These three main compositions form the central iconographic focus of the icon. Their strong relationship is clearly emphasized by the red color of their mandorlas, which visually connects them and highlights their spiritual importance. The use of the mandorla, a sacred oval of light, shows the divine nature of the figures placed within it. By using the same color, the painter underlines the unity between the Trinity, the Hetoimasia, and Christ as the Judge Description of the Icon and Its Historical Context.
The overall structure of the icon is carefully balanced and symmetrical. The figures are arranged around a central vertical axis that is dominated by the Trinitarian theme. This axis creates a sense of order and harmony, reflecting the idea of heavenly hierarchy and divine organization.
The Seven Rows of Saints
On both sides of the central axis, seven rows of figures are placed in a symmetrical order from top to bottom. Each row contains a specific group of holy figures, showing the spiritual diversity of the heavenly assembly.
First Row Angels and Archangels
The first and highest row shows the archangels and angels. Among them, the Archangel Michael is especially important and is depicted holding a celestial sphere (sphaira) in his left hand. This symbol shows his authority and role as a protector of the heavenly order Sofia Sightseeing Tours.
Second Row Old Testament Figures
The second row includes kings, prophets, and patriarchs from the Old Testament. These figures represent the ancient history of salvation and the early witnesses of God’s promise.
Third Row Apostles and Evangelists
The third row contains the apostles and the evangelists. They are central figures in Christian tradition because they spread the message of Christ and wrote the Gospels.
Fourth Row Church Fathers and Hierarchs
The fourth row is formed by Church Fathers, bishops, and hierarchs. These spiritual leaders defended the faith and shaped Christian theology and doctrine.
Fifth Row Saints and Martyrs
The fifth row includes saints and martyrs who suffered for their faith. Their presence emphasizes sacrifice, courage, and loyalty to Christ.
Sixth Row Monks and Hermits
In the sixth row are monks and hermits, representing ascetic life and spiritual devotion. They symbolize prayer, discipline, and withdrawal from worldly life.
Seventh Row Righteous Kings and Princesses
The last row shows righteous kings and princesses. In the center of this row stands a dark brown cross, which symbolizes faith and salvation even among earthly rulers.
Symbolic Elements in the Background
In the two upper corners of the icon, stylized trees are depicted. These trees may symbolize life, renewal, and the Garden of Eden. Their decorative form also adds balance to the composition.
The lower part of the panel shows the walled Paradise with its four rivers, a clear reference to the biblical description of Eden. On the left side, three seated elderly figures appear. These are most likely the patriarchs Abraham, Isaac, and Jacob. Behind them are small heads, which symbolize the souls of the righteous resting in Paradise.
On the right side, the Good Thief, who was crucified together with Christ, is shown carrying a dark brown cross. His presence is significant because he represents repentance and salvation. He has been depicted in icons since the sixteenth century and appears frequently in Greek Orthodox art.
Later Examples and Artistic Context
Several icons of similar subjects exist in different collections, including examples from the Icon Museum in Recklinghausen, Germany. Many Greek Orthodox examples date from the eighteenth and nineteenth centuries. The Good Thief is also represented in Menologia, especially in Russian manuscripts, and sometimes appears in vita-icons together with other saints.
Another example of the same subject from Anatolia is preserved in the Sinop Museum. Such images show that the Greek Orthodox community in the Late Ottoman period was aware of contemporary artistic motifs while still remaining deeply connected to the Byzantine tradition.
Additional Scenes and Motifs in Related Icons
Other related images include scenes such as the Annunciation, where a lectern with an open book appears as an important motif from the eleventh century onward. The Nativity and the Adoration of the Shepherds also include special details, such as the small cloth that becomes a regular element in depictions of the newborn Christ, a feature often seen in Renaissance painting.
The Circumcision of Christ is another rare scene in Byzantine art, though a unique representation exists in the Menologion of Basil II, showing the preparation for the ritual. Finally, the Way to Golgotha is depicted with strong emotional intensity. Although Byzantine examples of this subject exist, the rendering in later works often reflects Renaissance influence, showing Christ suffering greatly as he carries the heavy Cross on the road to Golgotha.
