After numerous illustrated Luther Bibles, Protestant propaganda pamphlets and leaflets had spread all over Europe, the process of copying and creatively reshaping Reformation images reached Ukraine likely at the end of the sixteenth century. The imagery that emerged shows the concepts of Martin Luther theology. The use of such religious images and plots resulted in particularly interesting metamorphoses, as Ukraine had already become a multi-confessional country by the seventeenth century. Some of the visual propaganda concepts in the Ukrainian art were inherited from the Byzantine tradition. The implementation of both themes and compositions of Lutheran confessional advocacy led to unique transformations. One of the major Ukrainian centres for producing such imagery was Kyiv Pechersk Lavra. Artists, mostly Orthodox monks, borrowed Lutheran propaganda ideas, following the tradition set by Metropolitan Petro Mohyla (also known as Piotr Mohyła, Petru Movilă). There are clear parallels with Romanian art, where the Movilă family used Lutheran iconography (such as the Apocalypse scenes in Suceviţa Monastery, founded by the uncles and father of Petro Mohyla). The Antichrist is wearing a papal tiara in Master Prokopii’s Apocalypse (1646-1662), inspired by Metropolitan Petro Mohyla and continued by Archimandrite Innokenty Gizel, who came from a Prussian Protestant family. Later such images were used to villainize Catholics, as the process of changing Orthodox eparchies into Uniate ones developed in the western regions of Ukraine. By around 1700, the main narrative of religious propaganda focused on the Turkish threat. Nikodem Zubrzycki’s woodcuts and etchings show many such cases. Visual propaganda was also directed against Protestants themselves. Traces of Reformational imagery practices survived in art up to the nineteenth century, if not longer.

[1] Lannes B. Smith, “Propaganda,” Encyclopaedia Britannica, accessed October 19, 2024, https://www.britannica. com/topic/propaganda.

[2] See: Stephan Leibfried and Wolfgang Winter, “Ships of Church and State in the Sixteenth-Century Reformation and Counterreformation: Setting Sail for the Modern State”, in Max Weber Lecture, no. 2014/05 (European University Institute, 2014), 1-75; see also Grażyna Jurkowlaniec, “Confessional Images? The Luther Bible and Sixteenth-Century Biblical Illustrations in Poland”, in Joachim Bahlcke, Beate Störtkuhl and Matthias Weber, eds., The Luther Effect in Eastern Europe: History, Culture, Memory (Oldenbourg: De Gruyter, 2017), 197-209.

[3] Roksolana Kosiv, Ukrainski khoruhvy [Ukrainian Khorugvs] (Oranta, 2009); see also Liliya Berezhnaya, “Imago hostis: Friends and Foes in Ruthenian and Russian Printmaking (Mid-Seventeenth–Beginning of the Eighteenth Centuries)”, in Serhii Plokhy, ed., Poltava 1709. The Battle and The Myth (Reprint: Harvard Ukrainian Studies 34 (2015-2016), Ukrainian Research Institute of Harvard University, 2012), 309-354; see also Svitlana Olianina and Ihor Shalinskyi, “Nevydanyi Apokalipsys Petra Mohyly: Mystetska pam’iatka ta vizualna ekzeheza” [The Unpublished Apocalypse of Peter Mohyla: Work of Art and Visual Exegesis], Khudozhnia kultura. Aktualni problemy [Artistic Culture. Topical Issues], vol. 17, no. 2 (2021): 155-165; see also Elisabeta Negrău, “The Ship of Salvation. Thematic Transfers in the Rhetoric and Iconography of the Orthodox Church in the Seventeenth Century”, Museikon 7 (2023): 35-50.

[4] In order not to repeat illustrations previously published, most will be cited with their sources in notes.

[5] Olena Derevska, “Zapozychennia ikonohrafii Liutera v ukrainskomu mystetstvi: Apokalipsys hravera Prokopiia yak chastyna zahalnoievropeiskoho protsesu” [Introduction of Lutheran Iconography into Ukrainian Art: Master Prokopii’s Apocalypse as Part of the European-Wide Process], in Desiati Platonivski chytannia: tezy dopovidei Mizhnarodnoi naukovoi konferentsii (Kyiv, 2022) [Tenth Academic Readings in Memory of Academician Platon Biletskyi: Conference Abstracts] (Liha-Pres, 2022), 33-34, DOI: 10.36059/978-966-397-301-2-11; Olena Derevska, “Vplyv ikonohrafii Reformatsii na ukrainske mystetstvo ta pytannia poshuku pershozrazkiv” [The Influence of the Reformation Iconography on Ukrainian Art and the Question of Prototype Determining], in Aktualni pytannia humanitarnykh nauk [Humanities Science Current Issues] 72, 1 (2024): 136-149, DOI: 10.24919/2308-4863/72-1-19; Olena Derevska, “From Matthias Gerung to Nikodem Zubrzycki: Apocalypse Illustrations in Chernihiv New Testament (1717) and Further Cross-Border Lutheran Imagery Use”, Études Bibliologiques / Library Research Studies 5 (2023): 113-128, DOI: 10.33993/EB.2023.08.

[6] John Wortley, “The Marian Relics at Constantinople”, in Greek, Roman, and Byzantine Studies 45 (2005): 171-187.

[7] Vitalii Turenko, “Vlachernska ikona Bozhoi Materi” [Blachernae Icon of Theotokos], Velyka Ukrainska encyklopediia [Great Ukrainian Encyclopedia], accessed October 21, 2024, https://vue.gov.ua/Влахернська ікона Божої Матері.

[8] “Manasses chronicle, fourteenth century, miniature 43”, Wikimedia Commons, accessed October 21, 2024, http://commons.wikimedia.org/wiki/File:43-manasses-chronicle.jpg.

[9] Natalia Budzynska, “Klovskiy chram. Z istorii arkheologichnyh doslidjen” [Klovsky Temple. From the History of Archaeological Research], Muzei istorii Desiatynnoi tserkvy [Museum of the History of the Tithe Church], published March 25, 2020, accessed October 21, 2024, http://mdch.kiev.ua/sites/default/files/public/pdf/20200325_01.pdf.

[10] Turenko, “Vlachernska ikona Bozhoi Materi”.

[11] Larissa Chlenova, “The Intercession Icon from Eastern Halychyna”, Byzantine Studies, published April 27, 2002, accessed October 21, 2024, http://archaeology.kiev.ua/byzantine/icon/chlenova2.htm.

[12] Alina Kondratiuk, “The Idea of Kyiv as a New Jerusalem in the Murals of the Church of the Saviour at Berestove (1643-1644)”, Museikon 7 (2023): 20, fig. 7.

[13] Psalm 46:3–5, King’s James Version Bible, Bible.com, accessed October 21, 2024, https://www.bible.com/bible/1/PSA.46.3–5.KJV.

[14] Olena Derevska, “Iliustraciia Sofii Premudrosti Bozhoii z Kyivskogo Psaltyria 1397 r.” [Illustration of Sophia the Wisdom of God from Kyiv Psalter, 1397], in Stiag 1 (160) (2022), https://www.academia.edu/86633752, fig. 1-2.

[15] Psalm 58, Psalm 59, King’s James Version Bible, Bible Gateway, accessed October 21, 2024, https://www.biblegateway.com/passage/?search=Psalm%2058,Psalm%2059&version=KJV.

[16] John-Paul Himka, Last Judgment Iconography in the Carpathians (University of Toronto Press, 2009).

[17] Ibid., 54.

[18] Ibid.

[19] Ibid.

[20] Andriy Artemenko, “Portret polytycheskogo opponenta v siuzhete ukrainskoi ikony XVI–XVII vv.” [Portrait of a Political Opponent in the Plot of a Ukrainian Icon of the Sixteenth-Seventeenth Century], in Visnyk KhDADM, no. 1 (2015): 73-77, https://www.visnik.org.ua/pdf/v2015-01-14-artemenko.pdf.

[21] Irynei Nazarko, Kyivski i Halytski Mytropolyty. Biohrafichni narysy (1590-1960) [Metropolitans of Kyiv and Galicia. Biographical Essays (1590-1960)] (Vydavnytstvo Ottsiv Vasyliian, 1962), 104.

[22] For details see, for instance: Waldemar Deluga, Ukrainian Painting Between the Byzantine and Latin Traditions (Ostravská univerzita, Filozofická fakulta, 2019), 11-38.

[23] Francis C. Belfour, ed. and transl. Travels of Macarios, Patriarch of Antioch (1836), vol. I, 226.

[24] Ibid., 230. See the meaning of the specific terms in: Ioana Feodorov, “Termes étrangers dans le vocabulaire politique et social de Paul d’Alep”, in Polychronion. Profesorului Nicolae Șerban Tanașoca la 70 de ani [Polychronion. To Professor Nicolae Șerban Tanașoca on His 70th Birthday] (București: Editura Academiei Române, 2012), 235-242.

[25] Kosiv, Ukrainski khoruhvy, 131, fig. 3.39; see also Artemenko, “Portret polytycheskogo opponenta”, 76-77, fig. 5; see also Negrău, “The Ship of Salvation”, 38, fig. 3.

[26] Kosiv, Ukrainski khoruhvy, 131, fig. 3.38; see also Berezhnaya, “Imago hostis”, 313, 338, fig. 7; see also Negrău, “The Ship of Salvation”, 38, fig. 2.

[27] Kosiv, Ukrainski khoruhvy, 131; see also Berezhnaya, “Imago hostis”, 315, 340, fig. 9; see also Negrău, “The Ship of Salvation”, 40-41, fig. 7a-b.

[28] Revelation 19, King’s James Version Bible, Bible Gateway, accessed October 23, 2024, https://www.biblegateway.com/ passage/?search=Revelation%2019&version=KJV.

[29] Leibfried and Winter, “Ships of Church”, 2014.

[30] Ibid., 34-36.

[31] Ibid., 37-39.

[32] A profound research and interpretation of the series is presented in: Petra Roettig, Reformation als Apokalypse: Die Holzschnitte von Matthias Gerung im Codex Germanicus 6592 der Bayerischen Staatsbibliothek (Peter Lang, 1991); see also Leibfried and Winter, “Ships of Church”, 21-23.

[33] Roettig, Reformation als Apokalypse, 117-120, 177-181, Abb. 11b, Abb. 17b.

[34] Kosiv, Ukrainski khoruhvy, 126-129, fig. 3.34, 3.36-3.37.

[35] Oleksandr Gurjiy and Taras Chuhlib, “Ukraina kriz viky” [Ukraine through Centuries], vol. 8, in Valerii Smoliy, ed., Hetmanska Ukraina [Hetman Ukraine] (Alternatyvy, 1999), 287-291; see also Mikola Andrusiak, Józef Szumlański: pierwszy biskup unicki Lwowski (1667-1708): Zarys biograficzny [Józef Szumlański: The First Uniate Bishop of Lviv (1667-1708): Biographical Outline] (Archiwum Towarzystwa Naukowego we Lwowie, Wydział 2, Historyczno-Filozoficzny, 1936), vol. 16, book 1, 73-74.

[36] Negrău, “The Ship of Salvation”, 43-45.

[37] Negrău, “The Ship of Salvation”, 46.

[38] Negrău, “The Ship of Salvation”, 47.

[39] Derevska, “From Matthias Gerung”, 120-122.

[40] “Korabl’, znamenuiushchii tserkov’ voiuiushchuiu i ot eretikov gonimuiu na zemle” [A ship signifying a Church at war and persecuted by heretics on earth], in Russkiia Narodnyia Kartinki, Sobral I Opisal D. A. Rovinskii [Russian Folk Images Gathered and Described by D. A. Rovinskii], 1881, The New York Public Library Digital Collections, accessed October 26, 2024,

https://digitalcollections.nypl.org/items/510d47de-0c59-a3d9-e040-e00a18064a99; see also Negrău, “The Ship of Salvation”, 46, fig. 17.

[41] Kosiv, Ukrainski khoruhvy, 132, fig. 3.40.

[42] Vladyka, or Vladika, is a title and address of bishops and Metropolitans in the Greek-Catholic and Orthodox Churches.

[43] Derevska, “Vplyv ikonohrafii Reformatsii”, 141-142, fig. 6-10.

[44] Kondratiuk, “The Idea of Kyiv as a New Jerusalem”, fig. 8.

[45] Irina-Andreea Stoleriu, “The Relationship between the Illumination Votive Portrait and Mural Portrait in Moldavian Art During 15th and 16th Centuries”, in EJST 7, 1 (2010): 54-56, fig. 3.

[46] Maria Ana Musicesco, Le monastère de Sucevita (Editions Meridiane, 1965), 7-8.

[47] Derevska, “From Matthias Gerung”, 122-123, fig. 11-12.

[48] Derevska, “Vplyv ikonohrafii Reformatsii”, 139-140.

[49] Olianina and Shalinskyi, “Nevydanyi Apokalipsys”, 156.

[50] Derevska, “Vplyv ikonohrafii Reformatsii”, 142, fig. 11.

[51] Derevska, “Vplyv ikonohrafii Reformatsii”, 140, fig. 3.

[52] I. Udovichenko, “Bytva z chudovyskom: yazychnytska, khristianska ta postmodernistska versia, zobrazhena na predmetah yuvelirnogo mystectva” [Battle with the Beast: Pagan, Christian, and Postmodernist Versions, Depicted on Jewellery Art Objects], Naukovyi visnyk NMIU [Scientific Journal of National Museum of the History of Ukraine], vol. 4 (NMIU, 2019): 491-503, fig. 9, https://www.academia.edu/45010868.

[53] Liudmila Gavrilova, “Znak ordena Podviazki iz Orujeynoi Palaty – legendy I realnost” [Badge of the Order of the Garter from the Kremlin Armoury - Legends and Reality], in Rossiia – Britaniia. K 50-letiiu ustanovlenia diplomaticheskih otnosheniy I torgovyh sviazey: Tez. dokl. mejdunar. nauch. konferencii [Russia - Britain. For the 450th Anniversary of the Establishment of Diplomatic Relations and Trade Relations: Intern. Scient. Conference’ Abstracts of Reports] (2003), archived July 14, 2014, at https://web.archive.org/web/20140714194053/http://old.kreml.ru/ru/science/conferences/2003/Russia-Britain/thesis/Gavrilova/.

[54] Krzysztof Klimecki, Liber Anagrammatum Pro Immaculato Ortu Beatissimae Virginis Mariae de sex verbis salvationis Angelicae Replicatis in MM… (Drukarnia Akademii Zamojskiej, 1696).

[55] Olga Gorda-Tsybko, “Rozpysy 1683 roku v interieri tserkvy Presviatoi Triytsi na Sykhovi u Lvovi” [Paintings of 1683 in the Interior of the Church of the Holy Trinity on Sykhiv in Lviv], Apologet: bohoslovskyi zbirnyk Lvivskoi Duhovnoi Akademii [Apologet: Theological Collection of the Lviv Theological Academy] 1-4 (16-19) (2009): 139-146.

[56] Volodymyr Moroz, Zamky I fortetsi Ternopillia [Castles and Fortresses of Ternopil Area] (Pidruchnyky I posibnyky, 2011), 46-47.

[57] Borys Balyk, Inokentii Ivan Vynnytskyi: Yepyskop peremyskyi, sambirskyi, sianitskyi, 1680-1700 [Inokentii Ivan Vynnytskyi: Bishop of Peremyshl, Sambir and Sianok, 1680-1700] (Vydavnytstvo Ottsiv Vasyliian, 1978), 119-120.

[58] For example, the woodcut showing Pope Leo X labelled Antichristi in Martin Luther’s Passional Christi und Antichristi (1521), 24, https://lccn.loc.gov/24013891, or the woodcut by Lucas Cranach showing Pope Paul III riding on a sow, carrying excrement on his palm https://digital.staatsbibliothek-berlin.de/werkansicht?PPN=PPN796392307&PHYSID=PHYS_0008&DMDID=.

[59] See: Erhard Altdorfer “The destruction of Gog and Magog” from the Lübeck Bible (1530-1534), with Turks personifying Gog and Magog, https://www.britishmuseum.org/collection/object/P_1907-1029-25; see also: Monogrammist AW “Gog und Magog“ (1530) in Roettig, Reformation als Apokalypse, 59, Abb. 107, with Turks personifying Gog and Magog; see also: Matthias Gerung, “Apocalypse, Gog and Magog”, https://www.britishmuseum.org/collection/object/P_1911-0708-149, with Turkish army attacking a fortified city, in the foreground a Turkish rider burning in the flames of Hell; see also: Derevska, “From Matthias Gerung”, 119-120, fig. 6.

[60] Berezhnaya, “Imago hostis”, 314-315, fig. 8.

[61] Revelation 14, King’s James Version, Bible Gateway, accessed October 28, 2024, https://www.biblegateway.com/passage/ ?search=Revelation%2014&version=KJV.

[62] Matthew 11, King’s James Version, Bible Gateway, accessed October 28, 2024, https://www.biblegateway.com/passage/ ?search=Matthew%2011&version=KJV.

[63] https://www.digitale-sammlungen.de/en/view/bsb00051900?page=1248,1249.

[64] https://daten.digitale-sammlungen.de/0009/bsb00096751/images/index.html?id=00096751&groesser=&fip=193.174.98.30&no= &seite=1541.

[65] Derevska, “Vplyv ikonohrafii Reformatsii”, 140.

[66] Andrey Khoinatskyi, Pochaevskaia Uspenskaia lavra: istoricheskoe opisanie [Pochaiv Dormition Lavra: Historical Description] (1897), 58-60.

[67] https://polona.pl/preview/ad2da659-dbcf-4352-9e1f-68a8786e28fc; see also Berezhnaya, “Imago hostis”, 319-320, fig. 17.

[68] Eustachy Antoni Iwanowski, Rozmowy o Polskiéj Koronie [Discussions about the Polish Crown], 1873, vol. 1, 283-284, accessed October 28, 2024, https://pbc.gda.pl/dlibra/publication/26185/edition/44016?language=pl.

[69] Khoinatskyi, Pochaevskaia Uspenskaia lavra, 507.

[70] Volodymyr Moroz, “Luka Dolynskyi: portrait outlines”, RISU - Religious Information Service of Ukraine, June 24, 2010, accessed October 28, 2024, https://risu.ua/luka-dolinskiy-nacherki-do-portretu_n37400.

[71] Mariana Levytska, “Mons miraculis celebrates… Cykl Luky Dolynskogo v Uspenskomu sobori Pochaivskoi Lavry i tradycii barokovogo palomnyctva” [Mons miraculis celebrates… The cycle of Luka Dolynskyi in the Dormition Cathedral of the Pochaiv Lavra and the Traditions of Baroque Pilgrimage], in Sztuka cerkiewna Rzeczypospolitej i krajow sasiednich. Series Byzantina. Miscelanea, vol. II (2020): 90-111.

[72] Konstantin Shirotskyi, Ocherki po istorii dekorativnogo iskusstva Ukrainy. I. Khudozhestvennoe ubranstvo ukrainskogo doma v proshlom i nastoiashchem [Essays on the History of Decorative Art of Ukraine. I. Artistic Decoration of the Ukrainian House in the Past and Present] (Typografyia “S. V. Kulzhenko”, 1914), 46.

Fig. 1. The Last Judgement. Jews led to Satan. Kyiv Psalter. Illuminated manuscript. 1397. Russian National Library, OR OLDP F.6. P. 180r. Source: https://nlr.ru/manuscripts/RA1527/elektronnyiy-katalog?ab=44E98E44-F6A7-43BB-BD45-C56BC603E93D.

Fig. 2. (left): Moses accuses Jews on his scroll: “Wretched Jews, look whom you have crucified”. Fragment of “The Last Judgement” icon from Mshanets, Lviv region, Ukraine. 1560s. Andrey Sheptytsky National Museum of Lviv. Source: Wikipedia, Dobrogroza. CC BY-SA 4.0 DEED; (right): Moses accuses Jews on his scroll of being “Wretched, cruel, severe, hateful”. Fragment of “The Last Judgement” icon from Vanivka (Węglówka), Subcarpathian Voivodeship, Poland. Last quarter of the fifteenth century. Andrey Sheptytsky National Museum of Lviv. Source: https://www.facebook.com/photo/?fbid=1047110878679507&set=gm. 809235165847915.

Fig. 3. (left): Portrait of Metropolitan Hypatius Pociej. National Museum, Warsaw. https://cyfrowe.mnw.art.pl/en/catalog/437781; (centre): Korabl’, znamenuiushchii tserkov’ [A ship signifying a church …] in Russiia Narodnyia Kartinki, Sobral I Opisal D. A. Rovinskii [Russian Folk Images Gathered and Described by D. A. Rovinskii]. The New York Public Library Digital Collections. 1881. https://digitalcollections.nypl.org/items/510d47de-0c59-a3d9-e040-e00a18064a99; (right): Portrait of Metropolitan Lev Kiszka. National Museum of Lithuania. Wikipedia, ©Kazimier Lachnovič. Public domain.

Fig. 4. Master Prokopii. Beast of Apocalypse with papal tiara. Fragment. “Then I was given a measuring rod...” (Measuring the Temple). 1656. Woodcut. Source: Materialy dlia russkoi ikonografii. Sobral D. A. Rovinskii [Materials for Russian Iconography. Gathered by D. A. Rovinskii]. Vol. VIII. St. Petersburg: Ekspeditsia zagotovlenia Gos. Bumag, 1890. P. 1, ill. 283-306.

Fig. 5. C. Andr. Niedblowicz (or Niedbalowicz). Frontispiece with the Virgin defeating her enemies. Illustration from K. Klimecki, Liber Anagrammatum Pro Immaculato Ortu Beatissimae Virginis Mariae … Drukarnia Akademii Zamojskiej, Zamoscii [Zamość], 1696. Source: Ossoliński National Institute, Public domain.

Fig. 6. The Whore of Babylon and the earthly kings. Wall painting of the western pendentive of the tented roof of St Trinity Church in the village Sykhiv, Lviv region (now a district of the city of Lviv). 1683. Source: Courtesy of Marta Fedak.

Fig. 7. (left): The Whore of Babylon and the earthly kings. Wall painting of the western pendentive of the tented roof of St Trinity Church. Fragment. Source: Courtesy of Marta Fedak; (centre): Lifetime portrait of Queen Bona Sforza. Published in: L. Decius. De Jegellonum familia liber II. Kraków, 1521. Source: https://polona.pl/item-view/842c36fe-39ad-4dc3-b16b-9643e5ab05bf?page=0; (right): Gilliam van der Gouwen. Portrait of Queen Bona Sforza. Engraving. 1684. National Library, Poland. Source: https://www.wilanow-palac.pl/biskup_krolowa_i_smok.html.

Fig. 8. (left): The Whore of Babylon and the earthly kings. Wall painting of the western pendentive of the tented roof of St Trinity Church. Fragment. Source: Courtesy of Marta Fedak; (centre): Sigizmund III Vasa. Published in: Z. Gloger. Encyklopedia staropolska [Old Poland Encyclopedia], vol. II. Warszawa: Wydawnictwo Piotra Laskauera i S-ki. 1901. P. 28. Source: https://sbc.org.pl/dlibra/publication/7574/ edition/7057/encyklopedja-staropolska-ilustrowana-t-2-gloger-zygmunt-1845–1910?language=pl; (right): Nicolaes Visscher after Pieter Stevens II. Portrait of Jan III Sobieski. 1689. Published in: J.-L. Soulavie (Collector). Monuments de l’histoire de France, en estampes et dessins. 1783. https://archive.org/details/gri_33125012661654/page/n284/mode/1up?view=theater.

Fig. 9. (left): The Whore of Babylon and the earthly kings. Wall painting of the western pendentive of the tented roof of St Trinity Church. Fragment. Source: Courtesy of Marta Fedak; (right): Anonymous. Portrait of Bishop Joseph Shumlyanskyi. Early eighteenth century. Andrey Sheptytsky National Museum of Lviv. Source: https://www.facebook.com/photo?fbid=2092990690843287&set=a.704151099727260.

Fig. 10. (left): The Whore of Babylon and the earthly kings. Wall painting of the western pendentive of the tented roof of St Trinity Church. Fragment. Source: Courtesy of Marta Fedak; (right): Anonymous. Portrait of Bishop Inokentiy Vinnytskyi. Source: H. Lakota, Try synody peremyski i yeparkhiialni postanovy valiavski u 17-19 st. [Three Synods of Przemyśl and Eparchial]. Peremyshl. Tovarystvo “Ieparkhiialna pomich”. 1939.

Fig. 11. (left): The Whore of Babylon and the earthly kings. Wall painting of the western pendentive of the tented roof of St Trinity Church. Fragment. Source: Courtesy of Marta Fedak; (right): Dmytro Yakymovych. Archimandrite Varlaam Sheptytskyi. 1920s-30s. A copy from an old original. Andrey Sheptytsky National Museum of Lviv. Published in: Shliakhetni rysy rodu Sheptytskikh… [Noble Features of the Sheptytskys’ Family…]. Galinfo. 2019. Source: https://galinfo.com.ua/news/shlyahetni_rysy_rodu_sheptytskyh_ u_lvovi_pokazaly_portrety_predkiv_ mytropolyta_andreya_330674.html.

Fig. 12. Nikodem Zubrzycki. Seven-headed Beast from the sea. Woodcut from Revelation 13. New Testament, 1717, Chernihiv. Vernadsky National Library of Ukraine, Kyr. 476. Source: Own photo.

Fig. 13. Nikodem Zubrzycki. The Whore of Babylon. Woodcut from Revelation 13. New Testament, 1717, Chernihiv. Vernadsky National Library of Ukraine, Kyr. 476. Source: Own photo.

Fig. 14. Nikodem Zubrzycki. The Riders of Apocalypse. Fragment. Woodcut from Revelation 13. New Testament, 1717, Chernihiv. Vernadsky National Library of Ukraine, Kyr. 476. Source: Own photo.

Fig. 15. Depiction of Azov. “Babylon is fallen, is fallen, that great city’” (Rev. 14:8). Leontiy Tarasevych. Illustration for Pateryk Pecherskiy [Pechersk Patericon] (1702). Fragment. Source: https://kp.rusneb.ru/item/reader/ kievo-pecherskiy-paterik-allegoricheskoe-izobrazhenie-vzyatiya-azova.

Fig. 16. Depiction of Kyzykermen. ‘And thou, Capernaum, which art exalted unto heaven, shalt be brought down to hell’ (Matthew 11:23). Leontiy Tarasevych. Illustration for Pateryk Pecherskiy [Pechersk Patericon] (1702). Fragment. Source: https://kp.rusneb.ru/item/reader/kievo-pecherskiy-paterik-allegoricheskoe-izobrazhenie-vzyatiya-azova.

Fig. 17. Anonymous. The shaking by a demon of the wife of the Lutheran Firlej, who stole the miraculous icon and clothed his wife in priestly clothes as a mockery in Kozinsky Castle in 1641. Wall-painting of the Dormition Cathedral of Pochaiv Lavra, Pochaiv, Kremenets district, Ternopil region, Ukraine. Nineteenth century. Source: Volodymyr Moroz. “Luka Dolynskyi: portrait outlines”, RISU, June 24, 2010, accessed October 28, 2024. https://risu.ua/luka-dolinskiy-nacherki-do-portretu_n37400.