WThe Panagia Agiosoritissa or Hagiosoritissa is the name for a type of Marian icon, showing Mary without child, slightly from the side with both hands raised in prayer.
WThe Annunciation has been one of the most frequent subjects of Christian art. Depictions of the Annunciation go back to early Christianity, with the Priscilla catacomb in Rome including the oldest known fresco of the Annunciation, dating to the 4th century.
WBlachernitissa, also called Theotokos of Blachernae or Our Lady of Blachernae, is a 7th-century encaustic icon representing the Most Holy Theotokos and Ever-Virgin Mary. It is also the name given to the Church built in honour of the Virgin Mary in the Blachernae section of Constantinople. The name Blachernae possibly derived from the name of a Vlach, who came to Constantinople from the lower Danube
WThe Christ Pantocrator of St. Catherine’s Monastery at Sinai is one of the oldest Eastern Roman religious icons, dating from the 6th century AD. It is the earliest known version of the pantocrator style that still survives today, and is regarded by historians and scholars to be one of the most important and recognizable works in the study of Byzantine art as well as Eastern Orthodox Christianity.
WThe Icon of the Annunciation in St. Catherine's Monastery in Sinai, Egypt is an unusual Byzantine icon attributed to the late twelfth century. The Annunciation icon is an example of the late Komnenian-era style and was likely produced in Constantinople. The icon, tempera on wood, is one of the largest icons on display at St. Catherine's Monastery, standing 61 cm in height and 42.2 cm length. Very similar Annunciation icons exist to help establish the date of the Sinai icon. One at Kurbinovo in Yugoslavia, dated 1191, and the icon at Lagoudhere on Cyprus, dated 1192. The icon has distinctive elements that lead art historians, such as Evans and Wixom, to suggest the icon may have been produced at St. Catherine's Monastery itself rather than Constantinople. The Annunciation icon shares features found exclusively on other icons only at the Sinai monastery, such as the reflective circles scored in the surface of the gold and the grisaille medallion with the infant Christ on the Virgin Mary's breast.
WThe Icon of the Triumph of Orthodoxy is the festal icon for the first Sunday of Great Lent, a celebration that commemorated the end of Byzantine Iconoclasm and restoration of icons to the church in 843, and which remains a church feast in Orthodoxy. It is the earliest known depiction of this subject, and thought to have been painted in Constantinople, capital of the Byzantine Empire. It was purchased by the British Museum in 1988. The dimensions of the icon are: height: 37.8 cm, width: 31.4 cm, depth: 5.3 cm.
WThe Ladder of Divine Ascent is a late 12th century icon at Saint Catherine's Monastery, Mount Sinai.
WMadonna di Sant’ Alessio (Madonna of St. Alexis; Madonna of Intercession) - is an icon, probably of Byzantine origin, of the Blessed Virgin now in the Basilica of the Saints Bonifacio and Alexis on the Aventine Hill in Rome, Italy.
WOur Lady of Philermos is a Byzantine icon of the Theotokos, dated to the 11th or 12th century. Originally kept at Phileremos Monastery in Rhodes, the icon was long venerated as the patroness of the Knights Hospitaller, and kept at Rhodes and Malta. It is now kept in the Museum of Art and History at Cetinje, Montenegro.
WSalus Populi Romani is a Roman Catholic title associated with the venerated image of the Virgin Mary in Rome. This Byzantine icon of the Madonna and Christ Child holding a Gospel book is kept in the Borghese (Pauline) Chapel of the Basilica of Saint Mary Major.
WThe Virgin of Vladimir, also known as Vladimir Mother of God, Our Lady of Vladimir, and the Theotokos of Vladimir, is a 12th-century Byzantine icon depicting the Virgin and Child and an early example of the Eleusa iconographic type. It is one of the most culturally significant and celebrated pieces of art in Russian history. Many consider it a national palladium with several miracles of historical importance to Russia being attributed to the icon. Following its near destruction in the thirteenth century, the work has been restored at least five times.