The Museum of Russian Icons—out of this World
In a tiny, remote corner of northeastern Worcester County, Massachusetts, stands a remarkable museum dedicated to a singular and particular type of art: Russian iconography.
The Museum of Russian Icons (MRI) is one of the largest and most preeminent private collections of its kind outside Russia. It spans 6 centuries and contains 700 works.
The collection is displayed in this 150 year-old former mill building. The names of icon painters were usually unknown and as such, icons are most often described by the regional style or the type of image they depict. By definition: "a sign or representation that stands for its object by virtue of a resemblance or analogy to it".
View of one of the galleries.
Images of Saint Nil of Stolbensk. In 1528, Saint Nil moved to Stolbensk in Northern Russia to live a hermit's existence in a cave on the island. A band of thieves arrived and demanded all his earthly goods. He offered them his one and only treasure: an icon of the Mother of God.
Jesus, depicted with wings is an unusual image.
"Solovetsky Monastery—Founders, Saint Savvaty and Saint Zosima", 1675. The Solovestky Monastery is located in the far north of Russia, and is one of the largest and grandest of all of the monasteries. Though the majority of icons illustrated the various aspects and incarnations of the Divine, many local and regional saints of the Orthodox church, as well as historical events, were represented as well.
"Baptism of Sinners", 1675—with John the Baptist.
"John the Baptist", circa 1450—this is the oldest and perhaps the most important icon of the entire collection. It is the only icon in the collection that has never been restored, indicating that it was always in a church, placed high up, away from direct sunlight and human hands.
"Sophia, Wisdom of God", 1625. In Greek, the word "sophia" translates as wisdom or understanding, and in Eastern Orthodoxy is often symbolic of the divine aspect of God's wisdom—a theological aspect of the Word, or "logos", made known to man.
"Saint Anastasia" icon, 1580. This represents a style of iconography that served two purposes: to venerate a popular saint in the Orthodox church, and to tell the story through pictures of unwavering faith and martyrdom—visual lessons for an illiterate populace.
"Saints Florus and Laurus", circa 1600, twin brothers from the 2nd century, who were martyred and are the patron saints of horses in Russia.
Mary Magdalene, 1890.
Icon of "Saint John Climacus (of the ladder)", circa 1750. Saint John Climacus, in the year 595 when he was 16 years old, lived in a monastery in the Sinai. Even at that very young age, he was well known for his holiness, and was asked by his abbot to write a guide for practicing a life wholly and completely devoted to God. St. John chose the "ladder" metaphor to illustrate how one could ascend into heaven by first renouncing the world.
Another version of "Saint John Climacus (of the ladder)". The ladder is always the center element of the icon.
"Saint Paraskeva" icon, born to noble Roman parents, she was known for converting hundreds of people to Christianity, until finally, unwilling to renounce her faith, was martyred.
"Minyeia Calendar Icon" circa 1680—a calendar icon of saints, each day of the year features a single saint.
Icon of St. Nicholas, circa 1750-1800—this was designed as a chest with attached doors that open and close for the main purpose of travel.
"Vladimir Mother of God", circa 1680 This depiction of the Mother and Child is considered the best known of the "tenderness" icons. The first depiction was said to have been painted by the Apostle and Evangelist, Saint Luke.
Icons of the "Mother of God", Vladimir, Kazan and Tikhvin (Russian cities) indicate the regional schools of this icon; miracles occurred that were attributed to these images. The top center of the panel is the Vladimir "Mother of God" depiction—it is the most ancient and well known archetype of this category of icon in Russia.
Detail from the icons of the "Mother of God" wall.
Detail from the icons of the "Mother of God" wall. Riza, the areas of an icon that are covered in metal (most commonly used was silver)—this technique may cover the entire icon or only a portion, and can include gems, beads and stones.
Detail from the icons of the "Mother of God" wall. Note the silver, jewels, and the sculptural qualities of this piece--examples of riza. John Singer Sargent's "Triumph of Religion" panels brought these elements together in his masterwork series (Boston Public Library—"A Palace for the people", 08/09/14 posting).
"The Nativity of the Mother of God", 1650.
"The Lord Almighty" icon, circa 1850. Christ Pantocrator provided an alternative for iconographers to capture the nature of God (who is invisible) through his physical incarnation, Christ, (the "visible God").
"Christ the Savior" icon, 1600.
"Image not made by hands". This icon is often referred to as the Russian Orthodox version of the Roman Catholic "Veil of Veronica" or "Shroud of Turin". According to Orthodox tradition, King Agbar of Syria (BC 4–AD 7), sent his court painter to find Jesus and capture his likeness. However, when Jesus was approached by the painter, he offered rather to press his face into a wet piece of cloth, miraculously transferring his image onto the fabric--hence, "image not made by hands". It is considered the archetype of all icons depicting the face of Christ.
"Christ in Majesty", depicts Christ's Second Coming in Glory and Judgement. The book is open to a passage in Matthew, which states: "Come unto me all that labor and are heavy laden, and I will give you rest."
Triptych with Crucifixion, 1600.
Another equally important piece is this one, the "Iconostasis, Festival Row", 16th century. An iconostasis is a screen bearing icons, separating the sanctuary (area around the altar) of many Eastern churches from the nave (main section of a church used by the congregation). As the Church's traditions developed, high walls were erected on the altar, separating the parishioners from the priests. The individual panels conveyed biblical stories for an otherwise illiterate population. Gallery: the following four photos detail this iconstasis, highlighting the marriage of Joseph and Mary, the lives and deaths of Christ and Mary, the Blessed Mother, and end with their Heavenly Coronations. (click images below)
The Royal Doors are located in the center of the iconostasis and may only be entered by the ordained clergy. The Royal Doors always feature the Annunciation (top two panels) and the four Evangelists.
Christ in Majesty—is always found above the Royal Doors in every Orthodox Christian inconostasis.
This photo from an Orthodox Christian church interior depicts a typical configuration of icons, bringing together the iconographic elements displayed at the MRI, such as the iconostasis, Royal Doors, and Christ in Majesty.
Image source unknown.
An example of a "portable" iconostasis, which could be folded up for transport. They are small-scale versions of larger sanctuary screens and could be found in people's homes and private chapels.
"Dormition (sleeping)" refers to the death of the Mother of God. The word dormition is derived from Middle French, and is the past participle of dormire—to sleep. According to Orthodox and Catholic traditions, upon the death of the Blessed Mother, she was assumed into heaven and reunited there with her son, Jesus, where she was restored in both body and soul.
"Dormition"
Conservation is the effort to preserve cultural works. Preservation of the original work is key, with improvements to its appearance secondary. This icon illustrates the outcome of conservation with the left third of the painting having received attention.
Looking down from the top floor, the central spiral staircase trisects all three levels of the Museum.
The Museum's interior is outfitted with LED lights that are constantly changing with the colors of the spectrum (see the previous photo, which is blue), a reflection of the vibrant palettes found in the icons. At night, this illumination provides a constant light show emanating through the windows for passersby to enjoy.
Current exhibitions at the Museum of Russian Icons
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