Russian school, 18th-19th century. Saint Basil, Gregory Nazianzen, John Chrysostom. Oil on panel, embossed silver. Measurements: 35.5 x 29 cm. In this icon are represented three great hierarchs, masters of the Church, outstanding theologians, writers and preachers of their time, most venerated in the countries of the Christian world. Basil the Great (c. 329-379), archbishop of Caesarea, fought the Arian heresy. His co-religionist, Gregory Nazianzen (329-389), was bishop of Sasimia and later of Nazareth. After the death of his close friend Basil the Great, he had to assume the rank of archbishop of Constantinople against his will. Gregory wrote an elaborate treatise, which interpreted sacred characters such as the Holy Trinity. Like Basil the Great, Gregory Nazianzen fought against heresies. His younger contemporary, John Chrysostom (347-407), bishop of Antioch, later patriarch of Constantinople, was deposed, exiled and died there; an outstanding interpreter of Holy Scripture. Famous as a preacher and denouncer of the sins of the powerful. Basil the Great, Gregory the Theologian and John Chrysostom are the creators of the liturgy. The writings of all three hierarchs were known in Old Rus in Slavic translations by the 11th century at the latest. In accordance with their eminent position among the hierarchs of the Orthodox Church, bearers and preachers of Divine Wisdom, they were, as a rule, represented in all monumental ensembles of the 11th-12th centuries in the composition of the office of saints in the apses of churches. In Pskov, probably, the three masters of the church were honoured for a long time. Several churches were dedicated to them there. The depiction of a group of hierarchs in the pose of solemn preachers has been widespread in Russian icon painting since the 15th century. The present icon, while following the structure of the classical canon, is modified under the influence of Western painting. This influence is also evident in the use of oil paint instead of the traditional tempera. According to tradition, saints are usually depicted in isocephalic form, i.e. on the same level, and of equal size. In the case of this lot, they are arranged in a triangular composition, elevating the importance of Gregory Nazianzen, as he is in the centre of the composition. The presentation of the seated Pantocrator in the naves is the point of the compositional union. The Pantocrator emits a divine light, and its rays end in the nimbuses of Basil the Great and John Chrysostom. In turn, this symmetrical triangular composition is enriched by the invisible lines of the gazes, which add a particular dynamism and charm to this icon. The background alludes to an abstract representation of the sky, following the models of the European Baroque, breaking with the traditions of icon painting. This fashion towards the Western style appeared in Russia from the beginning of the 18th century, coinciding with the reign of Peter I the Great, and it would not be an exaggeration to say that it never left the Russian artistic imagination. This influence of European painting also affected the field of religious painting, but to a much lesser extent than secular easel painting. The present icon is framed in an embossed silver frame, framing the face of the Pantocrator in a kind of oklad. This decorative element was probably added later.