A ceramic tile known in Russian as “izrazets” is a ceramic work in its own right, which has a decorated face plate and protrusions on the back, designed to fix the product in the building masonry. Initially, the tiles were not covered with glaze; those had the color of burnt clay, so they were referred to as “red tiles”. Later they began to be glazed — that is, coated with a lead-based enamel. After baking, a deep grassy color was obtained, which gave the technique its Russian name — “muravlenie” (“murava” meaning grass).

The art of Russian ceramic tile reached its true peak by the end of the 17th century when the technology of applying colored enamels to a relief pattern was mastered. To obtain a large composition, several tiles were combined, or the size of the whole face plate was increased, as in the tile depicting a cherub from the collection of the Andrei Rublev Museum. Only a skillful and experienced master could make such a large polychrome article.

The emergence of new types of tiles is associated with the name of Patriarch Nikon of Moscow and All Russia (1605–1681). The center of tile production was the workshop in the New Jerusalem Monastery on the Istra River. The tiles of this time met new aesthetic demands, which is especially evident in the decoration of the New Jerusalem Monastery. Polychrome tiles were intended to imitate the colored marble of the Palestinian Church of the Holy Sepulcher. At about the same time, ceramic iconostases appeared.

In 1666, the workshop of the New Jerusalem Monastery was liquidated, and its craftsmen were relocated to Moscow. From that time, polychrome tiles began to be made in many cities. Instead of transparent polish, opaque enamels began to be used, which made it possible to create tiles from common red clay. Each element of relief was distinguished not only by its shape but also by contrasting local coloring.

The most common colors were cold light green (most often for the background), bright yellow, brown, dark blue, and white. The tiles of that time were distinguished by a variety of subjects, including images of horsemen, battle scenes, birds, bright flowers, various vegetation, and fruits. At the same time, the tiles retained their connection to folk traditions and tastes.

The exhibition houses an inset tile depicting a cherub against a flat green background. Such tiles were widespread on the facades of Moscow churches.