Russian school, workshops of the Old Believers, 19th century. "Guardian Angel with selected saints". Tempera on panel. Measurements: 36 x 28,5 cm. The icon of interest represents a composition of several saints and martyrs, who surround the figure of the Guardian Angel. The latter can be recognised by the inscription above his nimbus and by certain iconographic characteristics, such as the white chiton, the wings, the sword and the cross. The icon is executed in a palette of saturated colours and highly concentrated pigments. The typology of the saints, with the two-fingered blessing, as well as the inscriptions with specific characteristics, and the name of Jesus Christ as "IC XC", indicate that this is a piece made in the workshops of the ancient believers. When discussing the iconography of Guardian Angels, it should be noted that this is a very complex and controversial field of Christian painting. To this day there is still debate as to whether there is a place in traditional Christian iconography for depictions of Guardian Angels, since any figurative representation of these beings in itself contradicts established dogma. Images of angels can already be found in the Roman catacombs, although without the usual wings. However, there are no images of the Guardian Angel on early Christian monuments. His iconography, which became widespread in Russia from the 16th-17th centuries, usually depicts a young man dressed in a white chiton, sometimes in a tunic and himation, or cloak, and his main attributes are a cross and a naked sword, as the symbol of the protection of the throne of God. Most of the icons that can be found of the Guardian Angels, whether depictions of the angels alone or with one or more saints, are modern icons. The controversy about the depiction of these celestial beings is deeply philosophical and theosophical. It is because, according to the scriptures, their form and appearance is unknown to mortals. A mortal can see his Guardian Angel only when his soul is separated from his body, i.e. after death. Therefore, when depicting the Guardian Angels, the painter should have died and then been resurrected. If it so happens that the painter has been resurrected, the form he will give to the Guardian Angel will have nothing to do with his real appearance, since it will only be based on the painter's memory and imagination. This, consequently, gives rise to other debates. One, regarding the role of the icon painter, who a priori should remain unnoticed, i.e. should not be given any prominence, since the main protagonist is the saint depicted. And another, in relation to the appearance of the Angel himself, since he will not, or will not, have a unified appearance for all mortals. Whatever the answer and one's position on this long-standing iconographic debate, depictions of Guardian Angels always remind one of the philosophical, logical side of religion. Moreover, such icons reinforce the Christian religion as a living field open to various iconographic interpretations, despite traditional dogmas.