Theotokos of Vladimir in the context of "Vladimir, Russia"

The perpetual virginity of Mary is a Christian doctrine that Mary, the mother of Jesus, was a virgin "before, during and after" the birth of Christ. In Western Christianity, the Catholic Church adheres to the doctrine, as do many Lutherans, some Anglicans, Reformed, and other Protestants. In Eastern Christianity, the Oriental Orthodox Churches and the Church of the East both adhere to this doctrine as part of their ongoing tradition, and Eastern Orthodox churches recognize Mary as Aeiparthenos, meaning "ever-virgin". It is one of the four Marian dogmas of the Catholic Church. Most modern nonconformist Protestants, such as the Plymouth Brethren, reject the doctrine.

The extant written tradition of the perpetual virginity of Mary first appears in a late 2nd-century text called the Protoevangelium of James. The Second Council of Constantinople in 553 gave her the title "Aeiparthenos", meaning Perpetual Virgin, and at the Lateran Synod of 649 Pope Martin I emphasized the threefold character of the perpetual virginity, before, during, and after the birth of Christ. The Lutheran Smalcald Articles (1537) and the Reformed Second Helvetic Confession (1562) codified the doctrine of perpetual virginity of Mary as well.

In Christian art, a Madonna (Italian: [maˈdɔnna]) is a religious depiction of the Blessed Virgin Mary in a singular form or sometimes accompanied by the Child Jesus. These images are central icons for both the Roman Catholic and Orthodox churches. The word is from Italian ma donna 'my lady' (archaic). The Madonna and Child type is very prevalent in Christian iconography, divided into many traditional subtypes especially in Eastern Orthodox iconography, often known after the location of a notable icon of the type, such as the Theotokos of Vladimir, Agiosoritissa, Blachernitissa, etc., or descriptive of the depicted posture, as in Hodegetria, Eleusa, etc.

The term Madonna in the sense of "picture or statue of the Virgin Mary" enters English usage in the 17th century, primarily in reference to works of the Italian Renaissance. In an Eastern Orthodox context, such images are typically known as Theotokos. "Madonna" may be generally used of representations of Mary, with or without the infant Jesus, where she is the focus and central figure of the image, possibly flanked or surrounded by angels or saints. Other types of Marian imagery that have a narrative context, depicting scenes from the Life of the Virgin, e.g. the Annunciation to Mary, are not typically called "Madonna".

A palladium or palladion (plural palladia) is an image or other object of great antiquity on which the safety of a city or nation is said to depend. The word is a generalization from the name of the original Trojan Palladium, a wooden statue (xoanon) of Pallas Athena that Odysseus and Diomedes stole from the citadel of Troy. It was supposedly later taken to the future site of Rome by Aeneas, where it remained until perhaps transferred to Constantinople and was lost after the Empire converted to Christianity.

In English, since around 1600, the word "palladium" has been used figuratively to mean anything believed to provide protection or safety, and in particular in Christian contexts a sacred relic or icon believed to have a protective role in military contexts for a whole city, people or nation. Such beliefs first become prominent in the Eastern Churches in the period after the reign of the Byzantine Emperor Justinian I, and later spread to the Western church. Palladia were processed around the walls of besieged cities and sometimes carried into battle. In this more offensive role they may also be referred to as "vexilla" (singular vexillum, Latin for "battle standard").