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and Moldavia. There are several Moldavian editions illustrated with the engravings of the aforementioned Kiev engraver Illya. Later woodcuts also reached Russia, bringing with them new icono grap hic themes. In Russia the Theatrum Biblicum served as the original not only in icon painting, but also as a pattem book for wali painting. This was the case with the interior of the Holy Trinity church in Nikitniki, Russia, painted in 1653. AtNikitniki, the traditional Russian Orthodox arrangement of paintings was preserved, while the iconography of the Acts of the Apostles was expanded with motifs taken from western prints.

Among the most important elements of an iconostasis were the icons located on the lowest level of the structure. Alongside image of Mary and Christ, there were also pictures of the church’s patron saints. The depiction of these saints underwent only relatively minor changes. The Orthodox iconography of St. Nicholas, one of the most popular eastem saints, followed closely the traditional Byzantine image.²⁸ However, in the Ukrainę there were a number of alterations.²⁹ Apart from the basie image of St. Nicholas pattemed on the Russian icon of Nicholas Zarayski, a new version appeared in the 18th century, with its prototype in the graphic art of the late 17th century. St. Nicolas’s left hand rests on a book ona table, while in his right hand he holds a crozier - the symbol of the bishop’s office in the Latin iconography ofthe saint. This pose was given to Orthodox church dignitaries in the 17th century graphic art of the Polish-Lithuanian Commonwealth, and appears, for example in an icon in Przekopa near Przemyśl, Poland.³⁰

The development of new depiction of the saints was also influenced by texts published by the Metropolis in Petchersk Monastery. One of the most influential texts was the Paterikon, first published in Polish in 1635, and undoubtedly one of the greatest hagiographic achievements of the period. In 1661, it appeared in a Ukrainian version, known as the Pateryk?'

It is in the Pateryk that the image ofSt. Moses ofHungary fist appears in the Ukrainę. When painting St. Moses, Simon Ushakov and G. Sinovyev working in the Oruzhennaya Palata school in Moscow copied his image directly from the Pateryk}²

In the 1730s, in the Holy Trinity church in Kiev, a new painting-style emerges, whose iconographic program differs from that seen earlier. The entrance to the church is omamented with a large landscape frieze with abundant plant and animal representations, and leads to a vestibule filled with figures arranged in two groups.

²⁶ Cf. N. Paterson Sevcenko, The Life of Saint Nicholas in Byzantine Art, Torino 1983.

²⁹    Cf. B. Puskas, A Gyózelemmel Hasonnevii Szent Miklós ikonografiajahoz a 15-16 szazadi Karpat-videki ikonok alapjan, Annale de la Galerie nationale Hongroise, Budapest 1991, p. 249-254.

³⁰    Ikony ze zbiorów Muzeum Okręgowego w Przemyślu, cath., Prezmyśl 1981, p. 10.

³¹    Cf. Seventeenth century writings on the Kievan Caves Monastery red. P. Lewin, Cambridge (Mass.) 1987; I. A. Isychenko, Kyevo-PecherskyT Pateryk u literatomomu protsesi kintsa XVI — pochatku XVIII st. na Ukraini, Kyi’v 1990; Pateryk Kijowsko-Pieczerski czyli opowieści o świętych ojcach w pieczarach kijowskich położonych, trans., ed, by L. Nodzyńska, Wrocław 1993.

³²    G. Ruzsa, Neue Datum zur Iconographie des Moses aus Ungam, Acta Historiae Artium, XXIV, 1978, p. 297-304.