Putnam Foundation Collection > Russian Icons

The Ascension of Our Lord Jesus Christ
16th century, Moscow School
Tempera on wood panel
32 1/8 x 26 3/4 in.

The Ascension of Christ took place on the Mount of Olives, and in this icon, the figures are set against a hilly landscape studded with olive trees. The Virgin is flanked by the twelve Apostles. Behind her stand two angels, dressed in white, pointing toward Christ, who is carried heavenward. The concentric circles bearing Christ symbolize the holy world that he is about to enter. The title of the icon is printed in Cyrillic characters in the upper corners.

Our Lady of Jerusalem
17th century
Moscow School
Tempera on wood panel
51-5/8 x 42 in.

By tradition, an icon of the Virgin Mary and Christ Child is on the first register of the iconostas' to the left of the Royal Gates.

This icon is of the size that could flank the Royal Gates. The Mother of God is depicted in the traditional pose of the Hodigitria, Greek for "pointer of the way." Here, the Virgin points with her right hand to the Christ Child as being "the Way, the Truth, and the Life."

The letters on either side of the Virgin's head mean "Maria, Mother of God," and the letters above Christ's halo, IC SC, stand for Jesus Christ.

The Royal Gates
15th century,
Novgorod school
Tempera on wood panel
left, 66-3/4 x 16-1/4 in.
right, 66-5/8 x 15-5/8 in.

The Royal Gates, or Czar's Doors, set in the center of the iconostas', were so-called because Christ, the King of Glory as represented by his priests, enters the Royal Gates that lead to the altar. A curtain hung on the inside is drawn or opened during various parts of the divine service.

Placed together, the doors depict the Annunciation at the top, where the Archangel Gabriel announces to the Virgin Mary that she is to become the mother of Jesus, the Son of God. The other four panels show the evangelists, Matthew, Mark, Luke, and John.

The Savior Enthroned
15th century, Novgorod school
Tempera on wood panel
35-3/4 x 25-3/4 in.

The Savior as the King of Glory, seated on a carved throne, occupies the center of the iconostas'. He holds a closed Gospel in one hand and raises the other in blessing. Church fathers occupy the upper corners.

Six additional panels, also tempera on wood, depict the Virgin Mary, the Archangel Michael, St. John the Baptist, the Archangel Gabriel, and the Apostle Paul. They are arranged on either side of the central panel in a prayerful movement toward the Savior on his throne.

St. Basil
16th century
Moscow School
Tempera on wood panel
42 5/8 x 32 1/2 in.

Saint Basil, a 4th-century archbishop, was a prolific writer and doctor of the church and was active in helping the sick and poor. He built a hospice and a huge complex to minister to the sick and attracted huge crowds with his preaching.

As the leader of a sect of orthodox believers, Basil established the basis of monastic life. In this icon he is shown full-length with the Gospel in his left hand, while his right is raised in a two-fingered blessing. A three-quarter-length figure of Christ is depicted in a roundel above his right hand, and a similar one of the Blessed Mother appears in a roundel above the Gospel. Fourteen scenes of Saint Basil's life surround the main figure.

The size of this icon suggests that it once hung on a church wall.

The Last Judgment
16th century
Stroganoff School
Tempera on wood panel
72 x 44-5/8 in.

This monumental icon is divided into five uneven, horizontal zones. In the uppermost zone, which is made up of several parts, is Heavenly Jerusalem with figures of the church fathers.

At the top center, two angels unfold a scroll with representations of the sun, the moon, and the stars.

Below the scroll sits God the Father surrounded by the orders of angels called seraphim and cherubim. On the right is Christ, being blessed by God the Father.

To the right of that, Christ, against a red background, stands before the throne of God the Father. Farther to the right, Christ is placed to the right of God the Father.

Below them, the Archangel Michael smites the devils, who fall headlong from heaven. In the next zone, Christ sits in judgment, flanked by the Virgin Mary and St. John the Baptist, pleading for humanity.

To the left and right are rows of apostles. Behind them are rows of angels.

The throne of the millennium attended by two angels appears in the third zone. On the left are prophets, martyrs, and saintly women. On the right, Moses, having descended from Heaven, leads those who do not recognize Christ.

In the fourth zone, beneath the throne, are the scales on which angels and devils weigh the deeds of a man standing before them. Emerging from the jaws of Hell is the wriggling serpent symbolizing evil.

In the fifth zone are scenes of the tortures of Hell, as well as scenes of death in which the forces of good and evil vie for the souls of the dying.

The Forty Martyrs of Sebaste
15th century
Novgorod School
Tempera and gesso on linen
9-5/8 x 7-7/8 in.

The size of this tabletka, or double-sided icon, indicates that it probably sat on a cloth-draped lectern, or analoy.

One side depicts the forty Roman soldiers who were martyred for their Christian beliefs in the fourth century by being forced to stand barefoot in a freezing lake. One of the soldiers recanted and entered a shelter on the lakeshore. A tormentor, impressed with the faith of the remaining thirty-nine, removed his clothing and joined the martyrs. Above the figures hover Christ and the crowns of martyrdom.

The other side of this icon can be viewed in the next image.

The Four Men in the Fiery Furnace
15th century
Novgorod School
Tempera and gesso on linen
9-5/8 x 7-7/8 in.

The other side of the icon (see previous image) depicts the story of the Four Men in the Fiery Furnace from the third book of Daniel.

Shadrach, Meshach, and Abednego, refusing to worship the golden idol erected by King Nebuchadnezzar, were cast into the furnace. An angel appeared to comfort them. The king, shown seated on his throne with the idol on the column behind him, marveled that the young men were not harmed by the flames and released them.