Romanian icon from the beginning of the 20th century

Romanian icon from the end of the 19th century.
"Virgin and Child on a ball".
Painting on wood. Silver-plated metal oklad.
Size: 20 x 15,5 x 2 cm; 29 x 19 cm (frame).
This icon depicts the Mother of God half-length, with her head slightly bent, holding the Child Jesus in her left arm, pointing to him with her right arm, an iconography known as Tikhvinskaya. This is one of the most common depictions of the Mother of God and Jesus in Orthodox iconography. With the indicative gesture, the Virgin tells the viewer that the Truth is behind the Child Jesus and all those who will follow Him. The Child, moreover, holds in one hand the royal orb (the ball) as a symbol of his power over the world. The iconography of the Child of the Ball alludes to the universality of Christian doctrine, and consists of the representation of the Child Jesus with a sphere representing the universe, placed in his hand or under his feet. It is a Triumphant Child, Saviour of the World, and symbolises the idea of Jesus as man and saviour, lord of the whole Earth, which he redeems by his death and resurrection. It combines divine power and grace with the happy innocence and humble condition of God incarnate: the omnipotence of the Son, being a child with the orb in his hand, like a little boy with his ball.
The interest of this lot lies largely in the oklad, the gilded silver plate that covers part of its surface. The tradition of decorating icons with oklad appeared after the mandate of the Most Holy Ruling Synod of 1722, when it was forbidden to hang metal crosses on icons and to leave offerings in the form of coins, as this tradition had pagan roots. This applied decoration is found almost everywhere in the world, but is most widespread in Central and Eastern Europe. And in the Orthodox tradition, the manufacture of these items became a separate type of art and craft: many travellers noted with admiration in their diaries the luxury of Ukrainian and Russian shrines. The material for the specialised craftsmen was precious metals, brass, copper and even tin. The wrought-iron base was completed with semi-precious stones, reliefs, engravings, enamels, filigree, stained glass and enamels. The back was lined with soft red or purple velvet, or covered with wax. There were also embroidered oklads, in which the sturdy fabric was decorated with pearls and beads.
Oklads have not only an aesthetic purpose, but also a practical one. Icons painted on wood suffer from candle soot, humidity, temperature fluctuations and are constantly touched by parishioners. The paint also darkens, fades, cracks, crazes and rubs off. The oklad or "curling", another term used, protects the icons from damaging effects, prolonging their lifespan.
As with icon painting, the materials used in making a decorative oklad have their own particular symbolism, which can tell a lot about the icon hidden underneath. For example, in the case of the auctioned icon, the main material, silver, symbolises purity and virtue, deliverance from sins and salvation of the soul.