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Start Over Object class Icons (devotional images) Accession number Acc.374
Hearst Museum object titled Icon, accession number 7-3540, described as Icon; large central figure; has been overlaid with plates obscuring painting; 2 horizontal braces from sides, large background icon identified by Alexa Saunders (11-2-1964) as St. Nicholas the Miracle Worker. 9.25 x 11.75 inches. This is a “family icon.” It was often hung in a corner (the right corner facing the door- the krasni or prekrasni ugol). The overlay of smaller metal icons is of fairly recent origin judging from the use of nails and screws although the metal icons themselves are very old. It was customary for all members of Orthodox families to each be named after a saint or a martyr. Usually the largest and finest icon therefore was of the saint or martyr after whom the father or head of family was named. The other saints (i.e. those patron saints of the rest of the family) surrounded the central figure even as a family surrounds a father. The largest metal enamel central icon (traces of white enamel remaining) can be described thus: Top portion: classic icon called “Glorification of the Virgin.” Left top: Saints Alexander and Cyril. Left bottom: Saints Antony and Theodosius. Right top: Vassily (the other member saints’ name is obscured). Right bottom: Again St. Anthony - the other saints’ name is undecipherable. The different aspects of the icons of the Virgin are: The Virgin of Novgorod The Virgin of Kazan The Virgin of Pechersk Skorbiashchenskaya Virgin The small icons surrounding the central one are all of different patron saints of the family, St. Nicholas appearing most often . The small folding icon at the very top is that of St. Nicholas again. This type of icon was sometimes worn on a chain about the neck or folded and carried about on trips. Probably no older than 17th century.
Hearst Museum object titled Icon, accession number 7-2059, described as Icon of St. Sergius of Radonezh; gold-washed silver frame and halos; five standing figures with buildings in background; three angels top center; tempera and gesso on wood; height 30.5 cm, width 23.8 cm.
Hearst Museum object titled Icon, accession number 7-3543, described as Enameled icon; brass; 1 of set; hinges filed off, rest missing; religious scenes including crucifixion. Five scenes depicted: A- The Crucifixion: Christ on cross surrounded on the top by angels who minister to Him while He is dying. His mother Mary and probably Mary Magdalen on the left and St. John and the Centurion Longinue on the right. B- Annunciation- Angel Gabriel announcing to Mary that she would be the Mother of God. C- Nativity- 2 angels on top; one on the right (angel of Annunciation) hanging Christmas Message to a young shepherd. Three Wise Men on the left of the Virgin holding their gifts. Virgin in center, Christ beside her in a crib, into which an ox and an ass are looking. Virgin looks down to lowest tier where old man (Isaiah) walks up to St. Joseph. One midwife pours water into basin, another holds Christ Child in her lap. D- Birth of St. Nicholas the Miracle Worker- Top tier- saint’s mother resting. Bottom tier- Baptism of St. Nicholas. E- St. Nicholas going t school for first time, with his uncle the abbot of a monastary.
Hearst Museum object titled Icon, accession number 7-3542, described as Icon; silver; gilded or brass overlay; painting is complete under ver lay; Virgin and Child surrounded by 18 small paintings and 18 inscriptions on medallions telling story of icon; 54 cm x 43.5 cm. Possible from Moscow (Muscovite) School, 18th century. The central panel is a copy of the Tikhvin icon of the Virgin and Child (venerated since ca. 1383 A.D.), while the surrounding panels portray events and miracles connected with the original icon. Iconographically, this rendering of the Mother and Child is known by the name of “Virgin Hodegetria,” or “Pointer of the Way,” because Mary indicates the Child with the right hand, while the Child performs the blaessing with His right hand. An icon of this type is called Kleyma because of the separate paintings around the margin. The painting is overlaid with a silver basma, probably 19th century, with brass medallions upon which are inscribed commentaries on the small paintings. The commentary is in Church Slavic but under a very strong Russian influence. The original icon is venerated on the 26th of June by the Julian calendar (July 9 Gergorian calendar.
Hearst Museum object titled Icon, accession number 7-3541, described as Icon of “Our lady of Vladmir”; Virgin and Child in tempera and gesso on wood; gilded silver basma; cloisonne halo with cloisonne collar pendant; halo has glass and amber (?) ornamentation; Virgin’s face damaged; height 30.2 cm, width 26 cm.

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