severe and irreparable damage enough remains. The painting depicts three angels that are in silent communication with each other, seated around an altar table with a chalice that indicates the subject of their contemplation is self-sacrifice (Art Treasures in Russia 61). The central figure, God the Father, is further back then his companions, God the Son on the left and the Holy Spirit on the right. The three figures are at an angle rather than frontally, which reduces the width of their shoulders and renders their outline more fluidly(Art Treasures in Russia 62). It has a superior quality with its composition dominated by smoothly curving lines, matched by a masterly use of color. The uses of warm golden-yellow tones are contrasted with cold dark and light blue tones (Rublev 304-305). There are a variety of other colors like green, mauve, and brown that are also used in his color scheme. These colors add a more inviting and soothing atmosphere to the painting. The purpose of these paintings was to enable the worshiper to read pictorially (Kleiner and Mamiya 296). Clear pictorial legibility in wavering candlelight and through clouds of incense required strong pattern, firm lines, and intense color (Kleiner and Mamiya 296). Each of the angels has a halo and sweeping orange wings. The intense color in the central figure is brought forward into the midst by the daring use of lapis lazuli in his upper garment (Art Treasures in Russia 62). The same color is reflected in the robes of the other two angels one having a deep red robe and the other robe being blue green with an orange cloak. The use of vertical and sharp angles is used to counteract curves and to accentuate the symbolism (Art Treasures in Russia 62). Knowing that, the eye sees visual drama throughout. This masterpiece is painted in tempera on wood. Tempera is pigment dissolved in egg, which was the chief medium of European painting. Its measurements are fifty-five ...
