Among all forms of veneration of icons, the most visible expression of piety became the riza - the cover that envelops the icon itself. This tradition has its roots in Byzantium, but it blossomed with particular splendor in Russia, transforming into a distinct form of jewelry art.

The first rizas were simple: thin silver sheets that echoed the contours of halos and garments. By the 16th century, masters from the Armory created covers that could rival the best works of Western European jewelers. Gold and silver, enamel and precious stones, pearl inlays and embossed ornamentation - all of this turned the icon into a relic worthy of royal veneration.
The riza also carried a profound theological meaning. Only the face and hands remained uncovered - the parts through which the saint reveals themselves to the supplicant. The rest was hidden beneath metal, expressing the impossibility of fully grasping the spiritual essence. The cover is not merely an ornament, but a confession.
The art of the riza reached its peak in the 17th to 19th centuries. Moscow and Yaroslavl masters, Kostroma silversmiths competed with each other in the intricacy of their work. Regional schools emerged with recognizable styles: the restraint of Pskov, the flamboyance of Yaroslavl, the capital's brilliance. Inlaid rizas became monuments to historical events - victories in battles, deliverance from illness, the birth of an heir.
The revolution cruelly interrupted this tradition: thousands of covers were melted down during the confiscation of church valuables. The survivors scattered across museums and émigré churches. Today, an authentic riza from the 18th century is a rarity in the antique market.