Eastern Europe, Russia, ca. early 19th century CE. Finely painted in egg tempera and gold leaf on gesso atop wood, a stunning depiction of Mary offering the waters of salvation. At a location now known as Baliki near the Selimbria Gates of Constantinople stands the Sanctuary of the Source. According to tradition, the Mother of God, in a vision, declared that its waters were miraculous, and so, the ailing gathered around the basin. In this traditional composition, the faithful who flocked to the waters praise the Virgin as an unceasing source of life and health The Virgin and Child occupy a large golden goblet, a strong allusion to the eucharistic chalice, its waters flowing into the basin below. The archangels Michael and Gabriel flank the holy pair, gracefully floating above a rolling hillside. Partaking of the waters below are the emperor, patriarch, the sick, and the poor. Size: 15" W x 17.375" H (38.1 cm x 44.1 cm).

Before the fountain, a Thessalian is miraculously brought back to life when the waters are poured over his head, and a man is freed from his demons by the waters as well. The figures occupying the borders are most likely bishops, monks, and/or donors. This theme celebrating the fountain of life and the waters of salvation that makes all infirmities disappear and can even overcome death first appeared in Russia in 1654, introduced by the Greeks. Furthermore, Nicephorus Callistus wrote a church service about the Life-Giving Source.

Icons (icon means "image" in Greek) are sacred objects within the Eastern Orthodox Christian tradition. Found in homes as well as churches, these painted images depict holy persons and saints as well as illustrate scenes from the Scriptures. Icons are not worshiped, but are instead venerated for their ability to focus the power of an individual's prayer to God. As such they are truly "windows into heaven."

Provenance: private E. G. collection, Charlotte, North Carolina, USA

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#125275

Expected age-commensurate surface wear, small nicks and chips around peripheries and to obverse details, some abrasions and discoloration to iconography, otherwise intact and excellent. Verso has light abrasions, illegible writing, and a small metal suspension screw.