Russian school, workshops of the Old Believers, end of XVIII-pps.XIX century."The Mother of God of Covadonga" also known in Russia as "The Spanish Mother of God".Tempera on wood.Measurements: 109 x 98 cm.According to tradition, the icon of the "Spanish Virgin" appears in the Spanish territory, and dates back to the eighth century associated with the victories of the Asturian king Pelayo over the Saracens thanks to the intercession of the Virgin. The peculiarity of the icon is that the Virgin with the child appears on a characteristic throne, very decorative.This typology is known in Russia from the first decades of the 18th century, through a literary work, where the iconographies of all the miracles of the Virgin are described, including the western ones, previously unknown in the Russian Empire. From the 18th century all the icons of the enthroned Mother of God were called "Spanish". However, the original version of the "Spanish" icon is characterized by the raised hands of the Mother of God and a double blessing of the Child Jesus.The hieratism of the seated Virgin, the symbolism of the colors, the absence of contrasts between light and shadow, indicate that we are before an ancient icon, from a period in which this Marian typology is popularized outside its territory. The large size of the icon indicates that it must have been made for ecclesiastical use, since small icons were usually commissioned for domestic use. This spectacular icon corresponds to the traditional canon, although with slight modifications, since the figures do not raise their hands in a double blessing. It should be noted that this typology of Marian icons allows variations within the canon. In the canonical icon the Mother of God is represented seated hieratically, on the throne, she is the center of attention of the icon, as much by her central location, as by her size and decorative character. The Child, in the lap of the Mother, is shown majestic, and adopting the gesture of blessing. Both characters appear nimbus, but the dominant gilding is combined with a certain illusionistic intention in the location of the figures in space, another element that makes explicit the stylistic contagion with the West.