Description in Icons, Nationalmuseum, Stockholm, 2004, cat. no. 27:
Polypartite icon with Deesis, the Raising of Lazarus and selected
Early 19th century, Greece (?), Asia Minor (?)
NMI 211

Wood: Walnut (Juglans sp.), egg tempera
on canvas. Panel made of single
board with two superimposed splines;
wooden frame made separately; upper
frame segment missing.

PROVENANCE: Olof Aschberg;
Gift of O.Aschberg 1933
BIBLIOGRAPHY: Kjellin 1933, no 211; David-
Danel 1958, p 231
CONSERVATION: Restored prior to entering
NM: scattered retouches. Crack through
upper part of panel, right of centre; borders
damaged, with losses of paint layer; yellowish
varnish

This image consists of eleven separate
elements. In the centre is a Deesis with
Christ, vested as bishop and Great
Hierarch (Ho Basileus ton Basileuonton
kai Megas Archiereus), flanked by the
Mother of God and John the Baptist.
The text in the Gospel book comes
from Matt. XXV:34.Below, Constantine
and Helena are shown flanking the
Cross; the Raising of Lazarus beneath.
Circumscribing are the figures of
twelve saints; in the first row, from
left to right, Kyriaki with a church and
Barbara, together with Peter and Paul
holding a church between them, in the
second row, Cosmas and Damian, in
the third line Menas and Euthadius,
both on horseback and at the bottom
left George and Demetrius and right
Theodore Tiron and Theodore the
Stratilate, all on horseback. The in -
scriptions are in Greek. The style and
treatment of colour follow a set pattern,
especially as regards the features.
Assumptions of this icon having originated
in Ethiopia have been refuted
by Eva Balicka-Witakowska, Uppsala,
a specialist in Ethiopian icon painting,
who writes: “The painting in question
is definitely not Ethiopian. Syria and
Coptic Egypt can also be ruled out.”1

1 Letter of 3rd August 1998, Nationalmuseum
archives.
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