Abstract
This article deals with the iconography of the sixteenth–eighteenth century Orthodox Last Judgements. The vertical and horizontal hierarchies of its composition that are fairly standard still leave much room for local preferences and innovations. Using the Ruthenian icons as cases in point and Russian exemplars as controls, the author attempts to discern similarities and differences and to identify, where possible, the sources of change. In the focus of analysis are three compositional elements of the Last Judgement iconography, i.e. ordeals (mytarstva), images of death, and the figure of the Alms Giving Fornicator. The article concentrates on the meaning of its presence vs. absence, placement and typological selection. It allows conclusions to be made about the influence of the Union of Brest (1596) on the shifts in religious mentalities and the reasons for artistic change.
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