Oiling the Icon

Today we are invited into Agatha Hall, otherwise known as “the studio,” to be part of the oiling of an icon as the opening exercise of the Intermediate/Advanced group of the Iconographic Institute. The icon is of “The Protecting Veil of the Mother of God,” three years in the making by the instructors, Mary and Kathy. It is a large piece, some 6 feet by 4 feet in dimension, laid flat on a table.

Mary explains that the “olifa,” or oiling, is the final stage in the writing of an icon, as she reminds us that icons are written, not painted. The oil is a mixture of linseed oil and stand oil. The warm liquid fills the room with its pungent aroma. A student pours a large pool of oil in the middle of the icon, and Mary begins to spread the oil across the surface of the icon with the edge of her hand. She invites those watching to help.

At 3:30 we return to watch Mary remove the oil. Tom holds the tray that catches the excess oil as it is pulled across the icon. Then begin the three days of tending the icon, rubbing extra oil into the dry spots, and waiting for the oil to be absorbed through the layers of pigment.

Mary explains that egg tempora sealed in this way is the most permanent painting medium, which is why the ancient icons retain their color to this day.