Category: Icons

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

El Greco

And the Enduring Influence of Byzantine Icon Training

Hello Fellow Iconographers:

As you probably already know, I love making connections between Byzantine iconography and modern art. I always think that icons were the contemporary art of their time, so how can we bring a contemporary approach to our icon writing? This article about the work of ElGreco shows how one iconographer of the 16th century made that transition. The approaches each iconographer takes to contemporary iconography will be as individual as the iconographers themselves, but some things will remain. Here is an account of how this issue played out in the life and work of ElGreco.

Veronica’s Veil, El Greco

Doménikos Theotokópoulos—better known as El Greco—has long fascinated scholars of Early Modern art. While his mature works in Toledo are celebrated for their dramatic elongations, expressive color, and visionary intensity, less often explored in depth is the formative influence of his early training in the Byzantine icon tradition. This article examines how the discipline of icon-painting, rooted in the post-Byzantine Cretan School, left an enduring imprint on El Greco’s aesthetic, technique, and theological vision. His icon training, I argue, was not a youthful chapter to be overcome, but a structural foundation that underlay his later innovations.

Saint Paul by El Greco

From Crete to Venice

Although he was born in Crete in 1541, after receiving icon painting training in his early life, Domenikos left Crete in 1567 for Venice. Some key characteristics Domenikos learned from the icon painters were:

A hieratic vocabulary of elongated, stylized figures and flattened pictorial space intended for devotion.

The use of traditional materials and techniques—tempera, wooden panels, and gilding.

An emphasis on spiritual vision over empirical realism.

But in Venice he was encountering the artistic milieu of the Italian Renaissance and Mannerism, absorbing the vibrant color, dynamic composition and spatial experimentation of artists such as Tintoretto and Titian.  This Western training did not supplant his icon-foundation but merged with it. One of his trademark features—elongated, upward-reaching figures, almost defying gravity—can be traced back to the hieratic verticality of icons, in which figures are often elevated beyond the earthly realm. In his mature altarpieces in Toledo, this physical stretching expresses a spiritual tension: the human yearning toward the Divine.

Annunciation by El Greco

Rome, Toledo, and the Transformation of a Style

From Venice, El Greco moved to Rome (1570–1576), where he sought patronage but struggled to achieve success amid the competitive papal art world. In 1576, he relocated to Spain, where his career flourished under the patronage of the Church and the Spanish nobility. His first major commission came from the dean of Toledo Cathedral: three altarpieces for the Church of Santo Domingo el Antiguo, works that already reveal a synthesis of iconographic form, Mannerist stylization, and Venetian color.

Even as his technique evolved, the influence of icon-painting persisted. The vertical elongation of figures—one of El Greco’s most recognizable traits—can be traced to the hieratic verticality of Byzantine icons, where figures are elevated beyond the earthly realm. In El Greco’s mature altarpieces, this elongation expresses a spiritual tension, a reaching upward toward the Divine.

Annunciation El Greco

Similarly, his treatment of space often resists Renaissance perspectival illusion. Instead of a fully realistic spatial construction, El Greco employs stacked planes and compressed layers to evoke a metaphysical dimension. Scholars have linked this to his Byzantine roots, where sacred space functions symbolically rather than empirically.

Theological Continuities: Painting as a Spiritual Act

Beneath the stylistic parallels lies a deeper continuity: El Greco’s theological conception of painting. In the icon tradition, the painter’s task is to serve as a mediator of divine light, not merely an imitator of nature. This conception of sacred art as a spiritual discipline—requiring prayer, fasting, and inner illumination—found new expression in El Greco’s Spanish works.

His figures seem animated not by physical energy but by spiritual light, glowing from within. In this, El Greco remained faithful to the iconographer’s conviction that beauty reveals the presence of God.

Pentecost, El Greco

Reception and Legacy

“El Greco is one of the few old master painters who enjoys widespread popularity,” writes Keith Christiansen of the Metropolitan Museum of Art. Rediscovered in the nineteenth century by collectors, critics, and artists, El Greco was hailed as both the quintessential Spaniard and a proto-modern painter of the spirit.

For members of the Blue Rider school, including Franz Marc, El Greco embodied a mystical resistance to materialism—a painter who, as Christiansen writes, “felt the mystical inner construction of life.”

Conclusion: The Icon as Foundation of Innovation

El Greco’s artistic evolution cannot be fully understood without acknowledging the foundational role of his icon-training on Crete. Far from being a mere apprenticeship, this discipline remained the structural ground of his mature art—shaping his understanding of color, form, space, and the sacred.

His work ultimately represents a synthesis of:

  • The spiritual economy of the icon,
  • The painterly brilliance of Venice and Rome, and
  • The religious fervor of Counter-Reformation Spain.

For students of sacred art and iconographers today, El Greco offers a powerful model: discipline does not restrict creativity—it frames and empowers it. His art demonstrates that fidelity to tradition can be the very source of visionary originality.

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

I hope you have enjoyed this article and that it is food for thought. The battle for art is not won or lost in an academic tradition, but in the spiritual realm where God is all powerful. God wants each of us to give glory to His name in each individual way that he has created us.

Here are some interesting links that are passed on from Dorothy Alexander, a friend and iconographer in California:

1.How Icons Are Made” is the fourth and final lecture by Aidan Hart presented at St. Julian’s Church in Shrewsbury, England. https://www.youtube.com/watch?v=Of2eq-NiDVE&t=82s. He speaks on both the theology as well as the practical details of making an icon.

2.You can see the beauty of natural pigments as you watch how vivianite is made from the mineral. This also helps to understand why it is not cheap to buy. The example at the end shows the versatility of the color

. https://www.youtube.com/watch?v=Ww2QRpSG4fA&t=40s&pp=2AEokAIB

3. This slow moving video is an example of Instacoll gilding, faulting (repairing or filling in any holes) and burnishing with a cloth. https://youtu.be/bK1gKiO2sSo?si=CaLsBN_NLJbjt85g

That’s all for this month!

God bless you all,

Christine

These are my links if you’d like to see more of what I do:

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

Illuminating the Spirit: A Summer Reading Guide for Iconographers

Books and Inspiration to Enrich Your Icon Writing Practice

Summer unfurls like a painted scroll—light streaming through open windows, quiet hours stretching across the day, and, for the iconographer, a rare invitation to rest, reflect, and replenish the wellspring of inspiration. Whether you are a seasoned writer of icons, a beginner who has just dipped their brush into the egg tempera, or simply a lover of sacred art, the summer months offer an ideal time to step back from the demands of daily creation and immerse yourself in the wisdom, history, and spirituality that underpin the venerable and holy tradition of iconography.

Why Read in Summer? The Sacred Pause

In the stillness of summer, reading becomes a sacred pause—a time to deepen your understanding of icons not just as objects of devotion, but as living prayers in color and line. Iconographers often speak of their art as an act of contemplation: every stroke is a prayer, every layer a meditation. So too can reading be a contemplative act, enriching the mind and spirit while opening new vistas for creativity.

Foundational Texts: Revisiting the Roots

  • The Meaning of Icons by Leonid Ouspensky and Vladimir Lossky. This classic introduces the theological, spiritual, and artistic foundations of iconography. Through its pages, readers are led to understand the icon as a window to the divine, a theology in pigment, and a bridge between heaven and earth.
  • Icons and Saints of the Eastern Orthodox Church by Alfredo Tradigo. Tradigo’s compact yet richly illustrated guide offers both historical context and practical wisdom. Each page is a pilgrimage through time, introducing saints, feasts, and the symbolic language of orthodox sacred art.
  • Icons as Communion by George Kordis. Kordis brings the ancient tradition into the present, with notes and observations on the drawing stages in icon painting. Amazon Link
  • Orthodox Icon Patterns, Patterns and sketches for Iconographers: This is the revised version of Patterns & Sketches for Iconographers, with added content and additional patterns. A valuable resource for iconographers, this book contains a wide variety of patterns and sketches. Content including; icon patterns of the Nativity, the Theotokos, archangels, male and female saints, as well as halo patterns and 2 beautiful crucifixion crosses. Buildings and fabric/ background designs and icon borders. Each pattern is accompanied by color recommendations which are meant as a general guide allowing for adjustments due to differences in color names between pigments used with egg tempera and acrylic paints.  (There is also a Volume II if you like this one.). Amazon Link

Summer Reads For Inspiration and Insight

Summer reading need not always be heavy with theory or thick with history. Sometimes, lighter fare—biographies, memoirs, and even novels—can kindle the imagination and nurture the soul of the artist. You might consider adding a few of these to your summer list:

  • Praying with Icons by Jim Forest. Accessible and warmly written, Forest’s reflections on the role of icons in prayer lift the heart and draw the reader into a deeper appreciation of how icons shape and are shaped by the life of faith.
  • The Mystical Language of Icons by Solrunn Ness.  Nes explores in depth a number of famous icons, including those of the Greater Feasts, the Mother of God, and a number of the better-known saints, enriching her discussion with references to Scripture, early Christian writings, and liturgy. She also leads readers through the process and techniques of icon painting, showing each step with photographs, and includes more than fifty of her own original works of art. Amazon Link
  • And if you would enjoy a deep dive into the life of the Blessed Mother Mary, I recommend “The Life of the Blessed Virgin” from the visions of Ann Catherine Emmerich, Incredibly revealing and edifying background of Our Lady, her parents and ancestors, St. Joseph, plus other people who figured into the coming of Christ. also available on Amazon: Amazon Link
  • And also “True Devotion to Mary” by Louis de Montfort: Considered by many to be the greatest single book of Marian spirituality ever written, True Devotion to Mary is St Louis de Montfort’s classic statement on the spiritual way to Jesus Christ though the Blessed Virgin Mary. Amazon Link
  • And last, but not least, is my own book on Icon writing, “Eyes of Fire, How Icons Saved My Life As an Artist”, with an appendix full of directions as well as an explanation of how modern art has been influenced by icons and how some of those principles can be used in present day icon creation.  Amazon Link

As the art historian Roger Lipsky says in his book, “An Art of Our Own, the Spiritual in Twentieth Century Art”, “One of the tasks of the spiritual in art is to prove again and again that vision is possible; that this world, thick and convincing, is neither the only world nor the highest, and that our ordinary awareness is neither the only awareness nor the highest of which we are capable.”

And so my purpose in sharing this list of inspirational summer reading is to encourage you to engage with the ‘pause” of the longer summer days, and ponder on the beauty of nature and be open to glimpses of eternity that a fresh perspective can often foster. And then let this “higher”perspective inform your icon practice in the coming year,. In the words of Aidan Hart, in his book, “Beauty, Spirit, Matter, Icons in the Modern World, “The Icon invites us to see the world as God sees it.” With nature all around of us. may God bless us with His perspective and insights to carry forward into our work.

Until next month,

Christine Simoneau Hales, Iconographer/artist

My Websites:

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

Icons As Theology in Color

Saint George, Novgorod, 16th century

In the realm of Christian spirituality, icons stand as more than mere religious art. They are a visual form of divine communication, a sacred language that transcends time and culture. As Leonid Ouspensky notes, icons do not serve religion in a utilitarian sense but are an intrinsic part of it—one of the means through which believers encounter and commune with God. When I think of Icons as theology in color, I inevitably go to the Novgorod Icons which were created in Russia from the 14th to 17th centuries.

Sts. Florus and Laurus 16th century, Novgorod

Icons as Liturgical Art

An icon, much like sacred scripture, is a vessel of divine revelation. In the same way that words in liturgy guide the faithful toward deeper understanding, icons serve as instruments of knowledge and communion with God. They are not decorations; they are theological expressions rendered in color and form, inviting contemplation and prayer.

Tradition and the Role of the Holy Spirit

Christian tradition is often misunderstood as mere adherence to historical customs, but its essence is far more profound. As stated in theological reflections, true Tradition is the life of the Holy Spirit in the Church. It is through the Spirit that believers gain the faculty to perceive divine Truth—not merely through human reason but through the illumination of faith. Icons, shaped by this Tradition, bear witness to a spiritual reality that is ever-present and active.

The Power of Signs and Symbols

The Good Shepherd, From the Roman Catacombs

The material and spiritual worlds are not separate; rather, they are deeply intertwined. This is evident in the role of symbols, which serve as bridges between the seen and unseen. Early Christian symbols carried layers of meaning—the image of a saint in the catacombs could signify a soul in paradise, an embodiment of prayer, or even the Church itself. Through repeated sacred gestures and imagery, the faithful are invited to enter into the mystery of divine presence.

The Evolution of Christian Symbolism

Christianity has always expressed its mysteries through symbols. Early believers adapted existing signs from the surrounding world—such as the dove, peacock, and anchor—infusing them with new, transcendent meaning. As time passed, explicitly Christian symbols emerged, such as the fish (Ichthys) and the lamb, both representing Christ. These symbols, while rooted in human expression, point to eternal truths beyond words.

6th Century Byzantine Chi Rho Symbol

Icons: Transcendent Yet Concrete

While maintaining the depth of symbolic language, the icon introduces a unique dimension—the human element. Unlike abstract symbols, the icon makes divine mysteries visually accessible. It brings the infinite into finite form, allowing the ineffable to be expressed in a way that speaks directly to the soul. In the words of Egon Sendler, the icon transforms the abstract into something both transcendent and concrete, revealing the invisible through the visible.

Conclusion

Detail, Face of Christ Icon by the hand of Christine Hales

Icons are not simply religious images; they are theology in color, sacred windows into the divine. Through tradition, symbolism, and the work of the Holy Spirit, they continue to guide believers into a deeper relationship with God. Whether through the gaze of a saint, the presence of Christ, or the gestures of the liturgy, icons remind us that the sacred is always near, calling us into communion with the eternal.

I hope this article has been not only food for thought, but helps to build a solid foundation of theology for contemporary icon development.

“So, my dear brothers and sisters, be strong and steady, always enthusiastic about the Lord’s work, for you know that nothing you do for the Lord is ever useless.” 1 Corinthians 15:58

Until next month. Blessings,

Christine Simoneau Hales, Iconographer

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

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

Saint Peter

I’ve recently noticed the influence of Saint Peter in my life as an iconographer. Over the years, I have been commissioned to paint many icons of Saint Peter, for churches and priests, and friends. Although each one is different, I have begun to study more deeply into who Saint Peter was and what the significance of his ministry has been over the last 2000+ years of Christianity.

Commission to paint “The Confession of Saint Peter” for Saint Peter’s Church in Lakewood, Ohio,

Saint Peter’s original name was Simon Bar Jonah, which means Simon, son of Jonah.  Jesus gave him the name of Peter when Jesus called him Cephas (in Aramaic) which means rock or stone.  Human frailty.  Born in first century CE in Bethsaida vicinity, in modern day Syria. 

Peter was a fisherman with a couple of small fishing boats.  He was married, had children and lived with his Mother-in-law. In Capernum .  Luke 4:28 Jesus healed his mother-in law.

Shortly after this healing incident, Jesus stepped into Peter’s boat and asked him to row a few feet off shore so that Jesus could preach to the crowd at the Sea of Galilee.  After Jesus was finished, he told Peter to cast his net into the sea, upon which Peter then hauled out a very full net.  There were so many fish in the nets that Peter was afraid the nets would rip apart. Tin fact, the weight was so heavy that the boats began to sink.  Peter said to Jesus, “depart from me for I am a sinful man”. But Jesus said, “do not be afraid, from now on you will be a catcher of men.”

My recent “Calling of Peter and Andrew” Icon

Saint Peter was recognized as the leader of the 12 disciples, and the Roman Catholic Church regards Peter as the first of its unbroken succession of Popes.

History

St. Peter, originally Simon Bar Jonah, was a Jewish fisherman called to follow Jesus as one of His first disciples. He lived in Capernaum and worked as a fisherman with his brother St. Andrew and others. The New Testament, especially the Gospels, Acts, and letters, provides most of the information about him. Peter was married, and despite being untrained in Mosaic Law, he became a central figure in the early Church.

Peter’s personality was marked by both strengths and weaknesses. He was sometimes impulsive and unsure but displayed loyalty, leadership, and faith. He was the first to confess Jesus as the Christ and was entrusted by Jesus as the “rock” upon which the Church would be built. His denial of Jesus was followed by repentance and reaffirmation of his faith.

After Jesus’ resurrection, Peter emerged as the leader of the early Christian community, preaching at Pentecost, performing miracles, and advocating for Gentile inclusion. Despite occasional conflicts, such as with Paul over Gentile practices, Peter played a vital role in spreading Christianity and leading the Church until his eventual departure from Jerusalem and missionary work elsewhere.

Peter’s acceptance of Gentiles into the Christian faith marked a pivotal moment in early Christianity, as it symbolized the breaking down of barriers between Jews and non-Jews. Here’s a detailed explanation of this significant event:

The Conversion of Cornelius (Acts 10:1–48)

  1. Vision from God: While staying in Joppa, Peter received a vision of a sheet descending from heaven, filled with various animals considered unclean under Jewish dietary laws. A voice commanded him to “kill and eat.” When Peter objected, the voice said, “What God has made clean, you must not call unclean” (Acts 10:15). This vision occurred three times, emphasizing its importance.
  2. Summoned by Cornelius: Cornelius, a Roman centurion described as devout and God-fearing, also received a vision instructing him to send for Peter. Cornelius, though a Gentile, was respected for his prayers and acts of charity.
  3. Peter’s Journey to Caesarea: Understanding the vision’s meaning, Peter traveled to Cornelius’ home. He acknowledged that, under Jewish law, associating with Gentiles was forbidden, but he declared, “God has shown me that I should not call anyone impure or unclean” (Acts 10:28).
  4. Peter’s Sermon: Peter preached the Gospel to Cornelius and his household, proclaiming that God shows no partiality and accepts people from every nation who fear Him and do what is right. He testified about Jesus’ life, death, and resurrection.
  5. Outpouring of the Holy Spirit: While Peter was speaking, the Holy Spirit descended upon the Gentiles, just as it had upon the Jewish believers at Pentecost. This astonished the Jewish Christians who had accompanied Peter. Recognizing this as God’s work, Peter declared, “Can anyone withhold the water for baptizing these people who have received the Holy Spirit just as we have?” (Acts 10:47). He then baptized Cornelius and his household.
Saint Peter Icon

Significance of the Event

  • Breaking with Tradition: By baptizing Gentiles without requiring them to first undergo Jewish rites (e.g., circumcision), Peter challenged longstanding Jewish customs. This act demonstrated that salvation was available to all through faith in Christ, not adherence to Mosaic Law.
  • Divine Validation: Peter’s actions were justified by the visible descent of the Holy Spirit, signaling God’s approval of the inclusion of Gentiles into the faith.

Conflict and Resolution

  • Criticism from Jewish Christians: Upon returning to Jerusalem, Peter faced criticism from Jewish Christians for eating with Gentiles (Acts 11:1–3). In response, Peter recounted his vision and the events at Cornelius’ house, concluding, “Who was I to think that I could stand in God’s way?” (Acts 11:17). This explanation satisfied his critics, who glorified God, saying, “So then, even to Gentiles God has granted repentance that leads to life” (Acts 11:18).
  • Jerusalem Council (Acts 15): The inclusion of Gentiles later became a major issue debated at the Jerusalem Council. While Paul was the main advocate for Gentile inclusion, Peter’s testimony about Cornelius played a crucial role. He reminded the council that God had chosen him to bring the Gospel to the Gentiles and argued against imposing Jewish laws on them (Acts 15:7–11).
My New St. Peter Icon

Impact on Christianity

Peter’s acceptance of Gentiles set a precedent that allowed the Church to grow beyond its Jewish roots, becoming a universal faith open to all ethnicities and cultures. His leadership in this matter helped shape Christianity as a global movement, emphasizing grace and faith over legalistic adherence to the Law.

I hope this brief exploration into the life and contribution of Saint Peter has given you some insight and inspiration for this month! I have been reading 1 Peter and 2nd Peter in short meaningful increments and adding those to my spiritual journal each day this past month and it has brought forth many helpful insights that are applicable to current day events.

Icon Exhibition, Cathedral Church of Saint Peter, Saint Petersburg, Florida, January 12- May 1, 2025

The upcoming exhibition will include over 50 of my icons, including the Stations of the Cross, along with commentary from or about Saint Peter as a way of inviting the viewers to enter personally into each iconographic scene through the eyes of Saint Peter.

May God continue to bless the work of your hands, and give you insight and awareness of His Presence in your world.

Until next month,

Christine Simoneau Hales

Icon Museum and Study Center.

My Website. My Icon Print Website. My Patreon

A Good Source of Gessoed Icon Boards: Bob’s Icon Boards