ABSTRACT
At the start of the exhibition ‘Mother of God’ there stands the eloquent yet enigmatic Sinai icon of the enthroned Mary – eloquent in the strength of its refined painting style and its quasimiraculous state of preservation, and enigmatic in its lack of documentation.1 Nothing is known of its place of manufacture, the patron who commissioned it, or its original destination – that is, the setting where it was meant to be used.
