Deisis Frieze

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): 24 / 106 / 2


Country: Bulgaria

Province: Montana

Town: Berkovitsa

Gallery: Art Gallery


Country: Bulgaria

Other source: Others


A traditional iconographic composition on the "Deisis with apostolic frieze"; theme: portrayed from left to right are Saint Peter, the Holy Mother of God, Jesus Christ, Saint John the Forerunner and Saint Paul.

Iconographical technique: Combined

The "wet into wet" method has also been made use of in the carnations. The varnish cover is applied in a thin and even layer. The gilding on the aureoles of the saints is with gold-leaf.

Base material: Wood

The base is made of one-piece softwood panel, without any beams. The ground coat is of plaster, laid thinly and evenly.

State, restoration traces and comments

There are damages in the places around the left hand of the Mother of God, on the garments of Christ and on the sword of Saint Paul. Overpaintings have been done in the above-mentioned places, as also in the inscriptions. The intervention has been done unprofessionally and shows clearly on the icon. There are also additional retouchings on the garments of the saints and in the area around their heads.