All Saints Day

Type: Icon

Period: The first half of the 19 century

Author: Dimiter Molerov

Dimiter T. Molerov, born in 1780 in Bansko, son of Toma Vishanov the Moler. One of the best-known painters, a representative of the Bansko school of art, a disciple of his father, influenced by the art of Athos. Author of the murals of the naos in the St Archangels' paraclete in the Rila monastery, the murals in the Church of the Assumption of the Virgin in the Pchelino dependance. In 1840 and 1841 together with his son Simeon Molerov he paints the murals and the sponsors' portraits in St. Nicholas' and St. John of Rila's paracletes in the principal church in the Rila monastery. Among D. Molerov's major achievements in iconography are the following icons: St. Nicholas (1816) from St. Archangel Michael's church in the village of Leshko, Christ All-triumphant with Angels and Cherubim (1833), The Nativity and a Crucifixion from St Elijah the Prophet's church in the village of Usenovo. He has also worked in Belgrade on an invitation by Prince Milosh Obrenovich of Serbia. He died in 1870 in Bansko.

School: Bansko Iconographic School

Dimmensions (cm): 42 / 35 / 3


Country: Bulgaria

Province: Montana

Town: Berkovitsa

Gallery: Art Gallery


Country: Bulgaria

Other source: Others


A traditional iconographic cliche of arranging the figures, with Jesus Christ in the middle, surrounded by the sainted personages. Under him are Saints Constantine and Helen, and the cross of the Lord. The composition is developed in a circle, set in medallion, around which are the figures of the four evangelists: Saint Matthew, Saint Mark, Saint Luke and Saint John. Painted in the icon's lowest belt are Abraham and one of the two criminals, crucified with Jesus, holding in his hands a long cross. The skillful graphic line-work and the colouring betray the hand of a gifted iconographer.

Iconographical technique: Combined

Use has been made also of the "wet into wet" method in the carnations. The varnish cover is applied thinly and evenly. The gilding on the aureoles is with gold-leaf.

Base material: Wood

The base is a one-piece softwood panel with two inserted beams. The ground coat is of piaster, laid thinly and evenly.

State, restoration traces and comments

There are bad damages on the icon's upper part and on the figures. The painting layer has fallen off, in some places as deep as the ground coat. The losses of the original painting layer are comparatively great. Restorative interventions have been done and retouchings on the background around Christ, as well as on the aureoles and garments of the saints.