɧɾÉ&#x; ɼɢɤɢ ɧÉšɊɢɍÉšɧɾ ÉŤ ÉŠÉŞÉ&#x;ɨɛɼɚɞɚɧɢÉ&#x;ÉŚ ÉĄÉ&#x;Ɍɼɢɍɏɾɯ ɤɨɪɢɹɧÉ&#x;Éœɾɯ ɏɨɧɨÉœ ɍɨ ÉŤÉœÉ&#x;ɏɼɾɌɢ É¨É É˘ÉœɤÉšɌɢ ɈɞÉ&#x;ɚɧɢɚ ɊɪɨɪɚɛɨɏÉšɧɾ ɥɨɼɨɏɾɌɢ É›ɨɪɨɥÉžɤÉšɌɢ ɆɚɎɨɪɢɣ ȝɨÉ?ɨɪɨÉžɢɰɾ ɭɤɪÉšɲÉ&#x;ɧ ÉĄÉœÉ&#x;ɥɞɚɌɢ Ɋɨ ÉŠÉĽÉ&#x;ɹɚɌ ɢ ɧÉš ɼɛɭ ɇɢɌɛɾ ɨÉ›ɨɥɧɚɹÉ&#x;ɧɾ ɏɨɧɤɨɣ ÉŞÉ&#x;ɥɧɨɣ ɼɢɧɢÉ&#x;ÉŁ Ɋɨ É?ɢɊɍɨÉœɨɌɭ Ɏɨɧɭ

0+*1***2+-1***

02+ THE DORMITION OF THE MOTHER OF GOD RUSSIAN, MIDDLE OF THE 17TH CENTURY

02+ É?ɋɉȿɇɂȿ ČťÉˆČ˝ÉˆÉŠÉˆČžÉ‚É?É• ɊɈɋɋɂə ɋȿɊȿȞɂɇȺ É?ɨ ȟȿÉ„Čş

The composition organised around the bier with the corpse of the Mother of God; on the vertical axis, Christ in an ovoid glory, à DQNHG E\ DQJHOV KROGLQJ WKH VRXO RI +LV 0RWKHU LQ WKH IRUP of a swaddled infant; surrounded by the Apostles and other mourners; at her head St. Peter, at her feet St. Paul; tall buildings ÀOOLQJ WKH EDFNJURXQG DW WKH VXPPLW D VHUDSK ZLWK VWUHWFKHG wings; executed in saturated colours, predominantly shades of red, the faces rendered with graded tones of brown and ochre, WKH IHDWXUHV DFFHQWHG E\ ÀQH ZKLWH EUXVKVWURNHV )6,-("(+=,5(./

É„ɨɌɊɨɥɢɰɢɚ ɍɨɍɪÉ&#x;ÉžɨɏɨɹÉ&#x;ɧÉš ÉœɨɤɪɭÉ? ÉĽÉ¨É Éš ÉŤ ÉŹÉ&#x;ɼɨɌ ȝɨÉ?ɨɪɨÉžɢɰɾ ČźÉœÉ&#x;ÉŞÉŻÉ­ Ɋɨ ÉœÉ&#x;ɪɏɢɤÉšɼɜɧɨɣ ɨɍɢ ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧ É?ɪɢɍɏɨɍ ÉĄÉšɤɼɸɹÉ&#x;ɧɧɾɣ Éœ ɌɢɧɞɚɼÉ&#x;ÉœɢÉžɧɾɣ ɧɢɌÉ› ÉˆÉ¤ÉŞÉ­É É&#x;ɧɧɾɣ ÉšɧÉ?É&#x;ÉĽÉšɌɢ ɨɧ ÉžÉ&#x;ÉŞÉ É˘ÉŹ Éœ ɪɭɤɚɯ Éžɭɲɭ ɭɍɨɊɲÉ&#x;ÉŁ ȝɨÉ?ɨɌɚɏÉ&#x;ɪɢ Éœ ÉœɢÉžÉ&#x; ÉŤÉŠÉ&#x;ÉĽÉ&#x;ɧɭɏɨÉ?ɨ ɌɼɚɞÉ&#x;ɧɰÉš É…É¨É É&#x; ȝɨÉ?ɨɌɚɏÉ&#x;ɪɢ ɨɛɍɏɭɊɚɸɏ ÉšɊɨɍɏɨɼɾ ɨɊɼÉšɤɢɜɚɸɳɢÉ&#x; ÉŤÉŚÉ&#x;ÉŞÉŹÉś ȝɨÉ?ɨɪɨÉžɢɰɾ ɪɚɞɨɌ ÉŤ É?ÉĽÉšÉœɨɣ ɧÉšɯɨÉžɢɏɍɚ ÉŤÉœ ɚɊ ɉÉ&#x;ÉŹÉŞ É­ ɧɨÉ?² ÉŤÉœ ɚɊ ɉɚɜÉ&#x;ÉĽ ȟɾɍɨɤɢÉ&#x; ɥɞɚɧɢɚ ÉĄÉšɊɨɼɧɚɸɏ Ɏɨɧ Čź ÉŤÉšɌɨɌ ÉœÉ&#x;ÉŞÉŻÉ­ ɤɨɌɊɨɥɢɰɢɢ ÉŠÉšɪɢɏ ÉŤÉ&#x;ÉŞÉšɎɢɌ ÉŤ ÉŞÉšɍɊɪɨɍɏÉ&#x;ɪɏɾɌɢ ɤɪɾɼɜɚɌɢ É‚ɤɨɧÉš ÉœɾɊɨɼɧÉ&#x;ɧÉš Éœ ɧÉšɍɾɳÉ&#x;ɧɧɾɯ ɏɨɧɚɯ ÉŤ ÉŠÉŞÉ&#x;ɨɛɼɚɞɚɸɳɢɌɢ ɨɏɏÉ&#x;ɧɤÉšɌɢ ɤɪÉšɍɧɨÉ?ɨ É…ɢɤɢ ɧÉšɊɢɍÉšɧɾ ÉŠÉĽÉšÉœɜɸ ÉŤ ɊɪɢɌÉ&#x;ɧÉ&#x;ɧɢÉ&#x;ÉŚ ɨɯɪɾ ɢ ɤɨɪɢɹɧÉ&#x;ÉœɨÉ?ɨ ɢ ɭɍɢɼÉ&#x;ɧɾ ɏɨɧɤɢɌɢ É›É&#x;ɼɾɌɢ É¨É É˘ÉœɤÉšɌɢ

0651***2+31***

03+ A VITA ICON OF ST. PANTELEIMON RUSSIAN, 18TH CENTURY

03+ É‚É„ÉˆÉ‡Čş É‹Čź É‰ČşÉ‡ÉŒČżÉ…ČżÉƒÉ†ÉˆÉ‡Čş Čź ɀɂɌɂɂ ɊɈɋɋɂə ÉŁ ȟȿÉ„

The youthful saint holding a compartmented medicine box and a long-handled spatula, surrounded by twelve events narrating KLV OLIH DQG PDUW\UGRP ÀQHO\ H[HFXWHG ZLWK VFDUOHW WRQHV JROG highlights and dividing borders; the ochre border listing the subjects of the represented scenes 33("()4(./

ɘɧɾɣ ÉŤÉœɚɏɨɣ ÉŠÉŞÉ&#x;ɞɍɏɚÉ&#x;ÉŹ ÉŤ ÉĽÉšɪɰɨɌ ɊɨɼɧɾɌ É°É&#x;ÉĽÉ&#x;É›ɧɾɯ ɍɧɚɞɨÉ›ɢɣ ɢ ÉŤ ɼɨɊÉšɏɨɹɤɨɣ ɊɪɢɤɪÉ&#x;ÉŠÉĽÉ&#x;ɧɧɨɣ ɤ Éžɼɢɧɧɨɣ ɪɭɤɨɚɏɢ ÉˆÉ›ÉŞÉšÉĄ ÉŤÉœ ɉɚɧɏÉ&#x;ÉĽÉ&#x;ɣɌɨɧÉš É¨É¤ÉŞÉ­É É&#x;ɧ ɞɜÉ&#x;ɧɚɞɰɚɏɜɸ ɤɼÉ&#x;ÉŁÉŚÉšɌɢ ɊɨÉœÉ&#x;ÉŤÉŹÉœɭɸɳɢɌɢ ɨ É É˘ÉŹÉ˘É˘ ÉŤÉœɚɏɨÉ?ɨ ɢ É&#x;É?ɨ ÉŚÉ­ÉąÉ&#x;ɧɢɹÉ&#x;ÉŤÉŹÉœÉ&#x; É‚ɍɤɭɍɧɨ ɢɍɊɨɼɧÉ&#x;ɧɧɚɚ ɤɨɌɊɨɥɢɰɢɚ Éœ Éšɼɾɯ ɏɨɧɚɯ ÉŤ ɥɨɼɨɏɾɌɢ É¨É É˘ÉœɤÉšɌɢ ɢ ɤɨɧɏɭɪÉšɌɢ ɤɼÉ&#x;ÉŁÉŚ ɉɨ ɨɯɪɢɍɏɨɌɭ Ɏɨɧɭ ɧÉš Ɋɨɼɚɯ ɊɪɨɯɨÉžɢɏ ÉŹÉ&#x;ɤɍɏ ÉŤ ɧÉšÉĄÉœÉšɧɢɚɌɢ ɢɥɨÉ›ÉŞÉšÉ ÉšÉ&#x;Ɍɾɯ ɍɨÉ›ɾɏɢɣ

0-1***2=1***

14+ STS. ZOSIMA AND SAVATII PRESENTING THEIR MONASTERY TO THE MOTHER OF GOD OF THE SIGN, WITH A GILT BASMA RUSSIAN, CIRCA 1700 The two great ascetics dressed in monkish vestments including the Great Schema, implying that they have reached the highest level of monastic life, turning towards each other, holding a model of the monastery they founded, St. Zosima additionally displaying an open scroll inscribed with a prayer, both looking up to the heavens where an image of the blessing Mother of God of the Sign is revealed; the lake in the foreground alluding to the landscape around Solovetsky island; with a brass riza )6("(+4(./

0+1-**2)1-** 14+ É‹ȟȟ É‰ÉŠČżÉ‰ÉˆČžÉˆČťÉ‡É•Čż É ÉˆÉ‹É‚É†Čş É‚ É‹ȺȟȟȺɌɂɃ ȟɊÉ?É‘ČşÉ˜É“É‚Čż ɈɋɇɈȟȺɇɇÉ?ɘ ɂɆɂ É…ȺȟÉŠÉ? ČťÉˆČ˝ÉˆÉŠÉˆČžÉ‚É?Čż É É‡ČşÉ†ČżÉ‡É‚Čż É‚É„ÉˆÉ‡Čş É‹ É ÉˆÉ…ÉˆÉ‘ČżÉ‡ÉˆÉƒ ȝȺɋɆɈɃ ɊɈɋɋɂə ɈɄɈɅɈ É? ČžÉœÉš ÉŤÉœɚɏɾɯ ɊɨÉžÉœÉ˘É É§É˘É¤Éš Éœ ɌɨɧÉšɲÉ&#x;ɍɤɨɌ ɨɛɼɚɹÉ&#x;ɧɢɢ ÉœÉ&#x;ɼɢɤɨɍɯɢɌɧɢɤɨÉœ ÉŤÉœɢÉžÉ&#x;ÉŹÉ&#x;ɼɜɍɏÉœɭɸɳÉ&#x;ÉŚ ɨ ÉžÉ¨ÉŤÉŹÉ˘É É&#x;ɧɢɢ ɢɌɢ ÉœɾɍɲÉ&#x;ÉŁ ÉŤÉŹÉ­ÉŠÉ&#x;ɧɢ ɌɨɧÉšɲÉ&#x;ɍɤɨÉ?ɨ ɊɨɞɜɢÉ?Éš ɨɛɪɚɳÉ&#x;ɧɾ ɼɢɰɨɌ ɞɪɭÉ? ɤ ɞɪɭÉ?É­ ɢ ÉžÉ&#x;ÉŞÉ ÉšÉŹ É­ÉŚÉ&#x;ɧɜɲÉ&#x;ɧɧɭɸ ɤɨɊɢɸ ɨɍɧɨɜɚɧɧɨÉ?ɨ ɢɌɢ ɌɨɧÉšɍɏɾɪɚ É‹Éœ É É¨ÉŤÉ˘ÉŚÉš ÉŤÉ É˘ÉŚÉšÉ&#x;ÉŹ ÉŞÉšÉĄÉœÉ&#x;ɪɧɭɏɾɣ ÉŤÉœɢɏɨɤ ÉŤ ÉŹÉ&#x;ɤɍɏɨɌ ɌɨɼɢɏÉœÉľ Ɉɛɚ ɊɨÉžÉœÉ˘É É§É˘É¤Éš ɍɌɨɏɪɚɏ ɧÉš ɧÉ&#x;É›É&#x;ÉŤÉš Éœ ɤɨɏɨɪɾɯ ÉšÉœÉĽÉšÉ&#x;ÉŹÉŤÉš ɨɛɪɚɥ ɛɼɚÉ?ɨɍɼɨÉœɼɚɸɳÉ&#x;ÉŁ ȝɨÉ?ɨɌɚɏÉ&#x;ɪɢ É É§ÉšÉŚÉ&#x;ɧɢÉ&#x; ɇɚ ÉŠÉ&#x;ÉŞÉ&#x;ÉžɧÉ&#x;ÉŚ ÉŠÉĽÉšɧÉ&#x; ÉœɢÉžɧÉ&#x;É&#x;ÉŹÉŤÉš ɨɥÉ&#x;ɪɨ Âą Éšɼɼɸɥɢɚ ɧÉš ÉĽÉšɧÉžɲɚɎɏ ɨɍɏɪɨɜɚ É‹ɨɼɨÉœɤɢ É‚ɤɨɧÉš ɊɨɌÉ&#x;ÉłÉ&#x;ɧÉš Éœ ÉŚÉ&#x;Éžɧɾɣ ɨɤɼɚɞ

1*+ THE HOLY MONK KASSIAN FROM UGLICH FLANKED BY TWO FAMILY PATRONS RUSSIAN, CIRCA 1700 The 15th century monastic saint shown frontal, raising one hand in blessing and holding an open scroll in the other, wearing a full monkish attire, his elderly features eloquently rendered with deep colours, Christ in blessing depicted on the upper border and on the sides, two family patrons )+("(+4,)(./

061-**2+1*** 1*+ É‹Čź ɂɇɈɄ ɄȺɋɋɂȺɇ É?Č˝É…É‚É‘É‹É„É‚Éƒ É‹ ȞȟÉ?Ɇə É‹ČźÉ™ÉŒÉ•É†É‚ É‰ÉˆÉ„ÉŠÉˆČźÉ‚ÉŒČżÉ…É™É†É‚ ɊɈɋɋɂə ɈɄɈɅɈ É? É‹Éœ ÉŠÉŞÉ&#x;ɊɨÉžɨÉ›ɧɾɣ É„ÉšɍɍɢÉšɧ É É˘Éœɲɢɣ Éœ ÉŚ ÉœÉ&#x;ɤÉ&#x; ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧ ɎɪɨɧɏÉšɼɜɧɨ ÉŤ ÉœɨɥÉžÉ&#x;ɏɨɣ Éœ ɛɼɚÉ?ɨɍɼɨÉœɼɚɸɳÉ&#x;ÉŚ É É&#x;ÉŤÉŹÉ&#x; ɪɭɤɨɣ ɢ ÉŤ ÉŞÉšɍɤɪɾɏɾɌ ÉŤÉœɢɏɤɨɌ ɊɢɍÉšɧɢɚ Ɉɧ ɨɛɼɚɹÉ&#x;ɧ Éœ ɌɨɧÉšɲÉ&#x;ɍɤɨÉ&#x; ɨÉžÉ&#x;ɚɧɢÉ&#x; ɋɏɚɪɹÉ&#x;ɍɤɢÉ&#x; ÉąÉ&#x;ÉŞÉŹÉľ ÉŤÉœɚɏɨÉ?ɨ ÉŠÉ&#x;ÉŞÉ&#x;ɞɚɧɾ Ɋɪɢ ɊɨɌɨɳɢ ÉŹÉ&#x;Ɍɧɾɯ ɏɨɧɨÉœ ČźÉœÉ&#x;ÉŞÉŻÉ­ ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧ ɛɼɚÉ?ɨɍɼɨÉœɼɚɸɳɢɣ É?ɪɢɍɏɨɍ ɉɨ ɨÉ›É&#x; ɍɏɨɪɨɧɾ ɧÉš Ɋɨɼɚɯ ÉŠÉŞÉ&#x;ÉžÉŤÉŹÉšÉœÉĽÉ&#x;ɧɾ ɞɜɨÉ&#x; ÉŤÉœɚɏɾɯ ɊɨɤɪɨÉœɢɏÉ&#x;ÉĽÉ&#x;ÉŁ

1,+ THE FOUNDERS OF THE KIEVAN CAVES MONASTERY, STS. ANTONIY AND THEODOSIY IN SUPPLICATION TO THE MOTHER OF GOD RUSSIAN, SECOND HALF OF THE 18TH CENTURY The icon privately commissioned as suggested by the presence of the patron St. George on the border; the Mother of God holding her Son seated on a luxurious throne complemented by a cushion with pearl-emulating decoration and a suppedaneum Ă DQNHG E\ 6W $QWKRQ\ DQG KLV GLVFLSOH Theodosius, both displaying scrolls and raising their hands in prayer )6,-("(+=,-(./

061-**2+1-** 1,+ ɈɋɇɈȟȺÉŒČżÉ…É‚ É„É‚ȿȟɈ É‰ČżÉ‘ČżÉŠÉ‹É„ÉˆÉƒ É…ȺȟÉŠÉ• É‹ȟȟ É‰ÉŠČżÉ‰ÉˆČžÉˆČťÉ‡É•Čż ČşÉ‡ÉŒÉˆÉ‡É‚Éƒ É‚ É‹ȺȟȟȺɌɂɃ ɆɈɅɂɌȟȿɇɇɈ ɉɊȿȞÉ‹ÉŒÉˆÉ™É“É‚Čż ČťÉˆČ˝ÉˆÉŠÉˆČžÉ‚É?Čż ɊɈɋɋɂə ČźÉŒÉˆÉŠČşÉ™ É‰ÉˆÉ…ÉˆČźÉ‚É‡Čş É?ɨ ȟȿÉ„Čş É‚ɤɨɧÉš É›ɾɼÉš ɧÉšɊɢɍÉšɧÉš ɧÉš ÉĄÉšɤɚɥ ɤÉšɤ ÉŤÉĽÉ&#x;ɞɭÉ&#x;ÉŹ ɢɥ ɊɪɢɍɭɏɍɏÉœɢɚ ɧÉš ÉĽÉ&#x;ÉœɨɌ ɊɨɼÉ&#x; ɎɢÉ?É­ÉŞÉľ ÉŤÉœɚɏɢɏÉ&#x;ÉĽÉš Č˝É&#x;ɨɪÉ?ɢɚ ȝɨÉ?ɨɌɚɏÉ&#x;ÉŞÉś ÉŤ É‹ɾɧɨɌ ɧÉš ɪɭɤɚɯ ÉœɨɍɍÉ&#x;ɞɚÉ&#x;ÉŹ ɧÉš ɪɨɍɤɨɲɧɨɌ ɏɪɨɧÉ&#x; ÉŤ ɊɨÉžÉ§É¨É É˘É&#x;ÉŚ ɧÉš ɊɨÉžɭɲɤÉ&#x; ɭɤɪÉšɲÉ&#x;ɧɧɨɣ ɢɌɢɏÉšɰɢÉ&#x;ÉŁ É É&#x;ɌɹɭÉ?Éš Éœ É¨É¤ÉŞÉ­É É&#x;ɧɢɢ ÉŠÉŞÉ&#x;ɊɨÉžɨÉ›ɧɨÉ?ɨ Ⱥɧɏɨɧɢɚ ɉÉ&#x;ÉąÉ&#x;ɪɍɤɨÉ?ɨ ɢ É&#x;É?ɨ É­ÉąÉ&#x;ɧɢɤÉš ÉŽÉ&#x;ɨÉžɨɍɢɚ Ɉɛɚ ÉŠÉŞÉ&#x;Éžɍɏɨɚɳɢɯ Éœ ɌɨɼɢɏÉœÉ&#x; ɍɏɚɪɰɚ ÉžÉ&#x;ÉŞÉ ÉšÉŹ Éœ ɪɭɤɚɯ ÉŤÉœɢɏɤɢ É‚ɤɨɧÉš ÉœɾɊɨɼɧÉ&#x;ɧÉš Éœ ɧÉšɍɾɳÉ&#x;ɧɧɾɯ ɏɨɧɚɯ

1-+ SAINT BLAISE RUSSIAN (MOSCOW), CIRCA 1700 The Church Father with a long beard, portrayed frontal, half-length, signing in benediction and holding a closed Gospel Book, an inscribed scroll resting on his left forearm, dressed in Episcopal garments decorated with crosses, on an olive background )6,5("(+-,-(./

061-**2+1*** 1-+ É‹Čź ČźÉ…ČşÉ‹É‚Éƒ ɊɈɋɋɂə ɆɈɋɄȟȺ ɈɄɈɅɈ É? ȞɼɢɧɧɨÉ›ɨɪɨÉžɾɣ ɛɼɚÉ?ɨɨɛɪɚɥɧɾɣ ÉŤÉœ ȟɼÉšɍɢɣ ÉŠÉŞÉ&#x;ÉžÉŤÉŹÉšÉœÉĽÉ&#x;ɧ Éœɨ ɎɪɨɧɏÉšɼɜɧɨɌ ɊɨɚɍɧɨɌ ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧɢɢ Ɉɧ ɛɼɚÉ?ɨɍɼɨÉœÉĽÉšÉ&#x;ÉŹ ɌɨɼɚɳÉ&#x;É?ɨɍɚ ÉžÉ&#x;ÉŞÉ Éš Éœ ɪɭɤÉ&#x; ÉĄÉšɤɪɾɏɭɸ ɤɧɢÉ?É­ ČżÉœÉšɧÉ?É&#x;ɼɢɚ É„ É&#x;É?ɨ ÉŠÉŞÉšÉœɨɣ ɪɭɤÉ&#x; ɊɪɢɤɪÉ&#x;ÉŠÉĽÉ&#x;ɧ ɢɍɊɢɍÉšɧɧɾɣ ɧÉšÉŤÉŹÉšÉœÉĽÉ&#x;ɧɢɚɌɢ ÉŤÉœɢɏɨɤ É‹Éœɚɏɨɣ ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧ Éœ É&#x;ɊɢɍɤɨɊɍɤɢɯ ɨÉžÉ&#x;É ÉžÉšÉŻ ɭɤɪÉšɲÉ&#x;ɧɧɾɯ ɤɪÉ&#x;ÉŤÉŹÉšɌɢ É„ɨɌɊɨɥɢɰɢɚ ÉœɾɊɨɼɧÉ&#x;ɧÉš Ɋɨ ɨɼɢÉœɤɨÉœɨɌɭ Ɏɨɧɭ

1.+ THE APPEARANCE OF THE MOTHER OF GOD OF POCHAEV TO KING JOB UKRAINIAN, 19TH CENTURY The Mother of God of Pochaev, crowned, holding her Son in a manner similar to the Glykophilousa, standing on a hill, to the left St. Job the Wonderworker, who served as Abbot of the 3RFKDHY /DYUD IRU ÀIW\ \HDUV WKH ÀJXUHV UHQGHUHG DJDLQVW D realistic earthly realm, the heavens made of gold leaf )-,=("()6(./

061+**2614** 1.+ əȟɅȿɇɂȿ ČťÉˆČ˝ÉˆÉŠÉˆČžÉ‚É?É• ɉɈɑȺȿȟɋɄɈɃ É?ČşÉŠÉ˜ É‚ÉˆČźÉ? É?ɄɊȺɂɇȺ ÉŁ ȟȿÉ„ ȝɨÉ?ɨɌɚɏÉ&#x;ÉŞÉś ɉɨɹÉšÉ&#x;Éœɍɤɚɚ É­ÉœÉ&#x;ɧɹÉšɧɧɚɚ ɤɨɪɨɧɨɣ ÉŠÉŞÉ˘É É˘ÉŚÉšÉ&#x;ÉŹ ɤ ÉŤÉ&#x;É›É&#x; ɆɼɚɞÉ&#x;ɧɰÉš É?ɪɢɍɏÉš ɤÉšɤ ɡɏɨ Ɋɪɢɧɚɏɨ ɧÉš ɢɤɨɧɚɯ ȝɨÉ?ɨɌɚɏÉ&#x;ɪɢ ȽɼɢɤɨɎɢɼɭɍɾ É‹ÉĽÉ&#x;ɜɚ ɧÉš ɯɨɼɌÉ&#x; ÉŠÉŞÉ&#x;ÉžÉŤÉŹÉšÉœÉĽÉ&#x;ɧ ÉŤÉœ É‚ɨÉœ É‘É­ÉžɨɏÉœɨɪÉ&#x;É° É›ÉľÉœɲɢɣ ɧÉšɍɏɨɚɏÉ&#x;ÉĽÉ&#x;ÉŚ ɉɨɹÉšÉ&#x;Éœɍɤɨɣ É…ÉšÉœÉŞÉľ Éœ ÉŹÉ&#x;ÉąÉ&#x;ɧɢÉ&#x; ɊɚɏɢÉžÉ&#x;ɍɚɏɢ ÉĽÉ&#x;ÉŹ ÉŽɢÉ?É­ÉŞÉľ ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧɾ ɧÉš ɎɨɧÉ&#x; ɧÉšɊɢɍÉšɧɧɨÉ?ɨ Éœ ÉŞÉ&#x;Éšɼɢɍɏɢɹɧɨɣ ÉŚÉšɧÉ&#x;ÉŞÉ&#x; ÉžɨɼɜɧÉ&#x;É?ɨ ɌɢɪÉš ɇÉ&#x;É›É&#x;ÉŤÉš ɢ Ɍɢɪ É?ɨɪɧɢɣ ɍɢɚɸɏ ɥɨɼɨɏɨɌ ÉœɾɊɨɼɧÉ&#x;ɧɾ ɢɥ ɍɊɼɨɲɧɨÉ?ɨ ɼɢɍɏɨÉœɨÉ?ɨ ɥɨɼɨɏÉš

1/+ THE NEW TESTAMENT TRINITY RUSSIAN, 19TH CENTURY 7KH SRZHUIXO ÀJXUH RI WKH $QFLHQW RI WKH 'D\V VHDWHG RQ clouds, his feet resting on a globe representing the earthly realm, extending His arms in blessing, the infant Christ on His lap signing in benediction and holding an open Book, 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-**2)1-** 1/+ ɌɊɈɂÉ?Čş É‡ÉˆČźÉˆÉ ČşČźČżÉŒÉ‡ČşÉ™ ɊɈɋɋɂə ÉŁ ȟȿÉ„ Čź É°É&#x;ɧɏɪÉ&#x; ɤɨɌɊɨɥɢɰɢɢ ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧÉš ɢɍɊɨɼɧÉ&#x;ɧɧɚɚ Ɍɨɳɢ ɎɢÉ?É­ÉŞÉš ČźÉ&#x;ɏɯɨÉ?ɨ ČžÉ&#x;ɧɜɌɢ ÉœɨɍɍÉ&#x;ɞɚɸɳÉ&#x;É?ɨ ɧÉš ɨɛɼɚɤɚɯ ČżÉ?ɨ ɧɨÉ?ɢ Ɋɨɤɨɚɏɍɚ ɧÉš ÉŤÉŽÉ&#x;ÉŞÉ&#x; ɍɢɌÉœɨɼɢɥɢɪɭɸɳÉ&#x;ÉŁ Ɍɢɪ Éžɨɼɜɧɢɣ ÉĄÉ&#x;Ɍɼɸ Ɉɧ ɊɪɨɍɏɢɪÉšÉ&#x;ÉŹ ÉŤÉœɨɢ ɪɭɤɢ Éœ ɛɼɚÉ?ɨɍɼɨÉœÉ&#x;ɧɢɢ ɆɼɚɞÉ&#x;ɧÉ&#x;É° É?ɪɢɍɏɨɍ ɍɢÉžɢɏ ɧÉš ɤɨɼÉ&#x;ɧɚɯ ȝɨÉ?Éš ÉˆÉŹÉ°Éš ɧɢɍɊɨɍɾɼɚɚ ɨÉžɧɨɣ ɪɭɤɨɣ ɛɼɚÉ?ɨɍɼɨÉœÉ&#x;ɧɢɚ ɢ ÉžÉ&#x;ÉŞÉ Éš Éœ ɞɪɭÉ?ɨɣ ɪɭɤÉ&#x; ɨɏɤɪɾɏɭɸ ɤɧɢÉ?É­ É‹ÉœɚɳÉ&#x;ɧɧɨÉ?ɨ ɉɢɍÉšɧɢɚ ɉɨÉœÉ&#x;ÉŞÉŻ É?ɨɼɨÉœÉľ É?ɪɢɍɏÉš ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧ Ȟɭɯ É‹Éœɚɏɨɣ Éœ ÉœɢÉžÉ&#x; É?ɨɼɭɛɚ ȟɧɢɥɭ ɧÉš ÉŠÉ&#x;ÉŞÉ&#x;ÉžɧÉ&#x;ÉŚ ÉŠÉĽÉšɧÉ&#x; ÉŠÉšɪɢɏ ɨÉ?ɧÉ&#x;ɧɧɾɣ ÉŤÉ&#x;ÉŞÉšɎɢɌ ÉŤ ÉŞÉšɍɊɪɨɍɏɪÉ&#x;ɏɾɌɢ ɤɪɾɼɜɚɌɢ ɉɨ É›ɨɤɚɌ ɨɏ ɎɢÉ?É­ÉŞÉľ ČźÉ&#x;ɏɯɨÉ?ɨ ČžÉ&#x;ɧɜɌɢ ÉœɢÉžɧÉ&#x;ɸɏɍɚ ÉŻÉ&#x;ÉŞÉ­ÉœɢɌɾ ÉŽɢÉ?É­ÉŞÉš ȝɨÉ?Éš ÉˆÉŹÉ°Éš ɢɥɼɭɹÉšÉ&#x;ÉŹ Ɋɨɏɨɤɢ ÉŤÉœÉ&#x;ÉŹÉš ÉŞÉšɍɯɨÉžɚɳɢÉ&#x;ÉŤÉš Ɋɨ ɥɨɼɨɏɨɌɭ Ɏɨɧɭ

10+ THE GUARDIAN ANGEL RUSSIAN, CIRCA 1600 Standing on a cushion, portrayed frontal with spread wings, EOHVVLQJ DQG UDLVLQJ D VFHSWUH ZLWK FUXFLIRUP ÀQLDO WKH 0RWKHU of God appearing in the celestial fragment above, the wings standing out against the muted background due to their dense gold brushstrokes )6,+("(+=(./

0+1***2)1*** 10+ ȺɇȽȿÉ… É?ÉŠČşÉ‡É‚ÉŒČżÉ…É– ɊɈɋɋɂə ɈɄɈɅɈ É? ȺɧÉ?É&#x;ÉĽ ÉŻÉŞÉšɧɢɏÉ&#x;ÉĽÉś ÉŤ ÉŞÉšɍɊɪɨɍɏÉ&#x;ɪɏɾɌɢ ɤɪɾɼɜɚɌɢ ÉŠÉŞÉ&#x;ÉžÉŤÉŹÉšÉœÉĽÉ&#x;ɧ ɍɏɨɚ ɧÉš ÉŠÉ­ÉŽÉ&#x; Éœɨ ɎɪɨɧɏÉšɼɜɧɨɌ ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧɢɢ Ɉɧ ɛɼɚÉ?ɨɍɼɨÉœÉĽÉšÉ&#x;ÉŹ ɌɨɼɚɳÉ&#x;É?ɨɍɚ Éœɨɥɧɨɍɚ ɍɤɢɊÉ&#x;ÉŹÉŞ ÉŤ ɤɪÉ&#x;ɍɏɨɨɛɪɚɥɧɾɌ ɧɚɜÉ&#x;ɪɲɢÉ&#x;ÉŚ ČźÉœÉ&#x;ÉŞÉŻÉ­ Éœ ɧÉ&#x;É›É&#x;ɍɚɯ ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧÉš ȝɨÉ?ɨɌɚɏÉ&#x;ÉŞÉś É„ɪɾɼɜɚ ÉšɧÉ?É&#x;ÉĽÉš ÉœÉľÉžÉ&#x;ɼɚɸɏɍɚ ɧÉš ɊɪɢÉ?ɼɭɲÉ&#x;ɧɧɨɌ ɎɨɧÉ&#x; ɛɼɚÉ?ɨɞɚɪɚ ɊɼɨɏɧɾɌ ɥɨɼɨɏɾɌ ÉŚÉšɥɤɚɌ

11+ ST. JOHN THE BAPTIST SURROUNDED BY FOUR EPISODES FROM HIS LIFE AND TWO FAMILY PATRONS ON THE BORDER RUSSIAN, CIRCA 1800 7KH RYHUVL]HG Ă€JXUH RI 6W -RKQ LQ KLV JXLVH DV ´$QJHO RI WKH Wildernessâ€?, his large, golden wings extended, blessing and holding an open scroll together with a chalice containing his GHFROODWHG KHDG Ă DQNHG E\ WZR HSLVRGHV IURP KLV OLIH RQ HDFK side; the Guardian Angel and a female martyr representing the patrons of the person who commissioned the icon; Lord in benediction emerging in the open celestial segment )-("()6(./

0+1***2)1*** 11+ É‹Čź É‚ÉˆČşÉ‡É‡ É„ÉŠČżÉ‹ÉŒÉ‚ÉŒČżÉ…É– Čź ɈɄɊÉ?ɀȿɇɂɂ ɀɂɌɂɃɇɕÉ? É„É…ČżÉƒÉ† É‚ É‹ ȞȟÉ?Ɇə É‹ČźÉ™ÉŒÉ•É†É‚ É‰ÉˆÉ„ÉŠÉˆČźÉ‚ÉŒČżÉ…É™É†É‚ ɇȺ ɉɈɅəÉ? ɊɈɋɋɂə ɈɄɈɅɈ É? É?ÉœÉ&#x;ɼɢɹÉ&#x;ɧɧɚɚ Éœ ÉŚÉšɍɲɏɚɛÉ&#x; ɎɢÉ?É­ÉŞÉš ÉŤÉœ É‚ɨÉšɧɧÉš É„ÉŞÉ&#x;ɍɏɢɏÉ&#x;ÉĽÉš Éœ ÉŠÉŞÉ&#x;ÉžÉŤÉŹÉšÉœÉĽÉ&#x;ɧÉš Éœ ɨÉ›ɼɢɤÉ&#x; ȺɧÉ?É&#x;ÉĽÉš ɉɭɍɏɾɧɢ ÉŤ ɨÉ?ɪɨɌɧɾɌɢ ɥɨɼɨɏɾɌɢ ÉŞÉšɍɊɪɨɍɏÉ&#x;ɪɏɾɌɢ ɤɪɾɼɜɚɌɢ Ɉɧ ɧɢɍɊɨɍɾɼÉšÉ&#x;ÉŹ ɛɼɚÉ?ɨɍɼɨÉœÉ&#x;ɧɢÉ&#x; ÉžÉ&#x;ÉŞÉ Éš Éœ ɪɭɤÉ&#x; ɨɏɤɪɾɏɾɣ ÉŤÉœɢɏɨɤ ɢ ɹɚɲɭ ÉŤ É&#x;É?ɨ ɍɨÉ›ÉŤÉŹÉœÉ&#x;ɧɧɨɣ É­ÉŤÉ&#x;ÉąÉ&#x;ɧɧɨɣ É?ÉĽÉšÉœɨɣ É„ É°É&#x;ɧɏɪɭ ɤɨɌɊɨɥɢɰɢɢ ɊɪɢɌɾɤÉšɸɏ ɞɜÉ&#x; ÉŤÉ°É&#x;ɧɾ ÉŤ ɡɊɢɥɨɞɚɌɢ ɢɥ É É˘ÉŹÉ˘Éš ɊɪɨɪɨɤÉš ȺɧÉ?É&#x;ÉĽ ÉŻÉŞÉšɧɢɏÉ&#x;ÉĽÉś ɢ ÉŤÉœɚɏɚɚ ÉœÉ&#x;ɼɢɤɨɌɭɹÉ&#x;ɧɢɰÉš ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧɾ ɧÉš Ɋɨɼɚɯ Ɋɨ É É&#x;ÉĽÉšɧɢɸ ÉĄÉšɤÉšɥɹɢɤÉš Čź ɨɏÉœÉ&#x;ɪɍɏɾɯ ɧÉ&#x;É›É&#x;ɍɚɯ Éœ ÉœÉ&#x;ÉŞÉŻÉ­ ɤɨɌɊɨɥɢɰɢɢ ɊɨɚÉœÉĽÉšÉ&#x;ÉŹÉŤÉš ɛɼɚÉ?ɨɍɼɨÉœɼɚɸɳɢɣ É?ɪɢɍɏɨɍ

12+ THE HOLY PATRIARCH GERMOGENIS RUSSIAN, 19TH CENTURY Dressed in full patriarchal attire complemented by the klobuk with a seraph on the forehead and a pendant displaying the instruments of the Passion, holding a pastoral staff ++,)("(65(./

05**261+** 12+ É‹Čź É‰ČşÉŒÉŠÉ‚ČşÉŠÉ? ȽȿɊɆɈȽȿɇ ɊɈɋɋɂə ÉŁ ȟȿÉ„ É‹ÉœɚɏɢɏÉ&#x;ÉĽÉś ÉŠÉŞÉ&#x;ÉžÉŤÉŹÉšÉœÉĽÉ&#x;ɧ Éœ ɊɨɼɧɨɌ ÉŠÉšɏɪɢÉšɪɲÉ&#x;ÉŚ ɨɛɼɚɹÉ&#x;ɧɢɢ ČżÉ?ɨ É?ɨɼɨɜɭ ÉœÉ&#x;ɧɹÉšÉ&#x;ÉŹ ɤɼɨÉ›ɭɤ ÉŤ ÉœɾɲɢɏɾɌ ÉŤÉ&#x;ÉŞÉšɎɢɌɨɌ ɧÉš ɼɛɭ ɇɚ É?ÉŞÉ­Éžɢ ÉŠÉšɧÉšÉ?ɢɚ ÉŤ ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧɢÉ&#x;ÉŚ ɨɪɭÉžɢɣ ɋɏɪɚɍɏÉ&#x;ÉŁ É?ɪɢɍɏɨÉœɾɯ É‹Éœɚɏɨɣ ɨɊɢɪÉšÉ&#x;ÉŹÉŤÉš ɧÉš ÉŠÉšɍɏɾɪɍɤɢɣ É É&#x;ÉĄÉĽ

24+ A WOOD CARVING OF ST. NIL STOLBENSKY RUSSIAN, CIRCA 1800 +3,-("(63(./

05**261***

13+ ST. PARASKEVA RUSSIA, CIRCA 1750 The female martyr raising her hands to her chest in a gesture of prayer, turning her eyes away from the onlooker, Christ portrayed in blessing on the upper left corner )6,6("(+4,5(./

061-**2+1*** 13+ É‹Čź ɉȺɊȺɋɄȿȟȺ ɊɈɋɋɂə ɈɄɈɅɈ É? É‹Éœ ÉœÉ&#x;ɼɢɤɨɌɭɹÉ&#x;ɧɢɰÉš ɉɚɪɚɍɤÉ&#x;ɜɚ ɊɨÉžɧɨɍɢɏ ɪɭɤɭ ɤ É?ÉŞÉ­Éžɢ Éœ ɌɨɼɢɏÉœÉ&#x;ɧɧɨɌ É É&#x;ÉŤÉŹÉ&#x; ɨɏÉœɨɞɚ ÉœÉĄÉ?ɼɚɞ ɨɏ ɌɨɼɚɳÉ&#x;É?ɨɍɚ Čź ÉœÉ&#x;ɪɯɧÉ&#x;ÉŚ ÉĽÉ&#x;ÉœɨɌ É­É?ÉĽÉ­ ɤɨɌɊɨɥɢɰɢɢ ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧ ɛɼɚÉ?ɨɍɼɨÉœɼɚɸɳɢɣ É?ɪɢɍɏɨɍ

24+ ÉŠČżÉ É‡ÉˆÉƒ ÉˆČťÉŠČşÉ É‹Čź ɇɂɅȺ ɋɌɈɅȝȿÉ‡É‹É„ÉˆČ˝Éˆ ɊɈɋɋɂə ɈɄɈɅɈ É?

2*+ THE CRUCIFIX IN RELIEF ON A WOODEN PANEL RUSSIAN, 19TH CENTURY 7KH VFXOSWHG ÀJXUH RI &KULVW IDVWHQHG RQ ZRRG ZLWK FDUYHG 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; the layer of red preparation visible in numerous areas under the gilding )3("(+5(./

061+**2+1+** 2*+ ÉŠČżÉ É‡ÉˆČż ÉŠČżÉ…É–ČżÉŽÉ‡ÉˆČż ÉŠČşÉ‹É‰É™ÉŒÉ‚Čż ɊɈɋɋɂə ÉŁ ȟȿÉ„ É‹ɤɭɼɜɊɏɭɪɧɨÉ&#x; ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧɢÉ&#x; É?ɪɢɍɏÉš ɤɪÉ&#x;Ɋɢɏɍɚ ɧÉš ÉžÉ&#x;ÉŞÉ&#x;Éœɚɧɧɭɸ ɨɍɧɨɜɭ Ɋɪɢ ɊɨɌɨɳɢ ÉŞÉ&#x;ɥɧɾɯ ÉžÉ&#x;ɏɚɼÉ&#x;ÉŁ É„ÉŞÉ&#x;ÉŤÉŹ É­ÉœÉ&#x;ɧɹÉšɧ ɢɌÉ&#x;ɧɧɨɣ ɏɚɛɼɢɰÉ&#x;ÉŁ WDEXOD DQVDWD ɢɥ É&#x;É?ɨ É°É&#x;ɧɏɪÉš Éœɾɪɾɜɚɸɏɍɚ ɼɭɹɢ ÉŤÉĽÉšÉœÉľ É„ÉŞÉ&#x;ÉŤÉŹ ɍɏɨɢɏ ɧÉš ÉœÉ&#x;ɪɲɢɧÉ&#x; ȽɨɼÉ?ɨɎɾ ɊɨɼɭɤɪɭÉ?ɼɨÉ?ɨ ɯɨɼɌÉš Éœ É§É˘É É§É&#x;ÉŁ ɹɚɍɏɢ ɊɨÉž É&#x;É?ɨ ɨɍɧɨɜɚɧɢÉ&#x;ÉŚ ɪɚɥɛɪɨɍÉšɧɾ ÉąÉ&#x;ÉŞÉ&#x;ÉŠ ɢ ɤɨɍɏɢ ÉŠÉ&#x;ÉŞÉœɨɹÉ&#x;ɼɨÉœÉ&#x;ɤÉš ȺɞɚɌɚ ÉŠÉ&#x;ÉŞÉ&#x;ÉŚÉ&#x;É ÉšɸɳɢÉ&#x;ÉŤÉš ÉŤ ɨÉ›ɼɨɌɤÉšɌɢ ɍɤɚɼɾ ÉŽɨɧ ɢɍɊÉ&#x;ɳɪÉ&#x;ɧ É›ɨɪɨɥɞɹɚɏɾɌ ɭɥɨɪɨɌ É‹ɤÉœɨɥɜ Ɋɨɥɨɼɨɏɭ ɊɪɨɍɌÉšɏɪɢɜɚÉ&#x;ÉŹÉŤÉš ɤɪÉšɍɧɨɜɚɏɾɣ ɍɼɨɣ ɊɨɼɢɌÉ&#x;ɧɏÉš

2,+ A GLASS ICON OF ST. GEORGE ROMANIAN, 19TH CENTURY Typical of Romanian folk religious art, the image painted on the back of the glass thus reversing the standard image of St. George; advancing from the opposite direction, the beardless saint killing the dragon, to the left the kneeling princess in supplication, executed in a stylized manner with bright colours >?$(F;<HH(HEDC<.$(+3,-("(63(./8(B%.;E&B%F(#?$(CD</$()-("()*

061+**2615** 2,+ ÉˆČťÉŠČşÉ É‹Čź ȽȿÉˆÉŠČ˝É‚É™ É‡ČşÉ‰É‚É‹ČşÉ‡É‡É•Éƒ ɇȺ É‹ÉŒČżÉ„É…Čż ÉŠÉ?Ɇɕɇɂə ÉŁ ȟȿÉ„ Čź ɯɚɪɚɤɏÉ&#x;ɪɧɨɣ ɞɼɚ ɧÉšɪɨÉžɧɨÉ?ɨ ɪɭɌɾɧɍɤɨÉ?ɨ ɢɍɤɭɍɍɏɜɚ ÉŚÉšɧÉ&#x;ÉŞÉ&#x; ɢɤɨɧÉš ɧÉšɊɢɍÉšɧÉš ɧÉš ɨÉ›ɨɪɨɏɧɨɣ ɍɏɨɪɨɧÉ&#x; ÉŤÉŹÉ&#x;ɤɼÉš ÉŹÉšɤɢɌ ɨɛɪɚɥɨɌ ÉŠÉŞÉ&#x;ÉžÉŤÉŹÉšÉœɼɚɚ ÉŤÉ¸É É&#x;ÉŹ ÉŤ Č˝É&#x;ɨɪÉ?ɢÉ&#x;ÉŚ ɉɨÉ›É&#x;ÉžɨɧɨɍɰÉ&#x;ÉŚ Éœ ÉĄÉ&#x;ɪɤÉšɼɜɧɨɌ ɨɏɪÉšÉ É&#x;ɧɢɢ ɉɪɢÉ›ÉĽÉ˘É Éšɚɍɜ ɤ ɞɪɚɤɨɧɭ ɸɧɾɣ ÉŤÉœɚɏɨɣ ɊɪɨɧɥÉšÉ&#x;ÉŹ É&#x;É?ɨ ɤɨɊɜÉ&#x;ÉŚ É‹ÉĽÉ&#x;ɜɚ Éœ ɤɨɼÉ&#x;ɧɨɊɪÉ&#x;ɤɼɨɧÉ&#x;ɧɧɨɣ ɊɨɥÉ&#x; ɍɏɨɢɏ ɭɌɨɼɚɸɳɚɚ ÉŤÉœɚɏɨÉ?ɨ ɊɪɢɧɰÉ&#x;ÉŤÉŤÉš ɉɪɨɢɥÉœÉ&#x;ÉžÉ&#x;ɧɢÉ&#x; ÉœɾɊɨɼɧÉ&#x;ɧɨ Éœ ɍɏɢɼɢɥɨɜɚɧɧɨɣ ÉŚÉšɧÉ&#x;ÉŞÉ&#x; Éœ ɚɪɤɢɯ ɏɨɧɚɯ É‹ÉŹÉ&#x;ɤɼɚɧɧɚɚ ɢɤɨɧÉš [ ÉŤÉŚ ɢɤɨɧÉš Éœ ɪɚɌÉ&#x; [ ÉŤÉŚ

2-+ A CARVED WOOD AND POLYCHROME ICON OF STS. GEORGE AND DMITRIY ROMANIAN, 18TH CENTURY 7KH WZR \RXWKIXO HTXHVWULDQ VDLQWV ZHDULQJ Ă RDWLQJ FDSHV ULGLQJ a white and black horse respectively, advancing towards each other, in a contra-postal posture turning towards the viewer, St. George to the left plunging his long spear into the mouth of the coiling dragon and opposite, St. Demetrios piercing the neck of WKH VDFULOHJLRXV NLQJ WKH Ă€JXUHV DQG IUDPLQJ GHWDLOV²LQFOXGLQJ the arched summit, the columns with Corinthian capital and the laurel leaves at the bottom–all carved in high relief, painted in gold, the faces of the saints portrayed realistically 36("(+7,+(./

031***241***

2-+ ɉɈɅɂÉ?ÉŠÉˆÉ†É‡ČşÉ™ ÉŠČżÉ É‡ČşÉ™ ȞȿÉŠȿȟəɇɇȺə É‚É„ÉˆÉ‡Čş ɋɈ É‹ȟȟ ȽȿÉˆÉŠČ˝É‚ČżÉ† ɉɈȝȿȞɈɇɈɋÉ?ȿɆ É‚ ČžÉ†É‚ÉŒÉŠÉ‚ČżÉ† ɋɈɅÉ?ɇɋɄɂɆ ÉŠÉ?Ɇɕɇɂə ÉŁ ȟȿÉ„ ČžÉœɨÉ&#x; ɸɧɾɯ ÉŤÉœɚɏɾɯ ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧɾ ÉœÉ&#x;ɪɯɨɌ ɧÉš É›É&#x;ɼɨɌ ɢ ÉąÉ&#x;ɪɧɨɌ ɤɨɧɚɯ Éœ ÉŞÉšÉĄÉœÉ&#x;ɜɚɸɳɢɯɍɚ Ɋɼɚɳɚɯ Ɉɧɢ ÉžÉœÉ˘É É­ÉŹÉŤÉš Ɋɨ ɧÉšÉŠÉŞÉšÉœÉĽÉ&#x;ɧɢɸ ɤ ɞɪɭÉ? ɞɪɭÉ?É­ ɧÉšɯɨÉžɚɍɜ Éœ ɤɨɧɏɪÉšɊɊɨɍɏɧɨɌ ɊɨÉœɨɪɨɏÉ&#x; Ɋɨ ɧÉšÉŠÉŞÉšÉœÉĽÉ&#x;ɧɢɸ ɤ ɌɨɼɚɳɢɌɍɚ É‹ÉĽÉ&#x;ɜɚ ÉŤÉœ Č˝É&#x;ɨɪÉ?ɢɣ ɊɨÉ?ÉŞÉ­É ÉšÉ&#x;ÉŹ ɨɍɏɪɢÉ&#x; ɤɨɊɜɚ Éœ Ɋɚɍɏɜ ÉŤÉœÉ&#x;ɪɧɭÉœɲÉ&#x;É?ɨɍɚ ɤɨɼɜɰÉšɌɢ ɞɪɚɤɨɧÉš É‹ ɊɪɨɏɢÉœÉ¨ÉŠÉ¨ÉĽÉ¨É É§É¨ÉŁ ɍɏɨɪɨɧɾ ÉŤÉœ ȞɢɌɢɏɪɢɣ ɊɪɨɧɥÉšÉ&#x;ÉŹ ɲÉ&#x;ɸ ɧÉ&#x;ÉœÉ&#x;ɪɧɨÉ?ɨ ɰɚɪɚ ɚɥɾɹɧɢɤÉš ÉŽɢÉ?É­ÉŞÉľ ɢ ÉžÉ&#x;ÉŹÉšɼɢ ɪɚɌɾ Éœɤɼɸɹɚɚ Éœɾɍɨɤɭɸ ɢɥɨÉ?ɧɭɏɭɸ Éšɪɤɭ ɤɨɼɨɧɧɾ ÉŤ ɤɨɪɢɧɎɍɤɢɌɢ ɤÉšɊɢɏÉ&#x;ɼɚɌɢ Éš ÉŹÉšÉ¤É É&#x; ÉĽÉšÉœɪɨÉœÉľÉ&#x; ɼɢɍɏɜɚ Éœɧɢɥɭ ÉœɾɊɨɼɧÉ&#x;ɧɾ Éœ ÉœɾɍɨɤɨɌ ÉŞÉ&#x;ÉĽÉśÉ&#x;ÉŽÉ&#x; ɢ ɭɤɪÉšɲÉ&#x;ɧɾ Ɋɨɥɨɼɨɏɨɣ É…ɢɤɢ ÉŤÉœɚɏɾɯ ɧÉšɊɢɍÉšɧɾ Éœ ÉŞÉ&#x;Éšɼɢɍɏɢɹɧɨɣ ÉŚÉšɧÉ&#x;ÉŞÉ&#x;

2.+ THE MOTHER OF GOD OF TIKHVIN FLANKED BY THE GUARDIAN ANGEL AND ST. ANNA RUSSIAN, 18TH CENTURY Finely rendered, the faces with muted colours, the eyes in honey-brown, the dazzling golden haloes contrasting with the dark maphorion of The Mother of God )-,3("()6(./

0+1-**2)1-** 2.+ ČťÉˆČ˝ÉˆÉ†ČşÉŒČżÉŠÉ– ɌɂÉ?ȟɂɇɋɄȺə É‹ É‰ÉŠÉ‚É†É•É„ČşÉ˜É“É‚É†É‚ É‹Čź ČşÉ‡É‡ÉˆÉƒ É‚ ȺɇȽȿɅɈɆ É?ÉŠČşÉ‡É‚ÉŒČżÉ…ČżÉ† ɊɈɋɋɂə ÉŁ ȟȿÉ„ É‚ɥɚɳɧɨ ÉœɾɊɨɼɧÉ&#x;ɧɧɚɚ ɢɤɨɧÉš É…ɢɤɢ ɍɨ ÉŤÉœÉ&#x;ɏɼɨ ɤÉšɪɢɌɢ É?ɼɚɥɚɌɢ ɧÉšɊɢɍÉšɧɾ Éœ ɊɪɢÉ?ɼɭɲÉ&#x;ɧɧɾɯ ɏɨɧɚɯ ÉˆÉŤÉĽÉ&#x;ɊɢɏÉ&#x;ɼɜɧɾÉ&#x; ɥɨɼɨɏɾÉ&#x; ɧɢɌɛɾ ɤɨɧɏɪÉšɍɏɢɪɭɸɏ ÉŤ ÉŹÉ&#x;ɌɧɾɌ ÉŚÉšɎɨɪɢÉ&#x;ÉŚ ȝɨÉ?ɨɪɨÉžɢɰɾ

2/+ THE MOTHER OF GOD OF POTCHAEV IN SUPPLICATION BY SELECTED SAINTS RUSSIAN, LATE 18TH CENTURY Wearing a shoulder-length veil typical of the Mother of God of 3RWFKDHY KRYHULQJ RQ FORXGV à DQNHG E\ WZR JURXSV RI KRO\ ÀJXUHV WKH VXQ DQG WKH PRRQ GHSLFWHG RQ WKH XSSHU FRUQHUV D blessing image of Lord Sabaoth present in the open skies above )-,)("()*,-(./

061)**2615** 2/+ ČťÉˆČ˝ÉˆÉ†ČşÉŒČżÉŠÉ– ɉɈɑȺȿȟɋɄȺə É‹ ɉɊȿȞɋɌɈəɓɂɆɂ É‹ČźÉ™ÉŒÉ•É†É‚ ɊɈɋɋɂə É„ÉˆÉ‡ČżÉ? É?ɨ ȟȿÉ„Čş ȝɨÉ?ɨɪɨÉžɢɰÉš Éœ É›É&#x;ɼɨɌ ɊɼɚɏÉ&#x; ÉžɨɍɏɢÉ?ÉšɸɳÉ&#x;ÉŚ ÉŠÉĽÉ&#x;Éą ɤÉšɤ Ɋɪɢɧɚɏɨ ɧÉš ɢɤɨɧɚɯ ȝɨÉ?ɨɌɚɏÉ&#x;ɪɢ ɉɨɹÉšÉ&#x;Éœɍɤɨɣ ÉŠÉšɪɢɏ ɧÉš ɨɛɼɚɤɚɯ Éœ É¨É¤ÉŞÉ­É É&#x;ɧɢɢ ÉŤÉœɚɏɾɯ É‹ɨɼɧɰÉ&#x; ɢ ɼɭɧÉš ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧɾ ɜɜÉ&#x;ÉŞÉŻÉ­ Ɋɨ ɨÉ›É&#x; ɍɏɨɪɨɧɾ ɤɨɌɊɨɥɢɰɢɢ ȝɼÉšÉ?ɨɍɼɨÉœɼɚɸɳɢɣ ȽɨɍɊɨɞɜ ɋɚɜɚɨɎ ɊɨɚÉœÉĽÉšÉ&#x;ÉŹÉŤÉš Éœ ɨɏÉœÉ&#x;ɪɍɏɾɯ ɧÉ&#x;É›É&#x;ɍɚɯ

20+ THE MOTHER OF GOD OF THE BURNING BUSH RUSSIAN, LATE 18TH CENTURY In the centre of the eight-pointed star the Mother of God surrounded by angels in medallions, dressed in blue like WKH UKRPEXV EHKLQG WKH UHG Ă DPHV LQFOXGH WKH DSRFDO\SWLF SHUVRQLĂ€FDWLRQV RI WKH (YDQJHOLVWV WKH DOWHUQDWLQJ FORXGV showing angels with attributes of the Akathist, on the corners against green meadows are Old Testament events related to the Sinai desert )-,+("()*(./

0)1***231*** 20+ ČťÉˆČ˝ÉˆÉ†ČşÉŒČżÉŠÉ– É‡ČżÉˆÉ‰ČşÉ…É‚É†ČşÉ™ É„É?ɉɂɇȺ ɊɈɋɋɂə É„ÉˆÉ‡ČżÉ? É?ɨ ȟȿÉ„Čş Čź É°É&#x;ɧɏɪÉ&#x; ɤɨɌɊɨɥɢɰɢɢ Âą ÉœɨɍɜɌɢɤɨɧÉ&#x;ɹɧɚɚ ÉĄÉœÉ&#x;ɥɞɚ ÉŤ ɨɛɪɚɥɨɌ ȝɨÉ?ɨɌɚɏÉ&#x;ɪɢ ɊɨɍÉ&#x;ÉŞÉ&#x;ÉžɢɧÉ&#x; ȝɨÉ?ɨɪɨÉžɢɰÉš É¨É¤ÉŞÉ­É É&#x;ɧÉš ɍɨɧɌÉšɌɢ ÉšɧÉ?É&#x;ɼɨÉœ ÉĄÉšɤɼɸɹÉ&#x;ɧɧɾɯ Éœɧɭɏɪɢ ÉŚÉ&#x;ɞɚɼɜɨɧɨÉœ Ɉɧɢ ɨɛɼɚɹÉ&#x;ɧɾ Éœ ɍɢɧɢÉ&#x; ɨÉžÉ&#x;É ÉžÉľ ɤÉšɤ ɢ É°ÉœÉ&#x;ÉŹ ɪɨɌɛɚ ɉɨ ÉąÉ&#x;ɏɾɪÉ&#x;ÉŚ É­É?ɼɚɌ ɤɪÉšɍɧɨÉ?ɨ ɪɨɌɛɚ ÉŞÉšÉŤÉŠÉ¨ÉĽÉ¨É É˘ÉĽÉ˘ÉŤÉś É&#x;ɜɚɧÉ?É&#x;ɼɢɍɏɾ Čź ɊɪɨɌÉ&#x;É É­ÉŹÉ¤ÉšÉŻ ÉŚÉ&#x;É ÉžÉ­ ɼɭɹɚɌɢ ÉœɨɍɜɌɢɤɨɧÉ&#x;ɹɧɨɣ ÉĄÉœÉ&#x;ɥɞɾ ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧɾ ÉšɧÉ?É&#x;ÉĽÉľ ÉŤ ÉšɏɪɢɛɭɏɚɌɢ ÉœɢÉžÉ&#x;ɧɢɣ ɭɊɨɌɢɧÉšÉ&#x;Ɍɾɯ Éœ ȺɤÉšɎɢɍɏÉ&#x; Čź É­É?ɼɚɯ ɢɤɨɧɾ ɧÉš ɎɨɧÉ&#x; ÉĄÉ&#x;ÉĽÉ&#x;ɧɢ ÉĽÉ­É?ɨÉœ ÉŠÉŞÉ&#x;ÉžÉŤÉŹÉšÉœÉĽÉ&#x;ɧɾ ÉœÉ&#x;ɏɯɨɥɚɜÉ&#x;ɏɧɾÉ&#x; ɍɨÉ›ɾɏɢɚ ɊɪɨɢɍɲÉ&#x;ÉžɲɢÉ&#x; Éœ É‹ɢɧÉšɣɍɤɨɣ ɊɭɍɏɾɧÉ&#x;

21+ THE MOTHER OF GOD “SOOTHER OF SORROWS� RUSSIAN (MSTERA?), 19TH CENTURY Christ reclining on the lap of his Mother, unfolding an inscribed scroll, the border featuring the Guardian angel and the special family saints, Symeon, Antipa and Pelagia, the vestments embellished with gold gems emulating trimmings )6("(+=(./

0613**2615** 21+ ČťÉˆČ˝ÉˆÉŠÉˆČžÉ‚É?Čş ŠÉ?ɌɈɅɂ ɆɈɂ ɉȿɑȺɅɂª ɊɈɋɋɂə É†É‹ÉŒČżÉŠČş" ÉŁ ȟȿÉ„ É?ɪɢɍɏɨɍ ÉœɨɥɼÉ&#x;É É˘ÉŹ ɧÉš ɪɭɤɚɯ ȝɨÉ?ɨɌɚɏÉ&#x;ɪɢ ɢ ÉžÉ&#x;ÉŞÉ É˘ÉŹ ÉŤÉœɢɏɨɤ ÉŤ ÉŹÉ&#x;ɤɍɏɨɌ ɌɨɼɢɏÉœÉľ ɇɚ Ɋɨɼɚɯ ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧɾ ÉšɧÉ?É&#x;ÉĽ ÉŻÉŞÉšɧɢɏÉ&#x;ÉĽÉś ɢ ÉŤÉœɚɏɾÉ&#x; Âą ɊɨɤɪɨÉœɢɏÉ&#x;ɼɢ ÉŤÉ&#x;Ɍɜɢ ÉĄÉšɤÉšɥɹɢɤÉš ÉŤÉœÉœ É‹ɢɌÉ&#x;ɨɧ ȺɧɏɢɊɢɣ ɢ ɉÉ&#x;ÉĽÉšÉ?É&#x;Éš ɈɞÉ&#x;ɚɧɢɚ ɭɤɪÉšɲÉ&#x;ɧɾ ɥɨɼɨɏɨɌ ɢ ÉŤÉšɌɨɰÉœÉ&#x;ÉŹÉšɌɢ Ɋɨ ɤɪÉšɚɌ

22+ ST. NIL STOLBENSKIY WITH LAVRA RUSSIAN (ST. PETERSBURG), 18TH CENTURY The elderly ascetic in full monastic attire including the Great Schema, holding prayer beads, standing on the banks of lake Seliger, in the background the monastery he founded, two angels descending from the heavens to present an icon of the Vladimirskaya )4,+("()6,6(./

061-**2+1*** 22+ ɉɊȿɉ ɇɂɅ ɋɌɈɅȝȿɇɋɄɂɃ É‹ É…ȺȟɊɈɃ ɊɈɋɋɂə É‹ČşÉ‡É„ÉŒ É‰ČżÉŒČżÉŠČťÉ?ÉŠČ˝ ÉŁ ȟȿÉ„ É‰É¨É É˘ÉĽÉ¨ÉŁ ÉšɍɤÉ&#x;ÉŹ ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧ Éœ ɨɛɼɚɹÉ&#x;ɧɢɢ Ɍɨɧɚɯɚ ÉœÉ&#x;ɼɢɤɨɍɯɢɌɧɢɤÉš ÉŤ ÉąÉ&#x;ɏɤÉšɌɢ Éœ ɪɭɤɚɯ Ɉɧ ɍɏɨɢɏ ɧÉš É›É&#x;ÉŞÉ&#x;É?É­ ɨɥÉ&#x;ÉŞÉš É‹É&#x;ɼɢÉ?É&#x;ÉŞ É Éš É&#x;É?ɨ ɍɊɢɧɨɣ Âą ɨɍɧɨɜɚɧɧɾɣ ɢɌ ɌɨɧÉšɍɏɾɪɜ ČžÉœÉš ÉšɧÉ?É&#x;ÉĽÉš ɍɊɭɍɤÉšɸɏɍɚ ÉŤ ɧÉ&#x;É›É&#x;ÉŤ ÉŠÉŞÉ&#x;ɊɨÉžɧɨɍɚ ɢɤɨɧɭ ȝɨÉ?ɨɌɚɏÉ&#x;ɪɢ ȟɼɚɞɢɌɢɪɍɤɨɣ

23+ ARCHANGEL GABRIEL WITH TWO FEMALE SAINTS RUSSIAN, 19TH CENTURY To the left the Kievan princess, St. Olga, Equal of the Apostles, crowned and holding a sword, to the right the ascetic St. Paraskeva in prayer, above, Christ appearing amidst the clouds; WKH HORQJDWHG Ă€JXUHV UHQGHUHG Ă€QHO\ WKH DQJHO¡V ODUJH JROG wings dominating the central part of the image; the background rendered realistically )*("(+=(./

061+**2615** 23+ ȺɊÉ?ȺɇȽȿÉ… ȽȺȟÉŠÉ‚É‚É… É‚ Ȟȟȿ É‹ČźÉ™ÉŒÉ•Čż ɀȿɇɕ ɊɈɋɋɂə ÉŁ ȟȿÉ„ É‹ÉĽÉ&#x;ɜɚ ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧÉš ɤɢÉ&#x;Éœɍɤɚɚ ɤɧɚÉ?ɢɧɚ ÉŤÉœ ÉŞÉšÉœɧɨÉšɊɨɍɏɨɼɜɧɚɚ ÉˆÉĽÉśÉ?Éš É­ÉœÉ&#x;ɧɹÉšɧɧɚɚ ɤɨɪɨɧɨɣ ɢ ÉžÉ&#x;ÉŞÉ ÉšÉłÉšÉš ÉŚÉ&#x;Éą Éœ ɪɭɤÉ&#x; ɉɨ ÉŠÉŞÉšÉœɭɸ ɍɏɨɪɨɧɭ ɨɏ ɧÉ&#x;É&#x; Âą ÉŤÉœ ɉɚɪɚɍɤÉ&#x;ɜɚ Éœ ɌɨɼɢɏÉœÉ&#x; Čź ÉœÉ&#x;ɪɯɧÉ&#x;ÉŁ ɹɚɍɏɢ ɢɤɨɧɾ ÉŤÉŞÉ&#x;Éžɢ ɨɛɼɚɤɨÉœ ÉŠÉšɪɢɏ É?ɪɢɍɏɨɍ É?ÉžɼɢɧÉ&#x;ɧɧɾÉ&#x; Éœ ɊɪɨɊɨɪɰɢɚɯ ɎɢÉ?É­ÉŞÉľ ɢɍɤɭɍɧɨ ÉœɾɊɨɼɧÉ&#x;ɧɾ ɈÉ?ɪɨɌɧɾÉ&#x; ɥɨɼɨɏɾÉ&#x; ɤɪɾɼɜɚ ÉšɧÉ?É&#x;ÉĽÉš ÉžɨɌɢɧɢɪɭɸɏ ɧɚɞ É°É&#x;ɧɏɪɨɌ ɤɨɌɊɨɥɢɰɢɢ Ȟɚɼɜɧɢɣ ÉŠÉĽÉšɧ ɢɍɊɨɼɧÉ&#x;ɧ Éœ ÉŞÉ&#x;Éšɼɢɍɏɢɹɧɨɣ ÉŚÉšɧÉ&#x;ÉŞÉ&#x;

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0)1***231*** 34+ É‹ȟȟ É ÉˆÉ‹É‚É†Čş É‚ É‹ȺȟȟȺɌɂɃ ɊɈɋɋɂə É ČşÉ‰ȺȞɇȺə É?ɄɊȺɂɇȺ ÉŁ ȟȿÉ„ ČžÉœɨÉ&#x; ÉŠÉŞÉ&#x;ɊɨÉžɨÉ›ɧɾɯ ÉŤ ÉžɼɢɧɧɾɌɢ É›ɨɪɨɞɚɌɢ ɨɛɼɚɹÉ&#x;ɧɾ Éœ ɌɨɧÉšɲÉ&#x;ɍɤɢÉ&#x; ɨÉžÉ&#x;ɚɧɢɚ ɢ ɨɛɪɚɳÉ&#x;ɧɾ ɞɪɭÉ? ɤ ɞɪɭÉ?É­ É‹Éœ É É¨ÉŤÉ˘ÉŚÉš ÉžÉ&#x;ÉŞÉ É˘ÉŹ ÉŤÉœÉ&#x;ɪɧɭɏɾɣ ÉŤÉœɢɏɨɤ ÉŤÉœ ɋɚɜɜɚɏɢɣ ÉžÉ&#x;ÉŞÉ É˘ÉŹ ɌɨɼɢɏÉœÉ&#x;ɧɧɾÉ&#x; ÉąÉ&#x;ɏɤɢ ȟɞɚɼɢ ÉœɢÉžɧÉ&#x;É&#x;ÉŹÉŤÉš ɨɍɧɨɜɚɧɧɾɣ ɢɌɢ ɌɨɧÉšɍɏɾɪɜ ɇɚɜÉ&#x;ÉŞÉŻÉ­ ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧ ɛɼɚÉ?ɨɍɼɨÉœɼɚɸɳɢɣ É?ɪɢɍɏɨɍ ÉŤ ÉžÉ&#x;ÉŞÉ ÉšÉœɨɣ Éœ ɪɭɤÉ&#x;

3*+ THE BLESSED CHIEF COMMANDERS MICHAEL AND GABRIEL MOUNT ATHOS (RUSSIAN MONASTERY?) 18TH CENTURY Archangel Michael shown as a warrior, wearing a helmet, holding a shield and a long lance with cruciform banner, SOXQJLQJ LQWR WKH ÀHU\ KHDG RI (YLO LQ WKH IRUHJURXQG Archangel Gabriel dressed in a green chiton and pink cape, EHDULQJ D OLO\ EUDQFK ERWK DQJHOV à RDWLQJ RQ FORXGV /RUG Sabaoth as the Creator of the Universe on the top )6,4("(+4,=(./

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3,+ ARCHANGEL MICHAEL WEIGHING THE SOUL OF A DECEASED PERSON MELKITE, 18TH CENTURY 7KH UREXVW ÀJXUH RI WKH VDLQW ZLWK ODUJH ZLQJV DQG D FLQQDEDU FDSH dominating the entire image, trampling a deceased person, carrying a sword and a pair of scales; the schematic composition rendered with bright colours and gold 3),+("()+,4(./

061-**2+1*** 3,+ ȺɊÉ?ȺɇȽȿÉ… ɆɂÉ?ȺɂɅ É‹ ČžÉ?ɒɈɃ É?ɋɈɉɒȿȽɈ ɇȺ ȟȿÉ‹ČşÉ? É†ČżÉ…É–É„É‚ÉŒÉ‹É„É‚Čż ÉˆČťÉ“É‚É‡É• ÉŁ ȟȿÉ„ É„ÉŞÉ&#x;Ɋɤɚɚ ɎɢÉ?É­ÉŞÉš ɚɪɯɚɧÉ?É&#x;ÉĽÉš ÉŤ ɨÉ?ɪɨɌɧɾɌɢ ɤɪɾɼɜɚɌɢ ɨɛɼɚɹÉ&#x;ɧÉš Éœ ɤɢɧɨɜɚɪɧɾɣ Ɋɼɚɳ ɤɨɼɨɪɢɍɏɢɹÉ&#x;ɍɤɢ ÉžɨɌɢɧɢɪɭɸɳɢɣ Éœ ɤɨɌɊɨɥɢɰɢɢ ȺɧÉ?É&#x;ÉĽ ɊɨɊɢɪÉšÉ&#x;ÉŹ ɭɍɨɊɲÉ&#x;É?ɨ Čź ɪɭɤɚɯ ɨɧ ÉžÉ&#x;ÉŞÉ É˘ÉŹ ÉŚÉ&#x;Éą ɢ ÉœÉ&#x;ÉŤÉľ ɇÉ&#x;ÉŞÉšÉœɧɨɌÉ&#x;ɪɧɚɚ ɤɨɌɊɨɥɢɰɢɚ ÉœɾɊɨɼɧÉ&#x;ɧɧɚɚ Éœ ɚɪɤɢɯ ɏɨɧɚɯ Ɋɨ ɥɨɼɨɏɭ 3-+ THE MONASTIC ST. SAVVAS NORTHERN GREECE, 18TH CENTURY Frontal, full-length, blessing and displaying an open scroll inscribed with a verse pertaining to the monastic life, his garments rendered with saturated colours, against a gold background, the lower part HPXODWLQJ D PDUEOH Ă RRU )4,+("(+4(./

0+1***2)1*** 3-+ É‹Čź É‰ÉŠČżÉ‰ÉˆČžÉˆČťÉ‡É•Éƒ É‹ȺȟȟȺ É‹ȿȟȿɊɇȺə ȽɊȿÉ?É‚É™ ÉŁ ȟȿÉ„ É‹Éœɚɏɨɣ ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧ ɎɪɨɧɏÉšɼɜɧɨ Éœ Ɋɨɼɧɾɣ ɪɨɍɏ Éœ ɛɼɚÉ?ɨɍɼɨÉœɼɚɸɳÉ&#x;ÉŚ É É&#x;ÉŤÉŹÉ&#x; Ɉɧ ÉžÉ&#x;ÉŞÉ É˘ÉŹ ɨɏɤɪɾɏɾɣ ÉŤÉœɢɏɨɤ ÉŤ ÉŹÉ&#x;ɤɍɏɨɌ ɧÉšÉŤÉŹÉšÉœÉĽÉ&#x;ɧɢɣ ɌɨɧÉšɍɏɾɪɍɤɨɣ ɛɪɚɏɢɢ ČżÉ?ɨ ɨÉžÉ&#x;ɚɧɢɚ ÉœɾɊɨɼɧÉ&#x;ɧɾ Éœ ɧÉšɍɾɳÉ&#x;ɧɧɾɯ ɏɨɧɚɯ Ɋɨ ɥɨɼɨɏɨɌɭ Ɏɨɧɭ É‹Éœɚɏɨɣ ɍɏɨɢɏ ɧÉš Ɋɨɼɭ ɢɌɢɏɢɪɭɸɳÉ&#x;ÉŚ ÉŚÉŞÉšɌɨɪ

3.+ SAINT JOHN CHRYSOSTOM GREEK (ASIA MINOR), 18TH CENTURY The Church Father shown frontal, wearing ecclesiastical vestments including the Episcopal stole decorated with crosses, against red and blue background and golden skies )*,=("(++,-(./

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3/+ THE NEW TESTAMENT TRINITY GREEK, 18TH CENTURY Christ and God the Father seated on a throne formed by grey VZLUOLQJ FORXGV WKHLU IHHW UHVWLQJ RQ ZKHHOV RI Ă€UH ERWK crowned, vested in liturgical garments and himatia, gesturing in benediction, between them a globus cruciger, the closed %RRN RQ &KULVW¡V ODS VXJJHVWLQJ WKH IXOĂ€OPHQW RI WKH 1HZ Testament, the Holy Spirit as a dove in a double mandorla hovering above, the inscriptions in Greek majuscule reading, ĆŽ ĆˆĆŠĆ?Ćˆ ĆšĆ˜Ć?Ćˆ& DQG ĆŒĆ?& Ć?ĆŒĆ–& PHDQLQJ The Holy Trinity and One God respectively ++("(64(./

0)1***231***( 3/+ ɌɊɈɂÉ?Čş É‡ÉˆČźÉˆÉ ČşČźČżÉŒÉ‡ČşÉ™ ȽɊȿÉ?É‚É™ ÉŁ ȟȿÉ„ É?ɪɢɍɏɨɍ ɢ ȝɨÉ? ÉˆÉŹÉ&#x;É° Éœ ɼɢɏɭɪÉ?ɢɹÉ&#x;ɍɤɢɯ ɨɛɼɚɹÉ&#x;ɧɢɚɯ ÉŠÉŞÉ&#x;ÉžÉŤÉŹÉšÉœÉĽÉ&#x;ɧɾ ÉœɨɍɍÉ&#x;ɞɚɸɳɢɌɢ ɧÉš ɏɪɨɧÉ&#x; ɨɛɪɚɥɨɜɚɧɧɨɌ ÉŤÉ&#x;ɪɾɌɢ ɤɼɭÉ›ɚɳɢɌɢɍɚ ɨɛɼɚɤÉšɌɢ É‚ÉŻ ɍɏɨɊɾ Ɋɨɤɨɚɏɍɚ ɧÉš ɨÉ?ɧÉ&#x;ÉĄÉŞÉšɹɧɾɯ ɤɨɼÉ&#x;ɍɚɯ É?ɨɼɨÉœÉľ É­ÉœÉ&#x;ɧɹÉšɧɾ ɤɨɪɨɧÉšɌɢ ɞɼɚɧɢ ÉŤÉĽÉ¨É É&#x;ɧɾ Éœ É É&#x;ÉŤÉŹÉ&#x; ɛɼɚÉ?ɨɍɼɨÉœÉ&#x;ɧɢɚ ɢ ɤɚɍɚɸɏɍɚ ÉžÉ&#x;ÉŞÉ ÉšÉœÉľ ÉŤ ɤɪÉ&#x;ɍɏɨɌ JOREXV FUXFLJHU É Éšɤɪɾɏɚɚ ɤɧɢÉ?Éš ÉĽÉ&#x;É ÉšÉłÉšÉš ɧÉš ɤɨɼÉ&#x;ɧɚɯ É?ɪɢɍɏÉš ɥɧɚɌÉ&#x;ɧɭÉ&#x;ÉŹ ɢɍɊɨɼɧÉ&#x;ɧɢÉ&#x; ɊɪɨɪɨɹÉ&#x;ÉŤÉŹÉœ ɇɨÉœɨÉ?ɨ É ÉšÉœÉ&#x;ÉŹÉš É‹Éœ Ȟɭɯ Éœ ɨɛɪɚɥÉ&#x; É?ɨɼɭɛɚ ÉŠÉšɪɢɏ Éœ ɞɜɨɣɧɨɌ ɧɢɌÉ›É&#x; ȽɪÉ&#x;ÉąÉ&#x;ɍɤɚɚ ÉŚÉšɸɍɤɭɼɜɧɚɚ ɧɚɞɊɢɍɜ É?ÉĽÉšɍɢɏ Çž ǚčǿǚ ȉȇǿǚ& ɢ ǟǿ& ďǟȅ& ɹɏɨ ɍɨɨɏÉœÉ&#x;ÉŹÉŤÉŹÉœÉ&#x;ɧɧɨ ÉŠÉ&#x;ÉŞÉ&#x;ÉœɨÉžɢɏɍɚ ɤÉšɤ ŠÉ‰ÉŞÉ&#x;ÉŤÉœɚɏɚɚ ÉŒɪɨɢɰɚª ɢ ŠȿÉžɢɧɾɣ ȝɨÉ?ÂŞ

30+ STS. CONSTANTINE AND ELENA GREEK, CIRCA 1700 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 +)("(64,3(./

031-**241-** 30+ É‹%Čź ÉŠȺȟÉ‡ÉˆČşÉ‰ÉˆÉ‹ÉŒÉˆÉ…É–É‡É•Čż É„ÉˆÉ‡É‹ÉŒČşÉ‡ÉŒÉ‚É‡ É‚ ȿɅȿɇȺ ȽɊȿÉ?É‚É™ ɈɄɈɅɈ É? É‹Éœ É„ɨɧɍɏÉšɧɏɢɧ ɨɍɧɨÉœÉšÉŹÉ&#x;ÉĽÉś ȟɢɥÉšɧɏɢɣɍɤɨɣ ɢɌɊÉ&#x;ɪɢɢ ɢ ČżÉ?ɨ Ɍɚɏɜ É‚ÉŚÉŠÉ&#x;ÉŞÉšɏɪɢɰÉš ȿɼÉ&#x;ɧÉš ÉŤ ɨÉ›É&#x;ɢɯ ɍɏɨɪɨɧ ɊɨɞɞÉ&#x;ÉŞÉ É˘ÉœÉšɸɏ É‘É&#x;ɍɏɧɨɣ É„ÉŞÉ&#x;ÉŤÉŹ ÉŽɢÉ?É­ÉŞÉľ ÉŤÉœɚɏɾɯ ɨɛɼɚɹÉ&#x;ɧɾ Éœ ɊɾɲɧɾÉ&#x; É°ÉšɪɍɤɢÉ&#x; ɨÉžÉ&#x;É ÉžÉľ ÉŞÉšɍɲɢɏɾÉ&#x; ɞɪɚÉ?ɨɰÉ&#x;ɧɧɾɌɢ ɤɚɌÉ&#x;ɧɜɚɌɢ ɢɯ É?ɨɼɨÉœÉľ É­ÉœÉ&#x;ɧɹÉšɧɾ ɤɨɪɨɧÉšɌɢ

31+ THE MOTHER OF GOD “THRONE OF CHRIST” RUSSIAN, 18TH CENTURY 63,+("(6=,7(./

32+ THE CROWNED MOTHER OF GOD WITH CHILD RUSSIAN, 18TH CENTURY )3("(+7(./

05**261***

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31+ ɂɄɈɇȺ ȻɈɀɂȿɃ ɆȺɌȿɊɂ ©ȻɈȽɈɊɈȾɂɐȺ ɇȺ ɉɊȿɋɌɈɅȿª ɊɈɋɋɂə ɣ ȼȿɄ

32+ ȻɈȽɈɆȺɌȿɊɖ ɋ ɆɅȺȾȿɇɐȿɆ ɊɈɋɋɂə ɣ ȼȿɄ

33!+ THE MOTHER OF GOD OF THE KIEVAN CAVES UKRAINIAN, CIRCA 1917 )3,-("()*,-(./

335+ A PAPER ICON SHOWING STS. SIMON AND PANTELEIMON HOLDING AN ICON OF THE MOTHER OF GOD “AXION ESTIN” MOUNT ATHOS (RUSSIAN MONASTERY), CIRCA 1917 67,5("(64,-(./

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0)**23** 335+ ȻɍɆȺɀɇȺə ɂɄɈɇȺ ɋɈ ɋȼəɌɕɆɂ ɋɂɆȿɈɇɈɆ ɂ ɉȺɇɌȿɅȿɃɆɈɇɈɆ ȾȿɊɀȺɓɂɆɂ ɂɄɈɇɍ ȻɈȽɈɊɈȾɐɕ ©ȾɈɋɌɈɃɇɈ ȿɋɌɖª ȽɈɊȺ ȺɎɈɇ ɊɍɋɋɄɂɃ ɆɈɇȺɋɌɕɊɖ ɈɄɈɅɈ ɝ

*44+ CHRIST PANTOKRATOR WITH A SILVER-GILT OKLAD PRESENTED IN AN ELABORATE CARVED WOODEN AND GILT SETTING, IN A GLAZED KYOT RUSSIAN, 19TH CENTURY Blessing and displaying the open Gospels, realistically rendered, the silver-gilt oklad with stylised tooled decorations, WKH FDUYHG RJHH VHWWLQJ ZLWK Ă RUDO SDWWHUQV J%.;E&B%F(#?$(:K9#'(37("()=,-(./

0+1***2)1*** *44+ É‚É„ÉˆÉ‡Čş ɋɉȺɋȺ ȟɋȿȞȿÉŠÉ€É‚ÉŒČżÉ…É™ Čź É‰ÉˆÉ ÉˆÉ…ÉˆÉ‘ČżÉ‡É‡ÉˆÉ† ɋȿɊȿȝɊəɇɈɆ ɈɄɅȺȞȿ É‰ÉˆÉ†ČżÉ“ČżÉ‡É‡ČşÉ™ Čź ÉŠČżÉ É‡ÉˆÉƒ É ČşÉ‹ÉŒČżÉ„É…ČżÉ‡É‡É•Éƒ ɄɂɈɌ ɊɈɋɋɂə ÉŁ ȟȿÉ„ ɋɊɚɍ ȟɍÉ&#x;ÉžÉ&#x;ÉŞÉ É˘ÉŹÉ&#x;ÉĽÉś ÉŠÉŞÉ&#x;ɞɍɏɚÉ&#x;ÉŹ Éœ ɛɼɚÉ?ɨɍɼɨÉœɼɚɸɳÉ&#x;ÉŚ É É&#x;ÉŤÉŹÉ&#x; ÉŤ ɨɏɤɪɾɏɨɣ ɤɧɢÉ?ɨɣ ČżÉœÉšɧÉ?É&#x;ɼɢɚ Éœ ɪɭɤÉ&#x; É‚ɤɨɧÉš ÉœɾɊɨɼɧÉ&#x;ɧÉš Éœ ÉŞÉ&#x;Éšɼɢɍɏɢɹɧɨɣ ÉŚÉšɧÉ&#x;ÉŞÉ&#x; ɢ ɊɨɌÉ&#x;ÉłÉ&#x;ɧÉš Éœ ÉŤÉ&#x;ÉŞÉ&#x;É›ɪɚɧɾɣ ɥɨɼɨɹÉ&#x;ɧɾɣ ɨɤɼɚɞ ɤɢɼÉ&#x;ÉœɢÉžɧɨɣ ɎɨɪɌɾ ɍɨ ɍɏɢɼɢɥɨɜɚɧɧɾɌɢ ɭɤɪÉšɲÉ&#x;ɧɢɚɌɢ Éœ ÉœɢÉžÉ&#x; É°ÉœÉ&#x;ɏɨɹɧɾɯ ɭɥɨɪɨÉœ

*4*+ THE NATIVITY, ANASTASIS, KAZANSKAYSA AND SELECTED SAINTS WITH A GILT PLATED OKLAD RUSSIAN (KOSTROMA SCHOOL), CIRCA 1750 7KH IDFLDO IHDWXUHV ÀQHO\ UHQGHUHG LQ GHHS EXW VPRRWK VKDGHV the saturated colours of the composition standing out against the blue background +7,)("(+3,-(./

0+1***2)1*** *4*+ É‘ČżÉŒÉ•ÉŠČżÉ?É‘ČşÉ‹ÉŒÉ‡ČşÉ™ É‚É„ÉˆÉ‡Čş ɋɈ É‹É?ȿɇȺɆɂ ɊɈɀȞȿÉ‹ÉŒȟȺ É‚ É‹ÉˆÉ’ČżÉ‹ÉŒČźÉ‚É™ ČźÉˆ ȺȞ É‹ ÉˆČťÉŠČşÉ ČşÉ†É‚ ČťÉˆČ˝ÉˆÉŠÉˆČžÉ‚É?É• É‚ É‚É ČťÉŠČşÉ‡É‡É•É? É‹ČźÉ™ÉŒÉ•É? É‰ÉˆÉ†ČżÉ“ČżÉ‡É‡ČşÉ™ Čź É‰ÉˆÉ‹ČżÉŠȿȝÉŠČżÉ‡É‡É•Éƒ ɈɄɅȺȞ É‹ É‰ÉˆÉ ÉˆÉ…ÉˆÉŒÉˆÉƒ ɊɈɋɋɂə É„ÉˆÉ‹ÉŒÉŠÉˆÉ†Čş ɈɄɈɅɈ É? É…ɢɤɢ ɧÉš ɨɛɪɚɥɚɯ ɢɍɤɭɍɧɨ ÉœɾɊɨɼɧÉ&#x;ɧɾ Éœ É?ÉĽÉ­É›ɨɤɢɯ ÉŠÉĽÉšÉœɧɾɯ ɏɨɧɚɯ ɧÉšɍɾɳÉ&#x;ɧɧɾÉ&#x; É°ÉœÉ&#x;ÉŹÉš ɤɨɌɊɨɥɢɰɢɢ ÉœÉľÉžÉ&#x;ɼɚɸɏɍɚ ɧÉš É?ɨɼɭÉ›ɨɌ ɎɨɧÉ&#x;

*4,+ THE MOTHER OF GOD FROM A DEISIS RUSSIAN, 18TH CENTURY 3*("()3(./

*4-+ ST. JOHN THE BAPTIST FROM A DEISIS RUSSIAN, 18TH CENTURY -)("(3+(./

061-**2+1***

0+1***2)1***

*4,+ ȻɈȽɈɆȺɌȿɊɖ ɂɁ ȾȿɂɋɍɋɇɈȽɈ ɑɂɇȺ ɊɈɋɋɂə ɣ ȼȿɄ

*4-+ ɋȼ ɂɈȺɇɇ ɄɊȿɋɌɂɌȿɅɖ ɂɁ ȾȿɂɋɍɋɇɈȽɈ ɑɂɇȺ ɊɈɋɋɂə ɣ ȼȿɄ

*4.+ MOTHER OF KAZAN RUSSIAN (CENTRAL RUSSIA, VOLGA REGION), CIRCA 1800 )=,)("()*,)(./

0+1-**2)1-** *4.+ ȻɈȽɈɆȺɌȿɊɖ ɄȺɁȺɇɋɄȺə ɊɈɋɋɂə ɐȿɇɌɊȺɅɖɇȺə ɊɈɋɋɂə ɉɈȼɈɅɀɖȿ ɈɄɈɅɈ ɝ

*4/+ ASCENT OF PROPHET ELIJAH RUSSIAN, 18TH CENTURY )-,+("(+=,+(./

*4/!+ THE MOTHER OF GOD OF THE BURNING BUSH RUSSIAN, 18TH CENTURY )-,=("()6,+(./(

061=**2+1+**

0613**2615**

*4/+ ȼɈɁɇȿɋȿɇɂȿ ɉɊɈɊɈɄȺ ɂɅɂɂ ɊɈɋɋɂə ɇȺɑȺɅɈ ɝɨ ȼȿɄȺ

*4/!+ ȻɈȽɈɆȺɌȿɊɖ ɇȿɈɉȺɅɂɆȺə ɄɍɉɂɇȺ ɊɈɋɋɂə ɣ ȼȿɄ

*40+ THE BLESSED PRINCE ST. ALEXANDER NEVSKY RUSSIAN, 19TH CENTURY 65("(+)(./

*41+ THE MOTHER OF GOD OF VLADIMIR RUSSIAN, CIRCA 1800 ++,)("(6=,-(./

05**261***

04**25**

*40+ ɋȼəɌɈɃ ȻɅȺȽɈȼȿɊɇɕɃ ɄɇəɁɖ ȺɅȿɄɋȺɇȾɊ ɇȿȼɋɄɂɃ ɊɈɋɋɂə ɣ ȼȿɄ

*41+ ȻɈȽɈɆȺɌȿɊɖ ȼɅȺȾɂɆɂɊɋɄȺə ɊɈɋɋɂə ɈɄɈɅɈ ɝ

*42+ A PAINTED ENAMEL ICON OF ST. OLGA OF KIEV “EQUAL TO THE APOSTLESâ€? RUSSIAN, 19TH CENTURY 7KH Ă€UVW 5XV¡ UXOHU WR FRQYHUW WR 2UWKRGR[ &KULVWLDQLW\ depicted frontal, holding a cross and raising her left hand in a gesture of prayer; dressed in regal garments of Byzantine style, her head cover complemented by a halo, turning her gaze away from the viewer, against realistic skies; rendered masterly with painted enamel on porcelain, set in a brass setting decorated with eight hammered rosettes centred by round turquoise cabochons +),-("(6=,-(./

061-**2+1*** *42+ ɊȺɋɉɂɋɇȺə ɗɆȺɅȿȟȺÉ™ É‚É„ÉˆÉ‡Čş É‹ ÉˆČťÉŠČşÉ ÉˆÉ† É‹Čź ÉŠȺȟÉ‡ÉˆČşÉ‰ÉˆÉ‹ÉŒÉˆÉ…É–É‡ÉˆÉƒ ɄɇəȽɂɇɂ ÉˆÉ…É–Č˝É‚ ɊɈɋɋɂə ÉŁ ȟȿÉ„ É„ɧɚÉ?ɢɧɚ ÉˆÉĽÉśÉ?Éš ÉŠÉ&#x;ÉŞÉœÉšÉš ɢɥ ÉŠÉŞÉšÉœɢɏÉ&#x;ÉĽÉ&#x;ÉŁ É„ɢÉ&#x;Éœɍɤɨɣ ÉŠɭɍɢ ɊɪɢɧɚÉœɲɚɚ ɯɪɢɍɏɢÉšɧɍɏÉœɨ ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧÉš ɎɪɨɧɏÉšɼɜɧɨ ÉŤ ɤɪÉ&#x;ɍɏɨɌ Éœ ɪɭɤÉ&#x; ÉˆÉ›ÉĽÉšÉąÉ&#x;ɧɧɚɚ Éœ ɢɌɊÉ&#x;ÉŞÉšɏɨɪɍɤɢÉ&#x; ɨÉžÉ&#x;ɚɧɢɚ Éœ ÉœɢɥÉšɧɏɢɣɍɤɨɌ ɍɏɢɼÉ&#x; ɨɧÉš Éœɨɥɧɨɍɢɏ ÉĽÉ&#x;Éœɭɸ ɪɭɤɭ Éœ ɌɨɼɢɏÉœÉ&#x;ɧɧɨɌ É É&#x;ÉŤÉŹÉ&#x; ɨɏÉœɨɞɚ ÉœÉĄÉ?ɼɚɞ ɨɏ ɌɨɼɚɳÉ&#x;É?ɨɍɚ Ƚɨɼɨɜɭ ÉŤÉœɚɏɨɣ ɨɤɚɣɌɼɚÉ&#x;ÉŹ ɧɢɌÉ› É„ɨɌɊɨɥɢɰɢɚ ÉŠÉŞÉ&#x;ÉžÉŤÉŹÉšÉœÉĽÉ&#x;ɧÉš ɧÉš ɎɨɧÉ&#x; ÉŞÉ&#x;Éšɼɢɍɏɢɹɧɨ ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧɧɾɯ ɧÉ&#x;É›É&#x;ÉŤ ɢ ɌɚɍɏÉ&#x;ɪɍɤɢ ÉœɾɊɨɼɧÉ&#x;ɧÉš Éœ ÉŹÉ&#x;ɯɧɢɤÉ&#x; ɡɌɚɼÉ&#x;Éœɨɣ ɪɨɍɊɢɍɢ Ɋɨ ÉŽÉšɪɎɨɪɭ ɉɨɌÉ&#x;ÉłÉ&#x;ɧÉš Éœ ÉĽÉšɏɭɧɧɭɸ ɪɚɌɭ ɭɤɪÉšɲÉ&#x;ɧɧɭɸ ÉœɨɍÉ&#x;Ɍɜɸ ÉąÉ&#x;ɤÉšɧɧɾɌɢ ɪɨɥÉ&#x;ɏɤÉšɌɢ ÉŤ ɤɪɭÉ?ɼɾɌɢ É›ɢɪɸɥɨÉœɾɌɢ ɤɚɛɨɲɨɧÉšɌɢ Éœ É°É&#x;ɧɏɪÉ&#x;

*43+ A PORCELAIN EGG WITH A BUNCH OF FLOWERS RUSSIAN, CIRCA 1800 $ YDULHW\ RI FRORXUIXO Ă RZHUV DJDLQVW D JUH\ RYDO EDFNJURXQG the rest of the surface pink with gold decorative scrolls 66,-(./(?BF?

05**261*** *43+ ÉŽČşÉŠÉŽÉˆÉŠÉˆČźÉˆČż ɉȺɋÉ?ČşÉ…É–É‡ÉˆČż əɃÉ?Ɉ É‹ ČťÉ?É„ČżÉŒÉˆÉ† É?ȟȿÉŒÉˆČź ɊɈɋɋɂə ɈɄɈɅɈ É?. ÉœɾɍɨɏÉš ÉŤÉŚ

**4+ A PORCELAIN EGG WITH ST. SERAPHIM OF SAROV RUSSIAN, 19TH CENTURY

***+ A PORCELAIN EGG OF ST. MARY MAGDALENE RUSSIAN, 19TH CENTURY

Looking away from the beholder, his mature face framed by white hair and a beard, raising his hand RQ KLV FKHVW KLV QLPEXV GHĂ€QHG E\ a simple rim, on blue ground with gold perimeter 6*(./(?BF?

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 7(./(?BF?

061+**2615**

061-**2+1***

**4+ ÉŽČşÉŠÉŽÉˆÉŠÉˆČźÉˆČż ɉȺɋÉ?ČşÉ…É–É‡ÉˆČż əɃÉ?Ɉ É‹ ÉˆČťÉŠČşÉ ÉˆÉ† ɉɊȿɉ ɋȿɊȺɎɂɆȺ É‹ČşÉŠÉˆČźÉ‹É„ÉˆČ˝Éˆ ɊɈɋɋɂə ÉŁ ȟȿÉ„ ÉœɾɍɨɏÉš ÉŤÉŚ

***+ ÉŽČşÉŠÉŽÉˆÉŠÉˆČźÉˆČż ɉȺɋÉ?ČşÉ…É–É‡ÉˆČż əɃÉ?Ɉ É‹ ÉˆČťÉŠČşÉ ÉˆÉ† É‹Čź ɆȺɊɂɂ ɆȺȽȞȺɅɂɇɕ ɊɈɋɋɂə ÉŁ ȟȿÉ„ ÉœɾɍɨɏÉš ÉŤÉŚ

**,+ A PORCELAIN EGG WITH THE MOTHER OF GOD FROM THE SCENE OF THE ANNUNCIATION RUSSIAN, 19TH CENTURY 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 6+(./(?BF?

061***2+1*** **,+ ÉŽČşÉŠÉŽÉˆÉŠÉˆČźÉˆČż ɉȺɋÉ?ČşÉ…É–É‡ÉˆČż əɃÉ?Ɉ É‹ ÉˆČťÉŠČşÉ ÉˆÉ† ČťÉˆČ˝ÉˆÉŠÉˆČžÉ‚É?É• É‚É É‹É?ȿɇɕ ȝɅȺȽɈȟȿɓȿɇɂə ɊɈɋɋɂə ÉŁ ȟȿÉ„ ÉœɾɍɨɏÉš ÉŤÉŚ

**.+ A PORCELAIN EASTER EGG RUSSIAN, 19TH CENTURY **-+ A PORCELAIN EASTER EGG RUSSIAN, CIRCA 1800 Representing 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 back showing the &KDOLFH Ă DQNHG E\ WZR FKHUXEV RQ white ground =,5(./(?BF?

061-**2+1*** **-+ ÉŽČşÉŠÉŽÉˆÉŠÉˆČźÉˆČż ɉȺɋÉ?ČşÉ…É–É‡ÉˆČż əɃÉ?Ɉ ɊɈɋɋɂə ɈɄɈɅɈ É? É‹ ɼɢɰÉ&#x;Éœɨɣ ɍɏɨɪɨɧɾ ɚɣɰÉš ÉŠÉŞÉ&#x;ÉžÉŤÉŹÉšÉœÉĽÉ&#x;ɧÉš ÉŤÉ°É&#x;ɧÉš ȟɨɍɤɪÉ&#x;ÉŤÉ&#x;ɧɢɚ É?ɪɢɍɏÉš ÉšɧÉ?É&#x;ÉĽ ɊɨɞɞÉ&#x;ÉŞÉ É˘ÉœÉšÉ&#x;ÉŹ Ɋɼɢɏɭ É?ɪɨÉ›ɧɢɰɾ ɏɪɨÉ&#x; ÉŤÉŹÉŞÉšÉ É&#x;ÉŁ Éœ ɢɥɭɌɼÉ&#x;ɧɢɢ Ɋɚɞɚɸɏ ɧɚɥÉ&#x;ÉŚÉś É‹ ɨɛɪɚɏɧɨɣ ɍɏɨɪɨɧɾ ɧÉš É›É&#x;ɼɨɌ ɎɨɧÉ&#x; ÉŤ ɥɨɼɨɏɨɌɢ ɭɥɨɪÉšɌɢ ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧÉš ČżÉœÉŻÉšɪɢɍɏɢɹÉ&#x;ɍɤɚɚ É‘ÉšɲÉš ÉŤ ÉžÉœÉ­ÉŚÉš ÉŻÉ&#x;ÉŞÉ­ÉœɢɌÉšɌɢ ÉœɾɍɨɏÉš ÉŤÉŚ

In comparison to the previous lot, this one is limited to the most basic iconographic elements; Christ Ă RDWLQJ DERYH WKH VDUFRSKDJXV an angel supporting the stone and opposite a guard; the back of the Egg in cinnabar inscribed in Cyrillic, Christ is Risen 5(./(?BF?

0+1***2)1*** **.+ ÉŽČşÉŠÉŽÉˆÉŠÉˆČźÉˆČż ɉȺɋÉ?ČşÉ…É–É‡ÉˆČż əɃÉ?Ɉ ɊɈɋɋɂə ÉŁ ȟȿÉ„ ɉɨ ÉŤÉŞÉšÉœɧÉ&#x;ɧɢɸ ÉŤ ÉŠÉŞÉ&#x;ɞɾɞɭɳɢɌ ɞɚɧɧɾɣ ɼɨɏ ɍɨÉžÉ&#x;ÉŞÉ É˘ÉŹ ɼɢɲɜ ɨɍɧɨÉœɧɭɸ ɍɤɭɊɭɸ ɢɤɨɧɨÉ?ÉŞÉšɎɢɸ ɍɨÉ›ɾɏɢɚ É?ɪɢɍɏɨɍ ÉŠÉšɪɢɏ Éœɨɍɍɏɚɜ ɢɥ É?ɪɨÉ›ɧɢɰɾ ÉšɧÉ?É&#x;ÉĽ ɊɨɞɞÉ&#x;ÉŞÉ É˘ÉœÉšÉ&#x;ÉŹ É?ɪɨÉ›ɨÉœɭɸ Ɋɼɢɏɭ Ɋɨ ɞɪɭÉ?ɭɸ ɍɏɨɪɨɧɭ ɨɏ ÉšɧÉ?É&#x;ÉĽÉš ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧ ÉĽÉ&#x;É?ɢɨɧÉ&#x;ÉŞ É‹ ɨɛɪɚɏɧɨɣ ɍɏɨɪɨɧɾ ɚɣɰɨ ÉœɾɤɪÉšɲÉ&#x;ɧɨ ɤɢɧɨɜɚɪɜɸ Ɋɨ ɤɨɏɨɪɨɣ ɥɨɼɨɏɾɌɢ É›ɭɤɜɚɌɢ ɊɪɨɯɨÉžɢɏ ɊɚɍɯɚɼɜɧɨÉ&#x; ɊɪɢÉœÉ&#x;ÉŹÉŤÉŹÉœɢÉ&#x; ŠÉ?ɪɢɍɏɨɍ ȟɨɍɤɪÉ&#x;ÉŤÉ&#x; ÂŞ ÉœɾɍɨɏÉš ÉŤÉŚ

**/+ A PORCELAIN EASTER EGG RUSSIAN, 19TH CENTURY 7KH UREXVW ÀJXUH RI &KULVW ZLWK D red chiton dominating the image; to the left an angel bearing the marble slab, to the right a fully armed soldier; the reverse in gold, VKRZLQJ WKH &URVV à DQNHG E\ WKH Gospel and the Tablets of the law 7,-(./(?BF?

0+1-**2)1-** **/+ ÉŽČşÉŠÉŽÉˆÉŠÉˆČźÉˆČż ɉȺɋÉ?ČşÉ…É–É‡ÉˆČż əɃÉ?Ɉ ɊɈɋɋɂə ÉŁ ȟȿÉ„ ɉɼɨɏɧɚɚ ɎɢÉ?É­ÉŞÉš É?ɪɢɍɏÉš Éœ ɤɪÉšɍɧɨɌ ɯɢɏɨɧÉ&#x; ÉŠÉŞÉ&#x;ɨɛɼɚɞɚÉ&#x;ÉŹ Éœ ɤɨɌɊɨɥɢɰɢɢ É‹ÉĽÉ&#x;ɜɚ ɨɏ ɧÉ&#x;É?ɨ Âą ÉšɧÉ?É&#x;ÉĽ ɊɨɞɞÉ&#x;ÉŞÉ É˘ÉœÉšɸɳɢɣ Ɋɼɢɏɭ É?ɪɨÉ›ɧɢɰɾ ÉŤÉŠÉŞÉšÉœÉš Âą ÉœÉ¨É¨ÉŞÉ­É É&#x;ɧɧɾɣ ÉĽÉ&#x;É?ɢɨɧÉ&#x;ÉŞ É‹ ɨɛɪɚɏɧɨɣ ɍɏɨɪɨɧɾ ɧÉš ɥɨɼɨɏɨɌ ɎɨɧÉ&#x; ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧ É„ÉŞÉ&#x;ÉŤÉŹ ÉŤ ČżÉœÉšɧÉ?É&#x;ɼɢÉ&#x;ÉŚ ɢ É‹É¤ÉŞÉ˘É ÉšɼɚɌɢ É ÉšɊɨÉœÉ&#x;ÉžÉ&#x;ÉŁ ÉœɾɍɨɏÉš ÉŤÉŚ

**0+ A GOLD AND ENAMEL EASTER EGG SHOWING ST. NICHOLAS RUSSIAN, 19TH CENTURY 7KH KDOI Ă€JXUH RI WKH VDLQW UHQGHUHG LQ SDLQWHG HQDPHO SRUWUD\HG UHDOLVWLFDOO\ ZLWK EULJKW FRORXUV dressed in Episcopal attire and bearing a gold and gem-studded mitre, his right hand raised in benediction, carrying a large Book of Gospels, the engraved cartouche on the back of the egg including WKH WURSDULRQ WR WKH VDLQW ´<RX ZHUH UHYHDOHG WR \RXU Ă RFN DV D PHDVXUH RI IDLWK \RX ZHUH WKH LPDJH RI humility and a teacher of self-controlâ€?, with a loop for hanging +,5(./(?BF?

061-**2+1*** **0+ ɉȺɋÉ?ČşÉ…É–É‡ÉˆČż əɃÉ?Ɉ É‹ ÉˆČťÉŠČşÉ ÉˆÉ† É‹Čź É‡É‚É„ÉˆÉ…ČşÉ™ É‘É?ČžÉˆÉŒČźÉˆÉŠÉ?Čş ɊɈɋɋɂə ÉŁ ȟȿÉ„ ÉŠÉ&#x;ÉšɼɢɍɏɢɹɧɨÉ&#x; ɊɨɚɍɧɨÉ&#x; ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧɢÉ&#x; ÉŤÉœɚɏɨÉ?ɨ ÉœɾɊɨɼɧÉ&#x;ɧɨ ɚɪɤɨɣ ÉŞÉšɍɊɢɍɧɨɣ ɡɌÉšɼɜɸ Ɉɧ ɨÉžÉ&#x;ÉŹ Éœ É&#x;ɊɢɍɤɨɊɍɤɨÉ&#x; ɨɛɼɚɹÉ&#x;ɧɢÉ&#x; ɢ ɥɨɼɨɏɭɸ Ɍɢɏɪɭ ÉŤ ÉŤÉšɌɨɰÉœÉ&#x;ÉŹÉšɌɢ ČżÉ?ɨ ÉŠÉŞÉšÉœÉšÉš ɪɭɤÉš ɊɨÉžɧɚɏÉš Éœ ɛɼɚÉ?ɨɍɼɨÉœɼɚɸɳÉ&#x;ÉŚ É É&#x;ÉŤÉŹÉ&#x; Éœ ÉĽÉ&#x;Éœɨɣ ɨɧ ÉžÉ&#x;ÉŞÉ É˘ÉŹ É›ɨɼɜɲɨÉ&#x; ČżÉœÉšɧÉ?É&#x;ɼɢÉ&#x; Ƚɪɚɜɢɪɨɜɚɧɧɾɣ ɤÉšɪɏɭɲ ɧÉš ɨɛɪɚɏɧɨɣ ɍɏɨɪɨɧÉ&#x; ɍɨÉžÉ&#x;ÉŞÉ É˘ÉŹ ɏɪɨɊɚɪɜ ÉŠÉŞÉ&#x;ɊɨÉžɨÉ›ɧɨɌɭ ŠÉ‰ÉŞÉšÉœɢɼɨ ÉœÉ&#x;ÉŞÉľ ɢ ɨɛɪɚɥ ɤɪɨɏɨɍɏɢ ÉœɨɥÉžÉ&#x;ÉŞÉ Éšɧɢɚ ɭɹɢɏÉ&#x;ÉĽÉš ɚɜɢ ÉŹÉš ɍɏɚɞɭ ÉŹÉœɨÉ&#x;ÉŚÉ­ ÉšÉ É&#x; ÉœÉ&#x;ÉłÉ&#x;ÉŁ ɢɍɏɢɧɚª É™ɣɰɨ ɍɧÉšÉ›É É&#x;ɧɨ ɤɨɼɜɰɨɌ ɞɼɚ ɊɨɞɜÉ&#x;ɍɤɢ

opened

**1+ A HAND CROSS PRODUCED IN THE HOLY LAND ESPECIALLY FOR THE RUSSIAN PILGRIMS AND AN OVAL PAINTED ENAMEL PANAGIA-RELIQUARY The cross: Palestinian, 19th century; carved in high relief on PRWKHU RI SHDUO WKH FHQWUDO ÀJXUH RI WKH FUXFLÀHG &KULVW à DQNHG by His Mother and St. John the Baptist in mourning, above the Holy Spirit in the form of a descending dove against a rayed background, below the skull of Adam; the lower part of the vertical crossbar showing St. Catherine of Alexandria, crowned, holding a sword and a wheel, 20 x 11.7 cm The Panagia-reliquary: Russian (?), 19th century; depicting the Mother of God of the Passion, opening to reveal a relic which according to the enclosed inscription pertains to the True Cross; the pendant complemented by a long chain; 4 cm high

0-**2=**

**1+ ÉŠÉ?ɑɇɈɃ É„ÉŠČżÉ‹ÉŒ ČźÉ•É‰ÉˆÉ…É‡ČżÉ‡É‡É•Éƒ ČźÉˆ É‹ČźÉ™ÉŒÉˆÉƒ É ČżÉ†É…Čż ɋɉȿÉ?É‚ČşÉ…É–É‡Éˆ ȞɅə ÉŠÉ?É‹É‹É„É‚É? É‰ČşÉ…ÉˆÉ†É‡É‚É„ÉˆČź É‚ ɈȟȺɅɖɇȺə ɊȺɋɉɂɋɇȺə ɉȺɇȺȽÉ‚É™ ɆɈɓȿȟÉ‚É„ É„ÉŞÉ&#x;ÉŤÉŹ ɉɚɼÉ&#x;ɍɏɢɧÉš ÉŁ ÉœÉ&#x;ɤ É„ÉŞÉ&#x;ÉŤÉŹ ÉœɾɪÉ&#x;ÉĄÉšɧ Éœ ÉœɾɍɨɤɨɌ ÉŞÉ&#x;ÉĽÉśÉ&#x;ÉŽÉ&#x; Ɋɨ ÉŠÉ&#x;ÉŞÉĽÉšɌɭɏɪɨÉœɨɣ ɨɍɧɨÉœÉ&#x; Čź É°É&#x;ɧɏɪÉ&#x; ɤɨɌɊɨɥɢɰɢɢ ÉŠÉšɍɊɚɏɢÉ&#x; É?ɪɢɍɏɨÉœɨ ɤɨɏɨɪɨɌɭ ÉŠÉŞÉ&#x;Éžɍɏɨɚɏ ɍɤɨɪÉ›ɚɳɢÉ&#x; ȝɨÉ?ɨɌɚɏÉ&#x;ÉŞÉś ɢ É‚ɨÉšɧɧ É„ÉŞÉ&#x;ɍɏɢɏÉ&#x;ÉĽÉś ɇɚɞ ɧɢɌɢ ÉŠÉšɪɢɏ Ȟɭɯ É‹Éœɚɏɨɣ Éœ ÉœɢÉžÉ&#x; É?ɨɼɭɛɚ ɧÉš ɎɨɧÉ&#x; ɢɥ ÉŞÉšɍɯɨÉžɚɳɢɯɍɚ ÉĽÉ­ÉąÉ&#x;ÉŁ ȟɧɢɥɭ ɊɨÉž ɤɪÉ&#x;ɍɏɨɌ Âą ÉąÉ&#x;ÉŞÉ&#x;ÉŠ ÉŠÉ&#x;ÉŞÉœɨÉ?ɨ ÉąÉ&#x;ɼɨÉœÉ&#x;ɤÉš ȺɞɚɌɚ Čź É§É˘É É§É&#x;ÉŁ ɹɚɍɏɢ ÉœÉ&#x;ɪɏɢɤÉšɼɜɧɨɣ ÉŠÉ&#x;ÉŞÉ&#x;ɤɼɚɞɢɧɾ ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧÉš ÉŤÉœ ȿɤɚɏÉ&#x;ɪɢɧÉš ȺɼÉ&#x;ɤɍÉšɧÉžɪɢɣɍɤɚɚ É­ÉœÉ&#x;ɧɹÉšɧɧɚɚ ɤɨɪɨɧɨɣ ɢ ÉžÉ&#x;ÉŞÉ ÉšÉłÉšÉš ÉŚÉ&#x;Éą ÉŤ ɤɨɼÉ&#x;ɍɨɌ ÉŻ ÉŤÉŚ ɉɚɧÉšÉ?ɢɚ ɌɨɳÉ&#x;Éœɢɤ ÉŠɨɍɍɢɚ " ÉŁ ÉœÉ&#x;ɤ Čź É°É&#x;ɧɏɪÉ&#x; ÉŠÉšɧÉšÉ?ɢɢ Âą ɨɛɪɚɥ ŠȝɨÉ?ɨɌɚɏÉ&#x;ÉŞÉś É‹ÉŹÉŞÉšɍɏɧÉšɚª ȟɧɭɏɪɢ ÉŚÉ&#x;ɞɚɼɜɨɧÉš ɍɨÉ?ÉĽÉšɍɧɨ ɧɚɞɊɢɍɢ ÉŻÉŞÉšɧɚɏɍɚ ɹɚɍɏɢɰɾ É‘É&#x;ɍɏɧɨÉ?ɨ É„ÉŞÉ&#x;ÉŤÉŹÉš ȽɨɍɊɨÉžɧɚ ɉɚɧÉšÉ?ɢɚ ɊɨɞɜÉ&#x;ɲÉ&#x;ɧÉš ɧÉš É°É&#x;ɊɨɹɤÉ&#x; ȟɾɍɨɏÉš ɢɤɨɧɾ ÉŤÉŚ

**2+ ALOIS GUSTAV ROCKSTUHL (1798-1877), AN OVAL MINIATURE PORTRAIT OF TSAR ALEXANDER II OF RUSSIA, PAINTED IN THE PERIOD 1855-1877 Tsar Alexander II of Russia (1818-1881), bust-length, facing right, in red uniform with embroidered collar and epaulettes, wearing the blue moirĂŠ silk sash and Star of the Imperial Russian Order of St. Andrew, complemented by numerous other decorations, including the cross of the Order of St. George, signed on the left Rockstuhl, with a gilt rim, set in a black lacquered wooden mount >?$(@9D#D<B#(-,-("(),-(./8(#?$(H$##B%F(66,-("(7,-(./(

031***241*** Note: A comparable portrait, presented in a gilt mount, was sold at Christie’s on 13 June 2007, sale 7507, lot 187.

**2+ ɊɈɄɒɌÉ?É…É– ČşÉ…ÉˆÉ‚É Č˝É?É‹ÉŒȺȟ ɈȟȺɅɖɇȺə É†É‚É‡É‚ČşÉŒÉ˜ÉŠČş É‹ É‰ÉˆÉŠÉŒÉŠČżÉŒÉˆÉ† ÉŠÉˆÉ‹É‹É‚ÉƒÉ‹É„ÉˆČ˝Éˆ É‚É†É‰ČżÉŠČşÉŒÉˆÉŠČş ȺɅȿɄɋȺɇȞɊȺ ,, É‰ÉŠÉ‚ČťÉ…É‚É É‚ÉŒČżÉ…É–É‡Éˆ ȞȺɌɂɊÉ?ȿɆȺə É‹ ɉɈ É? ÉŠɨɍɍɢɣɍɤɢɣ ɢɌɊÉ&#x;ÉŞÉšɏɨɪ ȺɼÉ&#x;ɤɍÉšɧɞɪ ,, ɍɨ ɍɤɼɨɧÉ&#x;ɧɧɨɣ ɹɭɏɜ ÉœÉŠÉŞÉšÉœɨ É?ɨɼɨÉœɨɣ ÉŠÉŞÉ&#x;ÉžÉŤÉŹÉšÉœÉĽÉ&#x;ɧ Éœ ɊɨÉ?ÉŞÉ­ÉžɧɨɌ ɢɥɨÉ›ÉŞÉšÉ É&#x;ɧɢɢ Ɉɧ ɨÉžÉ&#x;ÉŹ Éœ ɤɪÉšɍɧɭɸ ÉœɨÉ&#x;ɧɧɭɸ ɭɧɢɎɨɪɌɭ ÉŤ ÉœɾɲɢɏɾɌ ÉœɨɪɨɏɨɌ ɢ ɡɊɨɼÉ&#x;ÉŹÉšɌɢ ɢ ÉŠÉ&#x;ÉŞÉ&#x;ÉœɚɥÉšɧɧɭɸ Ɋɨ ÉŹÉšɼɢɢ ɍɢɧɢɌ ÉŚÉ­ÉšɪɨÉœɾɌ ɲÉ&#x;ɼɤɨÉœɾɌ ɊɨɚɍɨɌ ɇɚ É?ÉŞÉ­Éžɢ ɢɌɊÉ&#x;ÉŞÉšɏɨɪÉš Âą ɨɪÉžÉ&#x;ɧÉš ÉŤÉœ ȺɧɞɪÉ&#x;Éš ɉÉ&#x;ÉŞÉœɨɥɜɚɧɧɨÉ?ɨ ɢ ÉŤÉœ Č˝É&#x;ɨɪÉ?ɢɚ ɉɨÉ›É&#x;ÉžɨɧɨɍɰÉš ɧÉšÉ?ɪɚɞɾ ɢ ɥɧÉšɤɢ ɨɏɼɢɹɢɚ É‹ÉĽÉ&#x;ɜɚ Âą ɊɨÉžɊɢɍɜ ÉŻÉ­ÉžÉ¨É É§É˘É¤Éš ɆɢɧɢÉšɏɸɪÉš ÉœÉŤÉŹÉšÉœÉĽÉ&#x;ɧÉš Éœ ɊɨɥɨɼɨɹÉ&#x;ɧɧɭɸ ɪɚɌɭ ɢ ɊɨɌÉ&#x;ÉłÉ&#x;ɧÉš Éœ Ɋɨɤɪɾɏɭɸ ÉąÉ&#x;ɪɧɾɌ ÉĽÉšɤɨɌ ÉžÉ&#x;ÉŞÉ&#x;Éœɚɧɧɭɸ ɨɊɪɚɜɭ ɉɨɪɏɪÉ&#x;ÉŹ É›É&#x;ÉĄ ɨɊɪÉšÉœÉľ ÉŻ ÉŤÉŚ ɊɨɪɏɪÉ&#x;ÉŹ Éœ ɨɊɪɚɜÉ&#x; ÉŻ ÉŤÉŚ É‰É¨ÉŻÉ¨É ÉšÉš ɌɢɧɢÉšɏɸɪÉš Éœ ɥɨɼɨɹÉ&#x;ɧɨɣ ɨɊɪɚɜÉ&#x; É›ɾɼÉš ÉœɾɍɏÉšÉœÉĽÉ&#x;ɧÉš ɤÉšɤ ɼɨɏ ɢ ɊɪɨɞɚɧÉš ɧÉš ɏɨɪÉ?ɚɯ ÉšɭɤɰɢɨɧÉš ŠÉ„ɪɢɍɏɢɥª ɢɸɧɚ É?ɨɞɚ ɤɨÉžɨÉœɾɣ ɧɨɌÉ&#x;ÉŞ ÉšɭɤɰɢɨɧÉš

**3+ A GOLD IMPERIAL PRESENTATION CASE RUSSIAN, MAKER’S MARK OF SERGEI FEDOROVICH VERKHOVTSEV, ST. PETERSBURG, 1880 An oblong cigarette case, the cover applied with a diamond-set Imperial double-headed eagle on the upper left corner, opening by pushing a gold thumb-piece set with a cabochon sapphire, marked inside base, 56 zolotniks 5,-(./(;9%F

0+1-**231*** **3+ É ÉˆÉ…ÉˆÉŒÉˆÉƒ ȞȺÉŠÉ‹ÉŒȟȿɇɇɕɃ ɉɈɊɌɋɂȽȺÉŠ ɊɈɋɋɂə É„É…ČżÉƒÉ†Éˆ É†ČşÉ‹ÉŒČżÉŠČş ɋȿɊȽȿÉ™ ÉŽȿȞÉˆÉŠÉˆČźÉ‚É‘Čş ȟȿÉŠÉ?ÉˆČźÉ?ȿȟȺ É‹ČşÉ‡É„ÉŒ É‰ČżÉŒČżÉŠČťÉ?ÉŠČ˝ É? ɉɪɨÉžɨɼÉ?ɨɜɚɏɾɣ ɊɨɪɏɍɢÉ?ɚɪ ÉŤ ɢɧɤɪɭɍɏÉšɰɢÉ&#x;ÉŁ É›ɪɢɼɼɢÉšɧɏÉšɌɢ Éœ ɎɨɪɌÉ&#x; ɢɌɊÉ&#x;ɪɍɤɨÉ?ɨ ɞɜɭÉ?ÉĽÉšÉœɨÉ?ɨ ɨɪɼÉš ɧÉš ɤɪɾɲɤÉ&#x; Éœ ÉœÉ&#x;ɪɯɧÉ&#x;ÉŚ ÉĽÉ&#x;ÉœɨɌ É­É?ÉĽÉ­ ɈɏɤɪɾɜɚÉ&#x;ÉŹÉŤÉš ɧÉšÉ ÉšɏɢÉ&#x;ÉŚ ɥɨɼɨɏɨɣ ɤɧɨɊɤɢ ɢɧɤɪɭɍɏɢɪɨɜɚɧɧɨɣ ÉŤÉšɊɎɢɪɨɌ ɤɚɛɨɲɨɧɨɌ ȟɧɭɏɪɢ ɢɌÉ&#x;É&#x;ÉŹÉŤÉš ɤɼÉ&#x;ɣɌɨ ÉŤ ɊɪɨÉ›ɨɣ ɥɨɼɨɏÉš ɥɨɼɨɏɧɢɤɨÉœ ȞɼɢɧÉš ÉŤÉŚ

*,4+ A FINE GOLD-MOUNTED CARNELIAN AND IVORY TABLE SEAL RUSSIAN, CIRCA 1850 7KH LYRU\ KDQGOH FDUYHG DV D WDSHULQJ REORQJ ÀWWHG LQ D JROG oval base (14K), chased with twisted and foliage decoration, the carnelian seal engraved with the double-headed Russian Imperial Eagle >?$(.<D%$;B<%(H$<;'(),=("(),6(./8(9L$D<;;(?$BF?#'(7,+(./

041***251*** Provenance: By repute, Alexander II. Grand Duke George Alexandrovich. Grand Duchess Olga Alexandrovna. Asanta Tamara Gagarina Kulikovsky-Romanov. Byington Collection, Canada. According to family tradition, the Table Seal belonged to Emperor Alexander II and passed to Grand Duchess Olga Alexandranova from the estate of her brother George. The Seal is apparently acknowledged as belonging in The Byington Collection, see Tzar: The Lost world of Nicholas and Alexandra by Peter Kurth (p.223); and Olga Romanov: Russia’s Last Grand Duchess by Patricia Phenix (p. 296)

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!"#$%&%"#'(")('*+, The type of the relationship between La Parole Divine Limited (hereinafter reIHUUHG WR DV ´WKH $XFWLRQHHUVÂľ WKH 6HOOHUV DV GHĂ€QHG KHUHLQEHORZ DQG %X\HUV DV GHĂ€QHG KHUHLQEHORZ DQG WKH WHUPV RQ ZKLFK WKH $XFWLRQHHUV FRQWUDFW ZLWK %X\HUV are outlined below. 1) The Auctioneers’ and Sellers’ legal relationship with prospective Buyers is regulated by: i) these Condition of Sale; ii) the Consignment Agreement for Sellers; iii) any additional notices and terms printed in the sale catalogue as amended by any saleroom notice or the auctioneer’s announcement at the auction. 2) The Auctioneers’ act as agent for the Seller. Therefore, a sale contract is made directly between the Seller and the Buyer. The Auctioneers may own a lot (and in such instances acts in a principal capacity as Seller) and/or may KDYH D OHJDO EHQHĂ€FLDO RU Ă€QDQFLDO LQWHUHVW LQ D ORW DV VHFXUHG FUHGLWRU DQG RU otherwise. 3) DEFINITIONS Auctioneers means LA PAROLE DIVINE LTD, a limited a company registered under the laws of Cyprus under reg. No HE 245027 having its registered RIĂ€FH DW 3URPLWKHRV 6WUHHW $JLRV 'RPHWLRV 1LFRVLD &\SUXV 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 the Buyer and any artist’s re-sale right levy payable in respect of the sale of WKH 3URSHUW\ DV GHĂ€QHG LQ WKH &RQVLJQPHQW $JUHHPHQW LQFOXGLQJ DQ DPRXQW in respect of any applicable VAT thereon; Buyer’s Premium means the commission payable by the Buyer on the +DPPHU 3ULFH DV GHĂ€QHG KHUHLQEHORZ DW WKH UDWH RI RI WKH +DPPHU 3ULFH RI HDFK ORW XS WR DQG LQFOXGLQJ ½ DQG RQ WKH H[FHVV RI WKH Hammer Price above !15,000; Hammer Price means the highest bid accepted by the auctioneer by the fall of the hammer, or in the case of a post-auction sale, the agreed sale price; Purchase Price means the Hammer Price and the applicable Buyer’s Premium and VAT; Reserve PHDQV WKH FRQĂ€GHQWLDO PLQLPXP +DPPHU 3ULFH DW ZKLFK WKH 6HOOHU has agreed to sell a Property lot; Seller means the person offering a Property lot for sale (including their agent (other than the Auctioneers), executors or personal representatives);

knowledge, and generally accepted research and scholarship at the time. d. Estimates of the selling price of the Property lots should not be depended on as the price at which the item will sell or its value on any other grounds. 5) AT THE AUCTION a. The Auctioneers have the right, at our complete discretion, to refuse admission to the premises or participation in the auction and to reject any bid; b. Potential Buyers must complete and sign a bidder registration form and SURYLGH LGHQWLÀFDWLRQ :H PD\ UHTXLUH EDQN GHWDLOV IURP ZKLFK SD\PHQW ZLOO EH PDGH RU RWKHU ÀQDQFLDO UHIHUHQFHV :KHQ PDNLQJ D ELG D Bidder is accepting personal liability to pay the Purchase Price, including the Buyer’s Premium and all applicable taxes, plus all other applicable charges. Bidders are personally liable for their bid; F 7KH %LGGHU PD\ DFW DV DJHQW RQ EHKDOI RI DQ LGHQWLÀHG WKLUG SDUW\ LI LW KDV been explicitly agreed in writing with the Auctioneers before the commencement of the sale. We will only look to the principal for payment, but Bidders acting as agent are jointly and severally liable with their principal; d. If Bidders are not able to attend the auction, or bid via an agent or by telephone, Auctioneers will carry out absentee written bids provided they are delivered to us prior to the sale. Bids must be placed in Euros. Please refer to the catalogue for the Absentee Bids Form. If we receive written bids on D VSHFLÀF ORW IRU LGHQWLFDO DPRXQWV WKH ÀUVW ZULWWHQ ELG WR EH UHFHLYHG DQG accepted will have priority. Provided that we have exercised reasonable care in 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. If a Bidder makes arrangements with the Auctioneers prior to the start of the 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; f. Unless otherwise stated, all Property lots are offered subject to a Reserve. The Reserve will not be higher than the low estimate printed in the catalogue. The auctioneer may open the bidding on any lot below the Reserve by placing a bid on behalf of the Seller. The auctioneer may continue to bid on behalf of the Seller up to the amount of the Reserve, either by placing successive bids or by placing bids in response to other bidders; g. The auctioneer has the right to exercise discretion in refusing any bid, advancing the bidding or withdrawing any Property lot. In the case of error or dispute, whether during or after the sale, he may take such action as he UHDVRQDEO\ VHHV ÀW ,I DQ\ GLVSXWH DULVHV DIWHU WKH VDOH DQG LQ WKH DEVHQFH RI any evidence to the contrary, the sale record maintained by the auctioneer will be conclusive;

VAT is Value Added Tax at the current rate. 4) CATALOGUE DESCRIPTIONS AND CONDITION The Auctioneers sell the Property lots as described or otherwise in the condition they are in at the time of the sale, based on the following methods: a. Due to the type and age of the lots sold, they will seldom be in perfect condition, and are likely to show signs of wear, damage, restoration or repair. Any reference to condition in a catalogue entry will not equate to a full description of condition. Condition reports are available on request. Each lot offered for sale by the Auctioneers is available for inspection prior to the sale, and we recommend that you always view the Property in person. Illustrations DUH IRU LGHQWLÀFDWLRQ SXUSRVHV RQO\ DQG FDQQRW FRQYH\ WKH IXOO FRQGLWLRQ RI D Property lot; b. All dimensions of the Property lots in the catalogue entries are approximate. c. Any statements made by the Auctioneers about any Property lot, whether 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 rather is a statement of opinion. Our opinions have been formed genuinely and in accordance with a reasonable standard of care, taking into account information provided by the Seller, the Auctioneers’ scholarship and technical

j. Subject to the auctioneer’s reasonable discretion, the highest Bidder recognized by the auctioneer will be the Buyer. The striking of the auctioneer’s hammer marks the acceptance of the highest bid and the conclusion of the contract for sale between the Seller and the Buyer. Risk and responsibility for the Property lot passes to the Buyer at the expiration of three calendar days from the date of the sale or on collection by the Buyer if earlier. 6) AFTER THE AUCTION a. The Buyer must pay the Purchase Price for a Property lot and any Buyer’s Expenses immediately after the sale. This applies regardless if requirements for export, import or other permits apply; b. If the Artist’s Resale Right Regulations 2006 (EU Directive 2001/84/EC) apply to the Property lot, the Buyer also agrees to pay the Auctioneers an amount equal to the relapse royalty provided for in those Regulations. We are responsible to pay such amount to the artist’s collection agent on behalf of the Buyer; c. The Buyer will not acquire title to the Property lot until the Purchase Price and Buyer’s Expenses have been received by the Auctioneers in cleared funds. Any earlier release does not affect the passing of title or the Buyer’s unconditional obligation to pay the Purchase Price and Buyer’s Expenses even in circumstances where we have released the lot to the Buyer. We shall be

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 obligations as we shall require, including completing any anti-money launderLQJ ÀQDQFLQJ FKHFNV ZH PD\ UHTXLUH WR RXU VDWLVIDFWLRQ ,Q WKH HYHQW D %X\HU IDLOV WR FRPSOHWH DQ\ DQWL PRQH\ ODXQGHULQJ ÀQDQFLQJ FKHFNV WR RXU VDWLVIDFtion, the Auctioneers shall be entitled to cancel the sale and to take any other actions that are required or permitted under applicable law. Subject to this the Buyer shall collect purchased Property lots within two calendar days from the date of sale unless otherwise agreed between us and the Buyer; e. Although we shall use reasonable efforts to take care when handling, packing and shipping a purchased Property lot and in selecting third parties for these purposes, we are not liable for the acts or omissions of any such third parties; f. Unless otherwise agreed by us in writing, the fact that the Buyer wishes 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 charges on late payment. If the Buyer requests us to apply for an export licence on his or her behalf, we shall be entitled to make a charge for this service. We shall not be obliged to rescind a sale nor to refund any interest or other expenses incurred by the Buyer where payment is made by the Buyer in circumstances where an export licence is required; g. If the Buyer fails to make payment in full in good cleared funds within 7 days after the auction, we shall have the right to exercise a number of legal rights and remedies. These include, but are not limited to the following: 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;

7) WARRANTY In addition to the Auctioneers’ liability to Buyers set out in clause 4 of these Conditions, but subject to the terms and conditions of this paragraph, the Auctioneers warrant for a period of one year that if they sell a Property lot ZKLFK LV ODWHU IRXQG WR EH D IRUJHU\ DV GHÀQHG KHUHLQEHORZ WKH\ ZLOO FDQFHO the sale and refund the Buyer the original purchase price paid for the Property lot in the currency of the original sale. A forgery means a Property lot that in the Auctioneers’ reasonable opinion is a fraudulent imitation created to deceive as to authorship or date, and where the Property lot is not described as such in headings printed in UPPER CASE TYPE in the catalogue (as such description may be amended by any saleroom notice or announcement). The Auctioneers’ warranty does not apply to supplemental material which appears below the upper case type headings of each Property lot and the Auctioneers are not responsible for any errors or omission in such material. The warranty does not apply to any heading which is stated to represent a TXDOLÀHG RSLQLRQ 7KH ZDUUDQW\ LV VXEMHFW WR WKH IROORZLQJ a) It does not apply where (i) the catalogue description or saleroom notice corresponded to the generally accepted opinion of scholars or experts DW WKH GDWH RI WKH VDOH RU IDLUO\ LQGLFDWHG WKDW WKHUH ZDV D FRQà LFW RI RSLQLRQV RU LL FRUUHFW LGHQWLÀFDWLRQ RI D 3URSHUW\ ORW FDQ EH GHPRQVWUDWHG RQO\ E\ PHDQV RI HLWKHU D VFLHQWLÀF SURFHVV QRW JHQHUDOO\ DFFHSWHG IRU XVH XQWLO DIWHU 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 caused damage to the Property; E 7KH EHQHÀWV RI WKH ZDUUDQW\ DUH QRW DVVLJQDEOH DQG VKDOO DSSO\ RQO\ WR WKH original Buyer of the Property lot as shown on the invoice originally issued by the Auctioneers when the lot was sold at auction;

ii) cancel the sale of the Property lot;

c) The original Buyer must have remained the owner of the Property lot without disposing of any interest in it to any third party;

iii) resell the Property publicly or privately on such terms as we shall think ÀW

d) Neither the Auctioneers nor the Seller will be liable for any damages LQFOXGLQJ ZLWKRXW OLPLWDWLRQ ORVV RI SURĂ€WV QRU IRU LQWHUHVW

iv) pay the Seller an amount up to the net proceeds payable in respect of the amount bid by the defaulting Buyer; Y FKDUJH LQWHUHVW DW DQ DQQXDO UDWH HTXDO WR DERYH WKH EDVH UDWH RI WKH Central Bank of Cyprus;

e) The Buyer must give written notice of claim to us within two years form the date of the auction. The Auctioneers shall have the right to require the Buyer WR REWDLQ WKH ZULWWHQ RSLQLRQV RI WZR HVWDEOLVKHG H[SHUWV LQ WKH ÀHOG PXWXDOO\ acceptable to the Auctioneers and the Buyer, before the Auctioneers decides whether or not to cancel the sale under the warranty.

vi) set off any amounts which the Auctioneers owe the Buyer against the outstanding amount remaining unpaid by the Buyer;

f) The Buyer must return the Property lot to the Auctioneers in the same condition as at the time of the sale.

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;

8) The copyright in all images, illustrations and written material produced by or for the Auctioneers relating to a Property lot including the contents of this 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 consent. The Auctioneers and the Seller make no representation or warranty that the Buyer of a property will acquire any copyright or other reproduction rights in it.

viii) exercise a lien over any of the Buyer’s property which is in the possession of the Auctioneers. We shall inform the Buyer of the exercise of any such lien and within 14 days of such notice may arrange the sale of such property and apply the proceeds to the amount owed to the Auctioneers;

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 conditions shall continue to be valid to the fullest extend permitted by law.

ix) take such other action as we decide necessary or appropriate. If we resell the Property under paragraph (iii) above, the defaulting Buyer VKDOO EH OLDEOH IRU SD\PHQW RI DQ\ GHÀFLHQF\ EHWZHHQ WKH WRWDO DPRXQW 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 from the default. If we pay any amount to the Seller under paragraph (iv) 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 Where purchases are not collected within two calendar days from the date 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 payment of all other amounts due to us.

10) The rights and obligations of the parties with respect to these Conditions of 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 of Cyprus. By bidding at auction, whether present in person or by agent, by written bid, telephone or other means, the Buyer shall be deemed to have VXEPLWWHG IRU WKH EHQHĂ€W RI WKH $XFWLRQHHUV WR WKH H[FOXVLYH MXULVGLFWLRQ RI WKH court of the Republic of Cyprus.

ǤǣǠǣǛǚǢǝǴ ǝ ǨǦǠǣǗǝǴ ǧǣǥǘǣǗ ǗȡȜțȧ ȢȕȢțȡȔȫșȡȯ ȢȦȡȢȬșȡȜȓ ȠșȚȘȧ ǣǣǣ ©ǠȔ ǤȔȤȢȟȰ ǙȜȖȜȡª ȘȔȟșș ȜȠșȡȧșȠȯș ©ǕȧȞȪȜȢȡȜȥȦª ǤȤȢȘȔȖȪȔȠȜ ȞȔȞ ȢȕȢțȡȔȫșȡȢ ȡȜȚș Ȝ ǤȢȞȧȣȔȦșȟȓȠȜ ȞȔȞ ȢȕȢțȡȔȫșȡȢ ȡȜȚș Ȕ ȦȔȞȚș ȧȥȟȢȖȜȓ ȡȔ ȞȢȦȢȤȯȩ ǕȧȞȪȜȢȡȜȥȦȯ ȖȥȦȧȣȔȲȦ Ȗ ȢȦȡȢȬșȡȜȓ ȥ ǤȢȞȧȣȔȦșȟȓȠȜ dzȤȜȘȜȫșȥȞȜș ȢȦȡȢȬșȡȜȓ ȠșȚȘȧ ǕȧȞȪȜȢȡȜȥȦȔȠȜ ǤȤȢȘȔȖȪȔȠȜ Ȝ ȣȢȦșȡȪȜȔȟȰȡȯȠȜ ǤȢȞȧȣȔȦșȟȓȠȜ ȤșȗȧȟȜȤȧȲȦȥȓ L ȡȔȥȦȢȓȭȜȠȜ ǤȢȟȢȚșȡȜȓȠȜ Ȝ ǨȥȟȢȖȜȓȠȜ ǧȢȤȗȢȖ LL ȘȢȗȢȖȢȤȢȠ Ȣ ȣȢȥȦȔȖȞș ȣȤșȘȠșȦȢȖ Șȟȓ ǤȤȢȘȔȖȪȢȖ LLL ȟȲȕȯȠȜ ȘȢȣȢȟȡȜȦșȟȰȡȯȠȜ țȔȠșȫȔȡȜȓȠȜ Ȝ ȣȢȟȢȚșȡȜȓȠȜ ȡȔȣșȫȔȦȔȡȡȯȠȜ Ȗ ȞȔȦȔȟȢȗș ȦȢȤȗȢȖ Ȝ ȜȥȣȤȔȖȟșȡȡȯȠȜ ȣȤȜ ȣȢȠȢȭȜ ȣȧȕȟȜȫȡȢȗȢ ȢȕȮȓȖȟșȡȜȓ Ȗ ȔȧȞȪȜȢȡȡȢȠ țȔȟș ȜȟȜ țȔȓȖȟșȡȜșȠ ǕȧȞȪȜȢȡȜȥȦȔ Ȗ ȩȢȘș ȔȧȞȪȜȢȡȔ ǕȧȞȪȜȢȡȜȥȦ ȖȯȥȦȧȣȔșȦ Ȗ ȞȔȫșȥȦȖș ȔȗșȡȦȔ ȣȤȢȘȔȖȪȔ ǤȢȱȦȢȠȧ ȘȢȗȢȖȢȤ ȣȤȢȘȔȚȜ țȔȞȟȲȫȔșȦȥȓ ȡȔȣȤȓȠȧȲ ȠșȚȘȧ ǤȤȢȘȔȖȪȢȠ Ȝ ǤȢȞȧȣȔȦșȟșȠ ǕȧȞȪȜȢȡȜȥȦ ȠȢȚșȦ ȕȯȦȰ ȖȟȔȘșȟȰȪșȠ ȟȢȦȔ Ȝ Ȗ ȦȔȞȢȠ ȥȟȧȫȔș ȖȯȥȦȧȣȔȦȰ Ȗ ȞȔȫșȥȦȖș ǤȤȢȘȔȖȪȔ Ȝ ȜȟȜ ȕȯȦȰ ȲȤȜȘȜȫșȥȞȜ ȨȜȡȔȡȥȢȖȢ ȜȟȜ ȕșȡșȨȜȪȜȔȤȡȢ țȔȜȡȦșȤșȥȢȖȔȡ Ȗ ȟȢȦș Ȗ ȞȔȫșȥȦȖș ȢȕșȥȣșȫșȡȡȢȗȢ ȞȤșȘȜȦȢȤȔ ȜȟȜ Ȗ ȞȔȞȢȠ ȟȜȕȢ ȘȤȧȗȢȠ ȞȔȫșȥȦȖș ǣǤǥǚǙǚǠǚǢǝǴ ǕȧȞȪȜȢȡȜȥȦȯ ȢȣȤșȘșȟȓȲȦȥȓ ȞȔȞ ǣǣǣ ©ǠǕ ǤǕǥǣǠDZ ǙǝǗǝǢª ȞȢȠȣȔȡȜȓ ȥ ȢȗȤȔȡȜȫșȡȡȢȝ ȢȦȖșȦȥȦȖșȡȡȢȥȦȰȲ țȔȤșȗȜȥȦȤȜȤȢȖȔȡȡȔȓ ȥȢȗȟȔȥȡȢ țȔȞȢȡȔȠ ǟȜȣȤȔ ȣȢȘ ȡȢȠșȤȢȠ +( Ȗ ȢȨȜȪȜȔȟȰȡȢ țȔȤșȗȜȥȦȤȜȤȢȖȔȡȡȯȠ ȢȨȜȥȢȠ ȣȢ ȔȘȤșȥȧ 14 Promitheos Street, Agios Dometios, 2370 Nicosia, Cyprus; ǨȫȔȥȦȡȜȞ ȦȢȤȗȢȖ ȢȣȤșȘșȟȓșȦȥȓ ȞȔȞ ȟȲȕȢș ȟȜȪȢ ȜȠșȲȭșș ȡȔȠșȤșȡȜș ȥȢȖșȤȬȔȲȭșș ȣȢȣȯȦȞȧ ȥȘșȟȔȦȰ ȜȟȜ ȘșȟȔȲȭșș ȥȦȔȖȞȧ ȟȲȕȯȠ ȥȣȢȥȢȕȢȠ Ȗ ȱȦȧ ȞȔȦșȗȢȤȜȲ ȖȞȟȲȫȔȲȦȥȓ ǤȢȞȧȣȔȦșȟȜ ǤȢȞȧȣȔȦșȟȰ ȢȣȤșȘșȟȓșȦȥȓ ȞȔȞ ȟȲȕȢș ȟȜȪȢ ȥȘșȟȔȖȬșș ȡȔȜȕȢȟȰȬȧȲ ȥȦȔȖȞȧ ȜȟȜ ȣȤșȘȟȢȚșȡȜș ȣȤȜȡȓȦȢș ǕȧȞȪȜȢȡȜȥȦȢȠ Ȗ ȱȦȧ ȞȔȦșȗȢȤȜȲ ȖȞȟȲȫȔșȦȥȓ ȘȢȖșȤȜȦșȟȰ ȦȔȞȢȗȢ ȟȜȪȔ șȥȟȜ ȥȦȔȖȞȔ ȥȢȖșȤȬȔșȦȥȓ ȫșȤșț ȔȗșȡȦȔ ǝțȘșȤȚȞȜ ȣȢȞȧȣȔȦșȟȓ ȢȣȤșȘșȟȓȲȦȥȓ ȞȔȞ ȟȲȕȯș ȖȯȣȟȔȦȯ ȜȟȜ ȤȔȥȩȢȘȯ Ȗ ȣȢȟȰțȧ ǕȧȞȪȜȢȡȜȥȦȢȖ ȢȦ ȟȜȪȔ ǤȢȞȧȣȔȦșȟȓ Ȝ ȟȲȕȯș ȥȕȢȤȯ Ȗ ȣȢȟȰțȧ ȔȖȦȢȤȔ ȣȢ ȣȤȔȖȧ ȥȟșȘȢȖȔȡȜȓ Ȗ ȢȦȡȢȬșȡȜȜ ȣȤȢȘȔȚȜ ǦȢȕȥȦȖșȡȡȢȥȦȜ Ȗ ȥȢȢȦȖșȦȥȦȖȜȜ ȥ ȢȣȤșȘșȟșȡȜșȠ ȘȔȡȡȯȠ Ȗ ȞȢȡȥȜȗȡȔȪȜȢȡȡȢȠ ȘȢȗȢȖȢȤș ȖȞȟȲȫȔȓ ȥȧȠȠȧ ȟȲȕȢȗȢ ǢǙǦ ȡȔȟȔȗȔșȠȢȗȢ ȖȣȢȥȟșȘȥȦȖȜȜ ǤȤșȠȜȓ ȣȢȞȧȣȔȦșȟȓ ȢȣȤșȘșȟȓșȦȥȓ ȞȔȞ ȞȢȠȜȥȥȜȢȡȡȯș ȖȯȣȟȔȫȜȖȔșȠȯș ǤȢȞȧȣȔȦșȟșȠ ȥ ǕȧȞȪȜȢȡȡȢȝ ǫșȡȯ Ȗ ȥȢȢȦȖșȦȥȦȖȜȜ ȥ ȘȔȡȡȯȠ ȡȜȚș ȢȣȤșȘșȟșȡȜșȠ Ȗ ȤȔțȠșȤș ȢȦ ǕȧȞȪȜȢȡȡȢȝ ǫșȡȯ țȔ ȞȔȚȘȯȝ ȟȢȦ ȥȦȢȜȠȢȥȦȰȲ ȘȢ ½ ȖȞȟȲȫȜȦșȟȰȡȢ Ȝ ȢȦ ǕȧȞȪȜȢȡȡȢȝ ǫșȡȯ ȣȤșȖȯȬȔȲȭșȝ ½ ǕȧȞȪȜȢȡȡȔȓ ȪșȡȔ ȢȣȤșȘșȟȓșȦȥȓ ȞȔȞ ȡȔȜȕȢȟȰȬȔȓ ȥȦȔȖȞȔ ȣȤȜȡȓȦȔȓ ǕȧȞȪȜȢȡȜȥȦȢȠ ȥ ȧȘȔȤȢȠ ȠȢȟȢȦȞȔ ȜȟȜ ȘȢȗȢȖȢȤȡȔȓ ȪșȡȔ Ȗ ȥȟȧȫȔș ȣȢȥȟșȔȧȞȪȜȢȡȡȢȝ ȣȤȢȘȔȚȜ ǤȢȞȧȣȡȔȓ ȪșȡȔ ȢȣȤșȘșȟȓșȦȥȓ ȞȔȞ ȥȧȠȠȔ ǕȧȞȪȜȢȡȡȢȝ ǫșȡȯ Ȝ ȡȔȟȔȗȔșȠȯȩ ǤȤșȠȜȜ ǤȢȞȧȣȔȦșȟȓ Ȝ ǢǙǦ ǥșțșȤȖ ȢȣȤșȘșȟȓșȦȥȓ ȞȔȞ ȞȢȡȨȜȘșȡȪȜȔȟȰȡȔȓ ȠȜȡȜȠȔȟȰȡȔȓ ǕȧȞȪȜȢȡȡȔȓ ǫșȡȔ ȣȢ ȞȢȦȢȤȢȝ ǤȤȢȘȔȖșȪ ȥȢȗȟȔȥșȡ ȣȤȢȘȔȦȰ ȖȩȢȘȓȭȧȲ Ȗ ȟȢȦ ǦȢȕȥȦȖșȡȡȢȥȦȰ ǤȤȢȘȔȖșȪ ȢȣȤșȘșȟȓșȦȥȓ ȞȔȞ ȟȜȪȢ ȣȤșȘȟȔȗȔȲȭșș ȡȔ ȣȤȢȘȔȚȧ ȖȩȢȘȓȭȧȲ Ȗ ȟȢȦ ǦȢȕȥȦȖșȡȡȢȥȦȰ ȖȞȟȲȫȔȓ ȔȗșȡȦȢȖ ȱȦȜȩ ȟȜȪ Ȝȡȯȩ ȣȢȠȜȠȢ ǕȧȞȪȜȢȡȜȥȦȢȖ Ȝȩ ȜȥȣȢȟȡȜȦșȟșȝ ȜȟȜ ȟȜȫȡȯȩ ȣȤșȘȥȦȔȖȜȦșȟșȝ ǢǙǦ ² ȱȦȢ ǢȔȟȢȗ ȡȔ ǙȢȕȔȖȟșȡȡȧȲ ǦȦȢȜȠȢȥȦȰ Ȗ ȥȢȢȦȖșȦȥȦȖȜȜ ȥ ȦșȞȧȭșȝ ȥȦȔȖȞȢȝ ǣǤǝǦǕǢǝǴ Ǘ ǟǕǧǕǠǣǘǚ ǝ ǦǣǦǧǣǴǢǝǚ ǣǖǯǚǟǧǣǗ ǕȧȞȪȜȢȡȜȥȦȯ ȣȤȢȘȔȲȦ ǦȢȕȥȦȖșȡȡȢȥȦȰ Ȗ ȥȢȥȦȔȖș ȟȢȦȢȖ ȥȢȗȟȔȥȡȢ ȢȣȜȥȔȡȜȲ ȜȟȜ Ȗ ȡȔȟȜȫȡȢȠ ȥȢȥȦȢȓȡȜȜ ȡȔ ȠȢȠșȡȦ ȦȢȤȗȢȖ Ȗ ȥȢȢȦȖșȦȥȦȖȜȜ ȥȢ ȥȟșȘȧȲȭȜȠȜ ȣȤȔȖȜȟȔȠȜ Ȕ ǗȖȜȘȧ ȩȔȤȔȞȦșȤȔ Ȝ ȖȢțȤȔȥȦȔ ȣȤȢȘȔȖȔșȠȯȩ ȟȢȦȢȖ ȢȡȜ ȞȤȔȝȡș ȤșȘȞȢ ȡȔȩȢȘȓȦȥȓ Ȗ ȥȢȥȦȢȓȡȜȜ ȣȤșȖȢȥȩȢȘȡȢȝ ȥȢȩȤȔȡȡȢȥȦȜ ȞȔȞ ȣȤȔȖȜȟȢ ȜȠșȓ ȣȤȜțȡȔȞȜ ȖșȦȩȢȥȦȜ ȣȢȖȤșȚȘșȡȜȝ ȤșȥȦȔȖȤȔȪȜȜ ȜȟȜ ȤșȠȢȡȦȔ ǠȲȕȢș ȧȣȢȠȜȡȔȡȜș ȩȔȤȔȞȦșȤȔ ȥȢȩȤȔȡȡȢȥȦȜ ȢȕȮșȞȦȔ Ȗ ȞȔȦȔȟȢȗș ȡș ȣȤȜȤȔȖȡȜȖȔșȦȥȓ Ȟ ȣȢȟȡȢȠȧ ȢȣȜȥȔȡȜȲ ȥȢȥȦȢȓȡȜȓ ǣȦȫșȦȯ Ȣ ȥȢȩȤȔȡȡȢȥȦȜ ȣȤșȘȢȥȦȔȖȟȓȲȦȥȓ ȣȢ ȦȤșȕȢȖȔȡȜȲ ǟȔȚȘȯȝ ȟȢȦ ȖȯȥȦȔȖȟȓșȠȯȝ ȡȔ ȦȢȤȗȜ ǕȧȞȪȜȢȡȜȥȦȔȠȜ ȘȢȥȦȧȣșȡ Șȟȓ ȢȥȠȢȦȤȔ ȘȢ ȡȔȫȔȟȔ ȦȢȤȗȢȖ Ȝ Ƞȯ ȤșȞȢȠșȡȘȧșȠ ȖȔȠ ȣȢ ȖȢțȠȢȚȡȢȥȦȜ ȖȥșȗȘȔ ȟȜȫȡȢ ȢȪșȡȜȖȔȦȰ ȥȢȥȦȢȓȡȜș ǦȢȕȥȦȖșȡȡȢȥȦȜ ǝȟȟȲȥȦȤȔȪȜȜ ȣȤșȘȟȔȗȔȲȦȥȓ ȦȢȟȰȞȢ Șȟȓ ȜȘșȡȦȜȨȜȞȔȪȜȜ ȢȕȮșȞȦȢȖ Ȝ ȡș ȠȢȗȧȦ ȥȫȜȦȔȦȰȥȓ ȣȢȟȡȢȪșȡȡȯȠ ȥȖȜȘșȦșȟȰȥȦȖȢȠ ȥȢȥȦȢȓȡȜȓ ǦȢȕȥȦȖșȡȡȢȥȦȜ Ȗ ȥȢȥȦȔȖș ȟȢȦȔ E Ǘȥș ȗȔȕȔȤȜȦȯ ǦȢȕȥȦȖșȡȡȢȥȦȜ Ȗ ȞȔȦȔȟȢȗș ȘȔȲȦȥȓ Ȗ ȣȤȜȕȟȜțȜȦșȟȰȡȯȩ ȖșȟȜȫȜȡȔȩ F ǠȲȕȯș țȔȓȖȟșȡȜȓ ȥȘșȟȔȡȡȯș ǕȧȞȪȜȢȡȜȥȦȔȠȜ Ȗ ȣȜȥȰȠșȡȡȢȝ ȜȟȜ ȧȥȦȡȢȝ ȨȢȤȠș Ȣ ȟȲȕȢȠ ȟȢȦș ȢȦȡȢȥȜȦșȟȰȡȢ ȔȦȤȜȕȧȪȜȜ șȗȢ ȔȖȦȢȤȥȦȖȔ ȬȞȢȟȯ ȜȟȜ ȥȦȤȔȡȯ ȣȤȢȜȥȩȢȚȘșȡȜȓ șȗȢ ȜȥȦȢȤȜȜ ȠșȥȦȔ ȥȢțȘȔȡȜȓ ȜȟȜ ȢȦȡșȥșȡȜȓ Ȟ ȟȲȕȢȝ ȘȔȦș ȜȟȜ ȣșȤȜȢȘȧ ȓȖȟȓȲȦȥȓ ȡș ȞȢȡȥȦȔȦȔȪȜșȝ ȨȔȞȦȔ Ȕ ȜțȟȢȚșȡȜșȠ ȠȡșȡȜȓ ǢȔȬȜ ȠȡșȡȜȓ ȥȦȤȢȓȦȥȓ ȡșȣȤșȘȖțȓȦȢ Ȝ ȥ ȜțȖșȥȦȡȢȝ ȢȥȦȢȤȢȚȡȢȥȦȰȲ ȡȔ ȢȥȡȢȖȔȡȜȜ ȜȡȨȢȤȠȔȪȜȜ ȣȤșȘȢȥȦȔȖȟșȡȡȢȝ ǤȤȢȘȔȖȪȢȠ ȞȢȠȣșȦșȡȦȡȢȥȦȜ Ȝ ȦșȩȡȜȫșȥȞȜȩ țȡȔȡȜȝ ǕȧȞȪȜȢȡȜȥȦȢȖ Ȝ ȢȕȭșȣȤȜȡȓȦȯȩ ȜȥȥȟșȘȢȖȔȦșȟȰȥȞȜȩ Ȝ ȱȞȥȣșȤȦȡȯȩ ȢȪșȡȢȞ

G ǣȪșȡȢȫȡȔȓ ȥȦȢȜȠȢȥȦȰ ǦȢȕȥȦȖșȡȡȢȥȦȜ Ȗ ȥȢȥȦȔȖș ȟȢȦȢȖ ȡș ȗȔȤȔȡȦȜȤȧșȦ ȣȤȢȘȔȚȧ ȢȕȮșȞȦȔ ȣȢ ȱȦȢȝ Ȫșȡș Ȝ ȡș ȓȖȟȓșȦȥȓ ȢȦȤȔȚșȡȜșȠ ȤșȔȟȰȡȢȝ ȪșȡȡȢȥȦȜ ȢȕȮșȞȦȔ Ǘ ǪǣǙǚ ǕǨǟǫǝǣǢǕ D ǕȧȞȪȜȢȡȜȥȦ ȜȠșșȦ ȣȤȔȖȢ ȣȢ ȡȔȬșȠȧ ȣȢȟȡȢȠȧ ȧȥȠȢȦȤșȡȜȲ ȢȦȞȔțȔȦȰ Ȗ ȣȤȔȖș ȖȩȢȚȘșȡȜȓ Ȗ ȣȢȠșȭșȡȜș ȔȧȞȪȜȢȡȔ ȜȟȜ ȧȫȔȥȦȜȓ Ȗ ȔȧȞȪȜȢȡș Ȕ ȦȔȞȚș ȢȦȖșȤȗȡȧȦȰ ȟȲȕȧȲ ȥȦȔȖȞȧ E ǤȢȦșȡȪȜȔȟȰȡȯș ȣȢȞȧȣȔȦșȟȜ ȘȢȟȚȡȯ țȔȣȢȟȡȜȦȰ Ȝ ȣȢȘȣȜȥȔȦȰ ȤșȗȜȥȦȤȔȪȜȢȡȡȧȲ ȨȢȤȠȧ ȧȫȔȥȦȡȜȞȔ ȔȧȞȪȜȢȡȔ Ȝ ȣȤșȘȢȥȦȔȖȜȦȰ ȧȘȢȥȦȢȖșȤșȡȜș ȟȜȫȡȢȥȦȜ ǡȯ ȠȢȚșȠ țȔȣȤȢȥȜȦȰ ȕȔȡȞȢȖȥȞȜș ȘșȦȔȟȜ ȥȫșȦȔ ȥ ȞȢȦȢȤȢȗȢ ȕȧȘșȦ ȣȤȢȜțȖȢȘȜȦȰȥȓ ȢȣȟȔȦȔ ȜȟȜ ȘȤȧȗȧȲ ȨȜȡȔȡȥȢȖȧȲ ȜȡȨȢȤȠȔȪȜȲ ǙșȟȔȓ ȥȦȔȖȞȧ ȧȫȔȥȦȡȜȞ ȦȢȤȗȢȖ ȢȦȖșȦȥȦȖșȡȡȢ ȖȯȤȔȚȔșȦ ȣșȤȥȢȡȔȟȰȡȧȲ ȗȢȦȢȖȡȢȥȦȰ țȔȣȟȔȦȜȦȰ ǤȢȞȧȣȡȧȲ Ȫșȡȧ ȖȞȟȲȫȔȓ ǤȤșȠȜȲ ȣȢȞȧȣȔȦșȟȓ Ȗȥș ȥȢȢȦȖșȦȥȦȖȧȲȭȜș ȡȔȟȢȗȜ Ȝ ȟȲȕȯș ȘȤȧȗȜș ȥȢȣȤȢȖȢȚȘȔȲȭȜș ȜțȘșȤȚȞȜ ǨȫȔȥȦȡȜȞȜ ȦȢȤȗȢȖ ȡșȥȧȦ ȟȜȫȡȧȲ ȢȦȖșȦȥȦȖșȡȡȢȥȦȰ țȔ ȥȖȢȲ ȥȦȔȖȞȧ F ǨȫȔȥȦȡȜȞ ȦȢȤȗȢȖ ȠȢȚșȦ ȖȯȥȦȧȣȔȦȰ Ȗ ȤȢȟȜ ȔȗșȡȦȔ ȡȔțȖȔȡȡȢȝ ȦȤșȦȰșȝ ȥȦȢȤȢȡȯ șȥȟȜ ȡȔ ȱȦȢ ȕȯȟȔ ȣȜȥȰȠșȡȡȔȓ ȘȢȗȢȖȢȤșȡȡȢȥȦȰ ȥ ǕȧȞȪȜȢȡȜȥȦȔȠȜ ȘȢ ȡȔȫȔȟȔ ȦȢȤȗȢȖ ǢșȥȠȢȦȤȓ ȡȔ ȦȢ ȫȦȢ Ƞȯ ȕȧȘșȠ ȖțȯȥȞȜȖȔȦȰ ȢȣȟȔȦȧ ȦȢȟȰȞȢ ȥ ȗȟȔȖȡȢȗȢ ȜȡȜȪȜȔȦȢȤȔ ȥȦȔȖȞȜ ȧȫȔȥȦȡȜȞ ȦȢȤȗȢȖ ȘșȟȔȲȭȜȝ ȥȦȔȖȞȧ ȢȦ șȗȢ ȟȜȪȔ ȡșȥșȦ ȢȦȖșȦȥȦȖșȡȡȢȥȦȰ țȔ ȥȦȔȖȞȧ ȞȔȞ ȥȢȖȠșȥȦȡȢ ȥ ȜȡȜȪȜȔȦȢȤȢȠ ȦȔȞ Ȝ ȜȡȘȜȖȜȘȧȔȟȰȡȢ G ǚȥȟȜ ǨȫȔȥȦȡȜȞȜ ȦȢȤȗȢȖ ȡș ȠȢȗȧȦ ȣȤȜȥȧȦȥȦȖȢȖȔȦȰ ȡȔ ȥȔȠȢȠ ȔȧȞȪȜȢȡș ȜȟȜ ȘșȟȔȦȰ ȥȦȔȖȞȜ ȫșȤșț ȔȗșȡȦȔ ȜȟȜ ȣȢ ȦșȟșȨȢȡȧ ǕȧȞȪȜȢȡȜȥȦȯ ȕȧȘȧȦ ȣȤȜȡȜȠȔȦȰ ȧȘȔȟșȡȡȯș ȥȦȔȖȞȜ Ȗ ȣȜȥȰȠșȡȡȢȠ ȖȜȘș ȣȤȜ ȧȥȟȢȖȜȜ ȫȦȢ ȢȡȜ ȘȢȥȦȜȗȡȧȦ ȡȔȥ ȘȢ ȡȔȫȔȟȔ ȦȢȤȗȢȖ ǦȦȔȖȞȜ ȥȟșȘȧșȦ ȘșȟȔȦȰ Ȗ șȖȤȢ ǤȢȚȔȟȧȝȥȦȔ ȜȥȣȢȟȰțȧȝȦș ȨȢȤȠȧ Șȟȓ ȧȘȔȟșȡȡȢȝ ȥȦȔȖȞȜ ȡȔȣșȫȔȦȔȡȡȧȲ Ȗ ȞȔȦȔȟȢȗș Ǘ ȥȟȧȫȔș ȣȢȟȧȫșȡȜȓ ȘȖȧȩ ȣȜȥȰȠșȡȡȯȩ ȥȦȔȖȢȞ ȡȔ ȢȘȜȡȔȞȢȖȧȲ ȥȧȠȠȧ ȡȔ ȢȘȜȡ Ȝ ȦȢȦ Țș ȟȢȦ ȣȤșȘȣȢȫȦșȡȜș ȕȧȘșȦ ȢȦȘȔȡȢ ȦȢȝ ȥȦȔȖȞș ȫȦȢ ȣȤȜȕȯȟȔ ȣșȤȖȢȝ ǡȯ ȕȧȘșȠ ȤȔȥȥȠȔȦȤȜȖȔȦȰ ȣȜȥȰȠșȡȡȯș ȥȦȔȖȞȜ ȥȢ Ȗȥșȝ ȖȢțȠȢȚȡȢȝ ȦȭȔȦșȟȰȡȢȥȦȰȲ ȢȘȡȔȞȢ Ƞȯ ȡș ȡșȥșȠ ȢȦȖșȦȥȦȖșȡȡȢȥȦȰ țȔ ȫȔȥȦȡȯș ȥȟȧȫȔȜ ȞȢȗȘȔ ȣȜȥȰȠșȡȡȔȓ ȥȦȔȖȞȔ ȡș ȠȢȗȟȔ ȕȯȦȰ ȖȯȣȢȟȡșȡȔ ȜȟȜ ȕȯȟȔ ȖȯȣȢȟȡșȡȔ ȥ ȢȬȜȕȞȢȝ șȥȟȜ ȱȦȢ ȕȯȟȢ ȖȯțȖȔȡȢ ȥȜȦȧȔȪȜșȝ Ȗȡș ȡȔȬșȗȢ ȞȢȡȦȤȢȟȓ H Ǘ ȥȟȧȫȔș ȞȢȗȘȔ ǨȫȔȥȦȡȜȞ ȦȢȤȗȢȖ țȔȤȔȡșș ȘȢȗȢȖȢȤȜȟȥȓ ȥ ǕȧȞȪȜȢȡȜȥȦȔȠȜ ȘȢ ȡȔȫȔȟȔ ȔȧȞȪȜȢȡȔ Ȗȥș ȖȢțȠȢȚȡȯș ȧȥȜȟȜȓ ȕȧȘȧȦ ȣȤșȘȣȤȜȡȓȦȯ ȫȦȢȕȯ ȥȖȓțȔȦȰȥȓ ȥ ǨȫȔȥȦȡȜȞȢȠ ȦȢȤȗȢȖ ȫȦȢȕȯ Ȣȡ Ȕ ȥȠȢȗ ȟȔ ȧȫȔȥȦȖȢȖȔȦȰ Ȗ ȦȢȤȗȔȩ ȣȢ ȦșȟșȨȢȡȧ ȢȘȡȔȞȢ Ƞȯ ȡș ȡșȥșȠ ȢȦȖșȦȥȦȖșȡȡȢȥȦȜ Ȗ ȥȟȧȫȔș ȡșȖȢțȠȢȚȡȢȥȦȜ ȥȖȓțȜ ȜȟȜ ȢȬȜȕȢȞ Ȗ ȩȢȘș ȦȢȤȗȢȖ ȣȢ ȦșȟșȨȢȡȧ șȥȟȜ ȱȦȢ ȕȯȟȢ ȖȯțȖȔȡȢ ȥȜȦȧȔȪȜșȝ Ȗȡș ȡȔȬșȗȢ ȞȢȡȦȤȢȟȓ I Ǘȥȓ ǦȢȕȥȦȖșȡȡȢȥȦȰ Ȗ ȥȢȥȦȔȖș ȟȢȦȢȖ ȜȠșșȦ ǥșțșȤȖȡȧȲ Ȫșȡȧ șȥȟȜ ȦȢȟȰȞȢ șș ȢȦȥȧȦȥȦȖȜș ȡș ȢȗȢȖȢȤșȡȢ ȢȥȢȕȢ ǥșțșȤȖȡȔȓ ȪșȡȔ ȡș ȠȢȚșȦ ȕȯȦȰ ȖȯȬș ȡȜȚȡșȝ ȗȤȔȡȜȪȯ ȢȪșȡȢȫȡȢȝ ȥȦȢȜȠȢȥȦȜ ȧȞȔțȔȡȡȢȝ Ȗ ȞȔȦȔȟȢȗș ǕȧȞȪȜȢȡȜȥȦ ȠȢȚșȦ ȢȦȞȤȯȦȰ ȦȢȤȗȜ ȡȔ ȟȲȕȢȝ Ȝț ȟȢȦȢȖ ȡȜȚș ǥșțșȤȖȡȢȝ Ȫșȡȯ ȥȘșȟȔȖ ȥȦȔȖȞȧ ȢȦ ȟȜȪȔ ǤȤȢȘȔȖȪȔ ǕȧȞȪȜȢȡȜȥȦ ȠȢȚșȦ ȣȤȢȘȢȟȚȜȦȰ ȘșȟȔȦȰ ȥȦȔȖȞȜ ȢȦ ȟȜȪȔ ǤȤȢȘȔȖȪȔ ȟȜȕȢ ȥȔȠ ȢȘȡȧ țȔ ȘȤȧȗȢȝ ȟȜȕȢ Ȗ ȢȦȖșȦ ȡȔ ȥȦȔȖȞȜ ȣȤșȘȟȢȚșȡȡȯș ȘȤȧȗȜȠȜ ȣȢȞȧȣȔȦșȟȓȠȜ ȣȢȞȔ ȤșțșȤȖȡȔȓ ȪșȡȔ ȡș ȕȧȘșȦ ȘȢȥȦȜȗȡȧȦȔ J ǕȧȞȪȜȢȡȜȥȦ ȜȠșșȦ ȣȤȔȖȢ ȢȦȞȟȢȡȜȦȰ ȟȲȕȧȲ ȥȦȔȖȞȧ ȣȢ ȥȖȢșȠȧ ȧȥȠȢȦȤșȡȜȲ ȧȥȞȢȤȓȦȰ ȦȢȤȗȜ ȜȟȜ ȥȡȜȠȔȦȰ ȥ ȦȢȤȗȢȖ ȟȲȕȢȝ Ȝț ȟȢȦȢȖ Ǘ ȥȟȧȫȔș ȢȬȜȕȞȜ ȜȟȜ ȤȔțȡȢȗȟȔȥȜȓ ȖȢ ȖȤșȠȓ ȜȟȜ ȣȢȥȟș ȦȢȤȗȢȖ Ȣȡ ȠȢȚșȦ ȣȤȜȡȓȦȰ ȠșȤȯ ȞȢȦȢȤȯș ȣȢȥȫȜȦȔșȦ ȥȢȢȦȖșȦȥȦȖȧȲȭȜȠȜ ȥȜȦȧȔȪȜȜ Ǘ ȥȟȧȫȔș șȥȟȜ ȤȔțȡȢȗȟȔȥȜș ȖȢțȡȜȞȡșȦ ȣȢ ȢȞȢȡȫȔȡȜȜ ȦȢȤȗȢȖ ȤșșȥȦȤ ȦȢȤȗȢȖ ȞȢȦȢȤȯȝ Ȗșȟ ǕȧȞȪȜȢȡȜȥȦ ȕȧȘșȦ ȥȫȜȦȔȦȰȥȓ ȞȢȡșȫȡȯȠ șȥȟȜ ȦȢȟȰȞȢ ȡș ȖȢțȡȜȞȡȧȦ ȣȤȢȦȜȖȢȤșȫȔȭȜș șȠȧ ȘȢȞȔțȔȦșȟȰȥȦȖȔ K ǢȔ ȧȥȠȢȦȤșȡȜș ǕȧȞȪȜȢȡȜȥȦȔ ǨȫȔȥȦȡȜȞ ȦȢȤȗȢȖ ȥȘșȟȔȖȬȜȝ ȥȔȠȧȲ ȖȯȥȢȞȧȲ ȥȦȔȖȞȧ ȕȧȘșȦ ȣȤȜțȡȔȡȢ ǕȧȞȪȜȢȡȜȥȦȢȠ ǤȢȞȧȣȔȦșȟșȠ ǨȘȔȤ ȠȢȟȢȦȞȔ ǕȧȞȪȜȢȡȜȥȦȔ țȡȔȠșȡȧșȦ ȣȤȜȡȓȦȜș ȥȔȠȢȝ ȖȯȥȢȞȢȝ ȥȦȔȖȞȜ Ȝ țȔȞȟȲȫșȡȜș ȞȢȡȦȤȔȞȦȔ Ȣ Ȟȧȣȟș ȣȤȢȘȔȚș ȠșȚȘȧ ǤȤȢȘȔȖȪȢȠ Ȝ ǤȢȞȧȣȔȦșȟșȠ ǥȜȥȞ Ȝ ȢȦȖșȦȥȦȖșȡȡȢȥȦȰ țȔ ǦȢȕȥȦȖșȡȡȢȥȦȰ Ȗ ȥȢȥȦȔȖș ȟȢȦȔ ȣșȤșȩȢȘȜȦ Ȟ ǤȢȞȧȣȔȦșȟȲ ȣȢ ȜȥȦșȫșȡȜȜ ȦȤșȩ ȞȔȟșȡȘȔȤȡȯȩ Șȡșȝ ȥ ȠȢȠșȡȦȔ ȦȢȤȗȢȖ ȜȟȜ Ȗ ȦȢȦ ȠȢȠșȡȦ ȞȢȗȘȔ ǤȢȞȧȣȔȦșȟȰ țȔȕȜȤȔșȦ ȟȢȦ șȥȟȜ ȱȦȢ ȥȟȧȫȔșȦȥȓ ȤȔȡȰȬș ǤǣǦǠǚ ǕǨǟǫǝǣǢǕ D ǤȢȞȧȣȔȦșȟȰ ȢȕȓțȔȡ ȖȯȣȟȔȦȜȦȰ ǤȢȞȧȣȡȧȲ Ȫșȡȧ țȔ ǦȢȕȥȦȖșȡȡȢȥȦȰ Ȗ ȥȢȥȦȔȖș ȟȢȦȔ Ȝ ȟȲȕȯș ǝțȘșȤȚȞȜ ȣȢȞȧȣȔȦșȟȓ ȥȤȔțȧ ȣȢȥȟș ȦȢȤȗȢȖ DzȦȢ ȣȢȟȢȚșȡȜș ȜȠșșȦ ȥȜȟȧ Ȗȡș țȔȖȜȥȜȠȢȥȦȜ ȢȦ ȦȢȗȢ ȥȧȭșȥȦȖȧȲȦ ȟȜ ȱȞȥȣȢȤȦȡȯș ȜȠȣȢȤȦȡȯș ȜȟȜ ȞȔȞȜș ȟȜȕȢ ȘȤȧȗȜș ȦȤșȕȢȖȔȡȜȓ E ǚȥȟȜ Ȟ ǦȢȕȥȦȖșȡȡȢȥȦȜ Ȗ ȥȢȥȦȔȖș ȟȢȦȔ ȣȤȜȠșȡȜȠȢ ǤȤȔȖȢ ȣȤȔȖȢȠȢȫȡȢȗȢ ȩȧȘȢȚȡȜȞȔ ȣȤȜ ȞȔȚȘȢȝ ȣȤȜȚȜțȡșȡȡȢȝ ȣșȤșȣȤȢȘȔȚș șȗȢ ȤȔȕȢȦȯ ǙȜȤșȞȦȜȖȔ ǚȖȤȢȥȢȲțȔ (& ǤȢȞȧȣȔȦșȟȰ ȦȔȞȚș ȢȕȓțȧșȦȥȓ ȧȣȟȔȦȜȦȰ ǕȧȞȪȜȢȡȜȥȦȧ ȥȧȠȠȧ ȤȔȖȡȧȲ ȗȢȡȢȤȔȤȧ ȩȧȘȢȚȡȜȞȧ ȥȢȗȟȔȥȡȢ ȧȞȔțȔȡȡȢȠȧ ǤȤȔȖȧ ǡȯ ȡșȥșȠ ȢȦȖșȦȥȦȖșȡȡȢȥȦȰ țȔ ȖȯȣȟȔȦȧ ȱȦȢȝ ȥȧȠȠȯ ȧȣȢȟȡȢȠȢȫșȡȡȢȠȧ ȔȗșȡȦȧ ȩȧȘȢȚȡȜȞȔ ȢȦ ȟȜȪȔ ǤȢȞȧȣȔȦșȟȓ

F ǤȢȞȧȣȔȦșȟȰ ȡș ȣȢȟȧȫȔșȦ ȣȤȔȖȢ ȡȔ ǦȢȕȥȦȖșȡȡȢȥȦȰ Ȗ ȥȢȥȦȔȖș ȟȢȦȔ ȣȢȞȔ ǤȢȞȧȣȡȔȓ ȪșȡȔ Ȝ ǝțȘșȤȚȞȜ ȣȢȞȧȣȔȦșȟȓ ȡș ȕȯȟȜ ȣȢȟȧȫșȡȯ ǕȧȞȪȜȢȡȜȥȦȢȠ Ȗ ȖȜȘș ȥȖȢȕȢȘȡȯȩ ȥȤșȘȥȦȖ ǥȔȡȡȓȓ ȣșȤșȘȔȫȔ ȡș ȖȟȜȓșȦ ȡȔ ȣșȤșȩȢȘ ȣȤȔȖȔ ȜȟȜ ȡȔ ȕșțȧȥȟȢȖȡȧȲ ȢȕȓțȔȡȡȢȥȦȰ ǤȢȞȧȣȔȦșȟȓ țȔȣȟȔȦȜȦȰ ǤȢȞȧȣȡȧȲ Ȫșȡȧ Ȝ ǝțȘșȤȚȞȜ ȣȢȞȧȣȔȦșȟȓ ȘȔȚș Ȗ ȦȢȠ ȥȟȧȫȔș șȥȟȜ Ƞȯ ȧȚș ȣșȤșȘȔȟȜ ȟȢȦ ǤȢȞȧȣȔȦșȟȲ

G ǡȯ ȥȢȩȤȔȡȓșȠ țȔ ȥȢȕȢȝ ȣȤȔȖȢ ȧȘșȤȚȜȖȔȦȰ ȣȤȢȘȔȡȡȯș ȣȤșȘȠșȦȯ ȣȢȞȔ ȡȔȠ ȡș ȕȧȘșȦ ȖȯȣȟȔȫșȡȯ Ȗȥș ȣȤȜȫȜȦȔȲȭȜșȥȓ ȣȟȔȦșȚȜ Ȗ ȥȖȢȕȢȘȡȯȩ ȥȤșȘȥȦȖȔȩ ȜȟȜ ȣȢȞȔ ǤȢȞȧȣȔȦșȟȰ ȡș ȖȯȣȢȟȡȜȟ Ȗȥș ȡȔȘȟșȚȔȭȜș ȢȕȓțȔȦșȟȰȥȦȖȔ ȣșȤșȘ ȡȔȠȜ ȖȞȟȲȫȔȓ ȣȤȜ ȡșȢȕȩȢȘȜȠȢȥȦȜ ȧȥȣșȬȡȯș ȨȜȡȔȡȥȢȖȯș ȣȤȢȖșȤȞȜ ȣȤȢȦȜȖ ȨȔȞȦȔ ȢȦȠȯȖȔȡȜȓ Șșȡșȗ Ǘ ȥȟȧȫȔș șȥȟȜ ǤȢȞȧȣȔȦșȟȰ ȡș ȣȤȢȩȢȘȜȦ ȧȘȢȖȟșȦȖȢȤȜȦșȟȰȡȢȝ ȨȜȡȔȡȥȢȖȢȝ ȣȤȢȖșȤȞȜ ȡȔ ȢȦȠȯȖȔȡȜș Șșȡșȗ ǕȧȞȪȜȢȡȜȥȦȯ ȜȠșȲȦ ȣȤȔȖȢ ȢȦȠșȡȜȦȰ ȨȔȞȦ ȣȤȢȘȔȚȜ Ȝ ȣȤșȘȣȤȜȡȓȦȰ ȘȤȧȗȜș ȘșȝȥȦȖȜȓ ȦȤșȕȧșȠȯș ȜȟȜ ȤȔțȤșȬșȡȡȯș țȔȞȢȡȢȠ Ǘ ȥȟȧȫȔș ȖȯȣȢȟȡșȡȜȓ ȱȦȜȩ ȧȥȟȢȖȜȝ ǤȢȞȧȣȔȦșȟȰ ȠȢȚșȦ țȔȕȤȔȦȰ ȣȤȜȢȕȤșȦșȡȡȧȲ ȜȠ ǦȢȕȥȦȖșȡȡȢȥȦȰ Ȗ ȥȢȥȦȔȖș ȟȢȦȔ Ȗ ȦșȫșȡȜș ȘȖȧȩ ȞȔȟșȡȘȔȤȡȯȩ Șȡșȝ ȥȢ Șȡȓ ȣȤȢȘȔȚȜ șȥȟȜ ȦȢȟȰȞȢ ȠșȚȘȧ ȡȔȠȜ Ȝ ǤȢȞȧȣȔȦșȟșȠ ȡș ȥȧȭșȥȦȖȧșȦ ȜȡȢȝ ȘȢȗȢȖȢȤșȡȡȢȥȦȜ

ȕȧȘșȦ ȖȣȢȥȟșȘȥȦȖȜȜ ȣȤȜțȡȔȡȔ ȣȢȘȘșȟȞȢȝ ȥȢȗȟȔȥȡȢ ȘȔȡȡȢȠȧ ȡȜȚș ȢȣȤșȘșȟșȡȜȲ ȢȡȜ ȔȡȡȧȟȜȤȧȲȦ ȣȤȢȘȔȚȧ Ȝ ȖȢțȠșȥȦȓȦ ǤȢȞȧȣȔȦșȟȲ ȜȥȩȢȘȡȧȲ ȣȢȞȧȣȡȧȲ ȥȦȢȜȠȢȥȦȰ ǦȢȕȥȦȖșȡȡȢȥȦȜ Ȗ ȥȢȥȦȔȖș ȟȢȦȔ Ȗ ȜȥȩȢȘȡȢȝ ȖȔȟȲȦș ȥȘșȟȞȜ ǤȢȘȘșȟȞȔ ȢȣȤșȘșȟȓșȦȥȓ ȞȔȞ ǦȢȕȥȦȖșȡȡȢȥȦȰ Ȗ ȥȢȥȦȔȖș ȟȢȦȔ ȞȢȦȢȤȔȓ ȣȢ ȢȕȢȥȡȢȖȔȡȡȢȠȧ ȠȡșȡȜȲ ǕȧȞȪȜȢȡȜȥȦȢȖ ȓȖȟȓșȦȥȓ ȚȧȟȰȡȜȫșȥȞȢȝ ȜȠȜȦȔȪȜșȝ ȥȢțȘȔȡȡȢȝ ȥ ȪșȟȰȲ ȖȖșȥȦȜ Ȗ țȔȕȟȧȚȘșȡȜș ȢȦȡȢȥȜȦșȟȰȡȢ șș ȔȖȦȢȤȥȦȖȔ ȜȟȜ ȖȤșȠșȡȜ ȥȢțȘȔȡȜȓ șȥȟȜ ȱȦȢȦ ȨȔȞȦ ȡș ȢȕȢțȡȔȫșȡ ǜǕǘǠǕǗǢǰǡǝ ǖǨǟǗǕǡǝ Ȗ țȔȗȢȟȢȖȞș ȢȣȜȥȔȡȜȓ ȟȢȦȔ Ȗ ȔȧȞȪȜȢȡȡȢȠ ȞȔȦȔȟȢȗș ȜțȠșȡșȡȜȓ ȠȢȗȧȦ ȕȯȦȰ Ȗȡșȥșȡȯ Ȗ ȢȣȜȥȔȡȜș ȣȢȥȤșȘȥȦȖȢȠ ȧȖșȘȢȠȟșȡȜȓ ȜȟȜ ȢȕȮȓȖȟșȡȜȓ Ȗ ȔȧȞȪȜȢȡȡȢȠ țȔȟș

H ǡȯ ȣȤȢȓȖȟȓșȠ ȖȥȲ ȖȢțȠȢȚȡȧȲ ȣȤșȘȢȥȦȢȤȢȚȡȢȥȦȰ Ȗ ȣȤȢȪșȥȥș ȢȕȤȔȭșȡȜȓ ȧȣȔȞȢȖȞȜ Ȝ ȣșȤșȣȤȔȖȞȜ ȞȧȣȟșȡȡȢȝ ǦȢȕȥȦȖșȡȡȢȥȦȜ Ȗ ȥȢȥȦȔȖș ȟȢȦȔ Ȝ Ȗ ȖȯȕȢȤș ȦȤșȦȰșȝ ȥȦȢȤȢȡȯ Șȟȓ ȢȥȧȭșȥȦȖȟșȡȜȓ ȱȦȜȩ ȘșȝȥȦȖȜȝ ȢȘȡȔȞȢ Ƞȯ ȡș ȡșȥșȠ ȢȦȖșȦȥȦȖșȡȡȢȥȦȜ țȔ ȘșȝȥȦȖȜȓ ȜȟȜ ȧȣȧȭșȡȜȓ ȥȢ ȥȦȢȤȢȡȯ ȱȦȜȩ ȦȤșȦȰȜȩ ȥȦȢȤȢȡ

ǘȔȤȔȡȦȜȓ ǕȧȞȪȜȢȡȜȥȦȢȖ ȡș ȤȔȥȣȤȢȥȦȤȔȡȓșȦȥȓ ȡȔ ȘȢȣȢȟȡȜȦșȟȰȡȧȲ ȜȡȨȢȤȠȔȪȜȲ ȤȔțȠșȭșȡȡȧȲ ȣȢȘ ȡȔȕȤȔȡȡȯȠ țȔȗȟȔȖȡȯȠȜ ȕȧȞȖȔȠȜ țȔȗȢȟȢȖȞȢȠ Ȗ ȢȣȜȥȔȡȜȜ ȞȔȚȘȢȗȢ ȟȢȦȔ Ȝ ǕȧȞȪȜȢȡȜȥȦȯ ȡș ȡșȥȧȦ ȢȦȖșȦȥȦȖșȡȡȢȥȦȰ țȔ ȟȲȕȯș ȢȬȜȕȞȜ Ȝ ȣȤȢȣȧȥȞȜ Ȗ ȱȦȢȝ ȜȡȨȢȤȠȔȪȜȜ ǘȔȤȔȡȦȜȓ ȡș ȤȔȥȣȤȢȥȦȤȔȡȓșȦȥȓ ȡȔ ȟȲȕȢȝ țȔȗȢȟȢȖȢȞ ȞȢȦȢȤȯȝ țȔȓȖȟșȡ ȞȔȞ ȣȤșȘȥȦȔȖȟȓȲȭȜȝ ȞȖȔȟȜȨȜȪȜȤȢȖȔȡȡȢș ȠȡșȡȜș ǘȔȤȔȡȦȜȓ ȘșȝȥȦȖȧșȦ Ȗ ȥȢȢȦȖșȦȥȦȖȜȜ ȥȢ ȥȟșȘȧȲȭȜȠȜ ȣȤȔȖȜȟȔȠȜ

I Ǘ ȥȟȧȫȔș ȢȦȥȧȦȥȦȖȜȜ ȣȜȥȰȠșȡȡȢȝ ȘȢȗȢȖȢȤșȡȡȢȥȦȜ ȠșȚȘȧ ȡȔȠȜ ȦȢȦ ȨȔȞȦ ȫȦȢ ǤȢȞȧȣȔȦșȟȰ ȣȟȔȡȜȤȧșȦ ȣȢȟȧȫȜȦȰ ȱȞȥȣȢȤȦȡȧȲ ȟȜȪșȡțȜȲ ȡș ȢȞȔțȯȖȔșȦ ȖȟȜȓȡȜȓ ȡȔ șȗȢ ȜȟȜ șș ȢȕȓțȔȡȡȢȥȦȰ ȣȤȢȜțȖșȥȦȜ ȢȣȟȔȦȧ ȥȤȔțȧ Țș ȣȢ ȢȞȢȡȫȔȡȜȜ ȦȢȤȗȢȖ Ȕ ȦȔȞȚș ȡș ȖȟȜȓșȦ ȡȔ ȡȔȬș ȣȤȔȖȢ ȡȔȫȜȥȟȓȦȰ ȣȤȢȪșȡȦȯ ȜȟȜ ȘȢȣȢȟȡȜȦșȟȰȡȧȲ ȣȟȔȦȧ țȔ ȩȤȔȡșȡȜș ȟȢȦȔ Ȗ ȥȟȧȫȔș țȔȘșȤȚȞȜ ȢȣȟȔȦȯ ǚȥȟȜ ǤȢȞȧȣȔȦșȟȰ ȚșȟȔșȦ ȫȦȢȕȯ Ƞȯ ȣȢȘȔȟȜ ȡȔ ȱȞȥȣȢȤȦȡȧȲ ȟȜȪșȡțȜȲ ȢȦ șȗȢ ȟȜȪȔ Ƞȯ ȜȠșșȠ ȣȤȔȖȢ țȔȣȤȢȥȜȦȰ ȣȟȔȦȧ țȔ ȱȦȧ ȧȥȟȧȗȧ ǡȯ ȡș ȢȕȓțȔȡȯ ȔȡȡȧȟȜȤȢȖȔȦȰ ȣȤȢȘȔȚȧ ȜȟȜ ȖȢțȠșȭȔȦȰ ȣȤȢȪșȡȦȯ ȜȟȜ ȟȲȕȯș ȘȤȧȗȜș ȜțȘșȤȚȞȜ ȞȢȦȢȤȯȝ ȣȢȦșȤȣșȟ ǤȢȞȧȣȔȦșȟȰ Ȗ ȦȢȠ ȥȟȧȫȔș ȞȢȗȘȔ ȱȞȥȣȢȤȦȡȯș ȟȜȪșȡțȜȜ ȡșȢȕȩȢȘȜȠȯ

D ǣȡȔ ȡș ȤȔȥȣȤȢȥȦȤȔȡȓșȦȥȓ ȡȔ ȥȟȧȫȔȜ ȞȢȗȘȔ L ȢȣȜȥȔȡȜș Ȗ ȞȔȦȔȟȢȗș ȜȟȜ ȢȕȮȓȖȟșȡȜș Ȗ ȔȧȞȪȜȢȡȡȢȠ țȔȟș ȥȢȢȦȖșȦȥȦȖȢȖȔȟȢ ȢȕȭșȣȤȜȡȓȦȢȠȧ ȠȡșȡȜȲ ȧȫșȡȯȩ ȜȟȜ ȱȞȥȣșȤȦȢȖ ȡȔ ȠȢȠșȡȦ ȦȢȤȗȢȖ ȜȟȜ Ȗ ȓȖȡȢȝ ȨȢȤȠș ȧȞȔțȯȖȔȟȢ ȡȔ ȡȔȟȜȫȜș ȣȤȢȦȜȖȢȣȢȟȢȚȡȯȩ ȠȡșȡȜȝ ȜȟȜ LL ȖșȤȡȔȓ ȜȘșȡȦȜȨȜȞȔȪȜȓ ǦȢȕȥȦȖșȡȡȢȥȦȜ Ȗ ȥȢȥȦȔȖș ȟȢȦȔ ȠȢȚșȦ ȕȯȦȰ ȣȤȢȘșȠȢȡȥȦȤȜȤȢȖȔȡȔ ȦȢȟȰȞȢ ȥ ȣȢȠȢȭȰȲ ȡȔȧȫȡȢȝ ȣȤȢȪșȘȧȤȯ ȢȕȯȫȡȢ ȡș ȘȢȣȧȥȞȔȲȭșȝȥȓ ȘȢ ȠȢȠșȡȦȔ ȣȧȕȟȜȞȔȪȜȜ ȞȔȦȔȟȢȗȔ ȟȜȕȢ ȣȤȢȪșȘȧȤȯ ȞȢȦȢȤȔȓ ȡȔ ȠȢȠșȡȦ ȣȧȕȟȜȞȔȪȜȜ ȞȔȦȔȟȢȗȔ ȕȯȟȔ ȕȯ ȡșȢȣȤȔȖȘȔȡȡȢ ȘȢȤȢȗȢȥȦȢȓȭșȝ ȜȟȜ ȡșȣȤȔȞȦȜȫȡȢȝ ȜȟȜ ȠȢȗȟȔ ȡȔȡșȥȦȜ ȧȭșȤȕ ǦȢȕȥȦȖșȡȡȢȥȦȜ

J ǚȥȟȜ ǤȢȞȧȣȔȦșȟȰ ȡș ȢȥȧȭșȥȦȖȟȓșȦ ȢȣȟȔȦȧ ȣȢȟȡȢȥȦȰȲ ȣȤȜ ȣȢȠȢȭȜ ȥȖȢȕȢȘȡȯȩ ȥȤșȘȥȦȖ Ȗ ȦșȫșȡȜș Șȡșȝ ȣȢȥȟș ȔȧȞȪȜȢȡȔ Ƞȯ ȜȠșșȠ ȣȤȔȖȢ ȣȤșȘȣȤȜȡȓȦȰ ȤȓȘ ȲȤȜȘȜȫșȥȞȜȩ ȠșȤ Ȗ ȞȢȦȢȤȯș ȠȢȗȧȦ ȖȩȢȘȜȦȰ ȥȟșȘȧȲȭȜș Ȕ ȦȔȞȚș ȘȤȧȗȜș ȘșȝȥȦȖȜȓ

E ǤȤȔȖȔ ȣȢ ȗȔȤȔȡȦȜȜ ȡș ȣȢȘȟșȚȔȦ ȣșȤșȘȔȫș Ȝ ȘșȝȥȦȖȧȲȦ ȦȢȟȰȞȢ Ȗ ȢȦȡȢȬșȡȜȜ ȜȥȩȢȘȡȢȗȢ ǤȢȞȧȣȔȦșȟȓ ǦȢȕȥȦȖșȡȡȢȥȦȜ Ȗ ȥȢȥȦȔȖș ȟȢȦȔ ȥȢȗȟȔȥȡȢ ȥȫșȦȧ ȜțȡȔȫȔȟȰȡȢ ȖȯȘȔȡȡȢȠȧ ǕȧȞȪȜȢȡȜȥȦȔȠȜ ȣȢȥȟș ȣȤȢȘȔȚȜ ȟȢȦȔ ȡȔ ȔȧȞȪȜȢȡș

L ȣȤȜȖȟșȞȔȦȰ ȡș ȖȯȣȢȟȡȜȖȬșȗȢ ȢȕȓțȔȦșȟȰȥȦȖȔ ǤȢȞȧȣȔȦșȟȓ Ȟ ȢȦȖșȦȥȦȖșȡȡȢȥȦȜ ȥ ȪșȟȰȲ ȖȯȣȟȔȦȯ Ȗȥșȝ ȣȤȜȫȜȦȔȲȭșȝȥȓ ȥȧȠȠȯ Ȝ Ȗȥșȩ ȲȤȜȘȜȫșȥȞȜȩ ȣȤȢȪșȘȧȤ Ȝ ȜțȘșȤȚșȞ ȡȔȣȤȔȖȟșȡȡȯȩ ȡȔ ȖȢțȖȤȔȭșȡȜș ȱȦȢȝ ȥȧȠȠȯ ȖȞȟȲȫȔȓ ȣȤȢȪșȡȦȯ ȣȢ ȠȔȞȥȜȠȔȟȰȡȢȠȧ ȣȤșȝȥȞȧȤȔȡȦȧ ȘȢȣȧȥȦȜȠȢȠȧ ȥȢȢȦȖșȦȥȦȖȧȲȭȜȠ țȔȞȢȡȢȠ LL ȔȡȡȧȟȜȤȢȖȔȦȰ ȣȤȢȘȔȚȧ ǦȢȕȥȦȖșȡȡȢȥȦȜ Ȗ ȥȢȥȦȔȖș ȟȢȦȔ LLL ȣșȤșȣȤȢȘȔȦȰ ǦȢȕȥȦȖșȡȡȢȥȦȰ Ȗ ȣȧȕȟȜȫȡȢȠ ȜȟȜ ȫȔȥȦȡȢȠ ȣȢȤȓȘȞș ȡȔ ȧȥȦȤȔȜȖȔȲȭȜȩ ȡȔȥ ȧȥȟȢȖȜȓȩ LY ȢȣȟȔȦȜȦȰ ǤȤȢȘȔȖȪȧ ȥȧȠȠȧ Ȗ ȤȔțȠșȤș ȫȜȥȦȢȝ ȖȯȤȧȫȞȜ ȢȦ ȤȔțȠșȤȔ ȥȦȔȖȞȜ ȥȘșȟȔȡȡȢȝ ȡș ȖȯȣȢȟȡȜȖȬȜȠ ȥȖȢȜȩ ȢȕȓțȔȦșȟȰȥȦȖ ǤȢȞȧȣȔȦșȟșȠ Y ȖțȯȥȞȔȦȰ ȣȤȢȪșȡȦȯ Ȝț ȤȔȥȫșȦȔ ȗȢȘȢȖȯȩ Ȗ ȘȢȕȔȖȟșȡȜș Ȟ ȢȥȡȢȖȡȢȝ ȥȦȔȖȞș ǫșȡȦȤȢȕȔȡȞȔ ǟȜȣȤȔ YL ȖȯȫșȥȦȰ ȟȲȕȧȲ ȥȧȠȠȧ ȞȢȦȢȤȧȲ ǕȧȞȪȜȢȡȜȥȦ ȘȢȟȚșȡ ǤȢȞȧȣȔȦșȟȲ Ȝț ȢȥȦȔȲȭșȝȥȓ ȡșȖȯȣȟȔȫșȡȢȝ ǤȢȞȧȣȔȦșȟșȠ ȥȧȠȠȯ YLL Ȗ ȦȢȠ ȥȟȧȫȔș șȥȟȜ ǤȢȞȧȣȔȦșȟȰ ȘȢȟȚșȡ ȡȔȠ ȡșȥȞȢȟȰȞȢ ȣȟȔȦșȚșȝ Ȗ ȥȫșȦ ȤȔțȟȜȫȡȯȩ ȦȤȔȡțȔȞȪȜȝ ȜȥȣȢȟȰțȢȖȔȦȰ ȟȲȕȧȲ ȖȯȣȟȔȫșȡȡȧȲ ȥȧȠȠȧ Șȟȓ ȣȢȞȤȯȦȜȓ ȟȲȕȢȝ țȔȘȢȟȚșȡȢȝ ȥȧȠȠȯ Ȗ ȥȫșȦ ȟȲȕȢȝ ȢȦȘșȟȰȡȢȝ ȦȤȔȡțȔȞȪȜȜ ȡșțȔȖȜȥȜȠȢ ȢȦ ȦȢȗȢ ȘȔșȦ ȟȜ ǤȢȞȧȣȔȦșȟȰ ȥȢȗȟȔȥȜș ȡȔ ȱȦȢ ȜȟȜ ȡșȦ YLLL ȧȘșȤȚȜȖȔȦȰ ȟȲȕȧȲ ȥȢȕȥȦȖșȡȡȢȥȦȰ ǤȢȞȧȣȔȦșȟȓ ȞȢȦȢȤȔȓ ȡȔȩȢȘȜȦȥȓ Ȗ ȤȔȥȣȢȤȓȚșȡȜȜ ǕȧȞȪȜȢȡȜȥȦȔ ǡȯ ȥȢȢȕȭȜȠ ǤȢȞȧȣȔȦșȟȲ șȥȟȜ Ƞȯ ȡȔȟȢȚȜȠ ȔȤșȥȦ ȡȔ șȗȢ ȥȢȕȥȦȖșȡȡȢȥȦȰ Ȝ Ȗ ȦșȫșȡȜȜ Șȡșȝ ȥ ȠȢȠșȡȦȔ ȣȢȘȢȕȡȢȗȢ ȥȢȢȕȭșȡȜȓ ȠȢȚșȠ ȢȤȗȔȡȜțȢȖȔȦȰ ȣȤȢȘȔȚȧ ȱȦȢȝ ȥȢȕȥȦȖșȡȡȢȥȦȜ ȫȦȢȕȯ ȣȢȞȤȯȦȰ ȥȧȠȠȧ ȞȢȦȢȤȧȲ ǤȢȞȧȣȔȦșȟȰ ȘȢȟȚșȡ ǕȧȞȪȜȢȡȜȥȦȔȠ L[ ȣȤșȘȣȤȜȡȓȦȰ Ȝȡȯș ȬȔȗȜ Ȗ ȱȦȢȠ ȞȟȲȫș ȞȢȦȢȤȯș ȥȢȫȦșȠ ȡșȢȕȩȢȘȜȠȯȠȜ ȜȟȜ ȥȢȢȦȖșȦȥȦȖȧȲȭȜȠȜ ǚȥȟȜ Ƞȯ ȣșȤșȣȤȢȘȔșȠ ǦȢȕȥȦȖșȡȡȢȥȦȰ ȥȢȗȟȔȥȡȢ ȣȔȤȔȗȤȔȨȧ LLL ȖȯȬș ȡș ȖȯȣȢȟȡȜȖȬȜȝ ȥȖȢȜ ȢȕȓțȔȦșȟȰȥȦȖȔ ǤȢȞȧȣȔȦșȟȰ ȣȢȡșȥșȦ ȢȦȖșȦȥȦȖșȡȡȢȥȦȰ țȔ ȟȲȕȢȝ ȡșȘȢȥȦȔȦȢȞ ȠșȚȘȧ ȜțȡȔȫȔȟȰȡȢ ȣȤȜȫȜȦȔȲȭșȝȥȓ ȡȔȠ ȥȧȠȠȢȝ Ȝ ȥȧȠȠȢȝ ȣȢȟȧȫșȡȡȢȝ ȢȦ ȣșȤșȣȤȢȘȔȚȜ Ȕ ȦȔȞȚș Ȗȥșȩ ȤȔțȧȠȡȯȩ ȤȔȥȩȢȘȢȖ ȜțȘșȤȚșȞ ȧȕȯȦȞȢȖ ȲȤȜȘȜȫșȥȞȜȩ ȗȢȡȢȤȔȤȢȖ Ȝ ȣȤșȠȜȝ ȟȲȕȢȗȢ ȦȜȣȔ ȥȖȓțȔȡȡȯȩ ȥ ȢȕșȜȠȜ ȣȤȢȘȔȚȔȠȜ Ȝ ȖȯȦșȞȔȲȭȜȠȜ Ȝț ȡșȖȯȣȢȟȡșȡȜȓ ȜțȡȔȫȔȟȰȡȯȩ ȢȕȓțȔȦșȟȰȥȦȖ ǚȥȟȜ Ƞȯ ȖȯȣȟȔȫȜȖȔșȠ ȟȲȕȧȲ ȥȧȠȠȧ ǤȤȢȘȔȖȪȧ ȥȢȗȟȔȥȡȢ ȣȔȤȔȗȤȔȨȧ LY ȖȯȬș ǤȢȞȧȣȔȦșȟȰ ȣȤȜțȡȔșȦ țȔ ǕȧȞȪȜȢȡȜȥȦȔȠȜ ȣȢȟȡȢș ȣȤȔȖȢ ǤȤȢȘȔȖȪȔ Ȗȡș țȔȖȜȥȜȠȢȥȦȜ ȢȦ șȗȢ ȣȤȢȜȥȩȢȚȘșȡȜȓ ȘȢȕȜȖȔȦȰȥȓ ȢȦ ǤȢȞȧȣȔȦșȟȓ ȧȞȔțȔȡȡȢȝ ȥȧȠȠȯ ǚȥȟȜ ȣȢȞȧȣȔȦșȟȰ ȡș țȔȕȤȔȟ ȥȖȢȜ ȣȤȜȢȕȤșȦșȡȜȓ Ȗ ȦșȫșȡȜș ȘȖȧȩ ȞȔȟșȡȘȔȤȡȯȩ Șȡșȝ ȥȢ Șȡȓ ȔȧȞȪȜȢȡȔ Ȗȡș țȔȖȜȥȜȠȢȥȦȜ ȕȯȟȔ ȟȜ ȣȤȢȖșȘșȡȔ ȢȣȟȔȦȔ ȜȟȜ ȡșȦ ȡȔȠ ȤȔțȤșȬșȡȢ ȣșȤșȖșțȦȜ ȥȢȕȥȦȖșȡȡȢȥȦȰ Ȗ ȠșȥȦȢ Șȟȓ ȩȤȔȡșȡȜȓ ȣȤȜȡȔȘȟșȚȔȭșș ȦȤșȦȰșȝ ȥȦȢȤȢȡș țȔ ȥȫșȦ ǤȢȞȧȣȔȦșȟȓ Ȝ ȖȯȘȔȦȰ șș ȦȢȟȰȞȢ ȣȢȥȟș ȣȢȟȡȢȝ ȢȣȟȔȦȯ ȣșȤșȖȢțȞȜ ȣșȤșȠșȭșȡȜȓ ȩȤȔȡșȡȜȓ Ȝ ȟȲȕȯȩ ȘȤȧȗȜȩ ȣȢȡșȥșȡȡȯȩ ȤȔțȧȠȡȯȩ ȤȔȥȩȢȘȢȖ ȡȔȤȓȘȧ ȥ ȧȚș ȣȤȜȫȜȦȔȲȭșȝȥȓ ȡȔȠ ȣȟȔȦȢȝ

ǘǕǥǕǢǧǝǴ Ǘ ȘȢȣȢȟȡșȡȜș Ȟ ȢȕȓțȔȦșȟȰȥȦȖȔȠ ǕȧȞȪȜȢȡșȤȢȖ ȣșȤșȘ ǤȢȞȧȣȔȦșȟȓȠȜ ȜțȟȢȚșȡȡȯȠ Ȗ ȣȔȤȔȗȤȔȨș ȘȔȡȡȯȩ ǨȥȟȢȖȜȝ ȡȢ Ȗ ȥȢȢȦȖșȦȥȦȖȜȜ ȥ ȣȢȟȢȚșȡȜȓȠȜȜ ȧȥȟȢȖȜȓȠȜ ȘȔȡȡȢȗȢ ȣȔȤȔȗȤȔȨȔ ǕȧȞȪȜȢȡșȤȯ ȘȔȲȦ ȗȔȤȔȡȦȜȲ ȥȤȢȞȢȠ ȡȔ ȢȘȜȡ ȗȢȘ Ȗ ȢȦȡȢȬșȡȜȜ ȦȢȗȢ ȫȦȢ șȥȟȜ ȣȤȢȘȔȡȡȔȓ ȜȠȜ ǦȢȕȥȦȖșȡȡȢȥȦȰ

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