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his icon is characteristic of those painted in the Tsar’s icon workshop. The ornately painted gown, beard, face and hands represent the highest quality of artistry. Unlike most icons, this example bears a signature at lower right: “N.N. Bakanov, Moscow 1910.” The Bakanov’s were a celebrated family of icon painters form the villge of Palekh. The practice of signing icons was never the norm. For a long time it was considered vain and even sinful for the artist to sign his name. To do so would mean the painter was taking credit for the gifts and talents which God so graciously bestowed upon him. Although not unheard of before the early 17th century, the trend is most often encountered on later examples. In this icon, the person given credit to converting Russia to Christianity is depicted. Vladimir was the son of Prince Svyatoslav, and grandson of Igor and Olga, and began life as a pagan. Eventually, according to “The Tale of Bygone Years,” Vladimir began to inquire into various religions of the medieval world. He first was attracted to Islam, liking the idea of a sensuous paradise after death. He was also fond of women, keeping numerous concubines in addition to his lawful wife and other women. But he did not like circumcision or the ban on drinking, one of his favorite pastimes. He then looked into Judaism, but was disenchanted after he found that its people were scattered and without a country, which he saw as a mark of divine disfavor. He therefore sent envoys to Constantinople to investigate Christianity. When they returned, they told the Prince that they had witnessed a service at the Orthodox Cathedral of St. Sophia, and that they had been “out of ourselves, not knowing if we were on earth or in heaven.” And so Vladimir chose Greek Orthodoxy for himself and for his people; Kievan Russia was converted to Orthodoxy by edict in 988 A.D. The abbreviated inscription on the top margin identifies him as Svatuiy Ravnoapostolnuiy Knyaz Vladimir (The Holy Equal-to-the-Apostles Prince Vladimir).

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his icon depicting a bust portrait of Christ and inscribed Gospod Vsederzhilel - The Lord Almighty, was most certainly modeled after the famous icon executed by Blessed Andrie Rublev (c.1370-1430), which around 1918 was discovered after having been restored. The rebirth of the traditional “Old Style” of icon painting began at the very end of the 19th century when newly developed restoration techniques were discovered that allowed the successful removal of the many layers of over-painting, which covered most ancient icons. Art historians, iconographers and the public alike were amazed at the brilliant colors and majestic style of these ancient icons. Subsequently a new interest and awareness created a new market for icons executed in the Old Style.