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
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
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
Vladimir Monomakh’s coronation with the Cap of Monomachus of a conical shape (marked with an arrow)
Tsar’s Pew, bas-relief TP-12
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)
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
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
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
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
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
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.
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
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
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
Introductory miniature of Skazanie vmale
LLS 12:112. Reproduced with permission of AKTEON Publishers
Evdokiia Donskaia at prayer and distributing alms
LLS 12:114. Reproduced with permission from AKTEON Publishers
Painting of first icon of Archangel Michael
LLS 12:116. Reproduced with permission of AKTEON Publishers
Painting of third icon of Archangel Michael
LLS 12:118. Reproduced with permission of AKTEON Publishers
Evdokiia Donskaia heals blind man
LLS 12:120. Reproduced with permission of AKTEON Publishers
Candle miracle at Evdokiia Donskaia’s tomb
LLS 12:124. Reproduced with permission of AKTEON Publishers
Sigismund on his throne
Screen capture from Sergei Eisenstein, dir., Ivan the Terrible, Part II (1946)
Sigismund’s courtiers
Screen capture from Sergei Eisenstein, dir., Ivan the Terrible, Part II (1946)
Sigismund’s speech
Screen capture from Sergei Eisenstein, dir., Ivan the Terrible, Part II (1946)
Source of the silhouette of the oprichniki
RGALI f. 1923, op. 2, ed. khr. 1714, l. 7
“Sigismund—absolument effemine”
RGALI f. 1923, op. 2, ed. khr. 1677 (drawings and notes), l. 5 (2 February 1942)