Icoana este pictată pe sticlă, cu reprezentarea Sfinților Împărați Constantin și Elena, îmbrăcați în veșminte împărătești, redați de o parte și de cealaltă a crucii. Deasupra Sfinților este înscris textul: „Constantin

The image is executed in tempera or enamel on glass, a technique common in Byzantine and post-Byzantine traditions. Colors are applied in flat, opaque layers with minimal shading, enhancing symbolic clarity. The outlines are sharp, and the composition is rigidly symmetrical, prioritizing spiritual order over naturalism. The floral borders and sky elements are rendered with decorative precision, reflecting liturgical aesthetics rather than landscape realism.

Glass icons of this type were produced primarily in the Balkans and Romania between the 17th and 19th centuries, often for private chapels or church altars. The use of wood slats to secure the glass to its frame suggests local craftsmanship. While the exact origin of this piece is undocumented, its iconography aligns with devotional practices in Orthodox communities where imperial saints were venerated for their role in establishing Christian institutions.

The depiction of Constantine and Helena alongside the cross reflects a broader tradition in Orthodox iconography that links imperial authority with divine favor. Such icons were not merely decorative but served as focal points for prayer and remembrance. Their presence on glass—more durable than wood—indicates a desire for longevity and protection, particularly in domestic or portable religious settings where resilience mattered.

This icon exemplifies a regional adaptation of Byzantine models, preserving doctrinal themes through accessible visual language. Though less studied than panel icons, glass icons like this one played a vital role in sustaining Orthodox piety in rural and domestic contexts. Their survival offers insight into the continuity of devotional practices and the material culture of faith in Eastern Europe during the early modern period.