
Dear brothers and sisters, I am sure all/ most of you are familiar with Andrei Rublev’s Troitsa (Russian for Triune or Trinity). I have studied this icon in the past, this Trinitarian interpretation of Gen. 18:1-16, the episode in which “three men” visit Abraham and Sarah and promise them a son. Last week, however, I listened to a homily on Pentecost and the Holy Trinity in connection with this icon, and I discovered new insights which I was not familiar with.
This icon hails from the summit of a more-than-thousand-year-old iconographic tradition, yet what I found most moving and inspiring is its message, specifically the impact of the importance of the Holy Trinity on our daily lives, not as an object of abstract theological debate, but rather a referral to our living relationship with God the Father, God the Son, and God the Holy Spirit.
Let me explain, and let us open ourselves up and experience the reality that the Father, the Son, and the Holy Spirit are indeed real and insistently call us to participate in their loving communion.
1. The Trinity Is One

The Catechism 253 is clear in saying: The Trinity is One. We do not confess three Gods, but one God in three persons, the “consubstantial Trinity”. The divine persons do not share the one divinity among themselves but each of them is God whole and entire. In the words of the Fourth Lateran Council (1215), “Each of the persons is that supreme reality, viz., the divine substance, essence or nature.
Symbolizing the fact that the three divine persons are of equal essence, we see:
– All three angels are the same in form and size
– All three carry the same staves in their hands
– All three sit on the same type of throne
– Each figure is clothed in the same types of garments – chiton and himation – which are individually distinct.
– The characteristic tone of the garments works with a limited palette of colours: purple, pale green, and the one colour that is common to all three – an intense blue.
2. The divine persons are really distinct from one another
The Catechism continues in number 254 to explain: “The divine persons are really distinct from one another. God is one but not solitary.” “Father”, “Son”, “Holy Spirit” are not simply names designating modalities of the divine being, for they are really distinct from one another. They are distinct from one another in their relations of origin: “It is the Father who generates, the Son who is begotten, and the Holy Spirit who proceeds.” The divine Unity is Triune.
3. The Monarchy of the Father
While the traditional icons of this episode usually accentuated the central angel (the Son) through its frontal attitude and often its size, here Rublev does something different:
The central angel and the one on the right incline towards the one on the left and look towards it, while the one on the left looks towards the one on the right, giving the indication of the relationship between the three persons.
As such, it is the angel on the left that becomes the centre of the relationships. This follows the Oriental tradition, which considered the source of the unity and of the Godhead to be, not an essence lying behind the persons, but the person of the Father.
4. The Angel on the Left – The Father

When speaking of icons, in reality, one doesn’t say that he or she has “painted” an icon. They are “written” and “read”, going from left to right. Let’s now take a look at each individual angel, beginning on the left, and try to recognise the particular aspects. We can distinguish the angel on the left from the others, seeing that:
– He alone sits upright while the other two incline towards him.
– Seeing that the Father is still invisible for us, His form is almost completely veiled, allowing us to catch only a glimpse of the radiant blue (symbol of divinity) of His chiton. We can only hope to see him from “behind” through the beauty and wisdom of His creation, which is here represented by the mantle. The mantle bears royal colours: gold and red with a greenish reflection, symbol of life.
– Both hands bear a firm grip on his stave, which is pointed towards the earth. All authority of the heavens and the earth belongs to Him.
– The house, rising immediately behind him, points to the Father, for “in my Father’s house are many rooms” (Jn 14:2). It is also a symbol of hospitality, seeing that Abraham and Sarah were recompensed for the hospitality that they offered.
5. The Angel in the Middle – The Son

In the Icon, we can discover the following distinguishing characteristics of the son:
– He wears a dark purple chiton decorated with two stripes, one of which is visible – stripes worked with gold. The costly purple and gold represent his being the “anointed of God,” king and prophet in one. The reddish brown colour represents the earth and therefore his humanity and his martyrdom for all mankind. Christ is fully God and fully man.
– While the azure blue chiton of the Father is scarcely visible, that of the angel representing the Son is the prevailing colour. This is because it is Jesus the Son who has revealed his “glory” which he has as the “only-begotten of the Father”. The disciples have seen and touched this (Jn 1.14), and the mission of every disciple is to bear testimony of this fact.
– The tree that rises behind the Son is a symbol of both the Tree of Life (from Genesis) and the Wood of the Cross. On the Cross the Son transforms this tree of death into a tree of life whose fruits are passed on to us through our baptism in the Holy Spirit.
Let us always remember that we, too, are called to follow Christ along the paradoxical path of the cross that carries the sufferings of this world and allows this, through the Holy Spirit, to be transformed into new life.
6. The Angel on the Right – The Holy Spirit

The Holy Spirit’s personal being has been revealed; his countenance has not. The only thing we know about him is through his relationship to the Father and the Son.
– Like the Son, the Holy Spirit is inclined towards the Father, from whom he proceeds according to the teaching of the Bible (Jn 15:26).
– Like the Son, the chlamys is worn in such a way that leaves an arm free. Here, instead of the right arm, it is the left. Those follow the line of thinking proposed by St. Irenaeus who said that the Son and the Spirit are equally the two “hands” of the Father, through which he works everything.
– Like the Son, the heavenly azure blue is clearly seen.
– We also discover in his chlamys a pale green which, in Russia at least, is the liturgical colour of Pentecost. Here, the idea is that green represents new life in the Spirit, who is the “Giver of Life” and who transmits and transforms our lives through our baptism. We see this same pale green on the ground on which all three figures find themselves.
– Finally, behind the angel, we see a rock protruding. Like the Son and the Holy Spirit, the rock seems to be bowing down towards the authority and glory of the Father. We are invited to do the same.
– The rock can be understood as a symbol of earth, whose “face is renewed by the Spirit”. Earlier copies of the icon show that the rock was originally cracked, which would lead us to recall the rock that was split by Moses’ staff, causing living water to flow out (Ex 17.6).
– The rock/mountain is also a privileged place to encounter God. There, heaven and earth embrace one another as they did when Moses encountered God on the mountain. It is a place that is often difficult to reach, requiring a certain silence, asceticism, and renunciation of the daily comforts the world and its routines offer us. We all need to keep an eye out for these “mountains” in our lives.
7. Postures and Gestures

8. The Original Painting
Copyists and retouchers have made significant changes over the years. Originally, the Son’s hand was pointing towards the Holy Spirit, instead of the blessing gesture that we now see. …The Son’s right hand seemed to point at the chalice; yet, at the same time, it points beyond towards the Spirit.
The artist’s attention was thus more directed at the Spirit. This is confirmed by the Father’s posture and gesture as he is looking at the Spirit, to whom his right hand, raised in blessing, is directed. The Spirit also seems to corroborate this in the fact that he humbly bows his head before the Father. His right hand also seems to want to underline this movement.
Please note that the Holy Spirit also touches the table because he also comes to the world.
9. The Decisive Moment for our Salvation
This scene has often been interpreted to be the moment when the Father decided to send the Son, through the Holy Spirit, to save humanity (us).
As we see in the image below, it is the Father, who is at the origin of it all, who calls the Son and indicates the cup of sacrifice in the centre of the table. The Son comprehends the Father’s will (to become man’s bread of life) and accepts, bowing his head and blessing the cup.
The Holy Spirit, also known as the Comforter, the Paraklete, also accepts the will of the Father. He rests his hand on the table as he looks towards the Father, indicating his obedience to the Son (no one can call upon “Jesus Christ” without the Holy Spirit) and His trustful abandonment to the Father.
10. The Symbol of Sacrifice

With careful observation, one can note how the middle angel seems to be contained within the shape of a cup whose contours are formed by the other two angels. Similar to the reflection just mentioned, here we see how the act of salvation is one of the Holy Trinity. As the Filarete, metropolitan of Moscow, once commented in 1816:
“The cup, a point of convergence between the three, contains the mystery of love of the Father who crucifies, the love of the Son who is crucified, and the love of the Holy Spirit who triumphs with the force of the cross.”

While the three figures form a circle, it is not closed in on itself. It is a circle of communion which opens and offers space for another. While their gaze is aimed towards one another, the reversed perspective means the faces are, in a sense, facing the observer as well. As such, the spectator (that’s you and me) is invited and welcomed to participate as the fourth link in this mystical chain.
11. The Altar and the Eucharist

As we have just seen, in this Trinitarian circle of love, there is always space for another, and open space in which we are invited not only to observe but to participate.
At the centre of the encounter, there is a table/altar where we also see a small box/window. This space is where relics of the martyrs are deposited.
When asking ourselves how we are called to participate, here and now, the icon invites us to participate in the celebration of the Eucharist (the altar) and to live our lives as martyrs, as witnesses of the resurrection who, following the school of Jesus, are willing to give our lives for others and for the faith.
It is probably this last “detail” of the small box/ window where the martyrs’ relics are deposited that I find so amazing! What an invitation our Lord extends to each one of us! We are all invited to live our lives as martyrs! Glory to God for all things!
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Cf. Gabriel Bunge, The Rublev Trinity; Garrett Johnson, St. Thomas Aquinas Parish, Manchester, for the images and the insights


















































































