19th-20th century A.D. In 13th century A.D. style, Jesus represented in the centre in blue and white light, with shining clothes; to his right Moses, to his left Elijah; the mountain of Tabor represented in rocky fragments below, the disciples John, his brother James and Saint Peter in awe and terrified by the divine event; remains of a wax seal impression to reverse, together with a loop for suspension. Cf. Iljina, T.W., Arcydzie?a Malarstwa Rosyjskiego w Muzeach ZSRR (Masterpieces of Russian Painting in the Museums of the USSR, in Polish), Leningrad, 1989, p,33 fig.17, for the type.783 grams, 30 cm (11 3/4 in.). Ex French gallery, Paris. The icon was realised following the tradition of the Novgorod school of 13th century A.D. A mandorla of blue and white light was usually used in most oriental icons. Not all icons of Christ have mandorlas and they are often used when representing divine light. The mandorla thus represents the ‘uncreated light’ that shines on the three disciples in the icons of Transfiguration. During the Feast of Transfiguration, the Orthodox sing a troparion which states that the disciples 'beheld the light as far as they were able to see it' signifying the different levels of their spiritual progress. Sometimes a star is superimposed on the mandorla, but here the stars are are impressed all around the edge. The mandorla represents the 'luminous cloud' and is another symbol of light. The luminous cloud, a sign of the Holy Spirit, descended on the mountain at the moment of the Transfiguration.