- Museum number
- Object: Tzarevich Dimitrii and Prince Roman of Uglych
Icon; painted; both saints are depicted full-length and holding a model of the town of Uglych which they offer to Christ, who is shown above in the centre of the upper border. Both figures wear richly embroidered garments indicative of their aristocratic status. The revetment is embossed and chased with foliate ornament.
Inscriptions: in Church Slavonic beside the saints' haloes: left: С[ВЯТОЙ] ЦАРЕВИЧ ДИМИТРИЙ (St Prince Demetrii), С[ВЯТОЙ] КНЯЗЬ РОМАН У[ГЛИЧСКИЙ] (St Prince Roman of Uglych).
Egg tempera, gesso on wood, metal revetment.
- Production date
Height: 31 centimetres
Weight: 1.10 kilograms
Width: 25.80 centimetres
Depth: 3.40 centimetres
- Curator's comments
- Prince Dimitri (1582–91), the youngest son of the Tsar Ivan IV and the heir to the Russian throne, was murdered by assassins in Uglych following the political intrigues surrounding the death of Ivan IV. His remains were discovered in Uglych in 1606 and transferred to the cathedral of the Archangel Michael in the Kremlin. He is venerated as a martyr and ‘Wonder-Worker’.
Prince Roman of Uglych (1235–85) ruled the principality from the death of his older brother Andrew in 1261 until 1265. His prayers were believed to have saved Uglych from the Mongol invasion. He is remembered as a great builder having constructed more than 15 churches. His remains were discovered undecayed in the church of the Transfiguration in Uglych in 1486 and subsequently transferred to a new church of the Transfiguration in Uglych.
As local ‘Wonder-Workers’ both saints were especially venerated in the 17th century when their iconography became firmly established.
Cormack 2007, 122, no. 37
- Not on display
- Exhibition history
2015 15 Sep-10 Jan, USA, Norfolk, Chrysler Museum of Art, Byzantium to Russia: The origins and development of Russian icons 1200 to 1900.
2015 30 Apr- 22 Aug, USA, Clinton, Museum of Russian Icons, Byzantium to Russia: The origins and development of Russian Icons 1200 to 1900.
- Made from a single panel with two inserted battens on the reverse; the original painting, including the faces and inscriptions, has been completely over-painted in the 19th century and the borders covered by the silver revetment.
- Acquisition date
- Acquisition notes
- See 1998,0605.1 Most of the items catalogued under 1998,0605 were acquired by Sir Frank Roberts’ wife, Cella.
- Britain, Europe and Prehistory
- Registration number
- Additional IDs
Miscellaneous number: IC 37 (Icon Collection number)