ST. GEORGE AND THE DRAGON
Marienburg
Castle 1683
Saint
George and the dragon is a medieval variant on the theme of the Ruler
defeating his Enemy. In iconography, this theme is represented by the
depiction of the monarch in question in a heroic stance with a figure lying
underneath representing the enemy. Sometimes it is shackled or held in some
awkward position. In the
time that the prince is depicted on horseback, the conquered person is
usually under the hoofs of the horse. In Christian symbolism the human figure was replaced at some time, but certainly in the early Middle Ages by a monster in the shape of a dragon. This dragon represents the Enemy in general, but in particular the pagans who actually meant everyone who did not adhere to the Roman version of Christianity. The combination of a religious symbol and a horseman gave the possibility to qualify the latter as a saint and this saint is usually referred to as the Georgius (St. George) who can be seen as the personification or supreme commander of the Militia Christi. In this capacity, from the end of the 12th century, he wears the Ecclesia coat of arms with a red cross on a white field. In the countries under the direct influence of the Holy See, St. George became the patron saint. Aragon, Portugal and England can be mentioned. |
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An early depiction of a Ruler defeating his Enemy is
on the Relief
depicting the pharaoh Thutmose III (1504-1450)
smiting his enemies
at the Battle of Megiddo around 1457 BC, on the north wall of the great
hypostyle court, Karnak Temple Complex. Here the ruler
grabs his defeated enemies, kneeling before him, by the hair. Another early depiction of a Ruler defeating his
Enemy is on the so-called Bisotun Relief in Iran. On it is a long inscription
and a representation of Darius (521-486) trampling his enemy Gaumata, lying
on the ground before him with his foot. The
allies of Gaumata, cuffed, are standing in a row before him. Darius tramples Gaumata Relief of King Darius, Bisotun |
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Later the ruler was
replaced by a rider and that is the form the ruler defeating his enemy took
in iconography. Rider tramples
enemy Socalled Hallstatt scabbard, 5th cent. BC
Complete reconstruction (in colour) of a Jupiter
column at Schwarzenacker. (ca. 60AD) (Modification of a photograph by LoKiLeCh, CC BY-SA |
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A Roman tombstone of the
first century A.D. found at Gloucester, showing
a Thracian Roman cavalryman defeating an enemy. COMNISCIA /
VEDILLI F AMBI / AN EQ-ALA / INDIANA TVR / MA CELTA EAN / XXV STIP VII H SE /
HERES EX TES TFEC |
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Jupiter-Rider Seltz. Preserved at the museum of Haguenau,.This Jupiter
is represented on horseback, he holds in hand a lightning and overpowers a
serpent legged giant (whose lower extremities end in snake tails). More than
200 of these groups are known in Roman Gaul and Germania, but the highest
concentration is found on both sides of the northern Vosges, in the territory
controlled by the Médiomatriques (Bewlgian Gauls) before the conquest. The
rider is dressed in paludamentum.
He is likened to a sidereal god, Taranis, master of the seasons and atmospheric
phenomena among the Celts, and interpreted as Jupiter. The serpent legged
giant, represents the moist earth, the underground world, on which Jupiter
will launch his lightning. Thus Jupiter will make spring water fall on earth
and trigger the rain, always beneficial to agriculture. Foto H.d.V. 01.2006 Jupiter Taranis represented
in the form of a horseman slaying an serpent legged monster. The
group is placed on the capital and the original scaled column. H.:
ca. 75 cm. Seltz. (Musée Historique, Haguenau (Bas-Rhin)) The
accompanying commentary in the museum reads: The rider
killing a monster with the lower body of a serpent stands for the
"Jupiter Taranis" or "Thunder God", often depicted in
eastern Gaul (i.e. Germania 1 & 2), who was equated with Roman Jupiter.
These riders, always standing on a pillar, were usually near farms or even in
the yard of the estate itself, where they were apparently credited with some
sort of protective function for the good of the harvest. |
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I-2
Gravestone C. Romanius Capito rides down an adversary. Behind him his
groom Findspot:
Zahlbach near Mainz (BRD) Mittelrheinisches Landesmuseum Mainz (BRD) 2nd half. 1.
cent. A.D. C(aius) ROMANIUS EQ(ues) ALAE NORICO(rum) CLAUD(ia itribu) CAPITO CELEIA AN(norum) XL STIP(endiorum) XIX H(ic) S(itus) E(st) H(eres) EX T(testamento)
F(aciendum) C(curavit) Caius
Romanius Capiti, Rider from Ala Noricorum, from the recruiting district
Claudia, of the city Celeia (Celje/Cilli in Slowenia), 40 years old 19 years
of service is buried here. The heir has, according to the will, ordered the
grave Foto H.d.V. aug. 2005 Polychromized copy in the Roman Museum of Tulln
(Austria) |
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Foto H.d.V. 2001 The Emperor tramples his Enemies 2nd cent. A.D Gallo Romeins Museum,
Tongeren. |
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Foto H.d.V. ‘99 Replica of a 3rd century column discovered in 1878
in Merten. Erected
Rue Serpenoise, the ancient Via Scarponensis in the axis of the Cardo Maximus
of Gallo Roman Metz. Its base is
decorated with the statues of Apollo, Juno, Minerva and Hercules and its
capital of busts of the seasons. At its
summit is a Jupiter-rider associated with the Gallic god Taranis, slaying the
serpent-legged monster with a bust of a man and a snake's body. Symbol of
Gallo-Roman civilization, it evokes prosperity and renewal. The original is exposed at the “Musée de la Cour d’Or” in Metz Inaugurated on 10 February 1989 by Mr. Jean Marie Rausch, Mayor of
Metz, Minister of Internal Trade in the presence of Mr. François Grasmuck,
Mayor of Merten and his City Council |
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Immediately
on the publication of the decree against the churches in Nicomedia, a certain man, not obscure but very highly
honored with distinguished temporal dignities, moved with zeal toward God,
and incited with ardent faith, seized the edict as it was posted openly and
publicly, and tore it to pieces as a profane and impious thing; and this was
done while two of the sovereigns were in the same city,—the oldest of all,
and the one who held the fourth place in the government after him. But this
man, first in that place, after distinguishing himself in such a manner
suffered those things which were likely to follow such daring, and kept his
spirit cheerful and undisturbed till death. Accounts
differ regarding whether George was born in Cappadocia or Syria Palaestina,
but agree that he was raised at least partly in Lydda in Palestine. His
parents were Christian, of the nobility and of Greek heritage. His father
Gerontius was a Roman army official from Cappadocia, and his mother
Polychronia was from Lydda in the province of Syria Palaestina. His father
died when he was fourteen, and his mother returned with George to her
homeland of Syria Palaestina. A few
years later, George's mother died. At seventeen, he traveled to the capital
at Nicomedia and following the customary course of a young Roman noble,
joined the Roman army. By his late twenties, George was promoted to the rank
of military tribune and stationed as an imperial guard of the Emperor at
Nicomedia. One story
has him traveling to Britain with the future emperor Constantine and visiting
Glastonbury and Caerleon. Years later, George was promoted to the rank of legatus On 24
February 303, Diocletian, influenced by Galerius, issued an edict that every
Christian soldier in the army should be degraded and every soldier required
to offer sacrifice to the Roman gods. Seeing the edict, George freed his
slaves, distributed his wealth to the poor, and prepared to meet his fate. He
then confronted the emperor about the edict and declared himself to be a
Christian. Diocletian attempted to convert George, offering gifts of land,
money, and slaves if he would sacrifice to the gods, but the tribune refused.
Recognizing the futility of his efforts and insisting on upholding his edict,
Diocletian ordered that George be arrested. In an effort to undermine his
resolve, the emperor sent a woman to the prison to spend the night with
George, who having little time for earthly concerns managed to convert her
instead. George was executed by decapitation before Nicomedia's city wall, on
23 April 303. A witness of his suffering convinced Empress Alexandra of Rome
to become a Christian as well, so she joined George in martyrdom. His body
was returned to Lydda for burial, where Christians soon came to honour him as
a martyr. 6 Patronages
Æ https://en.wikipedia.org/wiki/Saint_George George (Arabic: جرجس Jiriyas or Girgus) is included in some Muslim
texts as a prophetic figure. The Islamic sources state that he lived among a
group of believers who were in direct contact with last apostles of
Jesus. He is described as a rich merchant who opposed erection
of Apollo's statue by Mosul's king Dadan. After confronting the
king, George was tortured many times to no effect, was imprisoned and was
aided by the angels. Eventually, he exposed that the idols were possessed by
Satan, but was martyred when the city was destroyed by God in a rain of fire |
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Sutton Hoo helmet plaque. 625 AD ca Rider trampling his enemy from Pliezhausen ca 650AD |
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Louis the Pious Lothair |
† 840 Imperator Augustus
813 - 833 / 834 - 840 King of Francia 814 – 840 Co-emperor 817 - 840 |
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Arcus Einhardi BNF, Paris Ms fr. 10440,
fol. 45 Drawing
from the 17th century of a reliquary shrine in the shape of a triumphal arch,
made in Maasland around 820. The reliquary shrine, that is only known from
this copy (Fulda, Landesbibliothek. Domschatz cod Bonif., II). was made by
Egingardus, lay abbot of the St. Servase in Maastricht. It is the oldest
work, richly decorated with figures, that we know of the Carolingian
goldsmith's art. The
drawing shows a spread sheet of the triumphal arch. The facades are divided
into three levels. On the top level stands Christ and his disciples and also
the assignment of the arch: AD TROPAEVM AETERNAE VICTORIAE SVSTINENDVM EINHARDVS
PECCATOR HVNC ARCVM PONERE AC DEO DEDICARE CVRAVIT between the two archangels. (This arch
supporting the sign of eternal victory and its dedication to God is the work of the the
sinner Einhard). This Peccator
Einhardus is Einhard, the biographer of Charlemagne (*775-†840). On the
second level are the apostles with their symbols and two biblical scenes.
Above the gate, on one side, is the Imperial Cross within a circle and, on
the other, the XP-cypher, within a wreath. Finally,
warriors are depicted on the level. Judging by the date of origin of the
shrine, they are Louis the Pious and his sons: Lothar (* 795), co-emperor
since 817, Pippin (* 803 ca.) and Louis the German (* 804 ca.). (At that
time, Charles (the Bald) was not yet born) The
emperor and his sons wear shields: Louis the Pious a shield with a decorated
edge with in the field two lily crosses between four besants (the national
symbol). Lothar a shield with a decorated edge and in the field four lilies
cross wise (the symbol of the co-emperor or Caesar?). Pippin a shield with a
decorated border with four five-pointed stars in saltire between four
rosettes. Louis the German has a shield with an unprocessed border and four
five-pointed stars in saltire between four rosettes. There are
four ensigns on the short sides of the gate. The banners consist of a stick
with a transverse bar to which a rectangular cloth is attached, finished at
the bottom with beads, coins or frills. In the passage of the gate are two
horsemen with spear and shield that pierce a serpent (not a dragon). On this
reliquiary Louis the Pious is represented with his sons Lothair (*795), Pepin
of Aquitaine (*797) and Louis the German (*804). He himself has a shield
charged with square crosses. If Louis the Pious and his sons are represented
indeed, the Reliquiary may be dated at the end of the 1st Civil War (831). Inscription:
AD
TROPEVM AETERNAE VICTORIAE SVSTINEMNDVM EINHARDVS PECCATOR NVNC ARCUM PONERE
AC DEO DEDICARE CVRAVIT.
(This arch supporting the sign of eternal victory and its dedication to God is the work of the the
sinner Einhard). This
Peccator Einhardus is Einhard, the biographer of Charlemagne (*775-†840). For the
cross which the arch is supposed to have carried the so-called Cross of
Charles the Bald qualifies. This cross was until the French revolution a part
of the Royal Treasury. [1] |
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43 Repoussé icon of St. George on horseback.
Labedchina. Early 11th century. The Georgian Museum of Fine
Arts, Tblisi. |
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44 Repoussé icon of St. George on horseback. Saakao.
Early 11th century The Georgian Museum of Fine
Arts, Tblisi[2] |
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Photo Bruce White Two military saints slaying
an enemy. Relief, mid 11th-early 12 th century. Cathedral of the Mykhailovskyi
Zolotoverky Monastery, Kiev. Ste Tretyakov Gallery, Moscow. |
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Relief with
twoMouned Military Saints Slaying Dragons Kievan Rus’(Kiev), mid 11th-early 12th century Nationa Architectural Conservation Area “Saint
Sophia of Kiev,” KIev, Ukraine (SMAA8616) |
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Abraham-Engel-Teppich Domschatz zu Halberstadt Inv. Nr. 516. Mitte 12
Jahrhundert Kette: Leinen, Schuß: verscheidenfarbige Wolle und
gebleichtes Leinen. Höhe: ca. 1,20 m (ohne
Borte) Breite: ca. 10,40 m. According to the accepted opinion the angel Michael is depicted on this
detail with a width of ca. 1 m. Since the figure has no wings, it is not
about Michael but about St. George or St. Theodore slaying the Dragon. His
very arched shield is red, strewn with groups of four stars all surrounded by
a golden, studded edge. (H.dV.) |
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St. George chasing the Saracens before Jeruzalem ca. 1170 ensigned with a latin cross
and a square cross. K.B. Den Haag, Hs. 76 F 5 fol. 1 v°. |
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Illumination in a 12th century
manuscript of a letter of Gregory’s to Saint Leander, bishop of Seville (Bibl. Municipale, MS
2, Dijon). The inscription reads: Reverentissimo et s(an)c(t)issimo fr(atr)i
leandro co epo Gregori servus servorv d(e)i. and the correcion above: Sanctissimi Ecclesiae Doctoris Gregori Papae
ad Leandrum Episcopum Hispalensem Epistola in expositionem libri Job NB. Gregory (VIII) ruled only in 1187. His previous dealings with
Frederick Barbarossa put the church back in a friendly relationship with the
Holy Roman Emperor. St. Leander was an archbishop of Seville from 587-601. In 1187 there
had been no archbishop of Sevilla for a long time. Which explains that he is
not mentioned in de main inscription and therefore this Leandro is not
the St. Leander of the manuscript. Baptistère St.
Jean de Poitiers, southern apse 12th cent. Warrior kills dragon. L.: cilcriamarcietvrna |
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Theodorus I Lascaris |
*1173-†1222 Despot 1204-1208 Emperor 1208-1222 |
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136 Pendant with Medallion of Saint Theodore Byzantine (Constantinople?),
12th century (glass medallion); probably 13th century (mount) Gold and brownish glass
paste Medallion: 3 x 2,7 cm;
overall: H. 4cm. Inscribed: o θeoδopoc. Dumbarton Oaks, Washington D.C.
(38.28) (Evans, p. 181) On the obverse a nimbused rider and an
unwinged two-feeted dragon on te reverse a cross moline. Baseler
Münster Sankt Georg 1372 91 St. George and the dragon. Cloisonné enamel. 15th
century [3] Statuette d'applique en
albâtre représentant saint Georges terrassant le
dragon Auteur: anonyme Ecole: anciens Pays-Bas méridionaux Période: 16e siècle Domaine: sculpture Dénomination: statuette d'applique Représentation: scène (Saint Georges : cavalier, mise à mort, dragon) Précisions
concernant la représentation: Saint Georges,
monté sur un cheval, foule aux pieds le dragon, qu'il achève en plongeant une
lance dans la gueule du monstre. Technique: albâtre ; traces de dorure Dimensions: H. 40.9, l. 32.4, P. 9.4 Localisation: Saint-Omer; musée de l'hôtel Sandelin Statut: propriété de la commune ; legs ; Saint-Omer ; musée Henri Dupuis Date
d'acquisition : 1889 acquis ; 1986
(inscrit à l'inventaire) Inventaire: 986.078 ; 0531.1 et 2 CD Anciennes
appartenances: M. Dupuis Henri Attribution: Angleterre, Nottingham (ancienne attribution) Photographie: © cliché musée, YB/M3C Commentaire: Traces d'or sur le harnais et sur le casque. L'inventaire mentionne un socle (H. 13.3, l. 27.9,
P. 8.8), présentant des traces d'or sur une rosace au centre. |
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Bamberger Dom |
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Heusden (NL), 1650 ca |
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St. George and the Dragon. Wallachia or Moldova. 17th
century Museul National de Artă
al Romaniei, Bucureşti |
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St. George of the Order of the Garter Freedom Monument, Tbilisi, Georgia, 2006 By Zurab Tsereteli |
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In the well-known
version from Jacobus
de Voragine's
(c.1230–July 13 or July 16, 1298) Legenda aurea (The Golden Legend, 1260s), the
narrative episode of Saint George and the Dragon took place somewhere he
called "Silene", in Libya, and a Virgin was introduced being saved
by him: Silene in
Libya was plagued by a venom-spewing dragon dwelling in a nearby pond,
poisoning the countryside. To prevent it from affecting the city itself, the
people offered it two sheep daily, then a man and a sheep, and finally their
children and youths, chosen by lottery. One time the lot fell on the king's
daughter. The king offered all his gold and silver to have his daughter
spared; the people refused. The daughter was sent out to the lake, dressed as
a bride, to be fed to the dragon. Saint
George by chance arrived at the spot. The princess tried to send him away,
but he vowed to remain. The dragon emerged from the pond while they were
conversing. Saint George made the Sign of the Cross and charged it on
horseback, seriously wounding it with his lance. He then called to the
princess to throw him her girdle (zona),
and he put it around the dragon's neck. When she did so, the dragon followed
the girl like a "meek beast" on a leash. The
princess and Saint George led the dragon back to the city of Silene, where it
terrified the populace. Saint George offered to kill the dragon if they
consented to become Christians and be baptized. Fifteen thousand men
including the king of Silene converted to Christianity. George then
killed the dragon, beheading it with his sword, and the body was carted out
of the city on four ox-carts. The king built a church to the Blessed Virgin
Mary and Saint George on the site where the dragon died and a spring flowed
from its altar with water that cured all disease. This
version of St. George and the dragon is very often depicted after the middle
of the 13th century in Europe. Photo H.d.V Fresco in Cressac Templar Chapel, ~1163 Probably representing Louis
VII and his queen Adèle de Champagne |
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Saint George Killing the Dragon, 1434/35, |
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Palace of the Generality, Barcelona |
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Foto Jutta Brüdern,
Braunschweig St. George and the Dragon Hinrich Funhof, 1483/’84. Lüneburg, Johanniskirche. |
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Stockholm,
1495 |
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Merseburger
Dom, 15-16th cent |
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St.
Gregory Church Norwich c1500 |
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Foto: Michael Jeiter, Aachen Der Hl. Georg. 1470-1480 Kalkar, Nicolaikirche, ehemals in der Kalkarer
Gasthauskapelle. |
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Depictions
of St. George on horseback also occur in Georgia, a country that is said to
have been named after this saint. Ancient depictions show a rider in Byzantine costume with a man
under the hooves of his horse. This man was later replaced by a dragon and
stll later a virgin was added. 92 St. George saving the Queen from the dragon.
Cloisonné enamel. 15th century [4] 97 St. George killing Diocletian; setting free a Bulgarian
youth; killing the Dragon; saving the Queen from the Dragon. Chkhari Cross,
15t or 16th century. [5] |
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Foto H.d.V. 2018 St. Jürgen-Gruppe Aus
dem St. Jügen Kapelle Henning
van der Heide. Lübeck 1504/5 St.
Annenmuseum, Lübeck |
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1510 ca. |
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Hl. Georg
im Kampf mit dem Drachen. um 1515 Leonhard Beckum 1480 - 1542 Tätig in Augsburg Leonhard Beck war vorwiegend als Entwerfer von Holzschnitten für die von Kaiser Maximilian I in Auftrag gegebenen druckgraphischen Werke tätig. Die Darstellung des Georgslegende mit der Befreiung der von einem Drachen gefangengehaltenen Prinzessin ist vom gleichen märchenhaften Geist eines spätmittelalterlichen Rittertums erfüllt wie die für Maximilian bestimmten Werke. Das Hauptmotiv des Drachenkampfs vorne wird von vorher und nachher spielenden Nebenszenen im Hintergrund begleitet. Gemäldegalerie, Wien, Inv.
Nr. 5669. |
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Solothurn
1548 |
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Foto H.d.V. 2015 Marienburg Castle 1683 See illustration in the head
of this article |
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St George and
the Dragon. 18th cent. High altar of the
Benedictine abbey of Weltenburg (Bavaria, BRD) |
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© Hubert de Vries