By Tamara T. Rice
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The invasion are clearly to be seen is compared with a same phenomenon occurs also in early Russian painting, though, to begin with, it does so to a lesser degree. The first manuscripts and icons used in Russia were Greek works brought for the most part from Chersonesus rather than the Byzantine mainland, but they were soon followed by outstanding examples of Constantinopolitan workmanship. The icons which were first produced on Russian soil were probably also the works of Greeks, doubtless of the same artists as those employed on the mural decorations of the churches, but although the interiors of at any rate all the more important churches formed veritable picture galleries devoted to themes derived from these buildings 34 25 An illumination from the Svyatoslav Codex, 1073, showing a Council of Bishops assembled within a richly decorated church the Scriptures, the Russians seem to have shown from the greater fondness for icons than for mural paintings.
However, the of the more traditional designs came to the Novgorofrom Byzantium by way of Kiev. The strength of the bond linking Novgorod to Kiev and Byzantium is clearly to be seen in the oldest examples of Novgorodian icon painting that we know. Two of the earliest icons a St George and a St Nicholas are of twelfth-century date. The St George (///. 4g) was only discovered in 1939 when his outlines were noticed on the reverse of a panel of the Virgin Hodegetria which had been brought for cleaning to the Restoration Workshops in Moscow from the Cathedral of the Assumption.
The strength of the bond linking Novgorod to Kiev and Byzantium is clearly to be seen in the oldest examples of Novgorodian icon painting that we know. Two of the earliest icons a St George and a St Nicholas are of twelfth-century date. The St George (///. 4g) was only discovered in 1939 when his outlines were noticed on the reverse of a panel of the Virgin Hodegetria which had been brought for cleaning to the Restoration Workshops in Moscow from the Cathedral of the Assumption. The panel would appear to be one of those painted for the church of the Yuriev Monastery at Novgorod at the command of Andrei Bogolyubski's son Yuri, Prince of Novgorod until 1174, which were transferred to Moscow at the order of Ivan the Terrible.