The Dormition of the Virgin
	
	
		Type: 
		
		Icon
		
		
		
		
		
		
		
		
	
	
	Period: 
	
	
	From
	
		
		the beginning of the
		
		
		
		
		
		19 century
	
	
	
	
	to
	
		
		
		
		the end of the
		
		
		
		19 century
	
	
	
	
	
		
		
	
	
		
	
	
		Dimmensions (cm): 
		
		36
		
		
		/ 25
				
		
		/ 2.5
		
	
	
		Location
		
			Country: Bulgaria
		
		
			Province: Blagoevgrad
		
		
		
			Village: Eleshnitsa
		
		
		
			Church: St. Athanasius
		
		
		
		
		
		
	
	
		Source
		
			Country: Bulgaria
		
		
			Province: Blagoevgrad
		
		
		
			Village: Eleshnitsa
		
		
		
			Church: St. Athanasius
		
		
		
		
		
		
	
	
	
	Description
	The composition is a traditional one, vertical, with many figures and developed against a background of an architectural scape. Portrayed in the center is the Holy Mother of God, lying on her death bed. Painted around her are eight of the apostles and four hierarchs of the Church, holding open books. Standing in the middle, around the bed of the Holy Mother of God, are her mourners, the apostles Peter and Paul. On the left-hand side, above the group of the apostles, are the figures of the women-mourners, relatives of the Holy Mother of God. Portrayed in the foreground, in front of the death bed, is St. Archangel Michael, who is cutting off the hands of Hiephonius, who had tried to topple the sarcophagus of the Mother of God During the funeral procession, but had been punished right away by the Archangel. Portrayed in full length, above the central group, is Christ in radiance, dressed in a white chiton and wrapped in a blue himation. In his left hand he is holding a little figure in swaddling clothes, symbolizing the soul of the Holy Mother of God, and with his right hand he is blessing.
	
	
		Iconographical technique: Tempera
		
			The layer of the painting is a thin one, with a smooth texture. The images, their modelling and their forms, are roughly and primitively executed. Many of the details are rendered conventionally. The varnish cover is thick and evenly laid on the icon. The gilding on the icon is made on bole with gold-leaf.
		
	
	
		Base material: Wood
		
			The layer of the painting is a thin one, with a smooth texture. The images, their modelling and their forms, are roughly and pri¬mitively executed. Many of the details are rendered conven¬tionally. The varnish cover is thick and evenly laid on the icon.
		
	
	
	State, restoration traces and comments
	There are no traces of any previous restoration work.