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Betsy Porter
Art and Iconography
HOW TO DISPLAY and CARE FOR YOUR ICON
Art and Iconography
HOW TO DISPLAY and CARE FOR YOUR ICON
DISPLAYING A BYZANTINE ICON
Icons are more than art; they are "windows into heaven" which facilitate an eye-to-eye and
heart-to-heart relationship with the holy person depicted.
A portable icon is best displayed on a stand at eye or counter level, where it can be touched or
kissed. This traditional art form comes from a time before picture frames and picture hooks.
When presenting an icon as a gift, include a table easel or plate stand for display, and explain
that the icon is not intended to be hung on the wall.
Icons are more than art; they are "windows into heaven" which facilitate an eye-to-eye and
heart-to-heart relationship with the holy person depicted.
A portable icon is best displayed on a stand at eye or counter level, where it can be touched or
kissed. This traditional art form comes from a time before picture frames and picture hooks.
When presenting an icon as a gift, include a table easel or plate stand for display, and explain
that the icon is not intended to be hung on the wall.
AT CHURCH
AT HOME
At St. Gregory of Nyssa Episcopal Church, San Francisco, CA
- Icons on draped adjustable "dictionary" stands near front door, before a service.
- Icons and religious art on a counter in the sacristy.
- Candles burn before a fabric icon in batik technique, from a Russian Orthodox
community in Alaska. - At Christmas, the icon of Our Lady of Tikhvin is sheltered by a silken liturgical
umbrella with sparkling metal fringe. A sequined and beaded Carribean icon of
the Holy Family is also displayed at Christmas. - Below, a wedding reception at St. Gregory's, with the mural "Wedding Icon" by
Mark Dukes in the background.
I enjoy displaying my icons on tabletops and bookshelves around my home - many
small altars!
Flowers, candles, and beloved small objects are appropriate accompaniments. As
always, take precautions with lighted candles.
In Orthodox homes, icons are traditionally displayed on a special wall-mounted
shelf. These shelves are available from www.Pandora-store.com and Orthodox
religious supply houses.
small altars!
Flowers, candles, and beloved small objects are appropriate accompaniments. As
always, take precautions with lighted candles.
In Orthodox homes, icons are traditionally displayed on a special wall-mounted
shelf. These shelves are available from www.Pandora-store.com and Orthodox
religious supply houses.
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HOW TO CARE FOR YOUR ICON
STORAGE: Icons may be stored either horizontally or vertically; but the painted surface will scratch easily, so do
not let it contact other hard surfaces. Place each icon in its own clean canvas tote bag; or wrap with a clean towel
before placing in an outer plastic bag. Some iconographers use large sheets of wax paper for wrapping. Do not
store icons in direct contact with plastic, since the olifa (oil finish) may remain slightly tacky and may stick to plastic.
FRAMING: In my opinion, icons should not be framed or protected by glass, which tends to place a psychological
distance a between the viewer and the holy person represented. If framing is absolutely necessary, it should be
done in such a way that the painted surface of icon does not touch the glass or the frame. I have seen icons
attractively mounted in the center of a velvet-covered backing board. The assembly is then encased in a deep
frame, for a "shadow box" effect. As with other framed art, non-reflective glass permits a clearer view and is worth
the extra expense.
TRANSPORTATION: There is a tradition (not always observed) that a sacred icon should be delivered in person,
rather than being shipped. For local transportation, you can usually take the icon in its individual tote as
described above. For shipping or long-distance travel, wrap in a clean white towel and then bubble wrap, followed
by an appropriate outer layer such as a tote bag or sturdy cardboard box. I have successfully shipped several
icons using US Postal Service first class (priority) mail.
CLEANING: An icon should be cleaned every 50 years or so to remove accumulated dust and candle soot.
Remove dust, and then remove old olifa (oil finish) with a clean rag moistened with dilute alcohol – vodka is
traditional. Test first in an inconspicuous part of the icon. If alcohol doesn’t work, your icon may have been
treated with varnish rather than olifa. Consult with a restoration professional at your local art museum. Allow the
icon to dry for a few days, and then apply a fresh coat of olifa.
TO REMOVE CANDLE WAX: Preheat oven to low setting, not over 200 degrees F. Turn off oven, and insert
icon, resting on paper towels on a cookie sheet. Repeat as necessary until wax has melted. Blot up liquid wax
with paper towels.
MINOR REPAIRS
The icon image, painted in egg tempera and protected by olifa, and typically placed in the recessed inner area of
a sculpted board, is extremely durable. Some icons have withstood floods and other large-scale disasters.
However, icons are often displayed in locations where they are vulnerable to lesser mishaps such as scratches, or
being accidentally knocked to the floor.
REPAIRS are best made by the person who painted the icon, if practicable. If you are dealing with an
antique icon, or if there is some doubt as to what materials and pigments were used, it may be best to have the
repairs made by a restoration professional. If you must make repairs to an icon you did not paint, proceed with
care, and test any fresh materials or procedures on an inconspicuous part of the icon.
SCRATCHES: If the scratch penetrates only the olifa and not the paint, apply a light coat of olifa with your finger
over the scratched area, and wipe it off two to three hours later. For a deeper scratch, remove olifa in the
scratched area and re-paint that area, blending and matching. After the paint has cured several days, apply olifa
to the newly painted area. Allow extra time for olifa to dry.
FALLS will damage the red clay bole on the corner of the icon, and often also the underlying white gesso.
Carefully sand down to a sound area without large cracks, dust it off, apply liquid bole, and let it dry. You may
need several coats of liquid bole. If the paint is damaged, restore it as for scratches. After the restored area has
dried and cured, apply olifa to that area. Allow extra time for olifa to dry.
STORAGE: Icons may be stored either horizontally or vertically; but the painted surface will scratch easily, so do
not let it contact other hard surfaces. Place each icon in its own clean canvas tote bag; or wrap with a clean towel
before placing in an outer plastic bag. Some iconographers use large sheets of wax paper for wrapping. Do not
store icons in direct contact with plastic, since the olifa (oil finish) may remain slightly tacky and may stick to plastic.
FRAMING: In my opinion, icons should not be framed or protected by glass, which tends to place a psychological
distance a between the viewer and the holy person represented. If framing is absolutely necessary, it should be
done in such a way that the painted surface of icon does not touch the glass or the frame. I have seen icons
attractively mounted in the center of a velvet-covered backing board. The assembly is then encased in a deep
frame, for a "shadow box" effect. As with other framed art, non-reflective glass permits a clearer view and is worth
the extra expense.
TRANSPORTATION: There is a tradition (not always observed) that a sacred icon should be delivered in person,
rather than being shipped. For local transportation, you can usually take the icon in its individual tote as
described above. For shipping or long-distance travel, wrap in a clean white towel and then bubble wrap, followed
by an appropriate outer layer such as a tote bag or sturdy cardboard box. I have successfully shipped several
icons using US Postal Service first class (priority) mail.
CLEANING: An icon should be cleaned every 50 years or so to remove accumulated dust and candle soot.
Remove dust, and then remove old olifa (oil finish) with a clean rag moistened with dilute alcohol – vodka is
traditional. Test first in an inconspicuous part of the icon. If alcohol doesn’t work, your icon may have been
treated with varnish rather than olifa. Consult with a restoration professional at your local art museum. Allow the
icon to dry for a few days, and then apply a fresh coat of olifa.
TO REMOVE CANDLE WAX: Preheat oven to low setting, not over 200 degrees F. Turn off oven, and insert
icon, resting on paper towels on a cookie sheet. Repeat as necessary until wax has melted. Blot up liquid wax
with paper towels.
MINOR REPAIRS
The icon image, painted in egg tempera and protected by olifa, and typically placed in the recessed inner area of
a sculpted board, is extremely durable. Some icons have withstood floods and other large-scale disasters.
However, icons are often displayed in locations where they are vulnerable to lesser mishaps such as scratches, or
being accidentally knocked to the floor.
REPAIRS are best made by the person who painted the icon, if practicable. If you are dealing with an
antique icon, or if there is some doubt as to what materials and pigments were used, it may be best to have the
repairs made by a restoration professional. If you must make repairs to an icon you did not paint, proceed with
care, and test any fresh materials or procedures on an inconspicuous part of the icon.
SCRATCHES: If the scratch penetrates only the olifa and not the paint, apply a light coat of olifa with your finger
over the scratched area, and wipe it off two to three hours later. For a deeper scratch, remove olifa in the
scratched area and re-paint that area, blending and matching. After the paint has cured several days, apply olifa
to the newly painted area. Allow extra time for olifa to dry.
FALLS will damage the red clay bole on the corner of the icon, and often also the underlying white gesso.
Carefully sand down to a sound area without large cracks, dust it off, apply liquid bole, and let it dry. You may
need several coats of liquid bole. If the paint is damaged, restore it as for scratches. After the restored area has
dried and cured, apply olifa to that area. Allow extra time for olifa to dry.
A GROUP EXHIBITION AT SAINT GREGORY'S CHURCH, SPRING 2005
For this exhibition, we made wooden ledges, painted the same gray-green as the wall, on which to
set the icons. The icons were also affixed to the wall with a spot of "museum clay" in each corner.
The inconspicuous labels were printed on clear "stickybak."
Many of these icons are shown at larger scale on the Artist Friends page.
For this exhibition, we made wooden ledges, painted the same gray-green as the wall, on which to
set the icons. The icons were also affixed to the wall with a spot of "museum clay" in each corner.
The inconspicuous labels were printed on clear "stickybak."
Many of these icons are shown at larger scale on the Artist Friends page.
A NOTE ON PHOTOGRAPHY - As you can see from the photo above, a flash can cause problems!
Photograph icons outdoors on an overcast day, for diffuse natural light with minimal reflections.
Photograph icons outdoors on an overcast day, for diffuse natural light with minimal reflections.
Left; typical corner damage, probably a result of a fall to the floor.
Right; a nasty puncture on the painted surface; cause unknown.
Right; a nasty puncture on the painted surface; cause unknown.