the strikingly large and splendid icon of 1294 or in any of the big Russian hagiographical icons of the bishop of Myra produced in the 16th or 17 th century with their sumptuous frames of marginal scenes . The Savior and the Virgin Mary are inclined towards Saint Nicholas , the four angels form a wreath around the central image , and the compositional lines of both lower scenes seem to form a pedestal for the central figure .
Figure 11 . The Virgin of the Passion . Crete second half of the 15th century , Private collection London
As we can see , the idea of the glorification of Saint Nicholas , one of the most revered saints in Russia , is embodied in this newly discovered icon in new , special ways . Moreover a considerable role in achieving this is allotted to the angels who create a sense of heavenly grace and great spirituality not only by their actions , but also by their very figures , their splendid unfurled wings . The role of additional representations in this newly discovered icon is so great and so original that we make so bold as to call this variant of the iconography of the saint , which has never been named in surviving early icons of this type , “ Saint Nicholas with Angels and Miracles ”.
The device of association and allusion
The theme of the glorification of Saint Nicholas is expressed not only by introducing the images of the flying angels and including the two scenes of miracles , but also by other devices , namely , the association of this or that representational motif with other widelyknown motifs and forms . This applies above all to the figures of angels who are bringing Saint Nicholas the episcopal insignia . Their poses , the outlines of their figures recall unambiguously many other well known compositions in the art of the Orthodox world : for example , the angels in the “ Dormition of the Virgin ” who are flying with veiled hands towards Christ to receive the soul of the sleeping Virgin Mary ( Figure 10 ) 12 , and also the angels carrying the instruments of the Passion in the composition of “ Our Lady of the Passion ” ( Figure 11 ) 13 . Similar analogies going back to scenes where the main figures are Christ and the Virgin Mary elevate the new iconography of Saint Nicholas with Angels to the sphere of exceptionally high associations to glorify the great bishop .
The figures of the angels flying down to rescue Demetrios from drowning and healing the possessed man arouse other associations . One cannot fail to notice the resemblance of these flying angels to similar figures in compositions of the protoevangelium cycle — the “ Annunciation by the Well ” ( Figure 12 ) and the scene of the angel bringing food to Mary in the “ Presentation in the Temple ” ( Figure 13 ). The purpose of such parallels is obvious : both here and there we find heavenly succor , heavenly tidings sent down into the earthly world .
Figure 12 . The Annunciation to Saint Anne at the Well . Mosaic from the Monastery of Chora in Constantinople , circa 1315-1320 .
There is also a comparison , not immediately obvious , in the icon ’ s overall compositional design . Thanks to the separation of the corner compositions by wavy contours ( clear at the top , but only sketchy at the bottom ), the central part acquires cruciform outlines . We see the same pattern that is characteristic for the covers of altar Gospels , where it was customary to place the image of Christ in the middle ( in the composition of the Crucifixion or enthroned ) and representations of the four Evangelists in the corners . In the 15 th century this old arrangement of the images on Gospel covers ( which was already
12 See , for example , the 1105-1106 fresco in the Church of Our Lady in Asinou , Cyprus ( M . Acheimastou-Potamianou , Greek Art . Byzantine Wall-Paintings ( Athens 1994 ), pls . 56-57 ).
13 Representations that are well known in Byzantine and post-Byzantine art and in mediaeval Russia . See : M . Acheimastou-Potamianou , Εικόνες του Βυζαντινού Μουσείου Αθηνών , ( Athens 1998 ), Cat . 48 , 68 ; Chr . Baltoyanni , Icons Mother of God , ( Athens 1994 ), Cat . 50-53 , pp . 171-177 , pls . 87-93 .
Journal of Icon Studies 7