The icons created in the Rybotychi work­shop share the same iconography, which shows that the painters used common samples. They are also united by the use of color, painting techniques, carved elements of the decoration, andframes design. However, the pro­fessional level of the works is different. In the 1730s — 1750s, the professional quality of icons, painted in the style of masters from Rybotychi, falls significantly. Since 1740—1750s we do not know any work with a sig­nature. Not many works with the date of painting sur­vived. In our study, icons are dated by the manner of painting, iconography, and, in some cases, by the time of the church construction to which they were intended. A few trends indicate a decline of activity of the work­shop. Rybotychi masters used old painting techniques without introducing new ideas that would give a new impulse to the workshop development. A comprehen­sive study of the 1730—1750s activity of Rybotychi mas­ters reveals monotonous repetition in their works. The saints are painted in more or less identical poses, with the same gestures and attributes. Analysis of recent publications. Late period of the Rybotychi workshop activity, with few exceptions, was not studied. However, in publications about churches, which have icons of this period (of the Rybotychi mas­ters in particular), as well as in the publications about icon painting in eastern Slovakia, these icons are men­tioned as of the Rybotychi masters ’ authorship. The purpose of the article is to study the works of anonymous master — the author of the apostles icons of the 1730—1740s Deesis tier from the iconostasis of the Church of the Nativity of the Virgin in Rakova, Lemko region (the municipality of Tyryava Voloska of the Pod- karpackie Voivodship of Poland, stored at the Museum of Folk Architecture in Sanok), in the context of the per­ception of his work in the society of that time. As the manner of the painting suggests, the author of the Deesis tier from Rakova belongs to semi-professional masters who worked in the Rybotychi workshop at the end of its activity. Icons from other churches were attrib­uted to him on the basis of a distinctive painting man­ner. This particular master painted the Deesis tier for the old iconostasis of the wooden church of St. Paraskeva in Horyanka, built in 1718 (eastern Lemko region, munici­pality of Solina, Subcarpathian Voivodeship in Poland). The central icon of this tier and fragments of three other icons from its left part with the images of the apostles Thomas, Jacob, and Andrew are still in the church, that serves for the Roman Catholic parish. Icons of the author of the apostles from Rakova church were also found in three churches of the southern Lemko region (eastern Slovakia). He painted the iconostasis for the church of St. John the Baptist in Kalna Roztoka (Presov district, Slovakia). Three icons of the Sovereign tier were redone: St. Nicholas in 1802 and Christ and the Virgin in 1771 (according to the inscriptions on icons). Two other iconostases he painted for the St. Nicholas church in Ruska Bystra (Kosice district, Slovakia) and for the church of St. George in Yalova (Presov district, Slovakia). All three churches are located in one neigh­borhood and perform their sacredfunction. The icons of this master are distinguished by the dis­proportion of figures. Lower parts of the figures of the apostles are quite short in comparison to the big shoulders and large heads. The master’s manner can be recognized by rounded faces with elongated eyes, distinctive eyelids, raised eyebrows (which makes some saints appear amazed), jagged noses with wide nostrils, and middle-aged men with short mustaches that grow from the corner of the mouth. Saints ’faces show a light smile. The outlined features of painting probably did not look nice for the more educated viewers who were familiar with the development of the late Baroque art. Most of guild masters and craftsmen of the time were guided by Western European art with its skillful painting of figures, nuances of color, and realistic landscape with spatial perspective. That is why the leadership of the clergy of the Peremyshl Diocese was concerned with the late Rybotychi icon painting and issued a special diocesan order of 1766. The document prohibited purchase and placement in churches the icons, painted by Rybotychi masters and other imperfect painters, that were on sale on various fairs. This order is a valuable source for un­derstanding the distribution channels of Rybotychi icons of that time. On the other hand, it shows that Rybotychi workshop was still active in the 1760s. Conclusions. The studied works show that the author of the icons of the apostles from the iconostasis of the Church in Rakova worked in the 1730s — beginning of 1750s. Five ensembles of icons of this painter are known — two incomplete from Rakova and Horyanka and three iconostases in churches of Kalna Roztoka, Ruska Bystra, and Yalova. We assume that in this dis­tant from Rybotychi southern Lemko region, the mas­ter worked in the 1740s and the beginning of 1750s. As it usually happened, after finishing his project for one church, he was probably invited to the others. His technique suggests that the artist worked quickly and probably did not ask for large amounts of money. This “simple Rybotychi work”, as some visitors wrote in the mid 18th-century church descriptions, became the end of the workshop activity. The entire direction of icon painting that was grounded on the old tradition has disappeared. In the second half of the 18th century in Lemko region, icons and iconostases would imitate Western-style Rococo or Classicism.