Description in Icons, Nationalmuseum, Stockholm, 2004, cat. no. 60:
The Miracle of Saint George
Second quarter of 16th century, Vologda
NMI 191

Wood: Linden (Tilia sp.), egg tempera
on canvas. Panel made of three boards
with two new splines inlaid from
opposite sides with old ones mounted
on top; reverse treated with oil glazing.

PROVENANCE: Olof Aschberg;
Gift of O.Aschberg 1933
EXHIBITIONS: Gothenburg 1970, no 4;
Helsinki 1970, no 4; Stockholm 1988, no 12
BIBLIOGRAPHY: Kjellin 1933, no 191;
Dahlbäck 1954, pp 201–202; Kjellin 1956,
pp 128–129, 275, 286; Abel 1978:1, fig. 6;
Abel 1995, 114
CONSERVATION: Restored prior to entering
NM: cracks in joints repaired with splines
(now lost) in upper and lower borders;
figure and background heavily repainted1;
NM 1949: consolidation of blisters, retouching;
1963: consolidation of new blisters,
stopping and retouching; 1968: crack in
panel glued, blisters consolidated, painting
cleansed of overpaintings, panel planed
with resin impregnation, new splines,
retouching and varnishing; 1969: retouch -
ings removed and damage left visible; 1971:
consolidation of severe blistering, stopping
and retouching; 1976: joints glued, splines
removed and grooves filled with jelutong,
new splines with the original ones above
them secured with sprung screws, paint
surface conserved, retouching and varnish -
ing, reverse side treated with oil glazing.
Signs of blistering and flaking of paint layers;
heavy losses of ground and paint layers,
especially from the frame; in the very
lowest part of the picture surface, partly
new ground; surface heavily abraded; nails
and nail holes from lost metal cover; panel
warped
The graceful movements, the distri -
bution of the forms over the surface,
the unifying diagonal composition,
the confident drawing and the colours
convey an impression of maturity and
skill. The characteristic manner of
treat ing the face might suggest an origin
in Vologda. It should be compared
with an icon of the same subject in the
Russian Museum, St Petersburg (inv.
no 2750).2 The painting of sky segments
top right is secondary. Instead of
the figure of Christ, it is probable that
God’s hand in benediction was originally
depicted.

1 For documentation of this state of condition see
Kjellin 1956, p 129, colour pl.
2 Athens 1994, pp 92, 221
[slut]