The revetment is a significant element of the décor of the main book in every Christian church — the altar Gospel. This book symbolizes the presence of God the Word in the church. The Gospel is kept on the altar and is removed only by the priest when he reads excerpts to the parishioners.

The revetment from the collection of the Andrei Rublev Museum was made by a Yaroslavl artist in the 1660s. It follows specific rules of décor. The most significant areas, the center and corners, are gilded and filled with relief compositions — the Deesis and the Evangelists. Most of the silver surface is decorated with a floral pattern of climbing shoots. The polychromatic effect is enhanced by semiprecious stones, pearls, and colored glass surrounding the central medallion.

The surface of the revetment is characterized by a variety of texture: the brightest, shining, and most important images are located in the most prominent areas. The figures of saints and the Savior stand out in relief, rising above the smooth background that is decorated with a delicate pattern resembling precious oriental fabrics. Thanks to color accents and a combination of gold and silver, the revetment creates a picturesque effect, although no paints were used for decoration.

The central scene is surrounded by a rhombus-shaped frame with keel-shaped tops. Above the Deesis, angels hold the Cross of the Crucifixion and the Instruments of the Passion. The Deesis is distinguished by the names of all the characters inscribed on four plaques, corresponding to their hierarchy. The uppermost plaques closer to Christ feature abbreviations of His name and next to them, the abbreviations indicating the one addressing Him. On the left-hand plaque (from the viewer’s perspective), there are inscriptions “the Virgin Mary” and “Jesus” (IC), and on the right-hand plaque, “Christ” (XC) and “John the Baptist”. The two bottom plaques feature the name of Christ the Judge, “Christ Pantocrator.”

Such a richly decorated revetment indicated the church’s status, the congregation’s prosperity, and the piety of its patrons and the most active church-goers. The materials also mattered symbolically. Imperishability and beauty are among the most significant characteristics of church utensils.