The present specimen brings back in the format of a small maternal-theological devotio the Byzantine typology Eleousa , in which the affective dialogue between the Mother of God and the Christ Child reaches a maximum of iconographic intimacy: the cheeks touch, and the Mother's arms protectively envelop the child's body. The technical process of electroforming gives the relief a remarkable micro-sculptural precision, the folds of the garments, the braiding of the borders and the perimeter twists are rendered with finesse of jewelry, evoking the filigree of Palaiologos silversmiths.
The silver-plated metalwork completely covers the scene, leaving only the faces and hands visible, whose surfaces are deliberately left unpainted to highlight the sobriety of the noble metal. The Mother's face, slightly tilted, is modeled in the canons of the Constantinopolitan school: high forehead, almond-shaped eyes, elongated nose and lips parted in silent prayer. The outline of the halos – simple and devoid of gilding – accentuates the ascetic accent, directing attention towards spiritual expression, not material splendor.
The inner border, composed of a rhythmic succession of cast arches, delimits the sacred field and visually resumes the motifs of the Byzantine marble friezes; the corners are marked by vegetal rosettes engraved in low plane, providing an ornamental counterpoint to the satin surface of the silver. The background texture, printed in fine grains, captures the diffuse light and creates a subtle play of penumbra, amplifying the sculptural effect of the border.
In contrast, the toned oak frame, structured on profiled steps, introduces volume and establishes a material dialogue between the density of the wood and the cold reflection of the silver. The pronounced grain of the oak – patinated in a dark, almost ebonized tone – gives the work gravitas and anchors the piece in the tradition of North Byzantine iconostases, where wood and metal cohabit in a unitary liturgical register.
At a scale of 21 × 23 cm, the icon acquires the status of a portable object, suitable for the domestic prayer corner or the study collection, without losing its aesthetic and theological dimension. The synthesis between the modern technology of electroforming and the multi-secular iconographic canon affirms the continuity of Byzantine art, offering the viewer a window into the sacramental tenderness of the Mother's relationship with her Son and, implicitly, into the mystery of the incarnation.