Ralitsa Rousseva
Curriculum Vitae
Assoc. Prof PhD Ralitsa Svetlinova Rousseva
е-mail: [email protected]
Current Working Position:
1. Bulgarian Academy of Sciences, Institute of Art Studies
Research Associate at Department of Old and Mediaeval Art
Sofia 1405, 24 Krakra St.; 00359 9442414
2. Chief of Department “Museum of Christian Art, Crypt of St Alexander Nevsky Cathedral”. National Gallery; 1 St Alexander Nevsky Sq; 1000 Sofia
Education:
Secondary Education: St. Constantine Cyril the Philosopher National College of Ancient Languages and Cultures. Graduated in 1987.
Higher Education: History of Art, National Academy of Art. Graduated in 1992. Graduation dissertation thesis ‘The Akathistos Hymn of the Holy Virgin in Byzantine Art: Relationships between visual and verbal text.’
Further Education: 1995 - 1998 full-time PhD course at the Bulgarian Academy of Sciences. Doctoral thesis ‘The Illustrative Cycle of the Revelation of St. John the Theologian in Bulgarian Religious Art’.
Recipient of the Bulgarian Academy of Sciences Award for Young Scholars for excellence in research of Old Bulgarian Art /1999/.
Work Experience:
1994 - 1995 Editor-in-Chief of the ‘Spectrum’ Publishers.
1995 - 1996 Professor of Art History, Lyubomir Pipkov College of Music, Sofia.
1995 - 1998 Full time PhD course at the Institute of Art Studies at the Bulgarian Academy of Sciences.
Since 1999 Research Associate at the Institute of Art Studies at the Bulgarian Academy of Sciences
2002 -2011 Research Associate and Curator at National Museum of History, Sofia
2011 – 2012 Research Associate and Curator in “Museum of Christian Art, Crypt of St Alexander Nevsky Cathedral”. National Art Gallery, Sofia
Since 2012 Chief of Department “Museum of Christian Art, Crypt of St Alexander Nevsky Cathedral”. National Gallery, Sofia
Languages:
English, Russian, Greek, French.
Ancient Greek, Latin, Old Bulgarian.
Curator activity:
2002 Curator of the exhibition “Icônes et manuscrits bulgares”, Musées royaux d’Art et d’Histoire, Bruxelles.
2003 Author and Curator, with the cooperation of the State Historical Museum – Moscow, of the exhibition “Bulgarian Christian Art”. State Historical Museum, Moscow.
2004 Curator of the Bulgarian part of the exhibition “Byzantium. Faith and Power (1261 – 1557) at the Metropolitan Museum of Art, New York.
2006 Curator of the exhibition “The Bulgarian Christian Art 13th – 15th Centuries and the Palaeologan Renaissance”. National Museum of History, Sofia.
2009 Author and Curator, with the cooperation of the State Historical Museum – Moscow, of the exhibition “Icons from Bulgaria 13th – 19th Centuries”. State Historical Museum, Moscow.
2014 Curator of exhibition “The Rejoicing of Prayer. Unknown Icons from the Fund of Crypt”. Museum of Christian Art, Crypt of St Alexander Nevsky Cathedral”. Sofia
2015 Contributor of exhibition “The Balkans – a Shared Heritage”; UNESCO Paris, Author Ivo Xadzimishev
Scientific projects:
1999 - 2000 The Apocalypse of St. John in Bulgarian Art, individual scientific project financed by International Organization RSS.
2003 Orthodox Albania, project and scientific expedition financed by Open Society, Sofia
2004 Church Paintings in Albania and FYROM. Comparative Study. Individual scientific project and scientific trips at invitation of the Academy of Sciences and Arts of Skopje.
2006-2008 Scientific consultant of project Civilizations on the Balkans of photographer Ivo Hadzimishev, financed by the Dutch Foundation ‘Horizont’.
Publications
Books and Catalogues:
1. The Church of St Demetrius in Boboshevo. Architecture, Wall Paintings, Conservation. Sofia 2009 (in co-authorship with H. Staneva 168 p. ). /In English/
2. Icônes et manuscrits bulgares, Catalogue (Editing; Introduction 19-31, Annotations 31-41, 45-48, 50-52, 55, 66, 75-83, 85-90, 92-93), Bruxelles 2002 /In French/
3. Christian Art in Bulgaria (Editing; Introduction 16-19, Annotations 9-70), Moscow 2003 /In Russian/
4. National Museum of History, Catalogue, (Editing; Annotations pp. 105-144, 251-259), Financed by A. G. Leventis Foundation; Plovdiv, 2006 /In English/
5. Icons from Bulgaria 13th – 19th Centuries, Catalogue, Plovdiv- Moscow 2009, (Editing; Introduction, Annotations, Αrt direction and prepress 144 p.) /In Russian/
6. The Balkans – a Shared Heritage; Stichting Horizon, Naarden-The Netherlands; Bulgaria, Janet-45, 2015; (R. Rousseva – Contributor, Αrt direction and prepress; 332 p.); /In English/ ISBN 978-619-90138-2-3
Русева Р., Златна книга. Икони от България ІХ-ХІХ в. София 2016 (Монография. Уводна студия, 100 анотации. 300 стр.) Golden Book. Icons from Bulgaria 9th – 19th century. Sofia 2016 /in Bulgarian, 300 pp/. Over eighty publications in the specialized and general press
Assoc. Prof PhD Ralitsa Svetlinova Rousseva
е-mail: [email protected]
Current Working Position:
1. Bulgarian Academy of Sciences, Institute of Art Studies
Research Associate at Department of Old and Mediaeval Art
Sofia 1405, 24 Krakra St.; 00359 9442414
2. Chief of Department “Museum of Christian Art, Crypt of St Alexander Nevsky Cathedral”. National Gallery; 1 St Alexander Nevsky Sq; 1000 Sofia
Education:
Secondary Education: St. Constantine Cyril the Philosopher National College of Ancient Languages and Cultures. Graduated in 1987.
Higher Education: History of Art, National Academy of Art. Graduated in 1992. Graduation dissertation thesis ‘The Akathistos Hymn of the Holy Virgin in Byzantine Art: Relationships between visual and verbal text.’
Further Education: 1995 - 1998 full-time PhD course at the Bulgarian Academy of Sciences. Doctoral thesis ‘The Illustrative Cycle of the Revelation of St. John the Theologian in Bulgarian Religious Art’.
Recipient of the Bulgarian Academy of Sciences Award for Young Scholars for excellence in research of Old Bulgarian Art /1999/.
Work Experience:
1994 - 1995 Editor-in-Chief of the ‘Spectrum’ Publishers.
1995 - 1996 Professor of Art History, Lyubomir Pipkov College of Music, Sofia.
1995 - 1998 Full time PhD course at the Institute of Art Studies at the Bulgarian Academy of Sciences.
Since 1999 Research Associate at the Institute of Art Studies at the Bulgarian Academy of Sciences
2002 -2011 Research Associate and Curator at National Museum of History, Sofia
2011 – 2012 Research Associate and Curator in “Museum of Christian Art, Crypt of St Alexander Nevsky Cathedral”. National Art Gallery, Sofia
Since 2012 Chief of Department “Museum of Christian Art, Crypt of St Alexander Nevsky Cathedral”. National Gallery, Sofia
Languages:
English, Russian, Greek, French.
Ancient Greek, Latin, Old Bulgarian.
Curator activity:
2002 Curator of the exhibition “Icônes et manuscrits bulgares”, Musées royaux d’Art et d’Histoire, Bruxelles.
2003 Author and Curator, with the cooperation of the State Historical Museum – Moscow, of the exhibition “Bulgarian Christian Art”. State Historical Museum, Moscow.
2004 Curator of the Bulgarian part of the exhibition “Byzantium. Faith and Power (1261 – 1557) at the Metropolitan Museum of Art, New York.
2006 Curator of the exhibition “The Bulgarian Christian Art 13th – 15th Centuries and the Palaeologan Renaissance”. National Museum of History, Sofia.
2009 Author and Curator, with the cooperation of the State Historical Museum – Moscow, of the exhibition “Icons from Bulgaria 13th – 19th Centuries”. State Historical Museum, Moscow.
2014 Curator of exhibition “The Rejoicing of Prayer. Unknown Icons from the Fund of Crypt”. Museum of Christian Art, Crypt of St Alexander Nevsky Cathedral”. Sofia
2015 Contributor of exhibition “The Balkans – a Shared Heritage”; UNESCO Paris, Author Ivo Xadzimishev
Scientific projects:
1999 - 2000 The Apocalypse of St. John in Bulgarian Art, individual scientific project financed by International Organization RSS.
2003 Orthodox Albania, project and scientific expedition financed by Open Society, Sofia
2004 Church Paintings in Albania and FYROM. Comparative Study. Individual scientific project and scientific trips at invitation of the Academy of Sciences and Arts of Skopje.
2006-2008 Scientific consultant of project Civilizations on the Balkans of photographer Ivo Hadzimishev, financed by the Dutch Foundation ‘Horizont’.
Publications
Books and Catalogues:
1. The Church of St Demetrius in Boboshevo. Architecture, Wall Paintings, Conservation. Sofia 2009 (in co-authorship with H. Staneva 168 p. ). /In English/
2. Icônes et manuscrits bulgares, Catalogue (Editing; Introduction 19-31, Annotations 31-41, 45-48, 50-52, 55, 66, 75-83, 85-90, 92-93), Bruxelles 2002 /In French/
3. Christian Art in Bulgaria (Editing; Introduction 16-19, Annotations 9-70), Moscow 2003 /In Russian/
4. National Museum of History, Catalogue, (Editing; Annotations pp. 105-144, 251-259), Financed by A. G. Leventis Foundation; Plovdiv, 2006 /In English/
5. Icons from Bulgaria 13th – 19th Centuries, Catalogue, Plovdiv- Moscow 2009, (Editing; Introduction, Annotations, Αrt direction and prepress 144 p.) /In Russian/
6. The Balkans – a Shared Heritage; Stichting Horizon, Naarden-The Netherlands; Bulgaria, Janet-45, 2015; (R. Rousseva – Contributor, Αrt direction and prepress; 332 p.); /In English/ ISBN 978-619-90138-2-3
Русева Р., Златна книга. Икони от България ІХ-ХІХ в. София 2016 (Монография. Уводна студия, 100 анотации. 300 стр.) Golden Book. Icons from Bulgaria 9th – 19th century. Sofia 2016 /in Bulgarian, 300 pp/. Over eighty publications in the specialized and general press
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Papers by Ralitsa Rousseva
The first icon is “St Naum with scenes of his life and St Paraskeva” (National Art Gallery №520; wood/tempera; 34,5 x 27 cm) and depicts: “The Baptising of the Tzar’s Daughter”, “Horse Thief Who Was Caught at the Gates of the Monastery”, “The Miracle of Harnessing the Bear” and “The Dormition of St Naum”. The final scene has a row of six figures with no halos, standing behind the saint’s body and performing the burial ritual. The typological characteristics of those figures features no particular specifics, although their number speaks to the fact that they are, without a doubt, intended to be the remaining of the Seven Slavic Saints. The central figure likely is St Methodius or St Clement of Ohrid, presented as an archbishop. None of the four scenes are based on Hristofor Zhefarovich’s engraving and feature different iconography. It is clear that the zograph was familiar with other depictions of the life of St Naum, and, most likely, scenes featuring the Seven Slavic Sains as well. Featuring St Paraskeva alongside St Naum is not unique either, especially in the Korçë region. The origin of the icon is unknown, although, based on the style and iconography, as well as the Greek captions, one can assume that the provenance is Korçë region.
The second icon is “The Benevolent Mother of God, St Nicholas and St Naum” (1842 or 1849; 50,5x37,5 cm; National Art Gallery №897). The icon was painted by a highly-skilled artist, whose style is somewhat similar to that of zographs from the Debar school, although there’s a distinct attempt at being more “academic”. The fact that St Nicholas and St Naum are featured in the same icon implies that it probably originated from the Ohrid region.
The third icon of St Naum (1871; National Art Gallery № 105; wood/tempera; 61x45) is by Socrates Georgiou – a zograph from Sozopol. St. Naum is depicted as an archbishop, with white hair and white beard. This iconography is in line with neither historical data, nor traditional depictions and is instead based on a lithograph of the Seven Slavic Saints, which was printed in the typography of A. V. Morozov in Moscow in 1869. Proof of this are the identical „СВ. Наумъ ЧУД.[отворец] Охрадскій“ caption and well as the matching iconography of certain details. The icon from Sozopol shows that during that late period, the cult towards St. Naum was no longer regional, but generally accepted in Orthodox Christianity and had begun spreading in regions further away from Ohrid.
The last work presented here is a drawing from a notebook (first half of 19th century; National Art Gallery № 834; pencil on paper) possession of zographs from Elena. St Naum is presented holding a bear tied on a robe, a certain iconography has no parallel.
The scene Christ Expels Seven Demons from Mary Magdalene in Post-Byzantine art
Here we are going to deal with several sixteenth- and seventeenth-century mural representations from different Balkan regions, illustrating Christ Expels Seven Demons from Mary Magdalene as an individual scene. The representations can be grouped in two categories based on the iconographic interpretation of the subject. The first one includes the Church of Prophet Elijah (1550) in Sofia and churches associated with the work of St Pimen of Zographou: the Church of the Dormition of the Theotokos in Zervat (1603, Albania), the Church of Sts Theodore Tyron and Theodore Stratelates in Dobarsko (1614), the Monastery of St Nicholas in Seslavtsi (1616?). The iconography of these four monuments is as a whole very reminiscent of other scenes of healings by Christ. The scene is placed in the context of the Pentecostarion Cycle.
The second group includes monuments painted by the artists from Linotopi, especially by Nicholas: the Monastery of the Dormition in Spilaio near Grevena (1649); the Monastery of the Transfiguration in Dryovouno (1652) and the Church of St Demetrius in Palatitsion (1570;17th c.). The general iconography here reminds of the healings of demon-possessed, while the iconographic characteristics of Mary Magdalene are akin to those of St Mary of Egypt. The scene is placed among those illustrating the Miracles and Parables.
In the Hermeneias of Dionysios has no description of the scene, although it is included as a title in Πήγαι in the Divine Works and Miracles of Christ. Probably Dionysios of Fourna was familiar with representations on the subject. For the time being we can only assume that a representation of this scene has existed on Mt Athos before 1550, i.e. before it was painted at the Monastery of Iliyantsi.
On the verso of the board, a sheet is glued with fragmentally damaged text in Greek, showing that the icon has been presented on 26 October 1843 in Ortaköy to a Thrasivoulos on the occasion of the latter’s twenty-fifth birthday by his godfather. There is uncertainty about which place is referred to, but most probably in the nineteenth century it was in Istanbul’s Ortaköy neighbourhood. The icon could have originated from any production place, still, the used precious materials such as silver and gold and the painter’s artistry of a high order suggest that it has been made in a great centre of art.
The silver metalwork cover with gilding consists of many lamellae created in different epochs. Several of these background layers, which can be dated to the 14th–15th centuries, are the earliest. The major part of the metalwork covers, the nimbus and the body, can be dated to the 16th century. A highly unconventional decision was the insertion of a layer of wax between the icon and the metal ornaments of the armour plate, to create a sculptural effect. The embellishment is extremely rich, consisting of finely modelled plant and geometric motifs. One can find parallels of the ornamentation with some revetments from Palaeologian period from Ohrid and with the revetment of the Virgin Portaitissa (15th – 16th c.) from Iviron Monastery. In the 19th century, lamellae were affixed to the lower section of the background and votive offerings were attached.
The name and epithet of the saint are inscribed in two medallions of green enamel: Ο ΑΓΙΟΣ / ΓΕΩΡΓΙΟΣ – Ω ΔΙΑΣΟ / ΟΡΙΤΗΣ (‘St. George Diasoritеs’).
The metalwork cover is an exceptional achievement of the art of goldsmithery, executed with great mastery. The wealth of donations to the icon of St. George over the centuries suggests that it was highly revered, probably as a miraculous icon. Nesebar can be cited as a possible place of origin.
Глава от каталог на Националната галерия в София
The National Museum of History in Sofia preserves a number of manuscripts, property of the National Archaeological Institute and Museum (NAIM) at the Bulgarian Academy of Sciences which are part of the archive of the Dospevski family.
The manuscript NAIM N11 I attributed beyond any doubt as Zachary Zograph’s manual a decade ago on the basis of the signature of Zachary Zograph, the notes and drafts of ktetor’s inscriptions, which as dates and texts corresponded to the icons and murals about which we had information that they were the work of Zachrary Zograph.
In order to clarify its content and also as parallels I have presented data from manuscripts NAIM N6, NAIM N7 and also NAIM N8 and NAIM N13, which have been used not only by Zachary Zograph but by other representatives of the Dospevski family. These manuscripts shed light on many different aspects of the creation of a particular icon or murals – the contracts for payment, the problems with paying off, the wishes of the donors about the different gift inscriptions and their versions, the correspondence between the donors and the painter, different versions of the signature inscriptions and the signature of the painter, the use of specific iconographic’s manuals, etc. Besides, these manuscripts shed light also on different aspects of the personal life of the painter during that same period.
Following the examination of the content of manual NAIM N11 and the other manuscripts one could reach the following conclusions:
1. Manual NAIM N11 undoubtedly belonged to Zachary Zograph and he carried it during all his travels during the 1830s till 1852.
2. Confirms the authorship of Zachary Zograph on the unsigned by him icons, painted for the churches in Koprivshtitza and Plovdiv during the period 1837-1838.
3. Manual NAIM N11 contains data about some still unknown icons and murals by Zachary Zograph.
4. Zachary Zograph has painted icons also for Bosnia.
5. Zachary Zograph has copied the text of the Hermeneia of Dyonisios of Fourna in manual NAIM N11 from Hermeneia in manual NAIM N6 most probably the property of Dimitar Zograph or another representative of the Dospevski family.
6. Zachary Zograph has prepared drafts of his personal letters in handbook NAIM N7.
7. Zachary Zograph was in contact with noted representatives of the Bulgarian community in Constantinople and Bucharest.
The first icon is “St Naum with scenes of his life and St Paraskeva” (National Art Gallery №520; wood/tempera; 34,5 x 27 cm) and depicts: “The Baptising of the Tzar’s Daughter”, “Horse Thief Who Was Caught at the Gates of the Monastery”, “The Miracle of Harnessing the Bear” and “The Dormition of St Naum”. The final scene has a row of six figures with no halos, standing behind the saint’s body and performing the burial ritual. The typological characteristics of those figures features no particular specifics, although their number speaks to the fact that they are, without a doubt, intended to be the remaining of the Seven Slavic Saints. The central figure likely is St Methodius or St Clement of Ohrid, presented as an archbishop. None of the four scenes are based on Hristofor Zhefarovich’s engraving and feature different iconography. It is clear that the zograph was familiar with other depictions of the life of St Naum, and, most likely, scenes featuring the Seven Slavic Sains as well. Featuring St Paraskeva alongside St Naum is not unique either, especially in the Korçë region. The origin of the icon is unknown, although, based on the style and iconography, as well as the Greek captions, one can assume that the provenance is Korçë region.
The second icon is “The Benevolent Mother of God, St Nicholas and St Naum” (1842 or 1849; 50,5x37,5 cm; National Art Gallery №897). The icon was painted by a highly-skilled artist, whose style is somewhat similar to that of zographs from the Debar school, although there’s a distinct attempt at being more “academic”. The fact that St Nicholas and St Naum are featured in the same icon implies that it probably originated from the Ohrid region.
The third icon of St Naum (1871; National Art Gallery № 105; wood/tempera; 61x45) is by Socrates Georgiou – a zograph from Sozopol. St. Naum is depicted as an archbishop, with white hair and white beard. This iconography is in line with neither historical data, nor traditional depictions and is instead based on a lithograph of the Seven Slavic Saints, which was printed in the typography of A. V. Morozov in Moscow in 1869. Proof of this are the identical „СВ. Наумъ ЧУД.[отворец] Охрадскій“ caption and well as the matching iconography of certain details. The icon from Sozopol shows that during that late period, the cult towards St. Naum was no longer regional, but generally accepted in Orthodox Christianity and had begun spreading in regions further away from Ohrid.
The last work presented here is a drawing from a notebook (first half of 19th century; National Art Gallery № 834; pencil on paper) possession of zographs from Elena. St Naum is presented holding a bear tied on a robe, a certain iconography has no parallel.
The scene Christ Expels Seven Demons from Mary Magdalene in Post-Byzantine art
Here we are going to deal with several sixteenth- and seventeenth-century mural representations from different Balkan regions, illustrating Christ Expels Seven Demons from Mary Magdalene as an individual scene. The representations can be grouped in two categories based on the iconographic interpretation of the subject. The first one includes the Church of Prophet Elijah (1550) in Sofia and churches associated with the work of St Pimen of Zographou: the Church of the Dormition of the Theotokos in Zervat (1603, Albania), the Church of Sts Theodore Tyron and Theodore Stratelates in Dobarsko (1614), the Monastery of St Nicholas in Seslavtsi (1616?). The iconography of these four monuments is as a whole very reminiscent of other scenes of healings by Christ. The scene is placed in the context of the Pentecostarion Cycle.
The second group includes monuments painted by the artists from Linotopi, especially by Nicholas: the Monastery of the Dormition in Spilaio near Grevena (1649); the Monastery of the Transfiguration in Dryovouno (1652) and the Church of St Demetrius in Palatitsion (1570;17th c.). The general iconography here reminds of the healings of demon-possessed, while the iconographic characteristics of Mary Magdalene are akin to those of St Mary of Egypt. The scene is placed among those illustrating the Miracles and Parables.
In the Hermeneias of Dionysios has no description of the scene, although it is included as a title in Πήγαι in the Divine Works and Miracles of Christ. Probably Dionysios of Fourna was familiar with representations on the subject. For the time being we can only assume that a representation of this scene has existed on Mt Athos before 1550, i.e. before it was painted at the Monastery of Iliyantsi.
On the verso of the board, a sheet is glued with fragmentally damaged text in Greek, showing that the icon has been presented on 26 October 1843 in Ortaköy to a Thrasivoulos on the occasion of the latter’s twenty-fifth birthday by his godfather. There is uncertainty about which place is referred to, but most probably in the nineteenth century it was in Istanbul’s Ortaköy neighbourhood. The icon could have originated from any production place, still, the used precious materials such as silver and gold and the painter’s artistry of a high order suggest that it has been made in a great centre of art.
The silver metalwork cover with gilding consists of many lamellae created in different epochs. Several of these background layers, which can be dated to the 14th–15th centuries, are the earliest. The major part of the metalwork covers, the nimbus and the body, can be dated to the 16th century. A highly unconventional decision was the insertion of a layer of wax between the icon and the metal ornaments of the armour plate, to create a sculptural effect. The embellishment is extremely rich, consisting of finely modelled plant and geometric motifs. One can find parallels of the ornamentation with some revetments from Palaeologian period from Ohrid and with the revetment of the Virgin Portaitissa (15th – 16th c.) from Iviron Monastery. In the 19th century, lamellae were affixed to the lower section of the background and votive offerings were attached.
The name and epithet of the saint are inscribed in two medallions of green enamel: Ο ΑΓΙΟΣ / ΓΕΩΡΓΙΟΣ – Ω ΔΙΑΣΟ / ΟΡΙΤΗΣ (‘St. George Diasoritеs’).
The metalwork cover is an exceptional achievement of the art of goldsmithery, executed with great mastery. The wealth of donations to the icon of St. George over the centuries suggests that it was highly revered, probably as a miraculous icon. Nesebar can be cited as a possible place of origin.
Глава от каталог на Националната галерия в София
The National Museum of History in Sofia preserves a number of manuscripts, property of the National Archaeological Institute and Museum (NAIM) at the Bulgarian Academy of Sciences which are part of the archive of the Dospevski family.
The manuscript NAIM N11 I attributed beyond any doubt as Zachary Zograph’s manual a decade ago on the basis of the signature of Zachary Zograph, the notes and drafts of ktetor’s inscriptions, which as dates and texts corresponded to the icons and murals about which we had information that they were the work of Zachrary Zograph.
In order to clarify its content and also as parallels I have presented data from manuscripts NAIM N6, NAIM N7 and also NAIM N8 and NAIM N13, which have been used not only by Zachary Zograph but by other representatives of the Dospevski family. These manuscripts shed light on many different aspects of the creation of a particular icon or murals – the contracts for payment, the problems with paying off, the wishes of the donors about the different gift inscriptions and their versions, the correspondence between the donors and the painter, different versions of the signature inscriptions and the signature of the painter, the use of specific iconographic’s manuals, etc. Besides, these manuscripts shed light also on different aspects of the personal life of the painter during that same period.
Following the examination of the content of manual NAIM N11 and the other manuscripts one could reach the following conclusions:
1. Manual NAIM N11 undoubtedly belonged to Zachary Zograph and he carried it during all his travels during the 1830s till 1852.
2. Confirms the authorship of Zachary Zograph on the unsigned by him icons, painted for the churches in Koprivshtitza and Plovdiv during the period 1837-1838.
3. Manual NAIM N11 contains data about some still unknown icons and murals by Zachary Zograph.
4. Zachary Zograph has painted icons also for Bosnia.
5. Zachary Zograph has copied the text of the Hermeneia of Dyonisios of Fourna in manual NAIM N11 from Hermeneia in manual NAIM N6 most probably the property of Dimitar Zograph or another representative of the Dospevski family.
6. Zachary Zograph has prepared drafts of his personal letters in handbook NAIM N7.
7. Zachary Zograph was in contact with noted representatives of the Bulgarian community in Constantinople and Bucharest.
Глава от каталог на Националната галерия в София