After the Ascension of the Lord, the eleven apostles, the Virgin Mary, and other women remained together in Jerusalem. During these days, Peter addressed the 120 disciples of Christ, reminding them that one of the Twelve — Judas Iscariot — had betrayed Christ and, according to tradition, ended his life by suicide. Thus, Peter stated that Judas’ place should be filled by another. By casting lots, Matthias was chosen (Acts 1:15-26), who should not be confused with Matthew the Evangelist.

On the day of Pentecost, celebrated in the Jewish tradition both as the Feast of Harvest and the day marking the giving of the Law at Sinai (Exodus 19:1-25), the apostles were gathered in one house. Suddenly, there was a sound from heaven like a rushing wind that filled the house. Tongues of fire appeared and rested upon each of the apostles, who were filled with the Holy Spirit and began speaking in various tongues (Acts 2:1-4). Many devout Jews from different nations, who were in Jerusalem at that time, gathered upon hearing the commotion and were astonished to hear the apostles speaking in their native languages. Some skeptics accused the apostles of being drunk, but Peter, along with the others, began preaching, citing Old Testament prophecies and proclaiming Christ as the Messiah. That day, many believed and repented (Acts 2:5-41).

The New Testament Pentecost symbolizes the birth of the Church, united by the Holy Spirit.

Iconography

The Descent of the Holy Spirit is one of the twelve feast icons in the festive tier of the iconostasis. The apostles are traditionally depicted seated in a semicircle or two rows. As noted by V. Yarema, the icon from Radruzh features apostles seated on a triangular bench forming a right angle — a unique feature in Ukrainian iconography absent in Byzantine prototypes. Such adaptations demonstrate the contextual creativity of local iconographers.

Early icons often incorporate stylized yet contemporary furniture and architectural elements, while by the 17th century, depictions become more realistic. In the composition, Paul is frequently included among the apostles despite his absence from the Pentecost narrative, due to his significance in spreading Christianity. Above the apostles’ heads, tongues of fire symbolize the descent of the Holy Spirit.

In the lower part of the composition, a figure of an elderly king in an arched niche represents Cosmos. Galyna Druziuk notes that this figure combines attributes of the world ruler (Kosmocrator) and the personification of the heavens (Coelus). His mantle holds twelve scrolls, symbolizing the gifts of the Holy Spirit. One of the clearest examples is found in the icon from Stara Skvariava. By the late 16th century, the depiction of Cosmos began to disappear, replaced by the inclusion of the Virgin Mary seated on a throne among the apostles.

An exceptional example is the icon from Volytsia, where both the Virgin Mary and Cosmos are depicted. The latter takes the form of a blue orb with a celestial map, illustrating the intellectual engagement of Ukrainian artists with the symbolism they employed.

The upper part of the icon typically includes architectural structures draped with a red veil, symbolizing an interior setting. The sky features a mandorla or clouds emitting rays of light. In later icons, the Holy Spirit is depicted as a dove or, occasionally, the entire Trinity is shown.