Mother of God of Tenderness and Other Figures, The

Name/Title

Mother of God of Tenderness and Other Figures, The

Entry/Object ID

2005.02.018

Description

Tempera on curved wooden panel backed in yellow velvet. The panel is bordered in brown, live green, and mustard yellow. The Lord Sabaoth is in the upper middle clothed in white robes with both arms outstretched in blessing. A white dove, symbol of the Holy Spirit, appears just below him within the stylized, curling clouds in shades ranging from pale pink to brown. The Archangels Gabriel and Michael, both with gilded wings, flank the central figure of the Mother of God holding the Christ child in her arms. Both archangels are shown emerging from stylized clouds similar to those below the Lord Sabaoth. A scroll descends from the clouds at left. Mary wears a red and gold openwork crown over a white maphorion with red floral ornament along the edges. She touches her cheek with the Christ child who wears a matching crown and red robes with a blue sash. The child is held on the right side of his mother, who wears a blue dress under maroon robes. Accompanied by detached silver riza backed on blue cardstock. The borders are stamped and chased with interlace ornament with floral motifs and frame the central figures within a shaped arch. Halos, parts of robes and the scroll are all gilded. The riza departs from the icon’s design in several places, including inscriptions identifying the iconographical subject. The designer of the riza has given her a six-pointed coronet while retaining the openwork imperial-style crown for the Christ child. Her robes have been further embellished in imitation of a woven brocade with fringe, while the floral ornament seen on her maphorion on the icon has not been reproduced.

Type of Painting

Panel

Artwork Details

Medium

Tempera, Wood panel, Gilding, Silver

Collection

Betsy Scheuring Icon Collection

Acquisition

Accession

2005.02

Source or Donor

Betsy Scheuring

Acquisition Method

Gift

Credit Line

Gift of Betsy Scheuring

Made/Created

Time Period

19th Century, 20th Century

Place

* Untyped Place

Belarus

Inscription/Signature/Marks

Type

Makers Mark

Location

Bottom edge of the riza under the floral border

Transcription

A.M/1865, ИВ, 84, St. Petersburg city hallmark

Language

Cyrillic

Translation

A.M/1865 (mark of St. Petersburg District Assayer Aleksandr Nikolaevich Mitin, I.V. (unidentified silversmith), 84 (silver purity of 84 zolotniki)

Notes

This St. Petersburg hallmark (crossed anchors with scepter in the middle) used 1818-1865- Dr. KK 2023

Type

Inscription

Location

At the top of the painting, on either side of the figure of the Lord Sabaoth (also called the Lord of Hosts or God the Father)

Transcription

Left: Г[ОСПО]ДЬ СА (transl. Gospod'; Savaof) Right: ВАОФЪ

Language

Church Slavonic

Translation

Left: Gospod'; Savaof Right: VAOF

Notes

Translation by Dr. KK 2023

Type

Inscription

Location

Above the head of the Archangel Mikhail (Michael) at left and that of the Archangel Gavriil (Gabriel) at right in the painting

Transcription

Cyrillic letter А (A) above the head of the Archangel Mikhail (Michael) at left Cyrillic letter Г (G) above the head of the Archangel Gavriil (Gabriel) at right

Language

Church Slavonic

Translation

The two are an abbreviation of “Angel of the Lord” (Ангел Господень, transl. Angel Gospoden';).

Notes

Translation by Dr. KK 2023

Type

Inscription

Location

In the infant’s cruciform halo in the painting

Transcription

Traces of the Greek letters ὁ ὤн

Language

Greek

Translation

They are usually translated as “He Who Is” or “I Am Who I Am,” the name of God used in Exodus 3:14.

Notes

Translations by Dr. KK 2023

Type

Inscription

Location

On either side of the figure of the Lord Sabaoth on the riza

Transcription

Left: Cyrillic letters ПРЕ (PRE) with titlo, an abbreviation of Пресвятая , and БЦА (BTsA), an abbreviation of Богородица Right: Cyrillic ДОСТОЙ[НО] ЕСТЬ

Language

Cyrillic alphabet, Russian

Translation

Left: Presviataia, Holy and Bogoroditsa, Mother of God Right: Dostoino est';, It is Meet with a titlo above the end of the first word

Notes

Titlo definition from the Slavic Cataloging Manual: “Printed resources in Church Slavic often follow old manuscript practices and abbreviate certain words by omitting letters. Omission is designated by a special symbol, placed directly above the abbreviation, and called “titlo” (brevigraph) that can look either like a tilde ( ~ ) or an upside down bracket.” Updates and translations done by Dr. KK 2023

Type

Inscription

Location

To the right of the Mother of God’s shoulder

Transcription

Church Slavic letter МИЛУЮЩАЯ

Language

Church Slavonic

Translation

Miluiushchaia, The Merciful

Notes

Translations by Dr. KK 2023

Lexicon

Nomenclature 4.0

Nomenclature Secondary Object Term

Icon

Nomenclature Primary Object Term

Symbol, Religious

Nomenclature Sub-Class

Religious Objects

Nomenclature Class

Ceremonial Objects

Nomenclature Category

Category 08: Communication Objects

Dimensions

Height

7 in

Width

5-11/16 in

Depth

1 in

Exhibitions

Spirit Made Tangible: The Scheuring Icon Collection (2006)
Surveying the Sacred: Analysis of the Scheuring Collection of Eastern Orthodox Icons (2025)

Interpretative Labels

Label Type

Cultural/Historical Context

Label

"In this unusual, expanded variation of the Mother of God of Tenderness, the Virgin supports the child with one arm while grasping his right hand with her other arm. The figures’ faces touch, and both wear a gold crown with a red velvet lining and a small cross on top. The crowns are framed by their gold haloes. The Virgin’s clothing consists of three layers: a light blue tunic, a purple cloak, and a whitish veil with delicate red ornaments. Above is a heavenly group consisting of God the Father (bearded and with outspread arms) and two angels inclining toward the mother and child, as a scroll unwinds downward on the left. Violet clouds surround these figures, and the gold wings and haloes all shine against an ochre-colored ground. The provincial style of this icon recaptures the flavor of earlier Byzantine art, softened by post-Renaissance currents. The riza displays greater sureness of touch. "