Russian school, 18th century. "The Virgin and... Lot 42

Russian school, 18th century. "The Virgin and Child Jesus and selected saints". Tempera on panel. Measurements: 32 x 27 cm. The icon of interest represents a quite common and popular composition, of the Mother of God seated on the throne, with the selected saints. It follows the traditional model of triangular hierarchical composition, where the seated Virgin is on top, and of bigger size, than the rest of the saints. The two saints next to her are represented in two different postures, the saint on the right holding the gesture of adoration, and the saint on the left raising his right hand in a gesture of blessing. Due to the general deterioration of the piece, the inscriptions, which once rested on the saints' nimbuses, are now practically lost and unrecognisable. As a result, there is some difficulty in determining who these venerable monks are. A particular feature that points to the venerable monks, apart from their clothing, is the Golgotha cross, a typology that is used exclusively on the clothing of Orthodox monks. This type of representation of the seated Virgin and Child is widely known in the Orthodox world under the name "Panachranta", and has similar features to the prototype "Odighitria" in depicting the faces of the Virgin and Child in an embrace, and with the faces side by side. The central image of the auctioned icon features the iconography typical of Panachranta, with the Virgin Mary seated on the throne, holding the Christ Child on her knees. The throne symbolises the majesty and royal power of the Mother of God. This prototype of the Virgin Mary with Child developed in the Byzantine Empire between the 11th and 12th centuries, and has been known in Russia since the 13th century. The background of the Virgin's throne is richly decorated with floral motifs in the Old Russian style. The four eggs on the throne are an interesting symbol, alluding to the future life of the infant Jesus, who is awaiting martyrdom and resurrection. The dark green, almost khaki tone may help to determine the approximate period of the icon's production, which would be the 18th century, when this shade of green began to become popular for the backgrounds of icons.