Category: Icon retreats

Discover the Spiritual Depth of Icons and Saints

Two Books That Open the Heart Through Icons and the Saints

John the Baptist Icon. written by Christine Hales

In the world of Christian spirituality, a beautiful mystery unfolds whenever art and prayer meet. Two icon related books—The Dwelling of the Light: Praying With Icons of Christ by Dr. Rowan Williams, and The Song of Saints: Celebrating the Saints with Anglican Prayer Beads by Catherine Gotschall—offer readers rich opportunities to encounter that mystery with depth and devotion. Though very different in scope, each invites us to slow down, to look more deeply, and to let the Holy Spirit reshape how we see God, the world, and ourselves.

Seeing Christ Anew: Rowan Williams on Praying With Icons

When The Dwelling of the Light was first published in 2003, Dr. Rowan Williams had just begun his tenure as Archbishop of Canterbury. Already a respected theologian and scholar, Williams offered the world a slim but luminous volume on praying with icons of Christ. It remains one of his most beloved spiritual works.

Madonna and Child. Written by Christine Hales

At the heart of the book lies a profound reverence for icons—not as decorative artifacts, but as encounters with divine presence. Williams writes:

“In their presence you become aware that you are present to God and that God is working on you by his grace, as he does in the lives and words of holy people.”

Using four deeply significant icons—The Transfiguration, The Resurrection, The Hospitality of Abraham, and Christ Pantocrator—he guides the reader into a prayerful way of seeing. Icons, he suggests, are not depictions of a moment frozen in history; they reveal a life “radiating the light and force of God.”

Resurrection Icon. written by Christine Hales

In Williams’ hands, each icon becomes not only an image but a doorway: a way for Christ’s transfiguring presence to shape our own vision of the world. The book is small enough to read in an afternoon but expansive enough to ponder for years.

I have always appreciated Dr. Williams’ viewpoint on icons and sacramentals in the Anglican Church. Sometimes on my lunch break I like to pick up one of his books for some quick inspiration!

Williams wrote a companion volume a year earlier—Ponder These Things: Praying With Icons of the Virgin (Canterbury Press, 2002)—which offers a similar depth of prayer through icons of Mary.

Related Links
• Image Journal: Conversation with Rowan William
• Author Page with additional works by Dr. Williams

Praying With the Cloud of Witnesses: Catherine Gotschall’s The Song of Saints

While Williams leads us to contemplate the face of Christ, Catherine Gotschall invites us to pray with the saints themselves. A lifelong Episcopalian, Gotschall has created an extraordinary resource in The Song of Saints: Celebrating the Saints with Anglican Prayer Beads.

I met Catherine at the Episcopal Convention of South West Florida several weeks ago and want to share this interesting book with you all since first class books on the lives of the saints are hard to come by!

Her book presents the lives of more than fifty saints from across the centuries—men and women whose faithful witness continues to echo through Christian history. Arranged within the six cycles of the liturgical year, the saints span the 1st to the 20th century and represent Roman Catholic, Orthodox, and Protestant traditions.

Mary of Egypt Icon by Christine Hales

But what makes the book truly distinctive is its prayer practice. For each saint, Gotschall offers:

  • A brief biography
  • Prayers drawn from the saint’s own writings—letters, sermons, and vitae
  • A way of praying these words with Anglican prayer beads

She describes a saint as:

“someone who has led a sacramental life… an outward and visible sign of deep and abiding inner spiritual grace.”

St, Francis and the Wolf of Lubbio written by Christine Hales

This is more than a book of history or devotional snippets—it is a tool for moving devotion “from head to heart.” Through the rhythm of the beads and the wisdom of the saints, readers are invited into a lived experience of prayer that feels both ancient and deeply personal.

Link to Purchase Book on Amazon

St. John Theologian Icon by Christine Hales

Art, Prayer, and the Ever-Living Presence of God

Together, these two books remind us of something essential: authentic Christian prayer is not an escape from the world but a way of seeing it more truthfully. Icons illuminate the radiant presence of Christ at the center of all things. The saints show us what life looks like when that presence is welcomed, trusted, and lived boldly across centuries and cultures.

Whether you are drawn to the serene gaze of Christ Pantocrator or to the stirring witness of those who followed him, these works offer gentle, profound companions for the spiritual journey.

They invite us—quietly but insistently—to ponder, to pray, and to be transformed.

Until next month, be blessed and be a blessing! And don’t forget, if you write an informative article about your icons or icon related information, please email me with your ideas and proposals. It would be wonderful to have articles written by more of you!

Love and prayers,

Christine Hales

Recent Posts on Saints; Stories of Saints and Icons and

All Saints Day.

My Next in- Person Icon Writing Retreats for 2026

LINKS For  Christine Simoneau Hales   2025

  1. https://newchristianicions.com   my main website
  2. Https://christinehalesicons.com  Prints of my Icons
  3. https://online.iconwritingclasses.com  my online pre-recorded icon writing classes
  4. https://www.youtube.com/channel/UCK2WoRDiPivGtz2aw61FQXA  My YouTube Channel 
  5. Facebook: https://www.facebook.com/ChristineHalesFineArt     or  https://www.facebook.com/NewChristianIcons/
  6. Instagram:   https://www.instagram.com/christinehalesicons/?hl=en
  7. American Association of Iconographers:  FB Group: https://www.facebook.com/groups/371054416651983

American Association of Iconographers Website: https://americanassociationoficonographers.com

Contact Christine: chales@halesart.com

The History and Development of Christian Icons. Part III

This is the third in a four-part series of articles that examine the historical evolution of Christian icons that I have written for the Anglican Digest.  This article appears in the fall issue.  In this article we will explore the significance of a symbolic visual language of icons in contrast to a more realistic one that began to develop from the late Byzantine period through the beginnings of the Italian Renaissance paintings. 

Saint Epifani, Mosaic, 1030

This stylistic change is very important.  It helps to define the difference between holy icons and the religious painting that grew out of the Renaissance.  This difference became ever more pronounced as time went on, and the shift from symbolic to realistic imagery and storytelling can be compared to the difference between a parable and a narrative story.  The parable can have more eternal, universal and varied meanings, while realism points to a particular moment in time, a specific meaning.  Eastern church traditions preserved the integrity and spiritual function of icons, while Western Europe began to explore art’s potential to engage both the senses and the intellect.

Church Art From the 11-15th Centuries

Duccio, 1230, Maesta

From the 11th to the 15th centuries, art saw significant development, transitioning from medieval styles to the Renaissance.  The rise of Romanesque and Gothic art occurred in the Middle Ages, with Romanesque art taking shape in the eleventh century, initially developing in France then spreading to Spain, England, Flanders, Germany, Italy, and other regions. 

Annunciation, St. Sophia’s Cathedral, Kiev. 1050

One of the most spectacular achievements of medieval artists which was their desire to pursue heavenly light in their creation of the worship space.  The importance of this play of light had its beginnings in the 12th century when the heavy, dark Romanesque architecture began to be replaced by Gothic development of pointed arches, vaulted ceilings, and flying buttresses- all of which made it possible to admit more light into the sanctuary than would have been possible before.

Light for Christian culture had great significance because of the extensive Biblical associations of light with God himself, beginning with Genesis, “Let there be light”, and in the writings of Saint John the Divine.  At this point, the Bible had become an important source of ideas about beauty, both esthetically and also in a moral sense.  Illuminated Manuscripts flourished.

Icons and Art of the Eastern European Church

The developments of Church art in the East can be understood in several stages, or periods of Byzantine Culture: The Macedonian period, from 867-1056, the Komnenian period from1081-1185,and the Palaeologan Period 1259-1453.  These political and cultural periods influenced the style of icons as we will see.

Macedonian Period (867-1056)

Macedonian Workshop at Paraskevi

Macedonian art grew with advancements in learning and significant church construction and restoration following the period of Iconoclasm. (see my previous article). The artistic achievements of the Macedonian dynasty reflected grace, drawn from the fourth century, with the strength and beauty of earlier Hellenistic traditions. This blend of qualities infused religious art and icons with a distinctive dignity, refinement, and balance. These characteristics became synonymous with Byzantine design, aligning harmoniously with religious themes.

Komnenian Period (1081-1185)

Mosaïque des Comnène, Sainte-Sophie (Istambul, Turquie)

The Komnenoi were great patrons of the arts, and with their support Byzantine artists continued to move in the direction of greater humanism and emotion, of which the Virgin of Vladimir  is an important example. Ivory sculpture and other expensive mediums of art gradually gave way to frescoes and icons, gaining widespread popularity across the Empire. Although the art produced in the Byzantine Empire was marked by periodic revivals of a classical aesthetic, it was above all marked by the development of a new aesthetic defined by its abstract or anti-naturalistic character. If classical art was marked by the attempt to create representations that mimicked reality as closely as possible, Byzantine art seems to have abandoned this attempt in favor of a more symbolic approach.

Palaeologan Period (1259-1453)

Fresco from Leshovsky Monastery, 1347

Paelogan Byzantine artists developed icons, which became a popular medium for artistic expression, and were characterized by a less austere attitude. This appreciation for purely decorative qualities of painting and meticulous attention to details is sometimes referred to a Palaeologan Mannerism. Russian icon painting began by entirely adopting and imitating Byzantine art, as did the art of other Orthodox nations, and has remained extremely conservative in iconography. 

The fall of Constantinople in 1453 was a significant event in the history of the Byzantine Empire, and it had a profound impact on the art world. Many Byzantine artists migrated to Italy, where they played a vital role in shaping the  Italian Renaissance. of the Byzantine Empire in the preceding centuries.

The splendour of Byzantine art was always in the mind of early medieval Western artists and patrons, and many of the most important movements in the period were conscious attempts to produce art fit to stand next to both classical Roman and contemporary Byzantine art.

Religious Painting and Icons in the Western Church

The influence of Byzantine art on Italian art was significant, with Byzantine artists bringing their techniques and knowledge to Italy, especially the use of gold leaf and mosaics.

Three Italian painters of the 14th century, Cimabue, Duccio, and Giotto, are generally considered the link between the earlier iconic style of painting with its flattened pictorial space, and simple, abstract compositions and little if any naturalistic details, and the Renaissance.  In their work you will see that transition and the theme of the early development of naturalism that is the precursor to the Renaissance and the end of iconographic perspective.

Cimabue 1240-1302

Cimabue Maesta, di Santia Trinita

The paintings of Cimabue were heavily influenced by Byzantine iconography, and gradually they began to break away from that tradition into a more naturalistic rendering of human forms and space. His work is a transitional step in the development of western painting bridging the Medieval and Renaissance periods.  His work clearly influenced the styles of other Italian artists at the time such as Duccio di Buoninsegna and showcases the ongoing evolution of Italian art.

Duccio  1250-1391.  Sienna, Italy

Duccio, The Three Mary’s at the Tomb

 Duccio , as the founder of the Sienese school of painting,was the predominant painter of the 14th century.He ran a large workshop which shaped generations of Sienese artists.   His religious paintings brought a lyrical expressiveness and intense spiritual gravity to the Italo-Byzantine tradition.  In a small devotional panel of the Madonna and Child, Duccio bridged the gap between the spiritual world of the figures and the real world of the viewer in very much the same way that Icons do.   His holy figures were majestic, his pupils were influential in Florentine art, and his greatest work was the double-sided altarpiece, the ‘Maestà’, made between 1308-11.  Both Duccio and Cimabue began their careers producing iconic altarpiece paintings in the flat, two dimensional style of Byzantine icons, and ended their careers with more naturalistic paintings.  Both were enlivened and inspired by the Franciscan spirituality of their time.

Giotto di Bondone, Italian,   1267-1337

Giotto, The Dream of Joachim, 1330

Giotto was a Florentine painter and architect who is revered as the father of Western painting. It is believed that he was a pupil of Cimabue, and to have decorated chapels in Assisi, Rome, Padua, Florence, and Naples with frescoes and panel paintings in egg tempera. 

Giotto’s figures are volumetric rather than linear, with varied human emotions expressed in a human style rather than the stylized faces of Byzantine icons.  He also created a new kind of pictorial space with an almost measurable depth, transforming the flat world of thirteenth century painting in a more naturalistic view of the real world.  For this, he is considered the father of modern European painting.

The great accomplishment of Giotto’s painting was to make the events of the Gospel and the lives of the holy saints both credible, beautiful, and appealing to the ordinary people of his day.

Conclusion

These artists were followed by the Renaissance in the 14th-16th centuries. Renaissance art, particularly in Italy, focused on realism, classical themes, and a renewed interest in the human form. It moved away from symbolism and abstraction in favor of naturalistic rendering of light, form and nature. In the next and final article in this series, I will explain the effect this development has had on religious painting and contrast Renaissance painting with Icons.  Why is the Renaissance such a strong dividing line in religious art? Because it ushered in a humanistic world view as opposed to the theocratic world view prevalent before. The focus of our culture has gradually progressed from honoring God as creator to revering man’s creations, the truth of science over religious principles, and eventually to a nihilism in our culture that doesn’t recognize any power greater than ourselves.  And that is why as an artist, I have chosen Icons as my art form, desiring to promote and demonstrate visually, God’s universe over man’s universe! 

I hope you have enjoyed this article! Perfect for an end of summer, beginning of fall reading!

Here is a lovely video that talks about Siennese Icon Painting

May God continue to bless the work of your hands. Please join with me in prayer for the world :

“God is our refuge and strength, an ever present help in trouble. Therefore we will not fear, though the earth give way and the mountains fall into the heart of the sea, though its waters roar and foam and the mountains quake with their surging…..”Be still and know that I am God. I will be exalted in all the earth.” Psalm 46:1-3, 10.

Christine Simoneau Hales

https://newchristianicons.com

Making Pigments, A Fine Summer Project!

Lately I’ve become very excited about making some of my own pigments. It all started with my discovery of a book written by Ellie Irons “Feral Hues”, A Guide to Painting with Weeds. It’s a lovely book, packed with examples, color samples, pigment charts and insights into gathering, experiencing, and creating pigments from weeds, or common plant that currently grow in the Hudson Valley- my former home. https://www.publicationstudio.biz/books/feral-hues-a-guide-to-painting-with-weeds/

The Feral Hues Book on My Studio Table

The colors are so delicate and resonate with a natural authenticity that I realized I wanted to include something like this in my icon writing practice.  I often enjoy experimenting and incorporating new techniques in my painting practice and this idea of connecting more with the natural world around me seems like a new facet of praying and painting. It’s inspiring to engage with nature and makes me happy to think of how this duplicates artist practices from the ancient world.

So I have done some research, which I provide here, along with some links to YouTube videos demonstrating different approaches to pigment making from natural sources to maybe inspire you to collect some natural materials from your environment this summer to incorporate in your icons or icon sketches.  I would love it if any of you make your own pigments, or just experiment with doing so, would send photos and descriptions to me and I will post them all at the end of summer!

The Historical Context of Icon Pigments

The making of pigments for icons is deeply rooted in tradition. Orthodox Christian iconographers of the Byzantine and Russian schools, for instance, inherited their pigment recipes and with these traditions, making pigments is not merely a technical exercise—it is experienced as a sacred act, performed with prayer and reverence.

Early iconographers relied on the natural world to supply their colorants: minerals, plants, earths, and even insects. Over time, as trade routes expanded, so too did the palette, with rare minerals and exotic substances making their way into the hands of skilled artisans.

Today, we can enjoy the sense of connection with nature, authenticity and spiritual resonance inherent in the process.  But first, a short video to define qualities and properties of different pigments.

Raw Materials: The Source of Color

Pigments for icons originate from a remarkable array of materials, each with its own story:

  • Minerals: Lapis lazuli (yielding ultramarine blue), malachite (green), cinnabar (vermilion red), and ochres (yellows, reds, browns) are classic examples. These minerals are prized for their intensity, permanence, and rich symbolism.
  • Earth Pigments: Natural earths provide warm tones, such as siennas and umbers. Their subtlety and stability are essential for creating flesh tones and backgrounds.
  • Plant and Animal Sources: While less common, certain reds (like carmine) are derived from insects, and greens can be obtained from plant extracts. However, these tend to be less stable over time.

The Process of Making Pigments

Pigment-making is a precise and often labor-intensive process, requiring patience and a thorough understanding of both material and method. Let us walk through the general stages:

1. Sourcing and Preparing Raw Materials

Sourcing is the first challenge. Authentic pigments demand high-quality, uncontaminated raw materials. Stones must be carefully selected for color and purity. Once acquired, the raw material—be it a mineral or earth—is cleaned of any impurities. For stones, this can involve washing, sorting, and initial crushing.

2. Grinding and Levigation

The heart of pigment-making lies in the grinding. The raw material is broken down, traditionally using a mortar and pestle, into ever finer particles. This step is crucial: the fineness of the pigment determines its brilliance, texture, and how it mixes with the binder.

Levigation follows: the ground material is suspended in water, and the heavier, coarser particles are allowed to settle while the finer, more suitable material remains in suspension. This is then collected, dried, and stored.

3. Washing and Purification

Some pigments require further washing to remove soluble salts or other contaminants that could affect long-term stability. For certain minerals, repeated washing and filtering are essential to preserve both color and integrity.

4. Testing for Quality

Not all ground minerals make suitable pigments. Quality tests—rubbing a small amount onto a glazed tile, exposing it to light, mixing it with a test binder—help the iconographer judge hue, granulation, opacity, and permanence.

Spiritual and Symbolic Dimensions

For the iconographer, making pigments is more than craft; it is a spiritual discipline. Every act—from choosing the finest lapis lazuli or malachite to breaking and grinding local river stones is done prayerfully, often accompanied by the recitation of psalms or other devotions. In the tradition, the humility demanded by such painstaking labor is itself a form of worship, aligning the artist with the saints and ancestors who have gone before.

Making Pigments From Flowers

Color holds profound symbolic meaning in the icon. Gold, for example, does not symbolize worldly wealth, but rather the uncreated light of God. Red conveys divine life and resurrection; blue, mystery and transcendence; green, renewal. The careful selection and preparation of each pigment ensures the icon communicates not just beauty, but theological truth.

Challenges and Considerations in Modern Practice

While modern chemistry offers synthetic pigments of impressive intensity and consistency, many iconographers still prefer natural pigments for their authenticity and spiritual resonance. However, challenges abound:

  • Availability: Some minerals, like true lapis lazuli, are rare and expensive.
  • Ethical Sourcing: Ensuring that materials are procured responsibly and sustainably is increasingly important.
  • Health and Safety: Some traditional pigments, such as lead white or cinnabar, are toxic. Proper protective measures are essential.
  • Conservation: Icons must be made with materials that will endure, and so a careful balance between tradition and innovation is often sought.

Conclusion

The making of pigments for icons is a testament to the union of art, science, and faith. It is a craft that honors the natural world, reveres tradition, and aspires toward the sacred. In every grain of crushed stone, in every brushstroke of egg tempera, lies a profound continuity with the past—a legacy of devotion and excellence. Obviously, if we are painting with egg tempera, then egg will be our binder. But if you read some of the comments, there are other natural binders as well.

For those who practice the art of icon writing, making pigments can be a transformative journey. It is an invitation to slow down, to engage deeply with one’s materials, and to approach the act of creation as a form of prayer. In honoring the old ways, iconographers not only preserve a heritage, but also manifest, through color and light, the inexpressible mysteries of the spirit.

One of my new Icons, “The Visitation”. Christine Hales

I hope that you are enjoying reading this blog and invite those who have an interesting article or review that would contribute to iconography practice to email those to me for possible inclusion in future blogs.

May God continue to bless the work of your hands,

And may the grace of our Lord Jesus Christ, and the love of God, and the fellowship of the Holy Spirit be with us all forever.

Christine

Christine Simoneau Hales

Interesting Links for Iconographers:

These links were provided by Dorothy Alexander, an Iconographer and friend from California:

Here are most of my links:

LINKS For  Christine Simoneau Hales   2025

  1. https://newchristianicions.com   my main website
  2. Https://christinehalesicons.com  Prints of my Icons
  3. https://online.iconwritingclasses.com  my online pre-recorded icon writing classes
  4. https://www.youtube.com/channel/UCK2WoRDiPivGtz2aw61FQXA  My YouTube Channel
  5. Facebook: https://www.facebook.com/ChristineHalesFineArt     or  https://www.facebook.com/NewChristianIcons/
  6. Instagram:   https://www.instagram.com/christinehalesicons/?hl=en
  7. American Association of Iconographers:  FB Group:  https://www.facebook.com/groups/371054416651983

American Association of Iconographers Website: https://americanassociationoficonographers.com

The Blessed Virgin:

A Life Anchored in Grace, Obedience, and the Miraculous

Serbian Annunciation Icon, 14th c.

The Blessed Virgin Mary is believed by many to be the greatest of Christian saints, after her Son, she is exalted by divine grace above angels and men. holds a place of profound honor in Christian faith and tradition. Known as the Mother of God, Queen of Heaven, and spiritual guide to all believers, her life offers us a powerful model of obedience, grace, and unwavering faith in difficult times.  Since today is the Feast of the Visitation- one of my favorite icons- I thought it would be good to share some random thoughts about Mary and her significance to our faith.

I’ve been reading a book about Mary, The Life of the Blessed Virgin Mary: From the Visions of Blessed Anne Catherine Emmerich, as part of my spiritual discipline for May and want to share some of the insights in this month’s blog. Since I have previously written a blog about Mary (see the link below), I didn’t try to replicate the insights in that one here.  Mary is such a central figure in Christian icons, her visual presence stretching from the earliest Christian art in the catacombs to contemporary icons and I hope to add more nuance to our appreciation and ability to relate to her unique role in salvation history and Icons of Mary.

Smolensk Mother of God

Symbols and Icons

In Orthodox iconography, Mary’s  veil is deep red, the color of divinity, while the clothes under the veil are either green or blue, the colors of humanity. This is the opposite of the usual depiction of Christ’s robes’ colors. In western religious art depictions of Mary, her robes usually are a light blue.  It’s always important to include the names of saints in icons, and icons of Mary usually have the letters “MP OY”, an abbreviation of the Greek: “Mater Theos” – the Mother of God to identify her. The lily represents her purity and virginity while the rose stands for her love and beauty. These symbols invite the viewer to reflect on Mary’s unique holiness and place within God’s plan for man’s salvation.

Mary’s Character Strengths

Mary’s faith and devotion are clearly seen in some of the pivotal moments of Christianity.  In the Annunciation icon, the angel Gabriel announces to Mary that she will bear the Son of God, highlighting her acceptance of God’s will, her humility, and deep courage. The Nativity shows the birth of Christ, the fulfillment of God’s promise, and the Flight into Egypt reveals Mary’s protective care in seeking safety for her son. Probably the most poignant is Mary’s presence at the Crucifixion, where her strength and sorrow are deeply felt.  These icons not only narrate biblical events but also emphasize Mary’s prayerful and devoted character.  Mary’s humility is evident in her acceptance of her Divine mission; her strength is shown in the trials she endures, and her holiness shines forth as the holy and blessed woman chosen to bear the Messiah.  Mary, known  as the Theotokos, or Mother of God, is a title that affirms Jesus’ divine nature. Throughout history, artists have returned to images of Mary and her son to express the deep bond between humanity and divinity.

Madonna and Christ Child Drawing by Nun Juliana

Theological Themes

While dogmas such as the Immaculate Conception, the Assumption, Mary’s perpetual virginity, and her role as Mother of God are complex, Mary’s icons offer us a way to engage with these truths visually and these icons help believers grasp profound theological ideas with personal reflection and inspiration.

Icons of Mary continue illuminate her theological roles, demonstrate her virtues and connect her life story to the faith of believers past and present. I have seen many new icons of Mary, such as Mary, Untier of Knots, at least I believe it is a new prototype.  If you have created an icon of Mary that you have created and would like to share it with us, please email it to me along with a description and I will add it to this post. Sharing our work with each other can often lead to fresh insights for ourselves and others.

Miracles and Apparitions

Icon of Our Lady of Guadalupe written by Christine Hales

The Virgin Mary is associated with numerous miracles and apparitions, often attributed to her intercession with God. These include miraculous healings, apparitions like those at Lourdes and Fatima, and the transformation of water into wine at Cana, among others

The Blessed Virgin Mary has been reported to appear to people in various locations, often offering messages of hope, repentance, and love. These apparitions are often followed by reports of miraculous physical and spiritual healings. 

Lourdes, France, is a well-known example, with over 7,000 reported cases of miraculous healings and 70 scientifically validated by the Lourdes Medical Bureau. Mary is also associated with spiritual healing, helping people find solace and guidance in their faith.  Some stories highlight the transformative power of Mary’s intercession on people’s spiritual lives, leading to conversion and deeper faith. 

Sites of Miraculous Apparitions

Lourdes, France: This is perhaps the most famous site associated with Marian healing miracles. After St. Bernadette Soubirous reported visions of the Virgin Mary in 1858, a spring of water with purported healing properties was discovered there. The Catholic Church established the Lourdes Medical Bureau to investigate reported cures, and out of over 7,000 recorded instances of unexplained healing, 70 have been officially recognized as medically inexplicable miracles. The strict criteria for such recognition include that the healing is instantaneous, complete, permanent, and scientifically inexplicable.

Fatima, Portugal: Following apparitions of Mary to three shepherd children in 1917, various miracles were reported, including healings associated with a spring of water discovered after the apparitions. In one case, a woman whose illness Our Lady promised would be cured if she converted experienced healing. The “Miracle of the Sun,” a widely witnessed astronomical phenomenon, is also associated with the apparitions.

Attribution of Miracles: It’s crucial to understand that the Catholic Church attributes miracles to God’s power, often interceded through Mary’s prayers, not as something Mary performs independently.

Theotokos Iverskaya

Scientific and Theological Perspectives: The Catholic Church utilizes a rigorous process involving medical and theological experts to investigate reported miracles, seeking to discern if they are truly inexplicable by natural means and align with Catholic teachings.

Significance: Recognized miracles are viewed as signs of God’s love and mercy that can strengthen faith, not as a requirement for Catholic doctrine or devotion. 

It is important to note that accounts of miraculous healings attributed to Mary are deeply rooted in faith and devotion. While some claims have undergone rigorous investigation and medical validation, the ultimate belief in their miraculous nature rests on faith in God.

I hope that these reflections may encourage you to explore the beauty and spiritual richness found in Marian art and discover anew the profound significance of Mary, Mother of God, and share them with this post or another post in the future!

Blessings and prayers,

Christine Simoneau Hales, Iconographer

Atakhist Mary Icon written by Christine Hales

Below is my previous blog post about Mary.

Mary

INTERSTING LINKS FOR ICONOGRAPHERS

Orthodox Arts Journal Article About the Work and life of Father Zinon

The Meaning of Icons, Father Maximos Constas

My Links:LINKS For  Christine Simoneau Hales   2025

American Association of Iconographers Website: https://americanassociationoficonographers.com

https://newchristianicions.com   my main website

Https://christinehalesicons.com  Prints of my Icons

https://online.iconwritingclasses.com  my online pre-recorded icon writing classes

https://www.youtube.com/channel/UCK2WoRDiPivGtz2aw61FQXA  My YouTube Channel

Facebook: https://www.facebook.com/ChristineHalesFineArt     or  https://www.facebook.com/NewChristianIcons/

Instagram:   https://www.instagram.com/christinehalesicons/?hl=en

American Association of Iconographers:  FB Group:  https://www.facebook.com/groups/371054416651983

Icons as Windows of Grace

Face of Christ, by C. S. Hales

Icons as Windows of Grace: The Sacred Intersection of Art, Symbol, and Sacrament

Recently I was blessed to have an inspiring conversation with Anglican Bishop Lindsay Urwin, retired Bishop from the UK and Australia, about Icons and I share with you some of the salient points below:

In Eastern Christian traditions, icons are seen as far more than religious art. They are revered as windows into heaven, channels for divine grace, and tangible manifestations of the spiritual presence of the holy figures they depict. For the faithful, an icon is not merely a representation; it is an encounter. To venerate an icon is to respond to the invitation to draw closer to God, to perceive His grace mediated through visible form.

Icons occupy a sacred space in Christian spirituality where symbol and presence interweave. They embody what Catholic theology describes in its understanding of sacraments and sacramentals: visible signs of invisible realities. Just as the sacraments are instituted by Christ and are efficacious signs of grace—conveying what they signify—so icons, in their own way, invite us into a deeper participation with divine life. Their power lies not in the paint or wood, but in what they carry: a sacred presence and a call to communion with God.

Mary Magdalene by C. S. Hales

The sacraments themselves hold a dual nature. As the United States Conference of Catholic Bishops teaches, they have both a visible and invisible reality. The visible form is the rite, the action, the object we can see and touch—like water in baptism, or bread and wine in the Eucharist. The invisible is God’s grace working within and through that form, His initiative in offering redemption and love to humanity. This grace is a gift, and our response to it—imitating Christ in daily life—is itself a grace given by God.

While sacraments are central rituals instituted by Christ, sacramentals—such as holy water, rosaries, the Sign of the Cross, and yes, icons—bear a resemblance to sacraments. Though they do not confer grace in the same way, they prepare us to receive it. They sanctify the ordinary, inviting the sacred into daily life and helping us remain mindful of God’s presence.

Theosis, by C.S. Hales

The icon, then, functions as a kind of sacramental. It sanctifies our gaze. It evokes the presence of the one depicted, drawing us into relationship with the divine mystery. Through form, color, and symbolism, icons project more than their material reality; they bring into the present the holy reality they signify. Their beauty is not only visual but spiritual, awakening in the viewer an awareness of the eternal.

To look upon an icon with faith is to look with the eyes of the heart. In the New Testament, faith and love are inseparable. One cannot be a person of faith without being a person of love—not just sentiment, but a love that transforms one’s whole being. Icons invite us into this love. They offer a quiet yet powerful participation in the mystery of salvation, guiding our hearts to respond to God’s gracious initiative.

Blessed Mother, by C.S. Hales

Symbols, like icons, give meaning to our lives. They help us remember who we are in relation to God. They build within us a storehouse of spiritual memory—a reservoir of grace and encounter that can sustain us in times of doubt or difficulty. By contemplating the truths they carry, we remember that we live within a great tradition, a flowing river of grace and presence.

In the end, icons do not just teach doctrine or inspire piety; they reflect and participate in the reality of God’s action in the world. They help us to see—not with physical sight alone, but with the inward sight of faith. And through them, we step closer into that divine mystery where the visible and invisible meet.

INTERESTING LINKS FOR ICONOGRAPHERS

Betsy Porter, an iconographer at Saint Gregory’s Church in San Francisco, California, hosts interesting discussions with iconographers on Zoom that are open to all. Here is the current schedule: “These monthly Zoom meetings will continue on May 18, June 15, July 13, August 17, September 14, October 12, November 9, and December 7.  If you have a special interest or expertise in any icon-related subject, we welcome you as a discussion leader on your topic.

Some of our Zoom sessions have been recorded, when requested, and archived by St. Gregory’s office.  Here’s the permanent link to the Icon video archive. Videos are chronological, named by recording date & time.Icon Videos – Google Drive“. EMail Betsy to be put on her mailing list: betsyhartporter@yahoo.com

Until next month, May God continue to bless the work of your hands,

Christine Simoneau Hales

New Christian Icons

My Online Icon Classes

My Icon Prints

How Important Is Drawing?

Often when I teach icon writing classes, I am asked to critique students’ previous icons, and almost always, my comments revolve around drawing more.  Re-draw the composition, or the faces, or the figures. And so, for this blog post I am including some random ideas for improving your icon drawing.  

Drawing by Nun Juliana

First, I’d like to share about an iconographer whose drawings I particularly admire- Nun Juliana. Mother Juliana was a Russian icon painter who was a prominent figure in the renewal of sacred arts in Russia during the second half of the 20th century. 

Drawing by Nun Juliana

She was also a teacher of iconography, discussing the meaning of the subject matter, technique, materials, and style. Mother Juliana’s work was part of a rediscovery and renewal of sacred arts that has reached world wide proportions.

Today Mother Juliana is considered a saint by the Orthodox Church and is credited with preserving the tradition of icon painting in Russia and beyond through her work and those she taught. 

During the first decades of Soviet rule in Russia holy images, especially icons, were subjected to harsh persecution. It was a period of unrestrained, militant atheism during which, together with the closing of churches and monasteries, great numbers of icons were destroyed. From this it is easy to comprehend the difficulties faced by those who wished to preserve the traditions of Russian icon painting. 

Drawing by Nun Juliana

The nun Juliana, known to the world as Maria Nikolajevna Sokolova, preserved the living tradition of ancient Russian icon painting, transmitting it to her successors during one of the most difficult periods in the history of the Russian Church. This is the basis of her significance for modern icon painters.

Drawing by Christine Hales

Egon Sendler’s states in his foundational book, “The Icon, Images of the Invisible”, that “The drawing is of great importance because it gives structure and movement to the icon and determines the surfaces to be painted.  The ancient iconographers religiously kept the sketches of their icons so they could use them again in their later works.  These collections of drawings were called podlinik, pattern books.”

We know that in the Byzantine method, a relational system of proportions was employed, thus giving a consistency to the visual images that allow the viewer to concentrate on the meanings of the icon. This system of relational proportions was probably inherited by Egyptian artists who also used a simple grid system to standardize proportions of figures.

Egyptian Grid Drawing

Byzantine compositional drawing develops a relationship with rhythm and space in the icon that enables the viewer and the icon to meet- the dynamic elements of the icon are intentionally created to engage the viewer and bring them into a relational experience with the subject of the icon.

Without depth, the vertical method of composition is used in Byzantine compositional drawing, for example, objects which are behind in the icon are placed above in the composition, and those in front are placed on the lower section of the composition. The Nativity icon is a very good example of this principle.

Nativity Icon by Christine Hales

The last set of ideas I wish to share with you derive from Iconographer George Kordis in his book, “Icon as Communion”.  In speaking of the artistic principles of Byzantine art this is what he says, “This is what we recognize as Byzantine art, and it bears the following characteristic features:  

  1. The absence of artistic depth (there is no movement behind the artistic surface.)
  2. The essential role and fundamental importance of color in rendering form: forms are defined through color and not through the use of black or shadow..
  3. The essential role and fundamental importance of line, which determines how color is applied…
  4. The plasticity of artistic form (the juxtaposition of light and dark) in order to give the feeling of movement outward from the artistic surface toward the beholder.
  5. The pursuit of rhythm (the sense of movement that relates the figure to the viewer, uniting the two.)
Archangel Michael Drawing in Moscow

Obviously this article is presenting the tip of the iceberg!  Hopefully these thoughts stimulate your creative process and help your icons become the best representation of God’s kingdom possible.   Although I am familiar with all of these principles, I find that I need to read them often to keep them constantly in mind when I draw.

Below are some interesting links from Iconographer Dorothy Alexander:

Here is a link to the Icon retreats I am teaching this year: Icon Retreats

And here is link describing the Artist in Residence program I am participating in at the Cathedral of Saint Peter, Saint Petersburg, Florida.

Until next month,

Blessings,

Christine Simoneau Hales

New Christian Icons

Epiphany and New Beginnings

Embracing the Light of New Possibilities

Happy New Year!  It’s a time for new beginnings, a chance to refresh our minds, hearts and spirits, a time to reevaluate our goals and plans in light of a change of perspective. 

The Eastern branch of the Church originally celebrated Epiphany as the Baptism of Jesus as early as 200AD. In the Western Church, gradually the appearance of the three kings at the nativity of Christ’s birth and the wedding feast of Cana were additionally  associated with Epiphany. 

Giotto Wedding at Cana. 13th Century

Thinking about all this, it seems to me that each of those Holy events signifies a time of new beginnings.  The three kings came to honor a newborn king- the beginning of a radical shift in the world’s perspective on sin, freedom, and God.  

The Baptism of Jesus occurred when he was in his early thirties and signified his great humility in identifying himself as human. At the same event, God’s voice declared Jesus to be His son, in whom he is well pleased.  This was the first public demonstration of both Jesus’ humanity and divinity and serves as an example for us to follow. It is for us to be humble, asking for God’s blessing at Baptism and eagerly listening to every word that comes from the Father.

Coptic Icon, Baptism of Jesus

Jesus said, ‘Out of your heart shall flow rivers of living water’. John 7:38

The wedding of Cana was the first manifestation of the miraculous marking the beginning of the miraculous ministry of Jesus. How do we enter into this ancient mystery? We might remember that when God is asked for help, He can turn even ordinary facts of reality – no wine left-  into the extraordinary fulfillment of desires and needs. 

“Since the creation of the world the invisible things of God are clearly seen by means of images. We see images in the creation which, although they are only dim lights, still remind us of God.” John of Damascus

And so, at this time of new beginnings, a New Year, let us contemplate how this feast day can affect our icon writing practice.  Any of the three aspects of Epiphany can be used to strengthen and inspire our practice in multiple ways.  Keeping a spiritual journal and recording our thoughts and drawings can make our work a process of sanctification. Sanctification is a Christian concept that refers to the process of becoming holy or sacred, or being set apart for a special purpose. It is a gradual process of spiritual growth and transformation that involves effort, commitment, and personal sacrifice. 

My Baptism of Jesus Icon at the Cathedral of Saint Peter, Saint Petersburg, FL

Sanctification is a gift from God to those he loves, and is a result of grace. 

Happy New Year!

The arrival of a new year often brings a sense of anticipation and hope—a time to refresh our minds, hearts, and spirits. It is a moment for reevaluating our goals, plans, and perspectives, and for embracing the potential of new beginnings.

In the Christian liturgical calendar, Epiphany—celebrated on January 6th—marks a significant point in the journey of faith. This feast day invites us to reflect on profound moments of revelation, transformation, and divine manifestation. As we step into a new year, it’s an opportunity to consider how these themes of new beginnings can inspire and strengthen our own spiritual practices, particularly in the art of icon writing.

The Significance of Epiphany

Epiphany Mosaic Ravenna 14th century

Epiphany is traditionally a feast that celebrates the revelation of Christ to the world. The Eastern branch of the Church originally recognized Epiphany as the celebration of Jesus’ Baptism in the Jordan River, dating back to as early as 200 AD. Meanwhile, in the Western Church, the focus gradually expanded to include the visit of the three kings (the Magi) to the newborn Christ and the wedding feast at Cana, marking the first public miracle of Jesus.

What unites these events is their profound symbolism of new beginnings.

Codex Egbert. 10th Century Visit of the Three kings
  • The Visit of the Three Kings: The Magi came to honor the newborn king, an event that marked a radical shift in the world’s perspective on sin, freedom, and God’s plan for salvation. Their journey was not just one of homage, but also a declaration of the start of a new era in the world’s understanding of the divine.
  • The Baptism of Jesus: At around thirty years old, Jesus underwent baptism, not because He needed it, but to demonstrate His profound humility and identification with humanity. In this moment, God’s voice declared, “This is My beloved Son, in whom I am well pleased” (Matthew 3:17). It was a public affirmation of both Jesus’ humanity and divinity, setting an example for us all to follow—humility, obedience, and openness to God’s will.
  • The Wedding at Cana: The first of Jesus’ miracles, turning water into wine at a wedding feast, was the beginning of His miraculous ministry. It shows how, when we seek God’s help, He can transform even the most ordinary situations into extraordinary ones, fulfilling desires and needs in ways we may not expect.

New Beginnings: The Call to Sanctification

When we consider the events of Epiphany—the kings, the baptism, and the miracle at Cana—we are reminded that new beginnings come with new insights, new possibilities, and the potential for transformation. These moments of revelation can serve as inspiration for our own lives, particularly in how we approach our spiritual practices.

One practice that can particularly benefit from these reflections is the art of icon writing. For those of us who engage in this sacred work, Epiphany offers an invitation to approach our iconography with a renewed sense of purpose and devotion.

The Role of Sanctification in Our Work

Sanctification is a Christian concept that refers to the process of becoming holy, or being set apart for a special purpose. It involves spiritual growth, effort, commitment, and sacrifice, and ultimately results from God’s grace. As we enter this time of new beginnings, Epiphany provides us with the perfect context to view our work—not just as art, but as an act of sanctification.

In the icon writing tradition, the creation of sacred images is not merely an artistic endeavor. It is a spiritual practice—a way of deepening our relationship with God and of participating in the divine work of revealing God to the world. As we create, we invite God’s grace into our work, and we seek His discernment and guidance.

One of my icon writing classes in New York

Practical Ways to Embrace Epiphany in Icon Writing

  1. Keep a Spiritual Journal: Epiphany is an ideal time to begin—or renew—a spiritual journal. Write down your reflections on the feast day, your thoughts on the new year, and any drawings or sketches that come to mind. Let this journal be a space for contemplation and prayer as you reflect on the mysteries of God’s revelation.
  2. Approach Your Icon Writing as a Process of Sanctification: Remember that icon writing is not just about technique, but also about the transformation of the soul. Let the process itself be one of spiritual growth. Each stroke, each color, each detail can be offered up as a prayer for God’s blessing and guidance.
  3. Draw Inspiration from the Three Aspects of Epiphany: Whether you focus on the humility of the Baptism, the honor of the Magi’s visit, or the miraculous transformation at Cana, let these themes inspire your work. Ask yourself how each event relates to your journey and how it can be expressed through your icons.
  4. Seek God’s Blessing and Discernment: Just as Jesus humbly sought the Father’s blessing at His Baptism, approach your work with a similar humility. Ask for God’s guidance and discernment as you create, and trust that He will equip you with the skill and insight to faithfully depict His Holy Word in visual form.

A Prayer for the New Year

Dionisius’ Russian Icon of Wedding at Cana

As we begin this new year, let us pray for the grace to approach every task, including our icon writing, as an act of sanctification. May we seek new beginnings in our spiritual lives, just as the three kings, the baptism of Christ, and the miracle at Cana brought about radical transformation. And may our work be filled with the light of Epiphany, bringing us closer to God and to the world’s deepest truths.

Epiphany is a beautiful time to celebrate new beginnings, clarity, and the light that guides us forward. Just as the wise men followed the star, we too are invited to follow our own paths of growth and transformation. May this Epiphany bring you fresh insight, new opportunities, and the courage to begin anew.

May God continue to bless the work of your hands with His gifts of discernment and skill, and may you experience the joy of new beginnings in your creative and spiritual journey through icon writing.

INTERESTING ICON LINKS:

Video with Metropolitan Kallistos Ware on Iconography:  Doorway into Heaven (39 minutes)

Birch Panels suitable to gesso for icons: Trekell Art Supplies

Blessings,

Christine Simoneau Hales. New Christian Icons

My Icon Writing Retreats in 2025

Mystics, Healing, and Icons

Dear Fellow Iconographers:

My husband and I were honored to be inducted into the Order of Saint Luke this past summer.  The Order of Saint Luke is an international, inter-denominational organization made up of healing communities of faith, prayer, and service.  And so I have been thinking a lot about icons, miracles, mysticism and healing.  Can an Icon heal?  That’s a trick question!  Only God can heal, but an icon can bring the person into remembrance of Jesus’ healing ministry to inspire and strengthen faith in God’s desire and commitment to heal His people.

Christ in Glory created by the hands of Christine Hales

So how do we define healing?  True healing is Salvation. What is Salvation?  It can mean being saved from danger, disease, and the consequences of sin by the power of the Resurrection of Jesus Christ.  So, by these definitions, we create a field where an Icon can bring the viewer into visual relationship, remembrance and anticipation of the action of God’s grace which He freely gives us.

Not all icons need to be healing icons.  Some are created as vehicles for instruction in Biblical and Gospel truths, some for aiding in prayer and the liturgy, and inspiring God’s people through holiness, sacredness and beauty. My mission is to carry this healing charism in icons forward into our present day.  There’s quite a strong historical foundation of the healing ministry in the Christian church, beginning with our Lord Jesus. Many of the Christian mystics experienced people being healed wherever they went.

St. Fyodor of Rostov painted by the hand of Christine Hales

Mystics and Healing

The mystical spiritual tradition that has existed through the centuries is accepted by both the Eastern and Western Church.  In its simplest form, mysticism is a desire to touch or experience God in some tangible way. And when we touch God, we are transformed.

Both ancient and modern mystics practiced contemplation, insight, intuition, prayer in deep experience of worship in order to increase their direct relationship with God. In medieval times, men and women had a keen sense of God acting in the world around them through people, animals, and forces of nature. Mystics cultivate a devotion to God’s Holy Spirit and have their eyes open to God’s miracles happening around them.

Early Christian Mystics

Irenaeus, (c.130-202), one of the early church fathers, wrote: “It is impossible to number the gifts which the Church throughout the world has received from God in the name of Jesus Christ…Those who are in truth his disciples, receiving grace from Him, do in His name perform (miracles), so as to promote the welfare of other men, according to the gift each one has received from Him.”

Symeon the New Theologian

Symeon the New Theologian (949-1022), emphasized the importance of having a direct personal experience with God through grace and prayed often to receive the gifts of the Spirit. “Leave the world…do not be concerned about the present life. Knock at the gates of Christ’s Kingdom for the Son will give the Spirit to whoever asks, and he who seeks will certainly find and be enriched with the fullness of all God’s gifts.”  “Pentecost to the Present”, by Jeff Oliver.

Gregory of Palamas

Gregory of Palamas (1296-1359) was a Greek Monk and theologian who, while a Bishop of Thessalonica, would defend the traditions of the Hesychasts mystical prayer practice as opposed to the more rational and intellectual approach to prayer and worship that was in fashion at the time. 

Bernard of Clairvaux

In the West, Bernard of Clairvaux (1090-1153), wrote “We have all, I think, received the Spirit unto salvation, but not to all has he been given unto fervor.  In fact, only very few appear to be filled with this Spirit of fervor, very few show any desire to obtain it.  We are content with our own cramped littleness, and make no endeavor to rejoice in or at least to aspire to the liberty of the spirit which that Spirit confers.” Bernard believed in a personal, immediate  and direct personal faith with Christ as opposed to any rational or ritualistic approach.  When the Pope commissioned Bernard to preach the enrollment for the second crusade, Bernard preached to an open field who, upon hearing him, enlisted en masse. He then passed into Germany where miracles reportedly followed: “The breathing, the touch, the prayer, the benediction of Bernard had wonderful effects.  At his voice, the most chronic conditions disappeared instantly and entire populations related with astonishment the cures to which they had been witnesses. Everywhere along his route the blind regained their sight, the deaf and dumb heard and spoke; paralytics recovered the use of their limbs; those supposed to be possessed by evil spirits were calmed and restored to reason.

Saint Francis Receiving the Stigmata

Icons, Mystics, and Healing

Why am I relating these early church fathers to creating icons in the twentyfirst century?  Perhaps what we need to be emulating is not the outward form of early icons, but the Spirit that created them, and how we too can create Holy Spirit filled icons that will bless God’s people in our generation and in generations to come.  I hope these monthly articles inspire and help give direction to all who seek to bless God’s people by creating holy icons.  May we hold each other in prayer for protection and the grace of God to bless the work of our hands.

Until next month,

Christine Hales

New Christian Icons Prints of My Icons

If you would like to read a post I wrote on “All Saints Day”, here’s the link: https://wordpress.com/post/americanassociationoficonographers.com/28287

If you would like to read a post I wrote on ” Miracle Working Icons” here is the link: https://americanassociationoficonographers.com/2021/11/30/miracle-working-icons/#:~:text=How%20can%20icons%20be%20miracle,some%20of%20them:%20Russian%20Icons.&text=There%20are%20many%20kinds%20of,a%20long%20period%20of%20time.

Source: Much of the information shared above comes from Jeff Oliver’s excellent book: “Pentecost to the Present”, The Holy Spirit’s Enduring Work in the Church.

New Materials for Icon Board Grounds

Hello Fellow Iconographers: Today I am writing this blog on the Feast Day of Saint Michael, and I include here the collect for St. Michael and All Angels from the book of Common Prayer:

“Everlasting God, you have constituted in a wonderful order the ministries of angels and mortals. Mercifully grant that, as your holy angels always serve and worship you in heaven, so by your appointment they may help and defend us here on earth; through Jesus Christ our Lord, who lives and reigns with you and the Holy Spirit, one God, for ever and ever. Amen.

Lately I’ve been writing monthly articles about Icons and their place in history, and more theoretical topics related to understanding the field of writing icons. This month I am writing about the possibility of experimenting with new and maybe surprising materials that can be used to create satisfactory grounds for painting icons using egg tempera.

I will always consider the very best possibility for painting icons in egg tempera to be traditionally prepared icon boards, either by the iconographer herself or puchased from a reputable icon board maker. But, as we all know, those traditionally prepared icon boards are labor and time intensive, and therefore costly. And in my teaching experience, many people are interested in giving icon writing a try, but either aren’t able or don’t want to invest heavily in materials until they are sure this is an activity they want to pursue over time.

Icon writing materials are a significant investment for a complete beginner, I understand. Add to that the fact that practicing icon writing is absolutely necessary to mastery of the technique, you have the need for inexpensive, easy to find alternatives to icon boards.

I always love to experiment both with materials and techniques, so I am able to share a number of alternatives with you here that I hope will help you in your icon writing practice.

Easy Gesso

First, I find the “Easy Gesso” product made by Natural Pigments to be an excellent ground that can be used on watercolor paper, bristol board, ampersand and aquaboards, birch panels- almost anything that is a solid enough support. Obviously the watercolor paper is only going to work for practice sketches because egg tempera needs a stable (un-bendable) surface so that the tempera does not crack. Trekell Art Supplies has some very nice and inexpensive baltic birch panels available in a variety of sizes and shapes and I recommend these. especially for students.

You must follow the directions for the Easy Gesso, (don’t mix with cold water etc.) and use 3 coats, allowing each layer to dry before applying the next one. Then lightly sand the surface and I think you will be happy with the result. If you prepare several surfaces at a time, it’s a good investment in your icon writing practice, and very handy to have surfaces ready for painting.

A combination that I have used many times is to use acrylic gesso and mix it with either Marble Dust or Chalk, then a bit of water to tinh apporpriately. What like about this mixture is te acrylic gesso base of this mixture is waterproof and mold proof. The marble dust or chalk provide tooth and absorbency. If you decide to try it, experiment first to see if you like it as well. I put about 1/3 marble dust to 2/3 acrylic gesso. I don’t always use this mixture, but at times I have found it useful. Also, one of my students has successfully used wood filler, applied with a large putty knife over a cradled board, and then lightly sanded to be effective and good to work on.

Golden Paints has many new products out now, including a variety of gessoes for different purposes. I highly respect the Golden Paint Company because I know their research is of primary importance for them, and they keep accurate records of results while being highly knowlegable. Here is a link to an article from them about wet sanding acrylic gesso. Here is a link to their newsletter about recent research experiments with a variety of products- it’s always interesting and informative. And I’ll close this article with a link to the Golden gessoes, I have tried the absorbent one and it works well.

The American Association of Iconographers has an article on how to gesso boards from scratch as well, and here is the link.

If you have a favorite work around for gesso, and want to share it, you can leave the info in the comments section. Make sure you give instructions on how to use the materials.

May God continue to bless the work of your hands,

Christine Hales

New Christian Icons

What Happened to Icons in the Protestant Church?

I was brought up Catholic, changed to Anglican when I got married, and then graduated from Global Awakening, a charismatic mission based ministry school, and I love each of these denominations for how they have helped to deepen and expand my faith.  

This month’s blog could be called, “What Happened to Icons in the Protestant Church?”  Of course, many Protestant Churches today do have icons and other religious art in them today, and there is a general movement towards more ecumenical understanding  among denominations today.  But, for my own benefit, and also for yours, I think it’s worth delving into some of the historical relationships between Protestantism and holy imagery.

Our Lady of the Sign Icon written by. Christine Hales

THEOLOGY OF THE ICON

The theology of the icon is based on the Incarnation, the revelation of the Image of God in the human form of Jesus Christ. This first icon was one made without human hands and revealed in the temple of Christ’s body. By imitating the divine artist, the iconographer not only participates in sacred creation, but theologically asserts the reality of Jesus’ humanity.

Theology, the study of God in words, and iconography, the study of God in images, are two major expressions of one single faith, or we might say that an icon is a visible gospel.

However, in the early days of the Protestant Reformation, while Martin Luther was quite tolerant of images in churches, John Calvin, another leading theologian of the Protestant Reformation, was vigorously opposed to images in the church. For Calvin, God was invisible and hidden, therefore it is impossible to visually depict God.

This belief is similar to Eastern Orthodoxy in the belief that God cannot be represented in the icons. But additionally, the Orthodox believe that because God’s Son took on human flesh in the Incarnation, it is possible to depict the Son of God in icons.  Did John Calvin ever read John of Damascus’ defense of icons?

Christ Enthroned Icon written by Christine Hales

HISTORY OF ICONS IN THE CHURCH

In Eusebius’ 4th Century “History of the Church”, mention is made of colored portraits that were made of Christ and his apostles, The presence of icons in the early church implies that icons were an integral part of the early Christian tradition.  The presence of sacred images in both church and synagogue tells us that the early Church did not invent icons but carried them over from its Jewish predecessors.  This also indicates that the presence of icons in Orthodox churches today represents a profound continuity with Jewish worship.  If icons have Jewish roots, Calvin’s historical arguments are rendered nonsensical.

However, in the Western Church, during and after the Renaissance, religious art became so affected by humanism that it ceased to keep God as the main focus but instead the achievement of artists of the day became spectacular creations for their own sake. The extravagance of religious art was compounded by the absence of a regulating principle.  Eastern artistic tradition had an art-manual sand a shared understanding about proper iconography, in the West there was no centralization of its artistic tradition, thus leading to excesses that contributed to Calvin’s desire to abolish church art.

CALVINISM

Calvinism had other theological ideas and principles not commonly shared with other Protestant denominations, such as the doctrine of predestination and human depravity. According to the Calvinist, man cannot choose good, cannot obey, cannot believe, but can only choose to do evil.  Calvin was largely opposed to art and music in the service of religion and vestiges of his doctrines remain like dark shadows over Protestantism at times.

Holy Trinity Icon written by Andrei Rublev

Lutheran Churches allow the presence of images as long as they have a pedagogical or decorative purpose.  Anglicans have two places in the Book of Common Prayer where the meaning of the second commandment could be construed as against using icons in worship.

Historically , the Seventh Ecumenical Council of Nicea decisively affirmed the use of icons for worship and recognized that icons are an integral part of the historic Christian Faith.

Diversity and controversy are simply facts of life, even within religious beliefs.  However, I believe that the icon of God exists in each of us for we are made in God’s image. This gives man the ability to communicate with God, to be transformed by His presence, and become like God, participating in His divine character. The Icon can serve as a bridge of prayer between God and the human person, and an icon gives the viewer the occasion to commune with the divine.

“Icons of the sacred not only set an atmosphere for prayer, but by contemplating the holiness of the person represented in the icon, one can experience the presence of God which is “contagious.” One becomes aware of praying and worshipping in the presence of angels and saints. Icons are used to enhance the beauty of the church, but also to teach us about our faith initially and then to remind us of this teaching. By bringing us in contact with holy persons, we are enthused to imitate them, helping to transform and sanctify us. Ultimately the icon is a means of worshipping God and venerating his saints.”

Our Lady of Perpetual Help written by Christine Hales

I hope that this article has helped to stimulate your faith and curiosity.  Below are links to three articles I have used extensively in this article.  Reading these articles will give a much more comprehensive and detailed view of the ideas presented here.

May God bless you in your understanding , until next month,

Christine Simoneau Hales

https://www.newchristianicons.com

LINKS TO ARTICLES:

Calvin Versus The Icon: Was John Calvin Wrong?
The Place of Images in the Venerable Protestant Tradition

http://www.udayton.edu/mary/resources/icon.html