Russian School of Old Believers, late 18th century. "Resurrection of Christ, Christ's Descent into Hell, with 16 hagiographic scenes". Tempera on panel Measurements: 44 x 38 cm. Descent of Christ to hell is one of the most important representations in Christian iconography. This passage has been known in Ancient Rus since the 11th century, although it became most popular in the second half of the 14th century. Iconography of this New Testament passage finally developed in the 17th century in Moscow workshops. In this period, the icon reached its maximum complexity, combining the New and Old Testament passages, and at the same time composing the scenes of the Resurrection and Christ's descent into hell in one. The auctioned lot is of museum-quality value. The composition of the icon corresponds to a canon on the theme of the Resurrection and Christ's descent into hell, surrounded by 16 hagiographic scenes, which relate different Marian passages and passages from the life of Christ, as well as four evangelists resting in the four corners of the frame. What makes this icon so interesting and unique, however, is the scene of the Trinity, located in the upper register of the icon. This typology of the Trinity is not the representation of the canonical Trinity as such, but a priori formed part of Christ's own iconography. The prototype of this image was developed around the middle of the 16th century in connection with the reconstruction of the Annunciation Cathedral in the Moscow Kremlin, which suffered a fire in 1547. This icon, along with others that appeared at this time in history, reflects the interest of the Moscow intellectual classes of the time in a rationalist approach to the Christian religion through a more literal representation of Orthodox dogmas. All these images were developed by Metropolitan Macarius of Moscow, adored by the Old Believers, and Archpriest Sylvester. Despite causing much controversy, they were eventually accepted, including this version of the Trinity, better known as "The Only Son". Normally this icon was part of the composite icons, either iconostases, or venerated as a separate icon. The depiction of this passage within an iconography of Christ's descent into hell is very unusual, and therefore raises the icon's value of interest. The iconography of this image is based on the liturgical texts of John the Baptist and the commentaries of the Church Fathers. The meaning of the iconography is always explained in the outer border. In the centre of the composition is always the circular mystical mandorla, supported by two angels, with Jesus Christ, "the only Son", seated. Above him is the Father God (Sebaoth). In the lower part are the scenes of the triumph of death, represented by an equestrian skeleton, and the struggle of the Archangel Michael against the devil. The link between the two parts of the image is the Mother of God with the risen Jesus Christ. The Trinity type "the only Son" is an allegory for the struggle between life and death, good and evil, and represents the essence of Christ's return to heaven, and his beginning of heavenly life. It is worth noting that this iconography gave rise to one of the most important Orthodox liturgical songs "The only Son, and the word of God". In addition, a number of details, such as the two-fingered blessing, the abundant inscriptions on the border, the eight-pointed cross, and the name of Jesus Christ written as "ICXI", etc., link this icon to the workshops of the Russian Orthodox Old Believers.