Volume 19, Number 1 (Winter 2018) – Images

  • Bogatyrev, Fig. 1
    Vladimir Monomakh’s cavalry smites civilians, grieving figure with hands raised to the face marked with an arrow Tsar’s Pew, bas-relief TP-6
  • Bogatyrev, Fig. 2
    Constantine Monomachus sends his cap of conical shape (marked with a curved arrow) and other imperial regalia to Vladimir Monomakh, grieving figure with hands raised to the face (marked with straight arrow) Tsar’s Pew, bas-relief TP-9
  • Bogatyrev, Fig. 3
    Vladimir Monomakh, wearing a princely cap of a conical shape, discusses with his boyars a campaign against Byzantium Tsar’s Pew, bas-relief TP-1
  • Bogatyrev, Fig. 4
    Vladimir Monomakh’s coronation with the Cap of Monomachus of a conical shape (marked with an arrow) Tsar’s Pew, bas-relief TP-12
  • Bogatyrev, Fig. 5
    Constantine Monomachus in an imperial crown (upper left corner, marked with a straight arrow) watches his emissaries leaving for Kyiv with the Cap of Monomachus of a conical shape (marked with curved arrows)
  • Bogatyrev, Fig. 6
    Vladimir Monomakh, wearing a princely hat depicted as a soft fur-brimmed cap, ascends the throne of Kyiv Illustrated Chronicle Compilation, folio G-1v. Reproduced with permission of AKTEON Publishers
  • Bogatyrev, Fig. 7
    Peace after Vladimir Monomakh’s coronation: Vladimir in the Cap of Monomachus shown as a miter (below); Constantine Monomachus in an imperial crown (mid-level); the coronation of one of Vladimir’s successors with the Cap of Monomachus (top) Illustrated Chronicle Compilation, ICC-12, 13, 14. Reproduced with permission of AKTEON Publishers
  • Bogatyrev, Fig. 8
    Vladimir Monomakh, wearing a princely hat depicted as a miter, discusses with his boyars a campaign against Byzantium Illustrated Chronicle Compilation, ICC-1. Reproduced with permission of AKTEON Publishers
  • Bogatyrev, Fig. 9
    The coronation of Vladimir Monomakh with the Cap of Monomachus depicted as a miter Illustrated Chronicle Compilation, ICC-11. Reproduced with permission of AKTEON Publishers
  • Kollmann, Fig. 1
    Lively illustrations placed across some pages in belts in the Radziwill Chronicle, c. 1495, create a sense of movement—here a battle between Prince Vsevolod and Prince Gleb of Riazan Radziwill Chronicle, fol. 224v., Academy of Sciences, St. Petersburg/Lessing Images
  • Kollmann, Fig. 2
    Riots in Novgorod greet Moscow’s emissary in the Illustrated Chronicle Compilation’s cycle on Moscow’s conquest of the city Litsevoi svod 15:165. Reproduced with permission of AKTEON Publishers.
  • Kollmann, Fig. 3
    The Adam and Eve tale from Genesis, depicted in six episodes in four rows in the 12th-century Pantheon Bible, illustrates the frieze style of narrative of early medieval illumination Pantheon Bible, Vatican Museums, Heritage Image Partnership/Alamy Stock Photo
  • Kollmann, Fig. 4
    Diebold Schilling the Younger’s Lucerne Chronicle moves the narrative with framed images full of action and detail, moving from page to page Battle of Nancy, Diebold Schilling the Younger, Lucerne Chronicle, 1513. INTERFOTO/Alamy Stock Photo
  • Kollmann, Fig. 5
    The Mughal artist Bichtir, whose self-portrait sits at lower left, depicts the Mughal ruler Jahangir celebrating a Sufi sheik while other world rulers look on; the portrait (c. 1615-18) intertwines Persian miniature style and European realism Heritage Image Partnership/Alamy Stock Photos
  • Thyret, Fig. 1
    Introductory miniature of Skazanie vmale LLS 12:112. Reproduced with permission of AKTEON Publishers
  • Thyret, Fig. 2
    Evdokiia Donskaia at prayer and distributing alms LLS 12:114. Reproduced with permission from AKTEON Publishers
  • Thyret, Fig. 3
    Painting of first icon of Archangel Michael LLS 12:116. Reproduced with permission of AKTEON Publishers
  • Thyret, Fig. 4
    Painting of third icon of Archangel Michael LLS 12:118. Reproduced with permission of AKTEON Publishers
  • Thyret, Fig. 5
    Evdokiia Donskaia heals blind man LLS 12:120. Reproduced with permission of AKTEON Publishers
  • Thyret, Fig. 6
    Candle miracle at Evdokiia Donskaia’s tomb LLS 12:124. Reproduced with permission of AKTEON Publishers
  • Neuberger, Fig. 1
    Sigismund on his throne Screen capture from Sergei Eisenstein, dir., Ivan the Terrible, Part II (1946)
  • Neuberger, Fig. 2
    Sigismund’s courtiers Screen capture from Sergei Eisenstein, dir., Ivan the Terrible, Part II (1946)
  • Neuberger, Fig. 3
    Sigismund’s speech Screen capture from Sergei Eisenstein, dir., Ivan the Terrible, Part II (1946)
  • Neuberger, Fig. 4
    Source of the silhouette of the oprichniki RGALI f. 1923, op. 2, ed. khr. 1714, l. 7
  • Neuberger, Fig. 5
    “Sigismund—absolument effemine” RGALI f. 1923, op. 2, ed. khr. 1677 (drawings and notes), l. 5 (2 February 1942)
  • Neuberger, Fig. 6
    Henri III, after Francois Clouet, c. 1581 Photograph by Rene-Gabriel Ojeda, Musee Conde, Chantilly, France. © RMN-Grand Palais/Art Resources, NY
  • Neuberger, Fig. 7
    Victim’s neck Screen capture from Sergei Eisenstein, dir., Ivan the Terrible, Part II (1946)
  • Neuberger, Fig. 8
    Fedka Basmanov and oprichniki Screen capture from Sergei Eisenstein, dir., Ivan the Terrible, Part II (1946)
  • Neuberger, Fig. 9
    Sigismund, Ivan, Stalin Screen capture from Sergei Eisenstein, dir., Ivan the Terrible, Part II (1946), and photograph by Ivan Shagin
  • Peri, Fig. 1
    Illustration of Vera Inber by B. Leo, which accompanied Flit’s parody Public domain
  • From the Editors, Fig. 1
    Poster for “Revolutionizing the World? The Russian Revolution at Its Centenary, 1917-2017” Exhibition Reproduced with permission