[2] Shown in the icon's composition are important figures such as the Virgin Hodegetria, her child Jesus, and eleven saints and martyrs associated with the Triumph of Orthodoxy.

[4][5] During the seventh century, the Constantinople’s Orthodox faith saw iconoclasms due to Islam’s dominance in the region and their practice of aniconism.

[2] In 842, icon veneration became an acceptable practice again in the Orthodox church with the endorsement of Empress Theodora and the death of iconoclast Emperor Theopilos.

[1][2]Under the later coming threat of Islamic conquest, the Triumph of Orthodoxy on the first Sunday of Great Lent was created to be a reminder of perseverance that led to the end of the Byzantine Iconoclasm.

[4] Created in a style typical of Byzantine artwork, the composition of the icon uses elements of spirituality to overall represent a ceremonial feast between members of the Orthodox church.

[6] The image was a proliferant icon in the early Byzantine era due to its power in showing populations the way to the Christian faith.

[6] The Hodegetria is being held up by two angels while to the left stand Empress Theodora and her son Michael III, who were responsible for ending Iconoclasm in 843.

[2][8] The feast depicted in the composition of the work represents members and saints of the Orthodox faith commemorating the Triumph of Orthodoxy.

[11] Theophylact of Nicomedia similarly condemned iconoclastic rule; he prophesied the death of Emperor Leo V the Armenian, and was exiled to Fortress Strobil where he died.

[6] Many similar icons are created with St. Luke’s original composition to capture and reproduce the same moment in time for its spiritual power.

[3] The usage of gold leaf to illuminate the icon also plays a role in providing the figures to be backed on a space that is indiscernible, timeless and incorporeal from reality in its image and message.