Grotowski, Piotr - The Legend of St. George Saving a Youth

7/21/2019 Grotowski, Piotr - The Legend of St. George Saving a Youth

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# Reproduced from: Series Byzantina. I. Warszawa, 2003, pp. 2777.

ISB! "3""$73%&7

' Wa(demar )e(u*a, 2003

' Wydawnictwo !eriton, Warszawa, 2003+ -e preparation of t-is artic(e was made possi(e y a fourmont- sc-o(ars-ip att-e /niersity of St. 1ndrews. I wou(d (ie to acnow(ed*e t-e -e(p I receied from)r assos apacostas, 4ondon, and 5rs 5ar*arita 6iri((oa, St. eterur*, w-i(eco((ectin* (iterature on t-e suect.

iotr 8rotowsi, 9racow

-e 4e*end of St. 8eor*e Sain* a out- from 9aptiity and its )epiction in 1rt+

; <uzeiusz z 9ezarei, =istoria 6o>cie(na, ? m@czenniac- a(estyAsic-, trans(. andintrod. 1. 4isieci, oznaA ;$2, repr. 6raCw ;$$3 DE =istoire ecc(esiastiFue G<usee de 9esarHe teJte *rec, traduction et notes, KE Sources c-rHtiennes, 4LM, ed.8ustae Bardy, aris ;$"N.

2 -e teJt can e found on t-e Orst pa*es of 9od. Lindoonensis (at. $&.

3 -ree Byzantine Saints: 9ontemporary Bio*rap-ies of St. )anie( t-e Sty(ite, St. -eodore of Syeon and St. Po-n t-e 1(ms*ier, ed. and trans(. <. )awes, introd. =.Baynes, 4ondon ;$", pp. "$. 8eor*e wit- a sword in -is -and appears to

-eodoreQs mot-er and ot-er women.

ew saints can oast t-e ric- -a*io*rap-y and ariety of artistic depiction of St.8eor*e, an ocer in t-e Roman 1rmy, w-o was martyred durin* )ioc(etianQspersecutions. <useius of 9esarea did not mention -im in -is =istory of t-e 9-urc-,nor in Tn a(estinian 5artyrs;. =oweer, as ear(y as t-e year 323 an inscription wasp(aced in Saccaea DS-aFFaN in =auran w-ic- mentioned 8eor*e amon* ot-er saints,w-i(e t-e fra*ments of t-e o(dest redaction of -is 4ife, datin* from t-e &t- century,surie in t-e form of a pa(impsest2. 1s a so(dier 8eor*e appears in t-e 4ife of Saint

-eodore of Syeon composed in t-e 7t- century3. But most important for -isicono*rap-y was t-e muc- (ater writin* of -is 5iracu(a.

9-. Wa(ter, U-e ori*ins of t-e cu(t of Saint 8eor*eV, Reue des <tudesByzantines, 4III, ;$$&, pp. 3;73;". -is cites an eJamp(e of St. 8eor*e depicted insiJt-century wa((paintin*s from Bawt, w-ere t-e saint is s-own as a warrior.

1(ready in preIconoc(ast representations t-e saint appears not on(y in patricianattire, ut a(so as a warrior in armour wit- spear and s-ie(d. =oweer, -e -as on(yeen depicted on -orseac since t-e ;0t- century. 1part from cyc(es of -is (ife,



w-ere emp-asis is often p(aced on t-e motif of martyrdom, artists a(so e*an tos-ow eents from t-e 5iracu(a w-ic- were (itt(e connected wit- t-e saintQsio*rap-y. -e most popu(ar (e*endXof 8eor*e O*-tin* a*ainst t-e dra*on andsain* t-e sacriOcia( princessXacFuired a new meanin*, ecomin* ot- -istorica(and symo(ic representation. Tne s-ou(d a(so c(assify in t-e same cate*ory of ima*es a *roup of -is eFuestrian representations, s-owin* 8eor*eQs post-umous

mirac(e of rescue of a yout- imprisoned y inOde(s, a mirac(e nown in seera(ersions.

& 1. 5. )idron, 5anue( dQicono*rap-ie c-rHtienne, aris ;"&, p. 372.

% 9. <n(art, 4Q1rt 8otiFue en 9-ypre, I, aris ;"$$, p. 2".

7 9-. 9(ermont8anneanu, U=orus et Saint 8eor*esV, Reue 1rc-Ho(o*iFue, YYII,;"7%, p. 3$3, note 2.

1mon* t-e representations of t-e saint in t-e art of t-e <astern 9-urc- are

occasiona( depictions of 8eor*e on -orseac accompanied y t-e considera(ysma((er O*ure of a youn* oy -o(din* a esse( simi(ar to a u* or a ett(e, andsometimes a towe(. 1s ear(y as t-e ;$t- century, icono*rap-ers interested inByzantine art noticed icono*rap-ic diZerences etween t-ose ima*es wit-out,-oweer, ein* a(e to pinpoint t-eir (iterary source. 1do(p- )idron was t-e Orst tomention t-e presence of a oy sittin* e-ind t-e rider. Bein* una(e to Ond anyeJp(anation for t-is, -e (eft t-e issue unreso(ed&. In <n(artQs opinion, t-e oy issupposed to e a portrait of t-e paintin*Qs donor. 1ccordin* to t-e conentions of mediea( art, -oweer t-e donorQs portrait was norma((y (ocated in t-e ottom partof t-e composition, s-own rat-er in a prosynesis pose%. 9(ermont8anneanu, ont-e ot-er -and, c(aimed t-at t-e person accompanyin* t-e saint was a woman wit-an amp-ora. In -is opinion, t-e fema(e person was rep(aced y a O*ure of youn*

man, and -e compared t-is process to t-e myt- of =ee and 8anymede7.

" P. B. 1uf-auser, )as )rac-enwunder des =ei(i*en 8eor* in der *riec-isc-en und(ateinisc-en [er(ieferun*, KE Byzantinisc-es 1rc-i, LM, 4eipzi* ;$;;, p. ;%%.

$ Idem, 5iracu(a S. 8eor*ii, 4ipsiae ;$;3.

;0 1 frenc- trans(ation of t-e (e*end wit- t-e discussion aout t-e teJt pu(is-ed y1. P. estu*i\re: USainte -\c(e, Saints 9]me et )amien, Saints 9yr et PeanDeJtraitsN, Saint 8eor*esV, Kin:M 9o((ection *recFues de mirac(es, aris ;$7;, pp.3;33;& and passim.

Tn(y t-e 8erman p-i(o(o*ist Po-ann B. 1uf-auser -as esta(is-ed a asis forfurt-er inesti*ations on t-e topic of St. 8eor*e wit- an ado(escent. irst(y, in -ispu(ication eJaminin* t-e story of t-e O*-t a*ainst t-e dra*on, -e identiOed t-eoy wit- a certain anratios, asirates or asserasXa serant of t-e saint andt-e aut-or of -is 4ife w-o -ad een an eyewitness at -is masterQs martyrdom".!eert-e(ess, as ear(y as ;$;3, 1uf-auser corrected -is preious Ondin*s ypu(is-in* a co((ection of (e*ends of mirac(es performed y t-e saint. -is



pu(ication was of ey si*niOcance in t-e furt-er understandin* of t-e icono*rap-yof 8eor*e ridin* on -orseac, accompanied y a oy$. 1mon* ot-er ta(es,1uf-auser pu(is-ed t-ree ersions of t-e story aout t-e oyQs sa(ation y t-emiracu(ous interention of t-e saint. 1(t-ou*- t-e construction and t-e p(ot aresimi(ar in eac- of t-em, a(( ersions diZer in detai(s and -istorica( ac*round. -atis w-y it is wort- summarizin* a(( t-ree ersions -ere;0.

-e o(dest (e*endXas far as c-rono(o*y of t-e source is concernedXis entit(ed=eteron t-ayma peri tou arpa*entos neon apo Syrias D)e iuene ap-(a*onesicaptoN. -e teJt is presered in an e(eent-century redaction in 9odeJ arisinus;%0 on pa*es ;7;77 its (ater ariants can e found in t-e 9odices 9-a(iD;&&$N, 1t-ous Posap-aion %0 from ;%;7 and 1t-ous au(ou $; dated *enera((y tot-e ;7t- century. -is ersion of t-e story reads as fo((ows:

;; 1*arinoi X =a*arenes, 1*arenes, descendants of i(ica( =a*ar D8en ;%, ;;%N,<*yptian s(ae of 1ra-am. -e mot-er of Is-mae(, accordin* to Byzantine e(ief,was t-e ancestor of a(( 1ras. In t-e nineteent-century redaction from 9odeJ

Poasap-aion 30" 1*arenes was rep(aced y urcs DUstrateuma ton touronVN.

;2 In 8eor*ian ersions from t-e ;t-;%t- centuries -atris appears as atri, arti,or een atari. 1(so t-e 8eor*ian manuscript 6utasi ;27, =2"& rea((ocates t-ep(ot from ap-(a*onia to a(estine, see 8. Sainin, Ra 8ruzii, St. eterur* ;""2,passim.

;3 P. B. 1uf-auser, 5iracu(a^, pp. ;3;".

;; 1*arinoi X =a*arenes, 1*arenes, descendants of i(ica( =a*ar D8en ;%, ;

;%N, <*yptian s(ae of 1ra-am. -e mot-er of Is-mae(, accordin* to Byzantinee(ief, was t-e ancestor of a(( 1ras. In t-e nineteent-century redaction from9odeJ Poasap-aion 30" 1*arenes was rep(aced y urcs DUstrateuma ton touronVN.

;2 In 8eor*ian ersions from t-e ;t-;%t- centuries -atris appears as atri, arti,or een atari. 1(so t-e 8eor*ian manuscript 6utasi ;27, =2"& rea((ocates t-ep(ot from ap-(a*onia to a(estine, see 8. Sainin, Ra 8ruzii, St. eterur* ;""2,passim.

;3 P. B. 1uf-auser, 5iracu(a^, pp. ;3;".)urin* t-eir inasion of ap-(a*onia t-e1*arenes;; too many peop(e into captiity, amon* t-em a youn* oy

w-o was a serant in t-e c-urc- of St. 8eor*e in -atris;2. Some of t-e prisoners

were i((ed, t-e rest turned into s(aes. -e oy was of suc- eauty t-at -e wasc-osen as a serant for t-e 1raian ru(er. 1s -e reected t-e oZer to ecome a5us(im, -e was sent to wor in t-e itc-en. In -is misfortune t-e poor oy prayed toSaint 8eor*e. Tnce at eenin*, w-en -e was (yin* in ed, -e -eard a oice comin*from t-e yard and ca((in* -is name. -e oy opened t-e door and saw a rider w-ocau*-t -im and p(aced e-ind -imse(f on t-e -orse. -en t-e steed rus-ed forwardand started to *a((op. -e rider rou*-t t-e oy to a certain ui(din*, and t-endisappeared. -e eJ-austed yout- fe(( as(eep and neJt mornin* was awaened y



t-e peop(e, w-o were dismayed ecause -is 1raian c(ot-es su**ested t-epresence of enemies. -e oy reco*nised t-ose peop(e as mons. 1s it transpired,-e -ad een rou*-t to 5onastery of St. 8eor*e. 1(( of t-em went to a c-urc- tooZer a t-ans*iin* prayer to 8od for sain* t-e yout-;3.

1 more comp(eJ ersion of t-e (e*end suries in a manuscript written y t-emon -eop-anes in t-e year ;02", ept in t-e 5oscow Synoda( 4irary D9odeJ5osFuensis 3";, fo(. ;;;%N. It can a(so e found in t-e fo((owin* (ater manuscriptersions: Laticanus %7$ dated to t-e ;;t- century, arisinus &02 from t-e ;2t-century, 1mrosianus ;$2 from t-e ;t- century, 1t-ous Yenop-on from t-e ;t-century, a manuscript -oused in t-e !ationa( 4irary in 1t-ens Dno. 27"N from t-e;t- century, aris 9ois(in 27& from t-e ;&t- century, a manuscript from t-e

-eo(o*ica( Sc-oo( 9-a(i 3$ dated to ;%;7 9odeJ 1t-ous Poasap-anion %% from t-e;7t- century, from t-e monastery Bar(aam Dno. ;$;N in 5eteora from t-e ;7t-century and no. ;02% in t-e !ationa( 4irary in 1t-ens from t-e ;7t- century. -e(e*end is nown y t-e tit(e taen from t-e Latican manuscript: )ii*isis peri tou

paradoJou t-aumatos tou a*iou ai panendoJou me*a(omar tyros 8eor*iou, touparQ autou *e*onotos eis aic-ma(KotMist-enta paida ai parQ e(pida sot-enta,a(t-ou*- in t-e (iterature its 4atin ersion -as een accepted: )e O(io ducis 4eoniscapto in ap-(a*onia. -is (e*end was enric-ed wit- numerous detai(s, a(t-ou*- t-e*enera( sc-eme of eents remains constant. -e p(ace of action was a(so c-an*ed.1ccordin* to it:

-e cu(t of Saint 8eor*e was propa*ated in ap-(a*onia, especia((y in t-e p(aceca((ed Uotamos itoi i TiiaosV, w-ere a c-urc- of t-e saint was situated, to w-ic-numerous pi(*rims were comin*. 1 so(dier (ied t-ere, named 4eon. =e and -is wife

-eop-ano reered t-is martyr, and w-en t-eir son was orn, t-ey named -im8eor*e. W-en t-e oy -ad *rown up, -is parents entrusted -is education to t-osew-o maintained t-e s-rine. W-en Bu(*arians, =un*arians, Scyt-ians, 5edes and

urs t-reatened t-e nort-ern orders of t-e empire, t-e emperor -ocas recruitedan army. 4eon, w-o was too o(d to ecome t-e commander of Byzantine forces, sent-is twentyyearo(d son 8eor*e in -is stead. Before t-e eJpedition started, t-eywent to t-e c-urc- w-ere 8eor*e -ad een aptised, and t-e fat-er inoed t-eprotection of t-e saint patron for -is namesae. -e Byzantine army was defeated.

-ose so(diers w-o were not drowned at sea nor i((ed y famine were taen asprisoners. oun* 8eor*e, w-o was captured y t-e Bu(*arians, was so -andsomet-at t-eir ru(er made -im a steward and ept t-e oy in -is residence. 5eanw-i(et-e worried parents of t-e oy prayed to Saint 8eor*e to (ierate t-eir c-i(d. =ismot-er in ; 8ree oyoymion X u*, ett(e. -e ori*in of t-e word is most fu((yeJp(ained y 4. 6retzenac-er, 8riec-isc-e Reiter-ei(i*e a(s 8efan*enenretter, Wien;$"3, pp. 202;, citin* amon* ot-ers UoumarionV from )e 9aeremoniis au(aeyzantinae of 9onstantine LII orp-yro*enitus and t-e i(ica( story aout <(ias anda widow of Sarepta D; 6in*s ;7N. =e Fuotes a(so ot-er (iterature.

;& P. B. 1uf-auser, 5iracu(a^, pp. ;".



particu(ar was pained y t-e (oss of -er son, of w-om s-e was reminded w-eneers-e met oys -is a*e. ; 8ree oyoymion X u*, ett(e. -e ori*in of t-e word ismost fu((y eJp(ained y 4. 6retzenac-er, 8riec-isc-e Reiter-ei(i*e a(s8efan*enenretter, Wien ;$"3, pp. 202;, citin* amon* ot-ers UoumarionV from )e9aeremoniis au(ae yzantinae of 9onstantine LII orp-yro*enitus and t-e i(ica(story aout <(ias and a widow of Sarepta D; 6in*s ;7N. =e Fuotes a(so ot-er

(iterature.

;& P. B. 1uf-auser, 5iracu(a^, pp. ;".-e feast

of t-e martyred saint came and t-e parents of t-e prisoner went to t-e c-urc- foreenin* (itur*y, fo((owin* w-ic- t-ey inited t-eir re(aties and friends for t-etraditiona( supper. =oweer, sadness rei*ned durin* t-e supper, as eeryodyrememered t-e fate of t-e -ostQs son. -e same eenin*, t-e Bu(*arian ru(erordered t-e oy to rin* water for -andwas-in* durin* t-e supper in t-e pa(ace.W-i(e t-e oy was *oin* downstairs wit- a u*; of -ot water and a towe(, t-e saintappeared to -im on a w-ite -orse, ordered t-e oy to sit e-ind -im, andimmediate(y transported t-e yout- to -is -ome in a miracu(ous way. 1t Orst t-e

parents of t-e oy fainted, w-en t-ey saw t-e Bu(*arian c(ot-es and steamin* u*w-i(e t-e terriOed *uests started to s-out. Tn(y after a few minutes, w-en a(( of t-em reco*nised 4eonQs son, t-ey started to ce(erate ecause of -is miracu(ousreturn, and dran t-e de(icious, sti(( -ot water from t-e u*. -e prayers of t-ans*iin* in t-e c-urc- of Saint 8eor*e (asted for t-e w-o(e ni*-t. 8eor*eoZered t-e esse(, w-ic- -e -ad rou*-t from t-e Bu(*arian court to sere as ac-a(ice durin* mass. W-en -e *rew up -e to(d -is story many times;&.

;% 1. Sty(ianou, P. Sty(ianou, -e painted c-urc-es of 9yprus, 4ondon ;$"&, p. %7.

;7 4. 6retzenac-er, 8riec-isc-e Reiter-ei(i*e^, pp. 2;22.

;" P. B. 1uf-auser, 5iracu(a^, p. 23, noticed t-at t-is passa*e -ad een taen from

t-e oo of <Jodus D;&, &N. -erefore usin* (iterary conention one can refer t-eword Ut-a(assaV not on(y to t-e sea ut a(so to t-e rier mout- near w-ic- t-isatt(e -appened.

;$ 8. Tstro*orsi, )ziee Bizancum, Warszawa ;$%7, pp. 2222", especia((y 22%.

Tne s-ou(d notice t-at t-is ersion contains some e(ements w-ic- ec-o-istorica( eents. -is *ies us some c(ues aout t-e (e*endQs date of ori*in.1ndreas and Pudit- Sty(ianou ud*e t-at t-e emperor -ocas, w-o appears in t-eteJt, can e identiOed wit- !icep-orus II rei*nin* in t-e years $%3$%$;%.

!eert-e(ess one s-ou(d rememer t-at t-is name appears on(y in a (ater redactionof t-e story. -e reconstruction proposed y 4eopo(d 6retzenac-er seems moreconincin*. =e identiOes 8eor*eQs parents wit- Udomestios ton sc-o(onV, 4eo-ocas and -is wife -eop-ano. 1nd t-e defeat of t-e army of youn* 8eor*e can econnected to t-e att(e on t-e 1c-e(os rier near 1nc-ia(os on 20 1u*ust, $;7. Int-is att(e t-e Byzantine army, commanded y 4eon, was defeated y t-e Bu(*arian

sar Symeon;7. <ents descried in t-e (e*end can, t-erefore, e interpreted as anec-o of ;0t- century wars etween Byzantium and t-e Bu(*arian <mpire. -ereference to Uoi de en ti t-a(assi atepootist-anV aout drownin* peop(e in t-e



sea;" can e considered a reco((ection of t-e stru**(e near 1nc-ia(os and t-e (andsea eJpedition a*ainst t-e Bu(*arians in $;7;$.

20 1out recruitment in t-e t-ematic system see P. =a(don, Recruitment and9onscription in t-e Byzantine 1rmy c. &&0$&0. 1 Study on t-e Tri*ins of t-eStratiotia 6temata, Wien ;$7$, pp. ;%& a(so y t-e same aut-or, t-e more

recent U5i(itary Serice, 5i(itary 4ands, and t-e Status of So(diers: 9urrent ro(emsand InterpretationsV, )umarton Tas apers, Y4LII, ;$$3, pp. ;%7, especia((y 27. -is a(so inc(udes a i(io*rap-y on t-e suect.

et, -it-erto, noody -as paid attention to anot-er detai( of t-e story w-ic-re_ects actua( circumstancesXname(y t-e fact t-at 4eon was too o(d to e acommander of t-e eJpedition and sent -is son instead. -e custom of ado(escentma(e descendants tain* oer t-e mi(itary duties of t-e fat-er is connected wit- t-eformation of t-e t-ematic system in t-e <mpireQs 1sian proinces etween t-e 7t-and ;0t- centuries. Retirin* so(diers receied parce(s of (and in particu(ar t-emes.

o maintain t-e property ri*-ts to (and t-us acFuired, t-ey -ad to send a son orma(e re(atie to t-e army. IntensiOcation of t-is custom durin* t-e $t- and ;0t-centuries is mentioned in ot-er teJts, inc(udin* -a*io*rap-ic ones20.

2; /nder t-e (on*er tit(e: U<ter*on t-auma tou panendoJou ai t-aumatour*ou8eor*iou tou tropaiofQ-orou peri tou arpast-entos eterou tinos neonV t-is (e*endappears in 9odeJ Poasap-anion 30" DP. B. 1uf-auser, 5iracu(a^, p. ;0;N, w-ic-cou(d e a su**estion t-at in t-e Latican manuscript t-e scrie s-ortened t-epattern -e used.

-e t-ird ersion of t-e (e*end, presered on(y in (ate manuscripts, ori*inated

from t-e period after t-e fa(( of 9onstantinop(e. -e ear(iest ersion is inc(uded in9odeJ Laticanus ;;$0, written down y Po-n resyter in t-e year ;&2. -enarration of t-e story is more (aconic t-an in preious teJts, as indicated y t-es-ort tit(e <ter*on t-auma, s(i*-t(y eJtended in t-e 4atin ersion )e iuene5yti(enaeo capto2;. 1 simi(ar redaction of t-e (e*end is presered in t-eseenteent-century codices 1t-eniensis ;02% and Bar(aam ;$;, and a(so in 1t-o

Poasap-anion 30" written down in t-e ;$t- century.

In 5yti(ene on 4esos t-ere was a c-urc- dedicated to Saint 8eor*e. W-i(ep(annin* t-e attac a*ainst t-is is(and, t-e 1raian KU1*arinoiVM pirates from 9rete

c-ose t-e day of t-e feast of t-e saint, w-en a(( t-e in-aitants were to*et-er in t-ec-urc- to ce(erate t-e (itur*y. 1mon*st t-ose taen into captiity was t-e youn*and ery -andsome son of a widow. -e <mir of 9rete made -im -is persona(cupearer. or a w-o(e year t-e despairin* mot-er prayed to St. 8eor*e -opin* to*et -er son ac. Wit- particu(ar ferour s-e ased t-e saint on -is feastday, inot-er words on t-e anniersary of -er sonQs idnappin* y t-e Saracens. 1t suc- amoment, t-e oy was 22 P. B. 1uf-auser, 5iracu(a^, pp. ;00;03.



*iin* a *(ass of wine to t-e emir. 22 P. B. 1uf-auser, 5iracu(a^, pp. ;00;03./neJpected(y St. 8eor*e appeared on a w-ite steed, cau*-t t-e oy androu*-t

-im to -is mot-erQs -ouse. 1(( t-e in-aitants of 5yti(ene reered t-e saint for -ismiracu(ous rescue of t-e oy22.

1(t-ou*- t-e t-ird ersion is nown on(y from (ate manuscripts, t-e factsdescried in it can e re(ated to t-e situation on t-e is(ands of t-e 1e*ean Sea int-e $t- or ;0t- centuries. Staros 5i-a(arias and Roin 9ormac t-in t-at 1raianru(e on 9rete D"2 to $%;N and a(so t-eir attac on 4esos Daout "%7N wou(dnatura((y -ae een inc(uded in t-e story of t-e oyQs capture23.

23 Supported y a -istorica( researc- of L. 9-ristides, U-e Raids of t-e 5os(ems of 9rete in t-e 1e*ean Sea. iracy and 9onFuestV, Byzantion, 4I, ;$";, pp. 7%;;;, t-e

year of "%7 was presumed as a post Fuem date for t-e ori*in of t-e t-ird ersion yR. 9ormac, S. 5i-a(arias, U1 crusader paintin* of St. 8eor*e: `maniera *reca or`(in*ua francabV, -e Bur(in*ton 5a*azine, 5arc- ;$", pp. ;32;;. 4.6retzenac-er, -oweer, D8riec-isc-e Reiter-ei(i*e^, p. 22N dates it *enera((y tot-e ;0t- century, t-ou*- -e inc(ines to t-e t-esis t-at t-e eents descried in t-eteJt are re(ated to Saracen eJpeditions of t-e $t- century. 1. Sty(ianou, P. Sty(ianou,UI yzantini tec-ni ata tin periodo tis ra*oratias D;;$;;&70NV, Istoria tis 6iprou,L, ;$$%, p. ;2%, a(so propose years of "2$%0.

2 It seems une(iea(e t-at t-e 5yti(enian ersion Dnown on(y from (atemanuscriptsN was written after ;07;, w-en t-e Byzantine army was defeated in t-eatt(e near 5antziert and uris- tries captured 1nato(ia. !o trace of t-is eent

eJists in t-e redaction of t-is (e*end simi(ar(y t-e aut-or did not mention t-e!orman eJpedition, nor t-e passa*e of t-e Orst 9rusade.

2& <. S. Tinnioa, ULno otryty pamiatni stanoo iopisi iz sorania8osudarstenno*o Istorieso*o 5uzeaV, Lizantisi Lremenni, YYYLII, ;$7%, pp.22$230. -e aut-or su**ests t-at t-e (e*end was taen from 5etap-rastes5eno(o*ion, put to*et-er under t-e order of 9onstantine LII orp-yro*enitus.!eert-e(ess t-is teJt under t-e date of 1pri( 23 contains on(y a description of t-emartyrdom of 8eor*e, to*et-er wit- t-e (e*end of t-e Ondin* of t-e catt(e and afew (ess important mirac(es, wit-out mentionin* t-e mirac(e wit- t-e oy, cf. P. .5i*ne, atro(o*iae cursus comp(etus. Series *raeca, aris, 9YL, co(. ;;;%;.

2% <. 1. Wa((is Bud*e, 8eor*e of 4ydda. -e atron Saint of <n*(and. 1 study of t-e9u(ts of Saint 8eor*e in <t-iopia, 4ondon ;$3;, passim.

-e aoe comparison of t-ese t-ree (e*ends a((ows one to say t-atXwit- t-eeJception of some repeated motifs of w-ic- t-e structure of t-e story is ui(t D(iet-e oyQs oneyear s(aery, -is prayers to Saint 8eor*e and t-e miracu(ous rescuey t-e mounted saintNXdiZerent narratie e(ements appear in successie ersions



of t-e (e*end. Some of t-em can e attriuted to -istorica( facts, w-ic- su**ests a-ypot-esis concernin* t-e date w-en particu(ar ersions were composed. -e teJtsof a(( t-ree (e*ends must deOnite(y -ae een composed etween t-e second -a(f of t-e ;0t- and t-e e*innin* of t-e ;;t- century. -e ante Fuem date is determinedy t-e presence of 1raian pirates from 9rete and t-e Bu(*arian ru(er, tsar Symeon,memories of w-om were undouted(y sti(( a(ie amon* t-e aut-ors of t-e (e*end.

=ence teJts must -ae come into eJistence durin* t-e (ies of a few *enerations,w-en an ora( tradition sti(( functioned2. Tn t-e ot-er -and some eidence eJistst-at t-e teJt of t-e (e*end was a(ready nown to Symeon 5etap-rastes at t-e endof t-e ;0t- century. Suc- presumptions resu(t from t-e fact t-at a 5oscowmanuscript Dfrom etween ;&2 and ;&%N, containin* t-e (e*end, is supposed to-ae 8ree source2&. -e ori*ina( teJt, no (on*er eJtant, w-ic- cou(d -ae eenused y 5etap-rastesXor een -is ersion of t-e teJtXwas a pattern for t-e 9optictrans(ation of t-e (e*end, at (east contemporary wit- t-e t-ree ersions pu(is-edy P. 1uf-auser. !umerous 8ree words appear in t-is teJt, w-ic- conOrms t-e useof Byzantine sources y t-e aut-or2%.

27 . 8rimma(, Sowni mito(o*ii *recie i rzymsie, WrocawXWarszawaX6raCw

;$$0, pp. ;;0;;;.

-e motif of idnappin* a -andsome ado(escent and t-en main* -im a stewardwas common amon* t-e 8rees ecause of t-e c(assica( myt- aout 8anymede,son of t-e roan in* ros Dor 4aomedonN, w-o was captured y eus or 9retan5inos. Bot- stories are connected not on(y y t-e c-aracter of t-e youn* cupearer,ut a(so y t-e p(ace w-ere -e was captured. 1ccordin* to diZerent ersions it-appened on 5ount Ida in roas, in t-e town of =arpa*e in 5ysia in 1sia 5inor, oron 9rete27.

+ + +

2" P. 5ys(iec, USatg Pihi e gc-odnorestansHm umnjV, Byzantinos(aica, L,;$33G, p. 3;.

2$ !. . 6ondao, Russaa iona, III, ra*a ;$3;, p. ;0&.

30 P. 5ys(iec, op. cit., p. 337.

Posef 5ys(iec, w-ose mono*rap- on t-e icono*rap-y of St. 8eor*e draws on

sources pu(is-ed y 1uf-auser, (ined ostByzantine 5o(daian, 8eor*ian and1t-os ima*es of 8eor*e wit- a oy on -orseac wit- t-e c-rono(o*ica((y secondersion of t-e (e*end aout t-e son of 4eo t-e ap-(a*onian2". 1t t-e same time,t-is sc-o(ar reected as fa(se 6ondaoQs t-esis, w-ic- (ie 1uf-auser says t-at t-eO*ure accompanyin* Saint 8eor*e is -is serant2$. =oweer, 5ys(iec t-ou*-t t-eOrst ersion of t-e (e*end Daout an ado(escent from ap-(a*oniaN was t-e (iterarysource of a diZerent composition. In t-is 8eor*e, wearin* t-e traditiona( *ar of -is



martyrdom, after (ieratin* t-e oy and rin*in* -im to t-e monastery, oZers -imto t-e care of priests30.

3; 5. 8o(escu, USaint 8eor*es de(ire (Qado(escent emmenH en captiitH par (esinOde(sV, Bu((etinu( 9omisiei 5onumente(or Istorice, YYYG3, ;$37, pp. ;2";3;.

-e neJt eJamp(es from siJteent- to nineteent-century Romanian and 1t-osart were proided y 5aria 8o(escu in -er paper deoted especia((y to t-e pro(emof ima*es of St. 8eor*e wit- an accompanyin* O*ure. S-e a(so enric-ed t-e ody of nown sources wit- two added ersions of t-e (e*end, ut in -er opinion none of t-em can e deOnite(y reco*nised as t-e (iterary pattern for t-e representations of St. 8eor*e and t-e oy. In addition, s-e noticed t-at t-e U5yti(enianV ersion is on(yinsi*niOcant(y modiOed in re(ation to t-e primary Uap-(a*onianV (e*end. S-e a(sopointed to t-e popu(arity of t-is suect in ostByzantine *rap-ic art3;.

32 ). a(ot Rice, U-e 1ccompanied Saint 8eor*eV, Kin:M 1ctes du LIe con*r\sinternationa( dQHtudes yzantines, II, aris ;$&;, pp. 3"33"7. -e t-esis issupported y t-e 9optic SynaJarion, accordin* to w-ic- Saint 8eor*e was to eaccompanied y t-e princess, as t-e researc-er pu(is-ed in -is oo: Idem, -eIcons of 9yprus, 4ondon ;$37, p. "3.

33 I. )ue, U)ue note di storia mediea(eV, Byzantion, YYIYYYY, ;$&$;$%0, pp.2&$2%%. especia((y pp. 2&$2%;. 1(so y t-e same aut-orXRazaz z UcudotoV nae(iamueni 8eor*i sus sina na 4u a_a*onsiXp(enni u Bu(*arite, Kin:MIs(edoania pamet na 6are( kori(, SoOa ;$%;, pp. ;"$200.

1 step acwards, w-ic- -as confused inesti*ations in t-is Oe(d, was )aid

a(ot RiceQs report de(iered at t-e SiJt- Internationa( 9on*ress of ByzantineStudies in aris. /naware of ear(ier researc-, -e tried a*ain to Ond an eJp(anation of t-e motif of an accompanyin* yout-. -is fact seems especia((y stran*e ecause

a(ot Rice new 5ys(iecQs pu(ication, to w-ic- -e refers in -is notes. o eJp(aint-e presence of t-e oy in ima*es of Saint 8eor*e, -e ar*ued t-at t-is persons-ou(d e seen in t-e re(i*ious conteJt of crusader cu(ture as a sFuire, or as arepresentation of t-e princess. If t-e (atter is t-e case t-en t-e motif was deriedfrom ersian icono*rap-y32. =is mistae was corrected soon y t-e Bu(*arianresearc-er I. )ue w-o, in a separate paper, focused on representations of 8eor*erescuin* t-e yout- in Bu(*arian art. =e presumed t-at t-e source for t-e aut-ors of t-e composition was t-e ersion aout t-e son of t-e *enera( 4eon33.

3 <. 4. ria(oa, U=udoestennoe relene du- ompozici `cudes s. 8eor*ia *ruzinsi- rozpisa- zre(o*o sredneeoiaV, Lestni otde(ea olestenny- nau1! 8ruzinso SSR, I, ;$%3, pp. ;";22; see a(so y t-e same aut-or, anisi,

i(isi ;$77, pp. $3;0$.

uestions connectin* t-e ima*e of Saint 8eor*e and an ado(escent in 8eor*ianart wit- representations of Saint 8eor*e and t-e dra*on, were eJamined y <. 4.



ria(oa in an eJtensie paper coerin* a(( preious Ondin*s. 6nowin* t-e 8reeersion of t-e (e*end, s-e a(so used (ater 8eor*ian ersions to eJp(ain t-eicono*rap-ic diZerence etween representations. ria(oa focused main(y on t-eear(y eJamp(es mentioned, as we(( as (ater wors, separatin* autonomousrepresentations of t-e (e*end from t-e sin*(e motif of an accompanyin* person t-atoccurred a(so in i((ustrations of ot-er mirac(es. In -er opinion, t-e presence of t-e

icono*rap-ic t-eme was caused y an aest-etic need to re_ect t-e coup(e on t-erepresentation of St. 8eor*e i((in* a dra*on3.

3& ). R. =owe((, U1(6-adr and 9-ristian iconsV, 1rs Trienta(is, LIII, ;$%", pp. ;&;.

3% 1mon*st ot-er wron* interpretations of t-e O*ure of t-e oy accompanyin* St.8eor*e it is wort- mentionin* t-e t-eory t-at it cou(d e a funera( portrait of a c-i(duried in t-e nei*-our-ood of t-e wa((paintin* in a c-urc-, cf. T. I. )omrosi,resi sredneeoo*o 6ryma, 6ie ;$%%, p. 3$.

Tn t-e ot-er -and, no ot-er teJt of t-e (e*end was nown to ). R. =owe((, w-otried to eJp(ain t-e presence of t-e second rider y transferrin* t-e 5us(im (e*endaout 1(6-adr w-o accompanied 5oses or een a story aout a coo from t-eRomance of 1(eJander t-e 8reat to t-e 9-ristian tradition. 1ccordin* to -is t-eoryt-e representation of St. 8eor*e ridin* wit- an ado(escent on -orseac wasesta(is-ed y artists in t-e monastic society on 5ount Sinai w-ere t-e in_uence of 9-ristianity and t-at of Is(am oer(apped3&. -e papers of =owe(( and a(ot Rices-ow t-atX(on* after t-e proper eJp(anation was found y 5ys(iecXfor someresearc-ers t-e suect of St. 8eor*e wit- a oy sti(( remained a puzz(e3%.

37 T. 5einardus, U-e <Fuestrian )e(ierer in <astern Icono*rap-yV, Triens9-ristianus, 4LII, ;$73, pp. ;2;&&.

3" Iid., p. ;".

Independent(y of ria(oaQs wor, fa(se interpretations were co((ected andcorrected y Ttto 5einardus in -is discussion of mounted saints rescuin* t-eirfo((owers from captiity37. =e reected =owe((Qs t-esis of t-e 5us(im ori*in of t-eima*e of St. 8eor*e wit- t-e yout-, t-ou*- -e admitted t-at re(ations-ip etweent-is saint and a(6-adr is stron*. Referrin* to ot- t-e 5yti(enian and t-eap-(a*onian ersions, t-is aut-or dated t-em rou*-(y to t-e period etween t-e;;t- to ;%t- centuries. But -e was t-e Orst to notice t-at t-e popu(arity of t-issuect in 9-ristian societies under 5us(im contro( resu(ts from t-e symo(ic

understandin* of t-e (e*end in w-ic- St. 8eor*e appears as a -eaen(y defender of fait-fu( a*ainst t-e inOde( persecutors3".

3$ <. S. Tinnioa, op. cit., pp. 22"23.

W-i(e discussin* t-e icon of St. 8eor*e wit- a oy in t-e State 5useum of =istory in 5oscow, <. S. Tinnioa studied (iterary sources ot-er t-an t-e -it-ertomentioned 8ree and 8eor*ian manuscripts. In -er opinion t-e -esaurusXw-ic-



was written y t-e mon )amasinos DSudeacon and Studite of -essa(oniiN andpu(is-ed etween ;&2";&&" in Lenice and contains a !eo8ree ersion of t-estory, as we(( as S(aic trans(ationsXcontriuted to t-e popu(arisation of t-e suectin Ba(an art. roidin* eJamp(es main(y from p(aces on t-e coast of t-e B(ac Sea,t-e aut-or distin*uis-ed a dependent icono*rap-ic ariant cominin* e(ementsfrom t-e stories aout t-e yout- and aout t-e O*-t wit- t-e dra*on3$.

0 . RaZ, U)er -(. 8eor* a(s 6naenretterV, 5nc-ner eitsc-rift fr Ba(anunde,III, ;$"0, pp. ;;3;2%.

1n artic(e was deoted to t-is pro(em y t-e 8erman researc-er -omas RaZ w-o, -ain* ana(ysed a (ar*e *roup of representations, distin*uis-ed twoicono*rap-ic sutypes. -e Orst one containin* on(y t-e ima*e of t-e saint wit- ayout- on -orseac was ca((ed UautonomousV to distin*uis- it from t-e type w-ic-ecame popu(ar from t-e ;t- century, w-ere t-e dra*on and sometimes a(so t-eprincess were inc(uded. =e a(so paid attention to t-e epit-et U)iasoritisV often

app(ied to scenes wit- a yout-. RaZQs inesti*ation was ased main(y on materia(co((ected on t-e 8ree is(ands, and particu(ar(y on 9rete, R-odes and 9yprus0.

; 4. 6retzenac-er, USant 8eor* mit dem Pn*(in* auf dem Streitross. urantitrisc-en Lo(sdeutun* eines mitte(a(ter(ic-en Bi(dmotisV, 5nc-nereitsc-rift fr Ba(anunde, I, ;$7", pp. ;";;$% and a(so 8riec-isc-eReiter-ei(i*e^, especia((y pp. 73%.

RaZQs systemization of t-ese two icono*rap-ic types was eriOed y 4eopo(d6retzenac-er in -is two consecutie dissertations and enric-ed wit- some furt-ereJamp(es from t-e 8ree Is(ands and t-e Ba(an peninsu(a. o eJp(ain t-e increased

popu(arity of t-is icono*rap-ic suect under uris- ru(e, -e pointed to t-eideo(o*ica( function of representations of St. 8eor*e wit- a yout-, particu(ar(yapparent in nineteent-century *rap-ics of t-e Bu(*arian !ationa( Renaissance. -eantiuris-Xor more *enera((y anti5us(imXmessa*e of representations of t-issaint rescuin* a 9-ristian prisoner from pa*an captiity is, in -is opinion,undenia(e. 5oreoer, t-is aut-or noted t-e fact t-at t-e representation of St.8eor*e wit- t-e oy is inc(uded in numerous *roups of ima*es of saints w-o ares-own wit- a person accompanyin* t-em. =e t-en compared t-eir (e*ends. In a((cases t-e ideo(o*ica( messa*e of t-e ima*e is t-e same and refers to protection yt-e saint, w-o appears on a -orse and carries a e(ieer prayin* to -im;.

2 R. 9ormac, S. 5i-a(arias, op. cit., pp. ;32;;.

i*. ;

Independent(y of t-e wor of t-e 8erman sc-o(ars, R. 9ormac and S. 5i-a(ariasreturned to t-is suect in t-eir artic(e aout an icon -oused in t-e Britis- 5useum,w-ic- t-ey reco*nized as a t-irteent-century wor from a crusader wors-op DO*.



;N2. 1s a (iterary pattern for t-is ima*e, t-ey proposed on(y t-e 5yti(enian ersionof t-e (e*end, ar*uin* t-eir c-oice y t-e fact t-at t-e youn* oy -o(ds in -is -anda *(ass of wine, and t-at in t-e rocy ac*round (andscape a spot of (ue paint isisi(e w-ic-, t-ey c(aim, represents t-e sea. 1(t-ou*- a roader perspectie on t-ere(eant icono*rap-y was not t-eir principa( aim, t-ey a(so pu(is-ed for t-e Orsttime in t-e case of comparison an icon from t-e 5onastery of Saint 9at-erine on

5ount Sinai, w-ic- sure(y ori*inated from t-e crusadersQ wors-op.

3 1. Sty(ianou, P. Sty(ianou, -e painted c-urc-es^, p. %7.

1(so wit-in t-e conteJt of t-e crusader (e*acy, more precise(y, t-e frescoes inone of c-ape(s of t-e monastery of Po-n 9-rysostom aoe 6outsoendis, 1. and P.Sty(ianou discussed t-e icono*rap-y of Saint 8eor*e wit- an ado(escent.undamenta((y t-ose aut-ors ased t-eir teJt on preious considerations y8o(escu as we(( as 9ormac and 5i-a(arias, s-owin* on(y t-eir own proposition of t-e iew of -istorica( eents descried in t-e (e*end. /n(ie t-e ot-er aut-ors, t-ey

used on(y )amasinosQ teJt3.

P. o(da, . renc-, U9rusader frescoes at 9rac des 9-ea(iers and 5arFa 9ast(eV,)umarton Tas apers, YYYLI, ;$"2, pp. ;772;2, especia((y ;$;$&.

& P. o(da, -e 1rt of t-e 9rusaders in t-e =o(y 4and, ;0$";;"7, 9amrid*e ;$$&,p. 03 y t-e same aut-or U9rusader 1rtV, Kin:M -e 8(ory of Byzantium. 1rt and9u(ture of t-e 5idd(e Byzantine <ra 1) "3;2%;. -e 5etropo(itan 5useum of 1rt,!ew or ;$$7, p. 3$&.

% <. 9. )odd, U-e 5onastery of 5ar 5usa a(=aas-i, near !ee, SyriaV, 1rte

mediHa(e, series 2, LIG;, ;$$2, pp. %;;3&, especia((y pp. ;2%;27 and footnote7&.

Paros(a o(da and <rica 9ruis-an )odd -ae recent(y contriuted to t-esuect in t-eir discussion of crusader art. -ey emp-asise t-e popu(arity of t-e cu(tof Saint 8eor*e in Syria and a(estine as we(( as accountin* for t-e commonrepresentation of a ridin* warrior saint as ein* t-e resu(t of t-e cu(ture of c-ia(rydominatin* in t-e 6in*dom of Perusa(em. 4ie 9ormac and 5i-a(arias, t-ey paidattention on(y to t-e U5yti(enianV ersion of t-e (e*end. o(da co((ected morenumerous eJamp(es, ut )odd tries to eJp(ain more deep(y t-e popu(arity of t-issuect in t-e =o(y 4and. W-en t-e Orst of t-e aut-ors is satisOed wit- t-estatement t-at t-e ey of t-e popu(arity of St. 8eor*e in art was -is sanctuary in4ydda&, t-e second returns to t-e 6retzenac-erQs t-esis concernin* t-e po(itica(and symo(ic function of t-e ima*e of t-e saint, sain* an ado(escent from t-e courtof Uan 1(*erian ru(erV. In )oddQs opinion t-e popu(arity of t-is topic in twe(ft-century art is connected wit- t-e need to compensate for t-e (oss of Perusa(em in;;"7. ut-ermore, t-e topic is unnown amon* 9opts in <*ypt%.



Tt-er aut-ors, main(y in cata(o*ues, a(so mention t-e (e*end aout St. 8eor*esain* an ado(escent from t-e captiity. =oweer t-ey usua((y on(y repeat ear(iert-eories and t-eir statements are not important for t-e researc- on t-is suect7.

7 1mon* numerous pu(ications in t-e cate*ory of cata(o*ue one can mention ).Wi(d, 4es icones. 1rt re(i*ieuJ de (QTrient, Berne ;$7 Ic]nes 5e(ites. <Jposition

or*anisHe par (e 5usHe !ico(as Sursoc du ;% mai ;& uni ;$%$, ed. L. 9qndea,Beyrout- ;$%$, especia((y p. 22$, w-ere 5. 9-atzidais discusses t-is type wit-int-e wor 8eor*e of 9andia in Sinai in t-e ;%t- century. =oweer, t-is aut-ormentions on(y a (ate ersion of t-e (e*end, accordin* to w-ic- t-e ado(escent wasrou*-t to 1(*eria. reious statements in a form of encyc(opaedic deOnition werepu(is-ed y <. 6irsc-aum, W. Braunfe(s, 4eJion der c-rist(ic-en Iono*rap-ie, LI,RomXreiur*XBase(s ;$7, co(. 3%%3$0, especia((y 37; and 4. RHau,Icono*rap-ie de (Qart c-rHtien, IIIG2, aris ;$&", p. &7".

-is surey su**ests t-at considera(e eZort -as een deoted to eJp(ain t-e

si*niOcance of t-e companion of St. 8eor*e in depictions of t-is (e*end. So far,-oweer, aut-ors -ae concentrated Orst and foremost on -ow to eJp(ain t-ecomposition usin* t-e teJt of t-e (e*end, and -ae presented artistic eidencese(ectie(y, often as a mar*ina( aspect, and wit-out inte*ratin* it satisfactori(y. Tnt-e ot-er -and, t-e more compre-ensie studies y T. 5einardus, . RaZ or 4.6retzenac-er ne*(ect a considera(e *roup of paintin*s discoered in t-e (asttwenty years. -erefore t-ey present t-e suect incomp(ete(y. Suc- situation ca((sfor a fres- attempt to adapt t-e t-eories adanced to date, tain* into account t-enew eidence.

+ + +

" <. 4. ria(oa, U=udoestennoe relene^V, pp. ;$0, 20%.

-e o(dest current(y nown representations of t-e (e*end date from t-e turn of t-e ;;t- and of t-e ;2t- centuries. =ence t-ey were created at t-e same time, orsoon after t-e teJt -ad een edited. 1(( ear(y ima*es, w-ic- -ae suried, are in8eor*ian c-urc-es dedicated to St. 8eor*e. -ey are a part of cyc(es of St. 8eor*eQs(ife and were desi*ned to comp(ement an eFuestrian representation of t-e warriorO*-tin* wit- a dra*on".

$ Iid., pp. ;$2;$3, 20", O*. 2.

In a *roup of Oe scenes found in ear(y mediea( 8eor*ian c-urc-es, one in aad repair and painted on t-e sout-ern wa(( of a sma(( c-urc- in 1dili, /pperSanetia Dnort-ern 8eor*iaN, s-ows t-e o(dest scene. Tn t-is fresco dated to t-esecond -a(f Dor possi(y endN of t-e ;;t- century St. 8eor*e is depicted in armour,wearin* a c(oa _yin* in t-e wind and *a((opin* on a w-ite steed. 1disproportionate(y sma(( O*ure sits sideways e-ind 8eor*eQs ac, wit- a u* in -is



ri*-t -and and -o(din* on to t-e saintQs ac. -ese arriin* O*ures are we(comedy two furt-er O*ures wit- arms open in a *esture of surprise. -ey wear red c(oasand (on* decoratie tunics and are (ocated at t-e opposite side of t-e scene./ndouted(y, t-ey represent t-e oyQs parents$. Ric- c(ot-in* indicates t-eir -i*-socia( ran. urt-ermore, it s-ou(d e noted t-at t-e o(dest 8eor*ian trans(ations of t-e (e*end, w-ic- remained in fourteent-century manuscripts, contained on(y two

ersions of t-e story: ap-(a*onian and Tn t-e son of 4eon. Bot- points su**estt-at t-e fresco is (ined wit- t-e (atter ersion. -e episode on t-e fresco s-ows t-eyoun* stratiot 8eor*e comin* ac to -is -ome.

&0 Iid., p. ;$7 Dnote 7N.

&; Iid., p. 20", O*. & t-e aut-or interprets t-e scene as an i((ustration of t-e5yti(enian ersion, cf. e(ow, note ;0". -e arc-itectura( forms in t-e ac*round,-oweer, diZer from t-e formu(as accepted for sacra( ui(din*s y t-e art of t-e<astern 9-urc-. !ote too t-e (ac of t-e *arment e(ements typica( to priests Dsee9-. Wa(ter, 1rt and Ritua( of t-e Byzantine 9-urc-, 4ondon ;$"2, passimN w-ic- iscontrary to -er interpretation.

-e same episode was proa(y i((ustrated on t-e serious(y dama*ed frescofrom t-e Orst Fuarter of ;2t- century&0, in t-e upper row of ima*es painted on t-ewa((s of t-e sout-western apse of t-e c-urc- in Boorma. -e part w-ere t-e yout-was s-own is a(most tota((y destroyed, ut -is (e* is sti(( isi(e e-ind St. 8eor*e,aoe t-e s-eat- tied to t-e sadd(e. In t-is case t-e wa(in* -orse is presented in astatic manner. 1s in t-e 1dili paintin*, t-ere is a person standin* on t-e (eft -andsideXproa(y one of t-e oyQs parents. et e-ind -im appears an arc-itectura(ac*round, in w-ic- youn* 8eor*eQs -ome is isi(e. 1 ui(din*Xa cou(isse c(osin*t-e compositionX_ans frescoQs second side&;.

&2 <. 4. ria(oa, anisi, p. ;".

-e scene of 8eor*e comin* ac wit- t-e oy freed from captiity wasenric-ed wit- anot-er frescoed motif from t-e period etween ;;&" and ;;" in t-ec-urc- in anisi&2. -is representation of t-e mirac(e wit- t-e yout- is (ocated ont-e wa(( in t-e sout-eastern part of t-e c-urc-, e(ow a comp(eJ compositions-owin* t-e saint O*-tin* wit- t-e dra*on. Bot- scenes are distin*uis-ed y t-eirsize amon* ot-er ima*es of t-e saintQs (ife: t-e painter used twice as muc- wa((space for eac- of t-em.

&3 <adem, U=udoestennoe relene^V, pp. 2;32;%, O*. 7 ria(oa associatest-e sty(e of paintin*s wit- t-e twe(ft-Gt-irteent-century wors from 6incisi,Lardzia and Bet-ania.

In order to i((ustrate t-e oy meetin* -is parents t-e painter dier*ed from t-eformu(a -e -ad used -it-erto and app(ied a continuous representation. Tn t-e (eftside of t-e composition is s-own St. 8eor*e, -o(din* a spear DontarionN -e is



wearin* a darred c(oa, *o(den armour, wit- a (ue c-iton appearin* from undert-e armour, and a round s-ie(d. -e saint is sittin* on a -orse unusua((y painted inoc-re co(our, w-ose fore(e*s are raised. 1s in t-e preious eJamp(es, e-ind t-esaintQs ac is a yout- in a pin tunic and (ue (e**in*s, -o(din* a ta((, rat-erconeJ ewer. Twin* to t-e c(ot-es and ewer -is repeated O*ure can a(so ereco*nised in t-e centre part of t-e composition. 1 woman in a (on* dress is (eanin*

oer -im, emracin* -im tender(y. S-e can e identiOed as t-e oyQs mot-erX -eop-ano. -e ac*round for t-is emotiona((y eJpressie coup(e is anundama*ed (ower part of a O*ure in w-ite tunic and red c(oa, proa(y oyQsfat-er w-ereas t-e ri*-t side of t-e scene is occupied y four anFueters sittin* att-e ta(e spread wit- an aundance of dis-es&3.

-e ease wit- w-ic- t-e artist desi*ned t-e composition, t-e anatomica(correctness and dynamic representation of t-e O*ures, t-e amp(e co(ourin*, -isai(ity to eJpress fee(in*s and impression of dept- created y t-e ima*e s-ow t-att-e aut-or of t-e paintin* was a sensitie oserer, eJp(oitin* -is perceptions in art.

-e fact, t-at -e app(ied an oc-re co(our to 8eor*eQs steed, contrary to t-e canon of t-e time, su**ests t-e painterQs wi((in*ness to eJperiment. In t-e (i*-t of t-eseoserations, it is proa(e t-at t-e anisi paintin* was t-e Orst w-ere t-e motif of anFueters -ad een added to t-e suect of t-e miracu(ous rescue of t-e yout-.

-e anisi composition was copied on t-e nort-ern win* of t-e transept in t-ec-urc- in Ii, ut sma(( c-an*es were made. -e fresco, datin* from t-e turn of t-e;3t- century, was compositiona((y simi(ar to t-e precedin* eJamp(e. Be(ow it is t-escene s-owin* t-e O*-t a*ainst t-e dra*on. -e armoured 8eor*e, -o(din* a (ance,arries from t-e (eft on a w-ite -orse wit- -is c(oa streamin* in t-e wind. Be-ind-im a oy sits in a (on* tunic and a ca(pac on -is -ead, -o(din* a ewer wit- asp-erica( ase.

& Iid., pp. ;$, 2;02;2, O*. 3 t-e aut-or dates t-e paintin* to t-e wide periodetween t-e end of t-e ;;t- century to t-e e*innin* of t-e ;3t- century.

&& Iid., p. 2;;, *ies t-e ori*ina( 8eor*ian inscription, to*et-er wit- its Russiantrans(ation.

Tn t-e ri*-t side t-e O*ure of t-e oy is repeated, t-is time standin* in front of t-e ta(e, e-ind w-ic- two anFueters and t-e oyQs parents are presented in ri*id

poses&. 1s opposed to t-e anisi fresco, t-e paintin* from Ii is c-aracterised yfossi(ised form and sc-ematic composition, (ac of moement and of psyc-o(o*ica(portraya( of t-e depicted O*ures. =oweer, as far as t-e -istory of icono*rap-icrepresentation is concerned, t-is fresco is an important (in, ecause of t-eeJp(anatory inscription USt. 8eor*e returned t-e prison from Bu(*aria to -isparentsV&&, in t-e midd(e of t-e upper part of t-e composition. -is inscriptionconOrms t-e identiOcation of ear(ier compositions as i((ustrations of ersions of t-e(e*end Tn t-e son of 4eon.



&% Iid., p. 2;", O*. ;0.

1part from t-e four aoementioned scenes, a sma(( fra*ment of paintin*remained in t-e c-urc- at emo1rcei near 8ori, in t-e midd(e of 8eor*ia. -e

c-urc- was proa(y decorated in t-e ;2t- century, ut t-e (ar*e eJtent of destruction of t-e frescos does not a((ow precise datin*. Tn t-e western wa(( anima*e of a w-ite sadd(ed -orse carryin* two O*ures -as suried, on(y t-e (owerparts of w-om are isi(e. -e rider can -e identiOed as a warrior t-ans toptery*es, ein* a (ower part of -is armour, w-i(st t-e accompanyin* personpossesses an attriute in t-e form of a i* ewer, simi(ar in s-ape to t-e esse(s fromanisi and Ii. -erefore, t-e dama*ed scene can e reco*nised as t-e mirac(ewit- t-e yout-&%.

&7 !umerous eJamp(es in *o(dsmit-sQ wor of t-e ima*es of 8eor*e dated to fromt-e $t-;0t- century up to t-e ;$t- century are pu(is-ed y 8. !. uinli(i,8ruzinsoe eoannoe isussto, III, i(isi ;$&$, passim.

&" Initia((y eFuestrian representations of St. 8eor*e s-owed -im spearin* t-eRoman emperor )ioc(etian, and t-is ima*e was comined wit- t-e O*ure of St.

-eodore i((in* t-e dra*on. -is is t-e way, -ow ot- saints were depicted on t-ere(ief decoration on t-e wa(( of t-e 1c-tamar c-urc-, see for eJamp(e P. 8. )aies,

-e 9-urc- of t-e =o(y 9ross, 1*-tQamar, 4ondon ;$$;, p. ;02, O*s. 3&3".

&$ I. 1. )aa-ili(i, 6arte(i eris istoria D=istory of 8eor*ian nationN, i(isi ;$%0,pp. &%. Tn t-e ot-er -and 1. Rysteno, U4e*enda s. 8eor*ii i draone izantiso i s(aianorusso (iteratura-V, apisi imperatorso*o !oorossiso*ouniersiteta, 9YII, ;$0$, p. &$, suspects a connection etween St. 8eor*e and asuperior mi(itary deity.

%0 PacFues de Litry, =istoria orienta(is, aris ;&$7, Fuot. fo((. ). 5ars-a(( 4an*,)awna 8ruza, Warszawa ;$72, p. $0.

St. 8eor*e was amon* t-e most popu(ar saints in t-e art of mediea( 8eor*ia,and t-e numer of portraits depictin* -im in mi(itary dress is *reater t-an in t-e artof any ot-er country&7. 1n eFuestrian representation of St. 8eor*e, reco*nised ast-e o(dest eJtant, is (ocated in t-e 8eor*ian =o(y 9ross c-urc- in 1c-tamar D$;&$2;N&". -is fact s-ou(d not surprise us in t-e (i*-t of t-e saintQs popu(arity,dee(oped on t-e asis of t-e cu(t of a ma(e (unar deity from t-e pa*an period&$.Wit- time, 8eor*e was reco*nised as a patron saint of t-e country. In t-e ;3t-

century t-e 4atin atriarc- of Perusa(em, Paco of Litry, w-o descried 8eor*ians in-is =istory of t-e <ast, t-ou*-t t-e name of t-eir country deried from St.8eor*e%0.

1(t-ou*- t-e certain popu(arity of suects connected wit- t-e person of St.8eor*eXas we(( as -is arious representations emer*in* for t-e ery Orst time in8eor*ian artXcou(d e sucient to eJp(ain depiction of t-is suect, t-e moment



w-en t-is t-eme appears on c-urc- wa((s seems a(so to e of importance. 1(t-ou*-it cannot e dated precise(y, t-e o(dest representations occurred in t-e second -a(f of t-e ;;t- century, i.e. in t-e period of t-e inasion of t-e Se(u urs, w-ic-(asted from ;0%% unti( t-e w-o(e country was conFuered in ;0"$. -e frescoscreated at t-at time -ad to -ae an anti5us(im oertone and promote t-e saint asa *uardian of 9-ristians, protectin* t-em a*ainst inOde(s. -e (e*end Tn t-e son of

4eon mi*-t seem we((suited to 8eor*ia, a nation famous for its war(ie spirit.Interestin* is t-at t-e t-eme did not disappear after 8eor*ia -ad re*ainedindependence in t-e year ;;2;, ut spread into ot-er Trt-odoJ countries.

%; 1. Sty(ianou, P. Sty(ianou, -e painted c-urc-es^, pp. &%%7, O*. 2"0. orinformation aout t-e paintin*s in t-e at-o(icon of St. Po-n monastery see a(so: 9.5an*o, U-e 5onastery of St. 9-rysostomos at 6outsoendis D9yprusN and its Wa((aintin*s, art I. )escriptionV, )umarton Tas apers, Y4IL, ;$$0, pp. %3$.

%2 or information aout t-e importance of p-ysio*nomy as an e(ement deOnin*saints in Byzantine art see: =. 5a*uire, -e Icons of t-eir odies: Saints and t-eirima*es in Byzantium, rinceton ;$$%, passim and 1. 6az-dan, =. 5a*uire,

UByzantine =a*io*rap-ica( eJts as Sources on 1rtV, )umarton Tas apers, Y4L,;$$;, pp. ;22.

o t-e o(dest eJamp(es of non8eor*ian representations of t-e (e*end of St.8eor*e rescuin* a yout- from captiity one can inc(ude an ima*e from !ort-ern9yprus, dated to t-e turn of t-e ;2t- and ;3t- centuries and t-ereforecontemporary wit- t-e paintin*s from anisi and Ii. It is (ocated in a cemeteryc-ape( of ana*ia 1p-endiria at St. Po-n 9-rysostom monastery in t-e i((a*e of 6outsoendis, on t-e sout-ern s(opes of t-e 6yrenia 5ountains%;. -e wa((paintin*Xnot in t-e est conditionXin t-e sout-western nic-e s-ows a warrior in (ame((ararmour wit- a mai( reastp(ate, -o(din* a (ance and a round s-ie(d -un* on -is ri*-ts-ou(der, trottin* on a w-ite steed. -e prepuescent face, surrounded wit- (i*-t-air cur(s and a -a(o, su**ests St. 8eor*e%2. Be-ind -is ac a oy sits, areac,and -o(din* a ewer, a w-ite towe( and a cup in -is -and.

%3 1s t-e fresco in emo1rcei is not in *ood condition, its identiOcation as asimp(iOed type, su**ested y ria(oa, is deoid of rea( asis. 9f. <. 4. ria(oa,U=udoestennoe relene^V, p. 2;".

)espite considera(e dama*e to t-e paintin*, coerin* not on(y a part of t-eoyQs -ead, ut a(so t-e (ower part of t-e composition, one can state t-atX

comparin* to t-e 8eor*ian representationsXt-e aut-or reduced t-e t-eme -ereand (imited -imse(f to t-e depiction of an accompanied rider. !owadays t-e 9ypriotpaintin* is t-e o(dest nown composition of suc- (imited formu(a%3. In contrast to8eor*ian eJamp(es, -oweer, t-e steed is s-own oer (ue waes wit- reddis- Os-.Tne can t-erefore eJpect t-at an artist was inspired y t-e ersion aout t-e son of a widow of 5yti(ene rat-er t-an one of Uap-(a*onianV (e*ends, a(t-ou*- t-epresence of t-e cup, t-e ewer and t-e towe( does not permit us to esta(is-precise(y t-e suect.



i*. ;

1not-er eJamp(e of a simi(ar redaction of t-e t-eme is a sma(( icon ept in t-eBritis- 5useum and dated to t-e mid;3t- century DO*. ;N. 1(t-ou*- 9ormac and5i-a(arias, w-o studied t-is icon, did not uneFuioca((y state, w-ere t-e icon wascreated, t-ey suspected a crusader wors-op in a(estine, worin* in a 8reemanner rat-er t-an a 9ypriot society. In t-eir opinion t-e icon was in a(( (ie(i-oodproduced in 4ydda, east of PaZa, w-ere St. 8eor*eQs martyrium was (ocated%. )ueto t-e portai(ity of t-e icon, -oweer, it is not possi(e to decide unami*uous(yw-et-er it was actua((y produced in t-e icinity of Perusa(em as a *ift for t-e s-rinein 4ydda or in one of t-e 9ypriot wors-ops. =oweer, t-e icon undouted(y comesfrom a ranis- wors-op operatin* in t-e <ast%&.

% R. 9ormac, S. 5i-a(arias, op. cit., pp. ;32;;. Iid., description, note ;. Wide(ydated to t-e t-ird Fuarter of ;3t- century, more precise(y to t-e midd(e of t-ecentury, pp. ;3;37 t-e icon was auctioned y 9-risties in ;$7" as a nineteent-century Russian wor from a Britis- co((ection. =oweer t-e ac*round is *racedwit- a coneJ ornament of twistin* e*etation formed in a p(aster coerin* t-e icon,reca((in* t-e manner popu(ar in t-irteent-century wors-ops in t-e 4eant. Suc-attriution is conOrmed y t-e way in w-ic- t-e p-ysio*nomy is mode((ed, and t-earran*ement of drapery c(ose to t-e t-at on t-e miniatures of t-e Bi(e ept in t-earis 1rsena( 4irary under t-e no. &2;;, dated to ;2&0;2& 9ormac and5i-a(arias t-esis was accepted in: Byzantium. reasures of Byzantine 1rt and9u(ture, ed. ). Bucton, 4ondon ;$$, p. ;7%.

%& or information aout artistic re(ations-ips and t-e transfer of wors of artetween t-e Sinai monastery, 9yprus and 9rusader countries see: 6. Weitzmann, U1*roup of ear(y twe(ft-century Sinai icons attriuted to 9yprusV, Kin:M Studies inmemory of )aid a(ot Rice, redaction 8. Roertson, 8. =enderson, <dinur*-;$7&, pp. 7%;.

%% Tn t-e icono*rap-y and symo(ic meanin* of a diadem in representations of saintwarriors see 1. 1rnu(f, U<ine er(e fr das =aupt 4eonis LIV, Pa-ruc- derBer(iner 5useen, YYII, ;$$0, pp. %$".

%7 In t-e (i*-t of t-e fact t-at t-e *ear of caa(rymen typica( in Byzantine art is a(somentioned in written sources, 9ormacs su**estion t-at t-e mi(itary e(ements

s-own on t-e icon are a product of t-e artists ima*ination s-ou(d e eJc(uded, cf.R. 9ormac, S. 5i-a(arias, op. cit., p. ;32 1out (iterary resources see P. . =a(don,USome aspects of Byzantine mi(itary tec-no(o*y from t-e siJt- to t-e tent-centuriesV, Byzantine and 5odern 8ree Studies, I, ;$7&, pp. ;;7, . 6o(ias,Byzantinisc-e WaZen, Wien ;$"", passim.

%" R. 9ormac, S. 5i-a(arias, op. cit., p. ;37.



<Jce((ent condition permits us to see t-e most minute detai(s of t-ecomposition. 8eor*e is s-own in armour resem(in* a e-ter or a -auer, wit- aRoman ocerQs e(t on -is c-est Dzoni stratiotiiN, (eat-er _aps Dptery*esN, a dar(ue tunic appearin* from underneat-, and a carmine c-(amys streamin* in t-ewind. =is -ead is decorated wit- a narrow diadem of pear(s and ruies%%. =e ismounted astride a wa(in* w-ite -orse, orientated to t-e ri*-t Dcompare t-at in

6outsoendisN. -e saint is armed wit- a (ance and a circu(ar s-ie(d -un* round oer-is s-ou(der%7. =e faces t-e iewer. -e saintQs ri*-t arm passes round t-e yout-Qsnec Dperio(atisN. -e yout- wears a sy(ue tunic descendin* to -is nees and arown cap wit- a (ac stripe around it. 1 s(ender *o(et in t-e yout-Qs (eft -and anda sma(( (uis- streaXproa(y a symo( of t-e seaXsurrounded y detai(edpainted, diminutie e*etation in a rocy (andscape su**est t-at t-e 5yti(enianersion was i((ustrated -ere%". Tn t-e ot-er -and t-e ersion Tn t-e son of 4eonmentions t-at t-e esse( rou*-t y t-e yout- -ad een used as a c-a(ice for(itur*ica( purposes. -is fact cautions us to adopt a carefu( approac- to suc-identiOcation. We must (oo for conOrmation in ot-er wors.

-e sea O((ed wit- Os-Xa part of t-e (andscape under t-e -orseQs -ooesXispainted muc- more c(ear(y on an icon from St. 9at-erineQs c-urc- on 5ount Sinai.roa(y it is t-e wor of a western painter, contemporary wit- t-e 4ondonrepresentation. In ot- cases t-e ac*round is decorated y t-e same met-od,and, as far as t-e composition is concerned, t-e two paintin*s on(y diZer in detai(s.Tn t-e Sinai icon a rider and -is -orse moe towards t-e (eft. -e saintQs c-est ande((y are protected y ody armour and t-e oy wears a (on* tunic wit- s(eees.Some diZerence is a(so isi(e w-en comparin* t-e manner in w-ic- t-e sadd(e andtrappin*s are represented.

-e t-esis t-at t-e t-eme of a sea ay under t-e -orseQs -ooes was introducedinto t-e icono*rap-y of St. 8eor*e rescuin* a yout- is permited y t-ereconstruction of t-e neJt two ear(y eJamp(es of t-is suect, w-ic- suried infra*ments. Since t-e sea and swimmin* Os-es are not present in t-e ima*es of ot-er riders in mediea( art, t-ey mae it possi(e to identify t-e ori*ina( scene.

%$ P. o(da, . renc-, op. cit., pp. ;$;$&.

-e Orst of t-ese eJamp(es is a fra*ment of a fresco on t-e nort-ern wa(( of t-esoca((ed UBaptisma( 9-ape(V Ddiscoered in ;$3&N in t-e Syrian 9rusadersQ cast(e of

9rac des 9-ea(iers. Tn(y t-e ottom part of t-e composition remained: t-e (e*s of a w-ite -orse are isi(e and a patc- of (ue water wit- swimmin* Os- is p(acedunder t-e -oofs. 1ccordin* to P. o(da t-e fresco e(on*s to a *roup of ima*es of St.8eor*e wit- t-e son of t-e widow of 5yti(ene and cou(d e attriuted to t-e -and of a ranis- or 9ata(onian master worin* in t-e ;2t- and ;3t- centuries%$.

70 <. 9. )odd, op. cit., pp. ""7, O*. 2$.



-e paintin* in a c-ape( at t-e monastery of 5ar 5usa a( =aas-i DSt. 5oses t-e<t-iopianN, near !ee, Syria, dates from t-e same time. Tn t-e sout-ern wa(( of t-e main nae an ima*e of St. 8eor*e *a((opin* on a w-ite steed is p(aced amid siJeFuestrian ima*es of =o(y Warriors, amon* w-om feature Ser*ios -o(din* acrusader standard and -eodore i((in* a dra*on. -e upper part of t-e ima*e wasdestroyed as in 9rac des 9-ea(iers, ut t-e remains of a 8ree inscription UKT

18IMTS 8<KTR8ITSMV e(ow t-e riderQs (e* identiOes t-e person unami*uous(y./nder t-e mountQs -ooes can e seen water wit- pinis- Os-. 1s distinct from t-epreious eJamp(es, t-is paintin* is t-e wor of a (oca( Syrian wors-op70. It proest-at at t-e end of t-e ;2t- century, t-e (e*end was a(ready we(( nown in Syria noton(y in t-e 9rusader community, ut a(so amon* (oca( 1ra in-aitants.

7; . Sader, eintures mura(es dans (es H*(ises 5aronites mHdiHa(es, Beirut ;$"7,pp. 2; 22, O*. 2%.

-e eidence of t-e eJceptiona( popu(arity of t-e (e*end of St. 8eor*e rescuin*

a yout- in t-e art of crusader in*doms can e a(so found in t-e suried wa((paintin*s remainin* in 4eanese c-urc-es in <dde, <nfe and Ba-deidat7;. 1(( of t-em date from t-e midt-irteent- century and, t-erefore, are contemporary wit-t-e aoe mentioned icons. =oweer, as far as t-e tec-niFue is concerned t-ey area part of (oca( artistic tradition.

72 1mon* t-e most important 8eor*ian monasteries in twe(ft-century a(estine,t-e fo((owin* s-ou(d e mentioned: t-e 5onastery of eter t-e Ierian nearBet-(e-em and t-at of St. Saa in t-e a((ey of t-e 9edron Rier. Tne s-ou(drememer t-e 8eor*ian 9-urc-s care of t-e 9-ape( of indin* t-e =o(y 9ross andits temporary protection of t-e 9a(ary in t-e 9-urc- of =o(y Sepu(c-re in

Perusa(em.

Syrian Trt-odoJ society must -ae p(ayed a (eadin* ro(e in copyin* from8eor*ia an eFuestrian motif of 8eor*e wit- a yout-. Simu(taneous(y, at t-e end of t-e ;2t- century, a type e*an to appear w-ere t-e sea is isi(e at t-e ottom partof t-e composition. !umerous 8eor*ian monastic societies wit- (on* traditions int-e =o(y 4and, as we(( as pi(*rims to -o(y sites, may -ae participated in promotin*artistic patterns72. ina((y, t-e transfer of t-ese patterns must -ae een supportedy t-e p(ans to recapture Perusa(em from Sa(adinQs -ands and to reie dip(omaticre(ations wit- t-e crusader countries, p(ans made y t-e 8eor*ian in* 4as-8eor*eIL D;2;3;222N, w-o traced -is *enea(o*y ac to t-e -ouse of )aid. It remainsuncertain w-et-er t-ese contacts were (on*(astin* enou*-, as t-e intentions of t-e

8eor*ian soerei*n were destroyed y t-e 5on*o(s, w-o appeared in t-e 5idd(e<ast in t-e year ;220. !or can t-e possii(ity e eJc(uded t-at t-e t-eme of t-emiracu(ous sa(ation of t-e yout- was dee(oped in Syrian and 8eor*ian societies inpara((e(.

73 1ccordin* to anot-er ersion, 8eor*e died in !icomedia, fo((owin* w-ic- -isody was moed for uria( in -is -ome at 4ydda. -is was temporari(y renamed8eor*ioupo(is and so 8eor*e of 9yprus names it in -is seent-century wor)escriptio oris Romani. 1not-er p(ace w-ic- oasted of t-e martyrs re(ics was t-e



c-urc- ui(t circa &;& in <zra DoraaN, see -e TJford )ictionary of Byzantium, ed.1. . 6az-dan, II, TJford ;$$;, p. "3 9-. Wa(ter, U-e ori*ins of t-e cu(t^V, p. 3;.

7 9-. Wa(ter Dsee preious noteN *ies t-e years of &;G&;& as t-e ery Orst timew-en t-e cu(t of St. 8eor*es re(ic was mentioned teJts of t-e re(ations arepu(is-ed y . 8reyer, Itinera -ieroso(ymitana saecu(i LILIII, Wien ;"$", pp. ;3$

2$.

7& -is (e*end was presented y Wi((iam of yre in -is =istoria rerum in partiustransmarinis *estarum, Boo ", 9-. ;% see Wi((emi yrensis 1rc-iepiscopi9-ronicon, Kin:M 9orpus 9-ristianorum 9ontinuatio 5ediaea(is, YIII, ed. R. B. 9.=uy*ens, =. <. 5ayer, 8. Rsc-, urn-o(t ;$"%, p. 07. 1ccordin* to anot-er ersionof t-e (e*end, St. 8eor*e supported t-e 9rusaders durin* t-e sie*e of 1ntioc- in t-eyear ;0$". -e motif of t-e saint supportin* t-e O*-ters -ad een nown eforet-at time and -ad appeared in t-e report of t-e 8eor*ian cat-o(icos Lisarion fromt-e wars a*ainst t-e ersians, see P. 5ys(iec, op. cit., p. 3%&. 1(so St. )emetriuswas often seen defendin* -essa(onii from ararians, see for eJamp(e t-e set of 5iracu(a written y Po-n, is-op of -essa(onii, ed. . 4emer(e, 4es p(us anciens

recuei(s des 5irac(es de Saint )HmHtrius et (a pHnHtration des S(aes dans (esBa(ans, I, aris ;$7$, pp. ;33;3".

7% See for eJamp(e coins minted y Ro*er of 1ntioc- wit- t-e eFuestrianrepresentation of t-e saint, R. esant, US. 8eor*e and t-e dra*on on t-e coina*e of Ro*er of 1ntioc-V, Spin numismatic circu(ar, 9G3, ;$$2, p. 7$, O*s. ;.

-e popu(arity of St. 8eor*e in t-e crusader countries in 4eant can e ustiOedy arious circumstances. irst of a((, one s-ou(d rememer t-at a(estine, as St.8eor*eQs -ome(and and as a possi(e site of -is martyrdom73, a(ready -ad a specia(cu(t in t-e ear(yByzantine period. -is is conOrmed y pi(*rimsQ reports on t-eir stay

in )iospo(is Dt-e present day 4yddaN. -ese reports, *oin* ac to t-e Orst -a(f of t-e %t- century7, mentioned t-e saintQs re(ics worin* mirac(es. -e martyriumoer t-e saintQs tom, reui(t y Pustinian I, -ad een ruined y 5us(ims circa ;0;0.But t-e 9rusaders ui(t a new c-urc- and a monastery t-ere once t-ey -adcaptured Perusa(em. -e fame of t-is p(ace was stren*t-ened y t-e (e*end of supernatura( assistance from t-e saint durin* t-e sie*e of Perusa(em7&. -esanctuary *rew successfu((y t-rou*-out t-e ;2t- century unti( t-e inasion of Sa(adin in ;;77. -en, after its reconstruction comp(ete in ;;$2, it ecame animportant site of pi(*rima*e. -e 9rusadersQ protection of t-e 4ydda sanctuaryXandmany ot-er c-urc-es dedicated to St. 8eor*e at t-at timeXcan e understood int-e conteJt of t-e dee(opin* cu(ture of c-ia(ry, present a(so in secu(ar art7%.

ain* a(( t-ese factors into account one s-ou(d not e surprised at t-e popu(arreception of St. 8eor*e rescuin* a yout- in 9rusader art, particu(ar(y in t-e conteJtof Sa(adinQs inasion. -e (oss of Perusa(em, coincidin* wit- t-e introduction of t-enew t-eme taen from t-e saintQs io*rap-y into t-e paintin*s in c-urc-es, madet-at t-eme particu(ar(y apposite. Reca((in* t-e saintQs protection must -ae-eartened t-e fait-fu( in a dicu(t time.



77 or information concernin* traces of Ric-ard t-e 4ion=earts conFuest of t-eis(and in 9ypriot paintin*s, see 1. Sty(ianou, USocio(o*ica( re_ections in t-e paintedc-urc-es of 9yprusV, 1cta /niersitatis /psa(iensi. i*ura, YIY, ;$"; KE 4es pays du!ord et Byzance DScandinaie et ByzanceN. 1ctes du co((oFue dQ/psa( 2022 ari(;$7$M, pp. &23&2$.

9urrent now(ed*e must (eae t-e issue open as to w-et-er t-e t-eme of t-eaccompanied saint on -orse ac emer*ed in 1rmenian art of t-e ;2t- and ;3t-centuries, w-ic- wou(d e -e(pfu( in assessin* t-e ro(e of 8eor*ian icono*rap-y int-e introduction of t-is t-eme to 9rusader art. Based on t-e approJimate datin* of particu(ar wors one can try to reconstruct t-e process of *eo*rap-ica( eJpansion of t-e t-eme in 4eantine art. It must -ae een transmitted from wors created inSyria and a(estine to 9ypriot eJamp(es. -is t-esis is not mi(itated a*ainst y t-eear(y date of t-e ima*e in t-e monastery of 6outsoendis, since it may -ae eenproduced once Ric-ard t-e 4ion=eart captured t-e is(and in ;;$;77. 5oreoer, t-e(ower, destroyed part of t-is wor can e reconstructed accordin* to t-e USyrianV

option, wit- t-e fra*ment of a sea.7" S. Sop-oc(eus, Icons of 9yprus 7t-20t- 9entury, !icosia ;$$, pp. 7&7% 1.apa*eor*iou, Icons of 9yprus, !icosia ;$$2, pp. 73, 77, O*. &3. -is aut-or inc(inesto date t-e icon een to t-e ;t- century.

i*. 2

7$ P. 5ys(iec, op. cit., p. 3;$, mentions t-e eJpression U9appadocianV appearin* ont-e standard of t-e 5o(daian ru(er Step-an t-e 8reat, dated to t-e e*innin* of t-e ;%t- century, w-ere St. 8eor*e was presented sittin* on t-e t-rone, -o(din* a

sword in -is -ands and t-e dra*on (yin* at -is feet.

"0 <. Wa((is Bud*e, -e 5artyrdom and 5irac(es of Saint 8eor*e of 9appadocia. -e9optic eJt edited wit- an <n*(is- rans(ation, 4ondon ;""" see a(so P. . 5i*ne,atro(o*iae^, 9YL, co(. 2$ and Bi(iot-eca =a*io*rap-ica Trienta(ia, 999Y,Brusse(s ;""", p. 20&.

/ndenia(y, t-e icon in St. 5arinaQs c-urc- in t-e i((a*e of i(ousa 6e(oedaron,current(y ept in t-e Byzantine 5useum of t-e ap-os is-opric7", was producedw-en t-e 9rusaders rei*ned in 9yprus. -e icon, dated to t-e turn of t-e 7t- and"t- centuries, i((ustrates t-e patron of t-e c-urc- and t-e scenes of -er martyrdom.=oweer, on its reerse side is an ima*e of St. 8eor*e from t-e (ate ;3t- century,as usua( on a w-ite -orse DO*. 2N. /nder -is -ooes is t-e (ue strip of sea, O((ed outwit- carmine Os- and as wide as t-e icon. Be-ind t-e saintQs ac a yout- sits in a(i*-t (i(y tunic, -o(din* a ewer(ie esse( wit- a rotund coneJity y its s(endernec. !ew e(ements -ere inc(ude a pear(diadem on 8eor*eQs -ead, and t-e(essin* 5anus )ei appearin* from -eaen at t-e upperri*-t corner of t-e icon.!eJt to it is an inscription: U8eTR8iTS ? 6a1)TJV written in two fie(ds painted int-e re(ief ac*round wit- a wea(t- of ornament. -e term accompanyin* t-e



saintQs name can -e read as U9appadocianV, t-us, it -as a toponymic c-aracter, ustas t-e epit-et B(ac-erniotissa referrin* to 5ary or 9-a(ip(ates to 9-rist. But as forSt. 8eor*e t-is term does not mean a particu(ar icono*rap-ica( type7$, ut on(yrefers to one of t-e ersions of saintQs 4ife, w-ic- deried -is ori*in from9appadocia"0.

W-i(e t-e *roup of ear(y representations of St. 8eor*e and t-e yout- in 8eor*ia,t-e =o(y 4and, and 9yprus is so numerous, eJamp(es from efore t-e end of t-e;3t- century in ot-er countries are rare. 1mon*st t-em is a paintin* in a9appadocian t-reeapse c-urc- in 1nti*ous Dt-e present day Trtay near1(tun-isarN, w-ic-, accordin* to one of t-e (e*ends, was 8eor*eQs p(ace of ori*in.W-en t-e c-urc- was decorated 1nti*ous was a(ready ru(ed y Se(us. -e paintin*is dated to efore ;2$3, t-ou*- some conecture t-at it may -ae een created(ater";. -e (ower part of t-e sout-ern apse of St. 8eor*eQs c-urc- contains anima*e of t-e mounted saint wit- a oy. Its ottom is not in sucient(y *oodcondition to decide if t-e sea was depicted t-ere -oweer, an inscription sti((

suries neJt to t-e rider: U-o )iasoritisV "2. 1s in t-e case of t-e aoe mentioned9ypriot icon, t-is epit-et is proa(y of toponymic c-aracter and deries from t-eantiFue name of Trtay, or, accordin* to anot-er ersion, from t-e name of t-emonastery on 1mor*os Is(and wit-in t-e 9yc(ades. -e eJpression )iasoritis isusua((y (ined to t-e composition mode((ed on t-e ima*e from t-e monastery, w-eret-e saint is presented fronta((y, from t-e waist up, wit- a (ance in -is ri*-t -and anda round s-ie(d in -is (eft"3.

"; 9. Po(iet4Hy, 4es H*(ises yzantines de 9appadoce, aris ;$$;, pp. 2&22&3 f.!. -ierry Dnote 20N says t-at t-e painted decoration of t-e nae comes from t-esame period as t-at of t-e estiu(um t-e terminus ante Fuem of t-e paintin*s int-e estiu(um is determined y t-e epitap-s on t-e wa((s from t-e year ;2$3. Tnt-e ot-er -and 5. Rest(e and . =i(d, au(a Imperii Byzantini. 6appadoienD6appadoia, 9-arsianon, Seasteia und 4uandosN KE sterreic-isc-en 1ademieder Wissensc-aften p-i(o(op-isc--istorisc-e 6(asse )ensc-riften, 9Y4IYM, II, Wien;$";, p. 232. Rea((eJion zur yzantinisc-en 6unst, III, Stutt*art ;$7", co(. $%$;;;&, su**ests, t-at t-e c-urc- was ui(t in t-e ;3t- century, ut rea((ocate t-edecoration to t-e ostByzantine period.

"2 Information aout t-e inscription is proided y L. !. 4azare, U!oy pamiatnistanoo iopisi YII ea i oraz 8eor*iaXona izantisom i drenerussomisussteV, Kin:M Russaa sredneeoaa iopisXStati i iss(edoania, 5osa;$70, p. 7", note ;23. 8. de Perp-anion, 4es H*(ises rupestres de 9appadocieX

eJte, II, part ;, aris ;$3%, p. 2; writes t-at St. 8eor*e is i((in* t-e dra*on wit--is spear, ut today it is -ard to erify if it is a mistae of t-e aut-or, or if in t-iscase two (e*ends were actua((y put to*et-er. -is aut-or *ies a(so o(deri(io*rap-y aout t-e term )iasoritis D=. 8rH*oire, Saint 8eor*e (e )iasorite, Reuede (Qinstruction pu(iFue en Be(*iFue, 4II, ;$0$, pp. ;3N.

"3 . RaZ, op. cit., pp. ;;7;20, esta(is-es a connection etween t-e epit-et andt-e ancient name of Trtay, and *ies diZerent eJamp(es of t-is icono*rap-ic



suect. Tn t-e contrary P. 5ys(iec, op. cit., p. 322 (ins t-is term wit- t-emonastery in 1mor*os Is(and wit-in t-e 9yc(ades and points out t-at t-isicono*rap-ic topic is connected main(y wit- anot-er composition. =e proideseJamp(es of t-e fresco on t-e Trt-odoJ 9-urc- in Staro !a*oriino D;t- centuryN,t-e icon from t-e =istorica( 5useum in 5oscow Dpre;&t- centuryN and t-e fresco int-e 1t-os 5onastery of Yenop-ont see a(so: 1. 6yriai Lassi(io, UT a*ios 8eor*ios

)iasoritis auf Sie*e(n. <in Beitra* zur r-*esc-ic-te der 4asaridenV,Byzantinisc-e eitsc-rift, Y9, ;$$7, pp. ;%2, especia((y ;$20.

" or recent researc- aout t-e 9retan enironment of painters worin* durin* t-eperiod of Lenetian ru(e see 1. <. 4aiou, ULenetians and Byzantines: Inesti*ations of orms of 9ontact in t-e ourteent- 9enturyV, -esaurismata, Bo((etino de((QIstituto<((enico di Studi Bizantini e ostizantini, YY, ;$$2, pp. 223 a(so: 5.8eor*opou(ou, U4ate 5ediea( 9rete and Lenice: 1n 1ppropriation of Byzantine=erita*eV, 1rt Bu((etin, 4YYLI, ;$$&, pp. 7$$%.

"& S. 5aderais, UI e(esia tou Q1*iou 8eor*iou stin 6antano Se(inouV, t-e reportpronounced durin* t-e 1nnua( Symposium of 9-ristian 1rc-aeo(o*ica( Society in

1t-ens D% of 5ay 200;N."% I. Spat-arais, Byzantine Wa(( aintin*s of 9rete, I, Ret-ymnon roince, 4ondon;$$$, pp. 23;232, 33%, O*. 2$0.

"7 . RaZ, op. cit, p. ;2%, for *enera( information on t-e paintin*s in t-e c-urc- see:5. Bissin*er, U6reta: yzantinisc-e Wandma(ereiV, 5nc-ener 1reiten zur6unst*esc-ic-te und 1rc-vo(o*ie, IL, ;$$&, p. $7.

1(so on 9rete, w-ic- soon after 9yprus ecame a Western co(ony Dafter t-eourt- 9rusade Boniface of 5ontferrat, w-o -as een *ranted 9rete, so(d it to

LeniceN suect of St. 8eor*e sain* t-e yout- from captiity appears in t-e midd(eof t-e ;3t- century. -e present of a new, romancat-o(ic ru(er was not an ostac(efor Trt-odoJ donors and artists". o t-e o(dest eJamp(es one can add t-e frescofrom St. 8eor*eQs c-urc- in 6antano Se(inas, w-ic- was painted durin* t-e ;20s"&.

-e neJt two eJamp(es from t-is is(and are dated from t-e turn of t-e ;3t- and ;t-centuries. -e Orst of t-em suried on t-e !ort- wa(( of t-e naos in t-e c-urc- of t-e ana*ia in Saitoures Dnear Ret-ymnonN ascried to circa ;300"%. 1mon*mounted mi(itary saints is depicted St. 8eor*e wit- t-e oy -o(din* a esse(. In -isri*-t -and t-e warrior eeps a (ance wit- a sma(( pennon eneat- t-e top. -ismotif as an e(ement of icono*rap-y of -o(y ni*-ts appears undouted(y under t-ein_uence of western c-ia(ric cu(ture. 1 -it (ater is t-e representation from St.8eor*eQs c-urc- in 6omitdes near 9-ora Sp-ion, in western 9rete. -e fresco

was painted y Ponnis a*omenos in ;3;3G;"7. -ou*- t-is paintin* is not in itsori*ina( condition, it is sti(( possi(e to identify t-e sea wit- swimmin* Os- under t-ee((y of t-e -orse and a oy sittin* e-ind St. 8eor*eQs ac.

"" =. . 4ync-, 1rmenia. rae(s and Studies, I, -e Russian proinces, 4ondon ;$37,pp. ;2";2$, O*. 2&. Since t-e icon was repainted its sty(istic features cannot -ereco*nised easi(y and some tria(s were made to reesta(is- t-e datin* in ot-directions: acward as far as t-e ;;t- century and forward to t-e postByzantineera. Tn t-e icon itse(f, -oweer, suried t-e date ;327.



W-i(e t-e ima*e from t-e c-urc- in 6omitades precise(y repeats t-e patternsdee(oped in Syria, t-e icon from <rzerum, 1sia 5inor, w-ic- was produced in ;327and taen to 1(eJandropo(is"" y 8ree refu*ees in ;"27, is t-e ear(iest eJamp(e of a new compositiona( arran*ement. -e t-eme of a oy accompanyin* t-e saint was

comined -ere wit- t-e (e*end of t-e O*-t a*ainst a dra*on, resu(tin* in anun-istorica( ama(*amation of two eents: t-e Orst one taen from 4ife of t-e saintand t-e post-umous one nown from t-e 5iracu(a. 8eor*e is s-own t-rustin* -isspear into t-e monster, a*ainst t-e ac*round of a princess and -er parentssurrounded y t-eir entoura*e, standin* on t-e copin* of t-e city wa((s. -eemperor Se(inus -o(ds eys in -is -ands, si*nifyin* t-at -e entrusts t-e ru(e oert-e city to t-e ictorious warrior and conOrmin* its conersion to 9-ristianity, w-ic-was a condition of t-e saintQs -e(p. -e motif of t-e sea was remoed from t-e icon.

"$ -e teJt of t-e (e*end presered in t-e 8eor*ian manuscript in t-e (irary of t-e8ree atriarc-ate of Perusa(em Dcod. 2N -as een recent(y Fuoted in an <n*(is-trans(ation 9-. Wa(ter, U-e ori*ins of t-e cu(t^V, pp. 32032;. 1 direct forma(

temp(ate for t-e (e*end was proa(y t-e story of St. -eodore yron O*-tin*a*ainst t-e dra*on to rescue a woman named <useia. -is t-esis is stren*t-enedy t-e fact t-at eFuestrian representations of 8eor*e and -eodore i((in* t-edra*on were often set to*et-er.

$0 races of t-e t-eme of St. 8eor*e i((in* t-e dra*on appeared in art ear(ier t-at itwas in 9appadocia, cou(d e found in 8eor*ia. Tn t-e ear(yfeuda( ste(e from 6emo6art(i is presered t-e inscription Ut-is is a dra*onV and t-e (etters Ur*V and UiV neJtto t-e representation of t-e warrior D(etters (ocated y t-e sides of t-e warriorQs-eadN see <. 4. ria(oa, U=udoestennoe relene^V, p. ;"2.

$; 9-. Wa(ter, U-e ori*ins of t-e cu(t^V, p. 322. Beside t-e eJamp(es from anisiand Ii Wa(ter *ies ot-er additiona( ones from Boorma Dcirca ;;00N and 1dili Dt-eend of ;;t- centuryN. ain* into account t-e o(dest redaction of t-e (e*end of t-edra*on and t-e princess and t-e t-emes popu(arity in t-e art of t-e 9aucasusre*ion, -e is inc(ined to accept its 8eor*ian ori*in.

-e (e*end of 8eor*e defeatin* t-e dra*on and rescuin* t-e princess remainedin many teJts from arious periods, ut t-e o(dest ersion nown today comes from8eor*ia and is dated to t-e end of ;;t- century, a(t-ou*- o(der eJamp(es sure(yeJisted"$. -e (e*endary ersions are no o(der t-an t-e eJamp(es of its i((ustrationin art, wit- t-e 9appadocian paintin* in St. BararaQs rocc-urc- in SoandosDSoxan(iN maded etween $7% and ;02;$0, *enera((y considered to e t-e ear(iest

eJamp(e. Tn t-e ot-er -and t-e eJtended ersion inc(udin* t-e city wa((s of 4asiaand t-e emperorQs entoura*e standin* t-ere spread in 8eor*ia t-rou*- t-e ;2t-century$;.

-e comination of t-e two t-emes is not ustiOed y t-e -a*io*rap-y, w-ereot- (e*ends are distinct and refer to diZerent periods of time. Tious(y t-emessa*es coneyed y ot- eents are a(ie, ut one cannot identify t-e O*-t



a*ainst t-e transcendenta( ei( symo(ised y t-e dra*on wit- t-e protection of 9-ristians from inOde(s. It seems to e t-e case t-at t-e reason for cominin* t-eset-emes (ies somew-ere e(se and s-ou(d e sou*-t in a compositiona( transitionoccurrin* at t-at time.

$2 -e idea of t-e 8eor*ian ori*in of t-e pattern used y t-e painter is a(so

supported y t-e motif of a spira((y twined dra*ons ody, appearin* in t-e art of t-is country as ear(y as t-e end of t-e ;0t- century Dt-e p(aFues wit- t-erepresentation of Sts. -eodores of t-e =o(y 9ross from SadariN, see 8. !.uinli(i, op. cit., o(. 2, O*. 0.

i*. 3

$3 1(t-ou*- t-e (e*end aout -eodore iro sain* a oy so(d into captiity toIs-mae(ites is o(der t-en 8eor*es mirac(e Dsee 9-. Wa(ter, U-eodore, 1rc-etype of t-e Warrior SaintV, Reue des <tudes Byzantines, 4LII, ;$$$, pp. ;%";%$ t-isaut-or Fuotes B=8 ;7%, dated in -is opinion to t-e "t- centuryXin contrast toot-er sc-o(ars w-o moe t-e time of t-e (e*ends composition to t-e period after$3, iid., p. ;%7, note ;;N, neert-e(ess, eFuestrian representations of t-eunearded -eodore DStrati(atesXsicN O*-tin* a*ainst t-e dra*on, accompanied ya yout- Dusua((y identiOed y t-e inscription USon of t-e widowVN appeared re(atie(y(ate, Orst of a(( in a 9optic enironment, and were undenia(y ased on t-eicono*rap-y of St. 8eor*e. 5oreoer, t-emes unnown from t-e representations of St. 8eor*e appear -ere: t-e O*ure of a widow raisin* -er arms in a *esture of prayer and -er son fastened to t-e tree, see T. 5einardus, op. cit., pp. ;&2;&3,DO*. "N.

i*.

$ -e t-esis of t-e identity of t-ree warriors in <si6ermena was made y <. S.Tinnioa, op. cit., p. 232, w-o a(so reco*nizes t-e O*ure of t-e rider as St.8eor*e.

$& . Le(mans, U4a pittura parieta(e e (e iconeV, Kin:M 4arte Bizantina in 8recia, ed. 1.1. !oe((o, 8. )imitroa((is, 5i(ano ;$$&, O*. on p. ;$2. 1n inscription from t-isc-urc- Dnow in t-e 1rc-aeo(o*ica( 5useumN reFuests reader to pray Ufor t-efor*ieness of t-e sins of your Serant 9ount edroV. It means t-at mura(s must ypainted circa ;33";3&0 DbN w-en 9ata(on 4ord edro I adriFue ru(ed oer t-eis(and.

irst of a(( it s-ou(d e rememered t-at t-e paintin*s i((ustratin* Ut-e mirac(ewit- t-e oyV on t-e wa((s of 8eor*ian c-urc-es were composed as a pendant to t-ecomp(eJ scene of sain* t-e princess. roa(y t-e decoration in t-e rocc-urc- of U-ree RidersV in t-e <si6ermena *raeyard in t-e 9rimea was inspired y t-esepaintin*s. -e decoration can e interpreted as an intermediate p-ase etween t-eUautonomousV representation of t-e mirac(e wit- t-e oy and t-e composition



cominin* ot- (e*ends$2. Tn t-e west wa(( t-ree saints on -orses were painted,*oin* from t-e (eft to t-e ri*-t side DO*. 3N. W-i(e t-e Orst of t-em Dfronta( iewN isridin* ca(m(y and -o(ds a spear in -is -and, t-e second one is spearin* a dra*onand t-e t-ird, *a((opin*, is accompanied y a youn* man e-ind t-e riderQs ac.1(t-ou*- t-e facia( features are now (urred, t-e -airsty(e pinned wit- a -eadandor a diadem, as we(( as t-e simi(ar oa(s-aped faces su**est t-at t-e same O*ure

of t-e warriorsaint was depicted -ere t-ree times. 1s no traces of facia( -air areisi(e, it is most (ie(y t-at rocopius, )emetrius or 8eor*e -imse(f was s-own-ere$3. Since t-e former two -ae not een i((ustrated to*et-er wit- a dra*on itcou(d e conc(uded t-at t-e aut-or of t-is wor presented t-ree scenes from St.8eor*eQs (ife. It may e t-at t-e aut-or fo((owed a c-rono(o*ica( order andi((ustrated 8eor*e comin* ac from t-e campai*n a*ainst t-e ersians, t-en -isO*-t a*ainst t-e dra*on and, Ona((y, t-e post-umous mirac(e of t-e rescue of t-eyout-Xa(( scenes arran*ed accordin* to t-e direction in w-ic- t-e O*ures moe$.

-is interpretation of t-e t-ird scene is conOrmed y t-e speciOc c(ot-es of t-e oy,particu(ar(y -is cap resem(in* a -at wit- a rim turned down and -is outer *armentwit- raided fasteners. 1(most identica( c(ot-es are worn y a yout- on a frescopainted at t-e same time in t-e c-urc- of St. Po-n t-e -eo(o*ian in a(eoc-ora on

1e*ina DO*. N$&. In t-is case t-e saint can for certain e reco*nised t-ans to t-eremainin* inscription UT 18iTS 8K<MTKR8IMTSV.

$% 9f. <. S. Tinnioa, op. cit, p. 230 T. I. )omrosi, op. cit., p. 3%. -e Russianresearc-er supports -is -ypot-esis y t-e date in t-e inscription, startin* from t-edi*its ;2. =e for*ot, -oweer, t-at Byzantines often measured time from t-ecreation of t-e wor(d, w-ic- was supposed to -ae -appened on 2&t- of 5arc- &&0"B.9. -erefore, t-e ;3t- century corresponds wit- t-e UByzantineV years of %70$%"0$, w-ic- y no means permits t-e date -e proposed. 1(so 5. 8o(escu, op. cit., p.;2", a*rees in datin* t-e paintin* to t-e e*innin* of t-e ;t- century, a(t-ou*-s-e does not eJc(ude t-e -ypot-esis t-at -eodore yron was depicted -ere.

1not-er issue concernin* t-e 9rimean paintin* was its ori*in. Tne must a*reewit- <. Tinnioa, t-at it is t-e wor of a Byzantine wors-op, w-ic- is conOrmedy t-e presence of 8ree inscriptions. =oweer to date t-e paintin* to t-e;2t-G;3t- century, as s-e does fo((owin* T. )omrosi, seems to e too ear(y$%.)espite of some surface (oss on t-e paintin* w-ic- (urs its sty(e, t-e manner inw-ic- t-e c(ot-es fa(( in fo(ds, t-e stocy proportions of t-e O*ures and somee(ements of *arment su**est t-e in_uence of a(aeo(o*ian paintin*. -is su**ests adate towards t-e end of ;3t- century, ut tain* into account t-e proincia(c-aracter of t-e wor t-e datin* may e a((ocated to t-e Orst -a(f of t-e ;t-century.

In order to reso(e t-e issue of t-e <si6ermena ima*e of St. 8eor*e it may eassumed t-at t-e artist, w-o (imited t-e composition to its necessary e(ements yremoin* frames separatin* t-e two episodes, created a asis mer*in* t-em intoone composition. It is oious t-at t-e 9rimean paintin* s-ou(d e treated on(y asan eJamp(e of a certain tendency, w-ic- a(so cou(d -ae occurred in ot-er p(acesand ecame t-e ori*in of a new formu(a: to present ot- mirac(es at t-e same time.



-is process was assisted y t-e ease wit- w-ic- t-e aut-or cou(d incorporate aninconspicuous t-eme of an Uadditiona(V -ero into t-e story of t-e O*-t a*ainst t-edra*on.

$7 4. 6retzenac-er, 8riec-isc-e Reiter-ei(i*e^, p. 27 a(on*side t-e date of ;0$G;0 *ies anot-er oneX;$Xased on o(der (iterature. But current now(ed*e

a((ows us to reect t-is date. Recent(y 5. Bissin*er, op. cit., p. 207, opted for anear(ier date, ustifyin* -is point y notin* t-at ot- t-e way of mode((in* and t-eco(ours are simi(ar to t-e sty(e of t-e paintin*s from Su*ia and Spe(ia Dend of ;t-centuryN.

$" 1. Tr(andos, ULyzantinoi ai metayzantinoi naoi tis `RodouV, 1rc-eion tonizantinon mnimeion tis Q<((ados, IL, ;$", pp. ;$0;$7, O*. ;7 . RaZ, op. cit., p.;20, O*. on t-e insert after p. ;;%. =e interprets t-e word U6TR1I K^MV asU6TR1ITTSV.

$$ 4. 6retzenac-er, 8riec-isc-e Reiter-ei(i*e^, p. 2", O*. 3, on t-e asis of -owt-e spear in St. 8eor*eQs -and is arran*ed, c(assiOes t-is representation in t-e

UautonomousV *roup. -e researc-er does not draw attention to t-e fact t-at t-e-orses -ead droops, w-ic- imp(ies t-at -is (e*s are not raised upXas is typica( forrepresentations wit- t-e dra*on. Static composition as an e(ement typica( for t-eicono*rap-y of t-e mirac(e wit- t-e oy was noted y !. 9-atzidais, USaint 8eor*eon =orseac `in arade. 1 ifteent- 9entury Icon in t-e Benai 5useumV, Kin:M

-imiama sti mnimi tis 4asrinas 5poura, I, 1t-ina ;$$, p. %2.

;00 -e epit-et was written in t-e form of U)I1STRIISV 8. Sotereriou, yzantinamnimeia tis 6yprou, III, ;$3&, O*. ;03 and . RaZ, op. cit., pp. ;;7;20. 1n eJamp(eof t-e USyrianV type, painted at t-e same time in 9yprus ut wit-out t-e epit-et)iasoritis, is a fresco in t-e =o(y 9ross c-urc- in 1*iasmati near (atanistasa D;$N,see 1. Sty(ianou, P. Sty(ianou, -e painted c-urc-es^, p. 20%, O*. ;;$. In t-is caset-e (atter descrie t-e O*ure of t-e oy as Ueni*maticV DsicN.

;0; . RaZ, op. cit., p. ;20. -is aut-or a(so co((ects o(der (iterature on t-is suecton pp. ;;";;$. =is -ypot-esis supports W. Braunfe(s and <. 6irsc-(aum, op. cit.,co(. 37;, w-o trans(ate t-e term as UriderV. Tn t-e ot-er -and I. Spat-arais, op.cit., p. 32;, note 20 and p. 33%, note 2; comes ac to t-e t-esis of t-e toponymicc-aracter of t-is epit-et, a(t-ou*- t-e connects it rat-er wit- t-e monastery in4ydian )ios =ieron.

-e communities connected wit- 8eor*ian art were t-en a crad(e for t-isicono*rap-ic ariant, since wit-in t-em two popu(ar (e*ends mer*ed into t-is

un-istoric unity. rom t-e e*innin* of t-e ;&t- century onwards t-is ariant startedto occur eside t-e UautonomousV one. 1 *ood eJamp(e is a fresco in St. 8eor*eQsc-urc- in (emenian, western 9rete, produced in ;0$;;0$7. =oweer t-eUSyrianV type is sti(( represented for eJamp(e y an ima*e dated to t-e (ate ;t-Xear(y ;&t- centuries in St. !ic-o(asQ c-urc- in )iamy(i ountou(i on R-odes. -isima*e is accompanied y t-e inscription UT 18ITS 8<TR8ITS ? 6TR1I ?)I1STRIISV$". -e fresco from ;&7;%& in St. 1nnQs c-urc- in 1nisiri, western9rete, may a(so e an eJamp(e of t-e ariant wit- t-e patc- of sea under t-esteedQs e((y. /nfortunate(y, its (ower part was destroyed and now on(y a static form



of t-e remainin* part ena(es us to reconstruct t-e ori*ina( appearance of t-e entirepaintin*$$. Its condition (eaes unreso(ed w-et-er t-e rounde(s on two sides of t-esaintQs -ead contained any inscriptions. -e possii(ity cannot e eJc(uded t-at t-einscription )iasoritis was p(aced t-ere, as on t-e i((ustration of t-e (e*end circa;7& on t-e wa(( of St. 5ic-ae( t-e 1rc-an*e(Qs c-urc- in t-e i((a*e of edou(as int-e roodos 5ountains on 9yprus;00.

It seems to e t-e case t-at t-e re*u(arity wit- w-ic- t-is epit-et accompaniest-e saint raisin* t-e yout- oer t-e sea waes is not accidenta(, a(( t-e more sosince ot-er popu(ar epit-ets (ie tropaioforos, niaioforos Drin*in* ictoryN andme*a(omartys D*reat martyrN do not occur in t-is *roup of ima*es. 9urrentnow(ed*e does not suce to eJp(ain t-e si*niOcance of t-e inscriptionsaccompanyin* St. 8eor*e rescuin* t-e oy, and to w-at eJtent t-ey are connectedwit- St. 8eor*eQs c-urc- in Trtay or t-e monastery on 1mor*os. Tn t-e ot-er-and it is undenia(e t-at t-e re*u(arity of occurrence of t-e inscriptions sure(y orea meanin* w-ic- is not fu((y understood y t-e contemporary oserer. -e most

proa(e eJp(anation seems to e proposed y RaZ w-o t-ins t-at t-is term istaen from word diasozoXDto eep safe t-ou*-, rin* one we(( t-ou*-N;0;.

;02 6. asa(ea, 9rata s. 8eor*i 6remiosia 5onastyr, SoOa ;$"0, O*. 7. -e city is identiOed wit- t-e S(aic inscription U41S1 8R1)V, see P. 5ys(iec, op.cit., p. 3%;.

;03 <. S. Tinnioa, op. cit, p. 232, O*. 3.

-e process of disseminatin* t-e icono*rap-y of t-e mirac(e wit- t-e yout-reac-ed its apo*ee at t-e end of t-e ;&t- century, proa(y under t-e in_uence of

t-e Orst S(aic trans(ations of t-e (e*end. Simu(taneous(y t-e type of ima*es, w-ic-comined t-e two (e*ends, started to occur in (ar*er numers t-an t-eUautonomousV type. -e fo((owin* two eJamp(es may i((ustrate t-is tendency: afresco from ;$3 in St. 8eor*eQs Trt-odoJ c-urc- at t-e Bu(*arian monastery in6remioci, wit- t-e dynamic depiction of St. 8eor*e i((in* a dra*on;02, and t-eicon in St. 8eor*eQs Trt-odoJ c-urc- in t-e i((a*e of Stru*a, near T-rid;03. -e(ar*e O*ure of t-e princess standin* at t-e city *ate is common to ot- wors.

1n interestin* eJamp(e of (imited composition wit- t-e representation of t-edra*on on(y Dwit-out t-e princess or city wa((s of 4asiaN is a si(er *i(ded p(aFue

from t-e 8eor*ian cross in -ari, at t-at time e(on*in* to t-e territory of t-eindependent duc-y of Samcc-eSaataa*o Dnow in t-e 5useum of 8eor*ian 1rt in i(isiN. -is cross from t-e turn of t-e ;%t- century is one of t-e roods popu(ar in8eor*ia, w-ic- were p(aced in front of t-e a(tar.

;0 k. P. 1miranali(i, Istoria *ruzinso*o isussta, I, 5osa ;$&0, p. 2&7, O*.;70.



i*. &

1ccordin* to t-e inscription t-is oect was made y t-e master 5amne fromt-e donation of Simon and Basi( kotasdze;0. 1mon* twe(e scenes of t-e cyc(e

i((ustratin* St. 8eor*eQs martyrdom and mirac(es is t-e representation of t-e mirac(ewit- t-e youn* oy and t-e dra*on, p(aced near t-e ima*e of St. 8eor*e spearin*)ioc(etian on a -orse and rescuin* t-e princess DO*. &N. 1(t-ou*- t-e picture is(imited to t-e O*ure of t-e rider Dtoday destroyedN, -is companion -o(din* a u*, t-e(essin* -and appearin* from -eaen and t-e dra*on at t-e ottom, t-esi*niOcance of t-e p(aFue for t-is suect is sustantia( t-ans to t-e inscription int-e ac*round. -e 8eor*ian inscription reads: U=ere is St. 8eor*e rescuin* ayoun* captie from Bu(*ariaV and t-us it repeats t-e messa*e of t-e inscription inIi. W-i(e t-e fresco form refers to t-e story Tn t-e son of 4eon, t-e composition of t-e p(aFue does not correspond to t-e t-eme su**ested y t-e inscription, apartfrom t-e O*ure of t-e oy e-ind t-e saintQs ac. 5oreoer, t-e presence of t-edra*on a(so departs from t-e teJt and in t-is case s-ou(d e treated as a symo(, an

attriute or een t-e mec-anica( repetition of a t-eme t-e aut-or -ad *ot used to.=oweer, to associate a(( representations of t-e two (e*ends wit- t-e ersion Tn t-eson of 4eon so(e(y on t-e asis on t-is one wor seems to e too adancedinterpretation and reFuires conOrmation y ot-er eJamp(es.

;0& P. 5ys(iec, op. cit., a(e II, O*. 2 1. Ryao, /stiuna, erepoec, Lyter*a,4enin*rad ;$";, p. ;&, O*. on t-e insert after p. 32.

-e (iterary source of two representations from nort-ern RusQ Ddated to t-e turnof t-e ;%t- centuryN a(so remains ami*uous. Bot- eJamp(es reect t-e tradition of i((ustratin* t-e mirac(e wit- t-e yout- t-rou*- t-e eFuestrian representation of St.

8eor*e. -e Orst oneXt-e !o*orod or so icon from t-e end of t-e ;&t- centuryXis ept in t-e orosy monastery at t-e Ro*osy cemetery in 5oscow. -esecond eJamp(e is proided y t-e icon of a (ater date of ori*in from /stiunaon5o(o*a, in_uenced y t-e !o*orod sc-oo(;0&. In ot- cases 8eor*e O*-tin*a*ainst t-e dra*on Dwit-out t-e accompanyin* yout-N is presented on t-e mainpane( Doe*N of t-e icons, w-i(e on t-e frame pane(s D(emoN t-ere is t-e story of t-e SaintQs martyrdom and post-umous mirac(es. 1 sin*(e scene referrin* to t-emirac(e wit- t-e yout- was p(aced ust on t-is frame pane(, near t-e i((ustration of t-e (e*end of t-e Saracens desecratin* an ima*e of 8eor*e. -e saint wears a redc(oa coerin* -ere a (on* dress typica( for an ima*e of martyrs and commits t-eoy to t-e care of a priest wearin* a saos and omop-orion. -e scene is p(aceda*ainst a ac*round of symo(ic arc-itecture, more sustantia( t-an on t-e iconfrom /stiuna. In t-e 5oscow icon t-e ac*round is (imited so(e(y to t-e a(tarciorium su**estin* t-at t-e eent too p(ace in a c-urc-.

;0% P. 5ys(iec, op. cit., p. 337.

;07 <. 4. ria(oa, U=udoestennoe relene^V, p. 20$, especia((y notes $3, a(so fori(io*rap-ica( reference to t-e source (iterature.

;0" <. S. Tinnioa, op. cit., p. 230.



P. 5ys(iec is of t-e opinion t-at t-e ap-(a*onian ersionXaout t-e yout-captured from t-e c-urc- in -atris y SaracensXecame t-e t-eme of t-is ind of scene, w-ic- i((ustrates t-e moment w-en t-e oy came ac to t-e monasteryw-ere -e -ad sered;0%. =oweer, t-e teJt of t-is ersion does not mention any

meetin* etween St. 8eor*e and t-e priests, ut it says t-at t-e oy was (eft atni*-t in a p(ace w-ic- turned out to e a monastery in t-e daytime. <. ria(oa,w-o refers to t-e (ate 8eor*ian teJt of t-e 5yti(enian (e*endXearin* traces of trans(ation from RussianXoZers a diZerent eJp(anation of t-e scene. 1ccordin* to-er, t-e son of a priest was captured y 1ras w-i(e tradin* and taen to a(estine.=ain* rescued -im, St. 8eor*e transported t-e oy to t-e c-urc- dedicated to t-eSaint at t-e moment w-en t-e oyQs fat-er was ce(eratin* (itur*y;07. 1(t-ou*-(iterary sources of ot- ariants came into eJistence muc- (ater, and t-e o(destRussian trans(ations of t-e 8ree (e*end date from t-e ;%t- century, one of t-e(e*ends must -ae een nown in RusQ ear(ier, per-aps on(y in ora( form;0".

-erefore it is dicu(t to Ond out today w-et-er t-e aut-or i((ustrated t-e ersionwit- t-e priestQs son (itera((y or used a c-rono(o*ica( approac- to mae its meanin*

c(earer.

;0$ or information on t-e popu(arity of t-e representations of St. 8eor*e and t-edra*on in Ofteent-century !o*orod see 1. Pvvsinen, USt. 8eor*e t-e Lictorious int-e 5ediea( 1rt and o( radition of !o*orodV, 1cta /niersitatis /psa(iensi.i*ura, !oa Series YIY, ;$";, pp. 3333 aout t-e cu(t receied from t-esoerei*ns wit- its ori*in in 6iean Rus see L. !. 4azare, op. cit., pp. "&"".

It is -i*-(y proa(e t-at t-e icono*rap-ic type of a rider accompanied y a oy,eJistin* in 8eor*ia, 1sia 5inor, t-e Ba(ans and t-e 9aucasus, was unfami(iar to t-eartists from nort-ern RusQ, w-o -ad to create t-eir own formu(a to i((ustrate t-e(e*end. -is t-esis is stren*t-ened y t-e fact t-at no eFuestrian representations of St. 8eor*e t-e Warrior in t-e i((ustrations of t-is mirac(e can e assi*ned to t-eRussian artistic enironment. -is (ac is c(ear(y isi(e considerin* t-e popu(arity of t-e t-eme of St. 8eor*e i((in* t-e dra*on and t-e promotion of t-e cu(t of t-ewarrior saint y Russian duesXparticu(ar(y uri )o(*orui;0$.

;;0 -e (e*end simi(ar to t-e U5yti(enianV ersion of t-e story of St. 8eor*e ispresered in t-e ;;t- century manuscript 9odeJ Lindoonensis -eo(o*icus8raecus ;" from ;;$3. It descries t-e miracu(ous (ieration of a 9-ristian oyw-o was captured and taen to 9rete. -e oy was rescued w-i(st -e was serin*t-e 1ra emir at a ta(e. -e teJt of t-e (e*end is pu(is-ed y 8. 1nric-, =a*ios!io(aos. )er -ei(i*e !io(aos in der *riec-isc-en 6irc-e. eJts und /ntersuc-un*en,I, 4eipzi*XBer(in ;$;3, pp. ;"";$&, a(t-ou*- a simi(ar ersion is a(so presered int-e ear(ier teJt 9odeJ arisinus 8raec. Supp(. ;273 from t-e ;;t- century, iid., pp.27327&. -is story was a(so nown to Paco of Lora*ine w-o mentioned it in -is8o(den 4e*end under t-e date of t-e %t- of )ecemer, see Pau de Lora*ine, ota(e*enda, trans(. P. (ezia, introd. 5. (ezia, Warszawa ;$"3, pp. %$70 KE 4a 4H*ende)oreH, (e ien-eureuJ P. de Lora*ine, aris ;$02M. 1ccordin* to one of t-e ersionsmentioned y -im t-e captie was named 1deodat and came from !ormandy.



i*. %a

;;; -e icon from /stiuna, dated to circa ;&0 and produced in t-e sameenironment as one of t-e St. 8eor*e representations, is simi(ar(y composed see 1.

Ryao, op. cit., p. 3;, O*. on t-e insert.

i*. %

;;2 -e Russian painter undouted(y used an o(der pattern t-at was nown inByzantine art at (east since t-e ;2t- century. Tne can Ond an ear(y eJamp(e of t-isicono*rap-ic suect on t-e frame pane( of t-e icon of St. !ic-o(as from Sinaimonastery, cf. !. atterson keeno, U9(ose <ncounters: 9ontact etween =o(yO*ures and t-e ait-fu( as represented in Byzantine Wors of 1rtV, Kin:M Byzance et(es ima*es, aris ;$$, p. 2%3.

;;3 !. L. Rozanoa, RostooSuzda(saa iopis YIIYLI eo, 5osa ;$70, nos.$2, $7$".

;; 9f. P. 5ys(iec, op. cit., a(e IY, O*. 3, a(e Y, O*. ;.

Tn t-e ot-er -and t-e fact t-at t-e c-oice of episode from t-e (e*end wasdiZerent from e(sew-ere cou(d -ae een aZected y t-e po(itica( situation in (ateOfteent-century and ear(y siJteent-century Russia. -is did not reFuire 8eor*e toe depicted as a saint defendin* 9-ristians, contrary to ot-er (ands conFuered yinOde(s. -is iew is a(so conOrmed y t-e diZerence in i((ustratin* t-e ot-er (e*end,name(y, t-e story aout t-e miracu(ous (ieration of a oy named Basi( y St.!ic-o(as from 1*arenian captiity. -at story was mode((ed on t-e simi(ar (e*end of St. 8eor*e. In t-e art of nort-ern RusQ;;0 t-e story was depicted usin* t-e samecomposition sc-eme as discussed aoe;;;, w-ereas in t-e Ba(ans t-e form issimi(ar to eFuestrian representations of 8eor*e accompanied y t-e oy.urt-ermore, on t-e siJteent-century Suzda( icon from t-e Sirotin co((ection,w-ere scenes from t-e (ife of St. !ic-o(as of arais are s-own, t-e (e*end of Basi((ierated from 1raian captiity was eJtended to two scenes;;2. -e Orst ones-ows t-e miracu(ous manifestation of t-e saint in t-e court of t-e 9retan emir,w-i(e t-e second scene presents t-e oy ein* returned to -is parents DO*. %N. Bot-scenes resem(e motifs occurrin* in ear(y 8eor*ian frescos depictin* t-e (e*end of St. 8eor*e;;3.

-e ariety of depictions of St. 8eor*e rescuin* t-e yout- was used in t-e mid;%t- century to compose seera( scenes arran*ed in narratie seFuence. It wasincorporated into an eJtended cyc(e of twentyei*-t scenes of t-e martyrdom andmirac(es of St. 8eor*e decoratin* t-e at-o(ion of t-e monastery in Lorone{. -epaintin*s made circa ;&7 and donated y t-e 5o(daian metropo(itan 8re*oryRo|ca coer ot- interna( and eJterna( wa((s of t-e c-urc- w-ic- is dedicated to St.8eor*e. In one of t-e (unettes of t-e nart-eJ, and on t-e nei*-ourin* wa(( are four



Oe(ds ordered wit- red (ines w-ere t-e (e*end of t-e mirac(e wit- t-e oy wasi((ustrated;;.

-e narration *oes a(on* t-e (ower row of frescos from (eft to ri*-t. In t-e Orst

Oe(d a ru(er is s-own near t-e (eft order. =e wears a ta((, open diadem DtympanionNon -is -ead and sits on a t-rone wit- a footstoo(. 1 yout- is standin* in front of -imin a (on* dress simi(ar to a roe wit- s(it s(eees and wearin* a ta((, pointed cap. =eis *iin* a cup to t-e ru(er. 1 *uard wit- a sword on -is s-ou(der is standin* e-indt-e t-rone. -e arc-itectura( ac*round wit- an oersty(ised eJedra e-ind t-et-rone su**ests t-at t-e scene is -appenin* in a pa(ace. -e arran*ement of t-ecomposition resem(es to a certain eJtent t-e scene from t-e side Oe(ds of t-eSuzda( icon wit- St. !ic-o(as of arais. Simi(ar(y, t-e episode taes p(ace in t-epa(ace of t-e in*, w-ose serant t-e oy is. But on t-e 5o(daian fresco t-erescuin* saint is not present. It is dicu(t t-en to deOne t-e re(ations-ip etweenot- wors. Besides, t-e arran*ement of a O*ure standin* in front of t-e ru(er iscommon in suc- art.

In contrast to t-e Orst scene, t-e second direct(y re_ects one of t-e ersions of t-e (e*end. In order to present 8eor*e escapin* wit- t-e oy t-e artist c-ose t-eUSyrianV approac- wit- a patc- of sea, in t-is case i((ustrated as semicircu(ar waes.1n interestin* tric was used to su**est t-e continuity of narration. In t-eac*round, on t-e (eft an of t-e sea and t-us e-ind t-e saintQs ac, is a wa((wit- a window. -e wa(( is an eJtension of t-e pa(ace wa((s, w-ereas rocy(andscape O((s out t-e ri*-t side of t-e composition. -e wi((in*ness to emp-asiset-e re(ations-ip etween t-ese scenes and to distin*uis- t-em from ot-er t-emesmust -ae drien t-e painter w-en -e decided to maintain t-e proportion of O*ureswit-in a scene and mae t-e yout- a(most as ta(( as 8eor*e. It is wort- mentionin*-ere t-at t-e paintin* from Lorone{ is t-e nort-ernmost eJamp(e of t-e USyrianVicono*rap-ic ariant.

-e t-ird scene was diided into two Oe(ds y t-e (ine of t-e corner etweennei*-ourin* wa((s. In t-e Orst of t-ese two Oe(ds t-e saint is orientated to t-e ri*-t,i.e. towards t-e second part of t-e composition. =e wears a red c(oa and (on*w-ite tunic, -emmed at t-e ottom wit- decoratie trimmin*, and raises -is ri*-tarm as if to present t-e oy standin* in front of -im and -o(din* a cup. -e wa(( int-e ac*round of t-e composition su**ests t-at t-e eents tae p(ace in a -ouse.St. 8eor*eQs c(ot-es and *esture s-ow c(ear(y t-at t-e artist used t-e pattern nown

from !ort- Russian icons from t-e /stiuna and Ro*osy monasteries in 5oscow.W-at is more, t-e aut-or fai(ed to aoid an inconsistency w-i(e compi(in* t-e storyfrom two diZerent sources, name(y, t-at St. 8eor*e w-o wore a reastp(ate in t-epreious scene is now s-own wit-out any attriutes of ni*-t-ood.

;;& . Le(mans, 1. 1(pa*o, 4. !oe((o, 5irror de (inisi(e. eintures mura(es etarc-itecture de (a 8Hor*ie, 5i(ano ;$$%, p. ;;$, mention eJamp(es of t-e scene of t-e oys rescue from frescoes in 8eor*ian c-urc-es in 1i D;3t- centuryN,6a(endia D;t- centuryN and /isi D;t- centuryN. <. 4. ria(oa,



U=udoestennoe relene^V, p. 2;0, amon* t-e eJamp(es of a (ate redaction wit- a*roup of anFueters, t-e aut-or enumerates a(so miniatures from t-e manuscriptsco((ected in t-e Institute of t-e 8eor*ian 1cademy of Science under t-e numers: 1& D;"t- centuryN fo(. ;r, =2$0 D;"t- centuryN fo(. %3 and S2"2 D;$t-centuryN fo(. 3".

;;% P. 5ys(iec, op. cit., p. 3; -is identiOcation is a(so accepted y 5. 8o(escu, op.cit., p. ;30.

;;7 P. 5ys(iec, op. cit, pp. 3%3".

-e second part of t-e episode was depicted on t-e adoinin* wa((, w-ere t-eartist s-owed t-e oyQs parents standin* e-ind a ta(e (aid for a festiity and t-reeot-er O*ures, presuma(y t-e parentsQ *uests. -e artist referred -ere to t-e o(dest8eor*ian icono*rap-ic formu(a, w-ere St. 8eor*e miracu(ous(y appears in t-e oyQs-ome durin* t-e sad anFuet. It does not mean, -oweer, t-at -e -ad to mode( -iswor on t-e o(dest eJamp(esXt-e icono*rap-ic t-eme of anFueters sittin* at t-eta(e appears on t-e fourteent-century icon from /isi and on ot-er (ater 8eor*ianwors;;&. -e episode from t-e (e*end of rescuin* t-e oy from captiity, s-ownon two pane(s of t-e frame of t-e 8eor*ian icon, was diided t-ere into two scenesp(aced at t-e same -ei*-t, as in 5o(daia. But in t-e Orst of t-ese scenes St.8eor*e and t-e oy are ridin* a -orse, w-ic- imp(ies t-at t-e painter worin* inLorone{ used on(y se(ected icono*rap-ic e(ements w-ic- -e needed to c(ose t-enarration. -e (ast e(ement of t-e 5o(daian cyc(e seems to i((ustrate t-e (e*end Tnt-e son of 4eon, and t-is is -ow P. 5ys(iec identiOes it;;%. /nfortunate(y -e doesnot Fuote inscriptions accompanyin* particu(ar episodes, w-ic- wou(d permit one toerify -is Ondin*. -ey are a(so i((e*i(e on t-e i((ustrations pu(is-ed y -im. -et-eme of t-e oyQs parents sittin* at t-e ta(e appears a(so in ot-er Ba(an wors,name(y on one sideOe(d of t-e seenteent-century icon of St. 8eor*e, ept in t-eSerian atriarc-ate in e}, w-ere t-e (iterary ori*ina( is c(ear(y identiOed y t-einscription U4<T!TL1V D4eoQsN;;7. =oweer, t-ere is an eJamp(e of usin* t-e samepictoria( formu(a to i((ustrate anot-er ersion of t-e (e*end. -is is an icon producedin t-e Orst -a(f of t-e ;$t- century in 1sia 5inor, w-ere St. 8eor*e is accompaniedy t-e yout-, t-e dra*on, and t-e princess isi(e at t-e *ate of 4asia. -e ottompart of t-e icon is diided into twe(e pane(s and i((ustrates t-e cyc(e of t-e saintQsmartyrdom en(ar*ed y two mirac(es.

;;" 4es icones dans (es co((ections suisses, introd. 5. 9-atzidais and L. )uri},8enee ;$%", nr ;3&. -e icon is descried: UT 18ITS 8<TR8ITSV. Be(ow t-e -orset-ere is a 8ree inscription: Umade y 9-ar(amp son of Po-n K^M on ;3t- 1pri( tosae t-e sou( of Po-n, t-e serant of 8od, and Sotira, -is wifeV.

;;$ <. 4. ria(oa, U=udoestennoe relene^V, p. 20$.

In t-e fore*round of t-e composition stands St. 8eor*e w-i(e a *roup of peop(esits at t-e ta(e a woman is raisin* -er -and towards t-e oy w-o is standin* neJtto -er. -is scene is proided wit- t-e inscription at t-e top Uo a*ios e(et-eronei tisc-yras tCn yiCn Dt-e saint (ierates widowQs sonNV;;". It does mean t-at t-e painter



refers -ere to t-e U5yti(enianV ersion of t-e mirac(e. 1not-er nown ariant of t-eteJt aout 1ra pirates assau(tin* 4esos te((s us aout t-e oyQs parents a(sotain* part in t-is story;;$. Tious(y t-e icon mentioned aoe and t-e teJt of t-e(e*end were created muc- (ater t-an t-e paintin* in t-e Romanian monastery, so itseems t-at it is not necessary to suppose t-at t-e U5yti(enianV ersion of t-e(e*end was ein* i((ustrated in Lorone{, ut Ona( conOrmation of 5ys(iecQs

identiOcation wou(d e possi(e after t-e inscription -as een read.

;20 In Romanian paintin* a O*ure of t-e dei( appears from t-e dra*ons muzz(e. P.5ys(iec, op. cit., p. 3%2, a(e YLI.

;2; <. S. Tinnioa, op. cit, pp. 22", 23, O*. ;.

;22 Ic]nes 5e(ites^, p. 23%, O*. $7. Tn t-e icon t-ere is a fo((owin* inscription:UStep-an, serant of 8od, oZers prayersV, a not t-e Si*nature y t-e -and of

Peremy.

;23 Lyzantini ai metaizantini tec-ni stin 6eryra, 6eryra ;$$, O*. $".

-e icono*rap-ic so(utions emp(oyed y t-e Lorone{ master are not (ie(y to efound in t-e art of t-e ;%t- century. 1t t-at time t-ey were ein* rep(aced y t-erepresentation referrin* to t-e (e*end of t-e rescued princess, w-ic- ecame adominant ariant and a(most superseded t-e ot-ers. -e yout- accompanyin*8eor*e mi*-t appear ot- in more comp(eJ scenes wit- t-e princess 1(eJandra andt-e city wa((s, w-ere -er parents were oserin* t-e O*-t, and in t-e (imited ariantdepictin* on(y St. 8eor*e O*-tin* a*ainst t-e dra*on. -e former so(ution is foundin t-e frescoes from t-e Trt-odoJ c-urc- ana*ia 6oume(ii in 6astoria D;&t-;%t-centuriesN and t-e wor from t-e 5o(daian St. 8eor*eQs c-urc- in =r(au D;&30N,w-ere 8eor*e is attacin* t-e speared dra*on;20 wit- -is sare raised oer -is

-ead t-e Ba(an icon dated to t-e ;&t-G;%t- centuries in t-e !ationa( =istory5useum of 5oscow;2; and t-e 8ree icon painted y t-e master PeremyDa((adasbN circa ;%00 from =enri -araonQs co((ection in Beirut;22. 1mon*st t-emy reason of numerous detai(s t-e icon from St. !ic-o(as c-urc- in Sinarades on9orfu is distin*uis-ed;23. -is wor, w-ic- s-ows c(ear Lenetian in_uences on t-esty(istic (ee(, s-ows St. 8eor*e accompanied y a oy wit- a ar. -e saint is usin*a rapier to attac t-e dra*on, w-ose ody is pierced y a roen spear. Besidesarious e(ements nown from ot-er ima*es Dsuc- as t-e princess and t-e city wa((swit- -er parentsN a new feature appears -ere, name(y t-at a c-ain is fastened roundt-e oyQs (e*s, wit- its end circ(in* round -is waist. In t-is way t-e painter tries toemp-asise a fact t-at t-e oy was a prisoner. =oweer t-is unusua( detai( did notecome typica( part of t-e icono*rap-y of t-e mirac(e.

;2 Iid., O*. $ Byzantine and ostByzantine 1rt, ed. 5. 1c-eimastouotamianou, -. 4iaYant-ai, 1t-ens ;$"%, p. ;2", O*. ;3; t-e remains of t-einscription UT 8K<TMRK8ITSMV are -ard(y isi(e.

i*. 7



;2& ). a(ot Rice, U-e 1ccompanied Saint 8eor*e^V, O*. ;.

;2% 8. Sotiriou, 8uide du 5usHe Byzantin d1t-\nes, 1t-\nes ;$&&, p. 20inscription UQT Q18ITs 8<TR8IT RT<TTRTSV is p(aced near t-e saints -ead.

;27 . =uer, 1t-os. 4een, 8(aue, 6unst, ric- ;$%$, O*. ;%7.

;2" reasures of 5ount 1t-os, ed. -. Yant-ai, ). 1. =ardy, -essa(onii ;$$7, pp.&"$&$0, O*s. 2, ;;3.

<Jamp(es of t-e (atter ariant wit-out t-e princess and city wa((s are proidedy t-e icon in t-e 1ntiouniotissa 5useum on 9orfu;2 dated to t-e turn of t-e;%t- century a 8ree icon;2& ept in t-e 1s-mo(ean 5useum in TJford and a9appadocian icon *enera((y dated to t-e ;%t- century i((ustratin* St. 8eor*eQsassion in t-e Byzantine 5useum in 1t-ens DO*. 7N;2%. In a(( t-ree cases, t-e yout-was painted as a disproportionate(y sma(( O*ure wit- a ewer and towe(. But on t-e9appadocian icon t-e O*ure of 9-rist appears a*ainst t-e ac*round of a

po(y*ona( mandor(a instead of t-e (essin* 5anus )ei emer*in* from -eaen aoet-e saint. 1mon* interestin* eJamp(es of t-is *roup of representations wit- re*ardto t-e Trienta( costume of t-e oy wearin* a turan on -is -ead one can inc(ude ateJti(e from t-e St. au( 5onastery of 5ount 1t-os D;%t-G;7t- centuriesN;27. Tn t-eicon from St. 1nna Sete of 1t-os t-e princess appears, ut in a rocy(andscape;2". In t-is eJamp(e and on t-e icon from 9orfu t-e yout-Qs nec iswrapped up in a towe(. -is motif appears in (ater icono*rap-y, too.

;2$ )amasenos, -esauros, Lenezia ;&2", repr. -essa(onii ;$7;, pp. 2;% and Z.

aradoJica((y, in spite of t-e popu(arisation of t-e teJt of t-e (e*end in t-e ;%t-century, t-e process of transition from t-e U-istorica(V t-eme of t-e mirac(e wit- t-eyout- into t-e ima*e of t-e accompanied St. 8eor*e i((in* t-e dra*onstren*t-ened. -e )amasinos neo8ree edition of t-e ersions wit- U4eonQs sonVand Ut-e son of t-e widow of 5ity(eneV;2$Xas we(( as its S(aic trans(ationsXdidnot preent t-e disappearance of t-e t-eme in art.

;30 8. 5i((et, 5onuments de 4Qat-os, I, aris ;$27, O*s. 2;;, 3 and . =uer, op. cit,O*. 2;;.

;3; -e motif of a ta(( cross DcruJ -astataN used as a weapon, wit- t-e -e(p of w-ic-t-e -o(y rider O*-ts ei( symo(ised y a dra*on or a fema(e demonX4i(it-G8y((ou, isnown in Byzantine icono*rap-y at (east from t-e 7t- century, amon* ot-ers from

amu(ets and paintin*s in Bawit, see 5. 5an*o, 1 si(er p(ate wit- a -o(y rider,unpu(is-ed ;$"7 9-. Wa(ter, U-e inta*(io of So(omon in t-e Benai 5useum andt-e ori*ins of t-e icono*rap-y of warrior saintsV, )e(tion tis 9-ristianiis1rc-ao(o*iis <taireias, series , YL D;$"$;$$0N, pp. 332.

;32 uot. fo((. P. 5ys(iec, op. cit, p. 3%2.



1mon* (ate eJamp(es of t-e UautonomousV representation of t-e (e*end is t-efresco in t-e trapeza in t-e 1t-os )ionisiou monastery dated to ;%03;30. !ear t-erepresentation of UPo-n 9(imacusQ (adder of irtuesV, on a sma((, ordered Oe(d is anima*e of t-e mirac(e wit- t-e yout-. St. 8eor*e is sittin* on a -orse *a((opin* oerwaes s-own sc-ematica((y as oer(appin* sy(ue semicirc(es. -e oy in a -atand wit- a ewer is standin* e-ind t-e saintQs ac and an an*e( is comin* down

from -eaen. -e saint, w-ose on(y weapon is a symo(ic cross on a (on* s-aft;3;,is -eadin* towards t-e city wa((s on t-e (eft side of t-e composition. -ere is aninscription at t-e top: UQT a*ios 8eor*ios (ytroumenos ton yKiMon tis c-iraspara(oJeoKsM e tis aic-ma(osias DSt. 8eor*e rescues t-e widowQs son fromcaptiityNV;32. -is scene can e uneFuioca((y identiOed as t-e i((ustration of t-e5yti(enian ersion of t-e mirac(e due to t-e inscription and sea t-eme, particu(ar(yprominent -ere, and may e c(assiOed as t-e si*niOcant(y modiOed USyrianV type.

-erefore, if t-e painter nowin*(y referred to t-e tradition of representin* t-eparticu(ar U5yti(enianV ariant of t-e (e*end y cominin* t-e sea waes t-eme andt-e inscription unami*uous(y descriin* t-e suect, t-en t-e sea t-eme wou(d ereco*nised as deOnin* t-e (iterary source of a(( USyrianV compositions.

;33 4es icones dans (es co((ections suisses^, no. ". -e aut-or of t-e cata(o*uenote names t-e yout- as 8eor*e, proa(y -ain* reco*nised t-e nee(in* personsas 4eon and -eop-ano.

1n 1rmenian miniature wit- a sin*(e t-eme of St. 8eor*e and t-e yout- wasa(so painted in t-e ;7t- century. Tne duious e(ement is t-e face of St. 8eor*e,unusua((y s-own wit- a eard and moustac-e. -e saint is -o(din* a (ance to w-ic-is fastened a pennant wit- a red cross on a w-ite ac*roundXproa(y a re_ectionof crusader art. Be(ow a -orse, on a _owery meadow are two O*ures nee(in*,proa(y t-e donors of t-e icon or t-e oyQs parents;33.

;3 ). R. =owe((, op. cit., p. ;, O*s. ;, 2.

;3& 1. apa*eor*iou, op. cit., p. ;%, O*. $", dates t-is wor to t-e Orst -a(f of t-e;%t- century. -e inscription on t-e icon: UT <RILT4I1ISV Dorc-ard, *ardenerNrefers to t-e person of St. 8eor*e.

;3% ). a(ot Rice, -e Icons of 9yprus^, p. 23$, a(e 33, O*. "; eJact datin* ispossi(e t-ans to t-e presered inscription U19==.9=V. a(ot Rice reco*nisesOs- e(ow t-e -orses -ooes as snaes and on t-at asis (ins t-is icon to t-e*roup of representations wit- t-e dra*on.

;37 Iid., p. 20, a(e 33, O*. "3.

;3" ine Icons, t-e cata(o*ue of t-e auction -ouse Sot-ey from 5onday, 3rd of )ecemer ;$7$, O*. 33.

<Jamp(es of t-e UpureV representation of t-e (e*end can e found in t-e ;7t-century in t-e Sinai communities, -ermetic at t-at time. wo icons of fo( art sty(efrom St. 9at-erineQs 5onastery, not precise(y dated to t-e (ate ;7t- or een ;"t-



century, represent St. 8eor*e accompanied y t-e yout- ridin* oer t-e sea waesand swimmin* Os-es. In contrast t-e eJamp(es from 9yprus represent ariousicono*rap-ic redactions;3. In t-e icon from St. 6endeasQ 9-urc- in t-e suurs of ap-os;3&, produced durin* Lenetian ru(e on t-e is(and, St. 8eor*eQs martyrdom isdepicted. -e centre Oe(d contains an ima*e of St. 8eor*e wit- a oy, and t-epresence of t-e sea wit- Os- permits one to assi*n t-is icon to t-e USyrianV type,

traditiona( on t-e is(and. -at t-is icono*rap-ica( ariant remained popu(ar after t-e urs -ad conFuered t-e is(and is conOrmed y t-e fact, t-at in ;%;$ it waseJp(oited y a painter on t-e reerse side of t-e 9ruciOJion icon in St. 8eor*eQs9-urc- in 6oraou;3%. Tn an icon from t-e turn of ;7t- century Din t-e 9-urc- of t-e ana*-ia <(eousa in t-e i((a*e of ano ana*ia;37N t-ere are t-ree O*ures infront of t-e saint, identiOed y ). a(ot Rice as donors. =oweer, t-ey cou(d eFua((ye seen as t-e parents of t-e youn* 8eor*e and one of t-e inited *uests. -us, itwou(d e an eJamp(e of t-e o(dest 8eor*ian icono*rap-ic ersion of Ut-e mirac(ewit- 4eonQs sonV. ina((y, a 9ypriot icon from t-e ;7t- century, auctioned atSot-eyQs, i((ustrates St. 8eor*e wit- t-e ado(escent piercin* t-e dra*onQs muzz(ewit- a (on* (ance and t-e princess nee(in* on t-e ri*-t side;3".

;3$ <. 4. ria(oa, U=udoestennoe relene^V, p. 2;$ proides more eJamp(es.1part from t-e ear(ier paintin*s from t-e c-urc-es in !iorcmiida and !aura(esziD;&t- centuryN, s-e mentions t-e fresco from t-e i((a*e of 9zuu(i in SanetiaDdated to t-e turn of ;%t- and ;7t- centuriesN and two scenes depicted on t-esout-ern wa(( of t-e eJonart-eJ of t-e Trt-odoJ c-urc- in 9a(eni-a. 1n eJamp(e of a representation of t-e Udou(eV (e*end is t-e seenteent-century p(ate form -arifounded y t-e zaritza 5ary see 8. !. uinli(i, op. cit., O*. &7;.

;0 -e inscription is not precise(y Fuoted y P. 5ys(iec, op. cit., p. 3%2, w-o datest-e icon to ;%&7. <. 4. ria(oa, U=udoestennoe relene^V, p. 2;;, *ies t-e dateof ;%&; and Fuotes t-e inscription in t-e ori*ina( ersion and its Russian trans(ation.

1n interestin* eJamp(e of t-e updated t-eme comes from t-e 8eor*ianenironment of t-e ;7t- and ;"t- centuries, w-ere ot- UautonomousVcompositions and t-ose cominin* t-e motif of t-e saintQs youn* companion wit-t-e O*-t a*ainst t-e dra*on;3$ eJisted to*et-er. -e si(er icon 5irac(es of St.8eor*e from t-e mid;7t- century in t-e 8eor*ian 5onastery of I(ori i((ustrates8eor*e i((in* t-e dra*on. -e saint is accompanied y a sma(( O*ure of t-e oy,w-ic- is referred in t-e ac*round inscription: USt. 8eor*e is rescuin* t-e prisonerfrom captiity in 6-orasanV;0. -e reference to Bu(*aria or 1(*eria, present in t-eteJt of t-e (e*end, was rep(aced in an inscription wit- t-e name of t-e !ort- ersian(and, w-ere 8eor*ians captured y urs were undouted(y sent durin* t-eturu(ent ;7t- century. -is is stron* eidence t-at t-e story of t-e mirac(e wit- t-eyout- was sti(( ein* associated wit- t-e protectie ro(e of St. 8eor*e, w-o *uards9-ristians from war(ie inOde(s.

;; 1 (ate eJamp(e from t-e )odecanese is proided y an icon now -oused inatmos Dmid;"t- centuryN, see 5. 9-atzidais, <iones tis atmou, 1t-inai ;$77, p.;"2, O*s. ;$", ;$$. -e Ita(ian9retan trend in icono*rap-y is represented y anicon painted in ;%$ y t-e -ierodiacon Posep-, now in t-e 5useum of 1rt and=istory in 8enea: 4es icones du 5usHe d1rt et d=istoire 8enee, ed. 5. 4azoi},



S. ri*erioeniou, 8enee ;$"&, no. 2$ see a(so !. . 6ondao, op. cit, o(. II, O*.;3&. -e constant presence of t-e t-eme in 9retan paintin* is conOrmed y an iconpainted y 1n*-e(os Dt-e end of ;&t- centuryN and anot-er icon, ept in t-e5useum of t-e 8ree Institute in Lenice see 5. 9-atzidais, Ic]nes de Saint8eor*es des 8recs et de (a co((ection de (Institut =e((HniFue de Lenise, Lenise;$%2, pp. 272" and ;;$, O*. &".

;2 4es icones dans (es co((ections suisses^, no. %. -e motif of a cae from w-ic-t-e monster creeps out appears a(so in autonomous representations of t-e O*-ta*ainst t-e dra*on. But it is c(ear(y isi(e t-at t-e crac on t-e ot-er 8ree iconfrom t-e end of t-e ;7t- century, current(y stored in t-e 5useum of Trt-odoJ9-urc- at t-e Serian atriarc-ate in Be(*rade Dcat. no. S77$N, is O((ed out wit-(ue co(our, w-ic- s-ows t-at t-e aut-ors intention was to paint a patc- of sea.

;3 5. 8o(escu, op. cit., p. ;2" P. B. 1uf-auser, U)as )rac-enwunder^V, a(e &.

W-i(e t-e UautonomousV representations of t-e (e*end were sti(( found on Sinai,9yprus and in 8eor*ia, in t-e case of 8reece most compositions mer*e t-e story of t-e mirac(e wit- t-e yout- and t-e O*-t a*ainst t-e dra*on. -is t-eme remainedpopu(ar in t-e ;7t- century in t-e icono*rap-y of t-e 8ree is(ands, particu(ar(y int-e 9retan enironment;;. 1s an interestin* eJamp(e from an Ita(ian9retanwors-op one can reca(( an icon dated to t-e turn of t-e ;7t- and ;"t- centuriesw-ere t-e yout- is dressed in Trienta( sty(e and a Ossure appears e(ow t-e steedQs-ooesXmaye a reminiscence of t-e sea coast from t-e USyrianV ariant;2. -emonastery wors-ops on 5ount 1t-os were an important artistic centre promotin*t-e t-eme of comined (e*ends. 1part from t-e fore*oin* eJamp(es t-e fresco int-e nart-eJ of Latopaidi monastery at-o(ion and t-e icon on t-e iconostasis of t-eat-o(ion of -i(ot-eou monastery;3 support t-e aoe conc(usion as we((. 5any8ree icons from t-e ;7t- century, w-ic- i((ustrate t-e comined (e*ends, arescattered amon* museums and priate co((ections, and it is not possi(e todetermine t-e enironment in w-ic- t-ey were produced;. Icono*rap-ica(e(ements taen from arious cu(tura( traditions are miJed to*et-er on many of t-ese iconsXe.*. t-e mas on St. 8eor*eQs s-ie(d depicted on ei*-teent-centuryicon from t-e wors-op of Po-n Simenos in 1sia 5inor;&Xut t-ey are wit-outimportance for t-e -istory of t-e icono*rap-ic suect of St. 8eor*e wit- a oy.

; <Jamp(es of suc- icons can e found in t-e 5unic- co((ection of I(ias !eufert,see Ionen ;3. is ;$. Pa-r-undert, ed. =. Srouc-a, 5nc-en ;$%$, no. &; <. S.Tinnioa, op. cit, O*. & in t-e Beirut co((ection of =enri -araon Dinscription UT

1K8ITSM 8<TR8ITSVN, see Ic]nes 5e(ites^, p. 237, O*. ;0;, amon* t-e iconsco((ected y Sie*fried 1mer*=erzo*, see 4es icones dans (es co((ections suisses ,̂no. %$: t-is icon comes from nort-ern 8reece and was produced in t-e ;730s.=oweer, W. e(icetti4ieenfe(s, 8esc-ic-te der yzantinisc-en Ionenma(erei,T(ten4usa*ne ;$&%, p. $&, O*. ;2, identiOes it as a wor from t-e 8ree is(andsand dates it to circa ;&00 ). Wi(d, op. cit., O*. $ in t-e 5useum of 1rt in Buc-arestDinscription U8<TR8ITSVN, see )e (a 5atei Basara (a 6onstantin Brncoeanu. 1rtaseco(u(ui a(. YLII(ea. 5uzeu( !a{iona( de 1rtǎ, ed. 1. )aoansc-i, T. Iancoescu,



Bucure|ti ;$$2, p. 3;, no. ;2, and 9. !ico(escu, Rumvnisc-e Ionen, Ber(in ;$7%, p.", O*. " Dot- pu(ications attriute t-e icon to t-e wors-op of a Wa((ac-ianmaster in_uenced y a 8ree paintin*N in t-e =ermita*e co((ection of !. .4ic-ae, see <. S. Tinnioa, op. cit., O*. in t-e co((ection of 8eor*ios

sayro*(os Dfour icons, one of t-em from mid;7t- century, t-ree dated to t-e endof t-e ;7t- centuryN, see 1. 6araatsani, <iones. Sy((o*i 8eor*iou oayro*(ou,

1t-ina ;$"0, p. 0 and O*. %, p. ;;% and O*. ;%, p. ;23 and O*. ;%$, and p. ;2and O*. ;73 and in t-e Ro*er 9aa( 9o((ection Dan icon from t-e end of t-e ;7t-century, unpu(is-ed so far, dimensions 3,&~2" cmN.

;& 4es icones dans (es co((ections suisses ,̂ no. ;2". Inscription: UT 18ITS8<TR8ITS ? =151TR8TSV, and si*nature U9=<IR IT1!!T I<R<TS T/SI5<!T/V.

;% 5. 8o(escu, op. cit., p. ;3;, O*. ; P. 5ys(iec, op. cit., p. 3$.

;7 1. Bosc-o, )ie Bu(*arisc-e 5a(erei on den 1nfvn*en is zum ;$. Pa-r-undert, Rec(in*-ausen ;$%$, O*. ;%3.

;" Idem, B(*arsata iona, SoOa ;$", p. 27, O*. ;$.

;$ Iid., p. 23, O*. ;&.

1s in 8reece, t-e tendency to incorporate t-e t-eme of a oy accompanyin* St.8eor*e into t-e scene of t-e O*-t a*ainst t-e dra*on preai(ed in ot-er nationa(Ba(an sc-oo(s actie durin* t-e uris- occupation. 1mon* t-e eJamp(es comin*from Romanian duc-iesXand een from ransy(ania, w-ere t-e teJt of t-e (e*endoften appeared in t-e seenteent-century SynaJarionsXare icons in t-e 5unicipa(5useum in Tradea and from 9otroceni Dnow in t-e 5useum of Sacra( 1rt in

Buc-arestN, as we(( as t-e si(er indin* of a *ospe( oo *ien to St. 8eor*eQsTrt-odoJ 9-urc- in Buc-arest y 9onstantine Brincoeanu in ;707;%. 1mon*Bu(*arian representations of t-e t-eme one s-ou(d mention t-e wa((paintin* in t-eTrt-odoJ c-urc- of 5arcia D;7t- centuryN;7 a urnoo icon of ;%" wit- t-escenes of St. 8eor*eQs martyrdom i((ustrated in t-e side Oe(ds Dt-e icon is -oused int-e !ationa( 8a((ery of 1rt in SoOaN;" and a seenteent-century icon from1ranasi in t-e Trt-odoJ 5useum of =istory and 1rc-aeo(o*y in SoOa;$.

In t-e ;"t- century t-e icono*rap-ic t-eme of a yout- e-ind St. 8eor*eO*-tin* a*ainst a dra*on occurred in 9optic paintin*s, supposed(y under t-ein_uence of 1rmenian artists. 1n icon of t-e year ;7&2G&3, associated wit- t-e1rmenian )iaspora in 9airo, may proide a *ood eJamp(e. 1part from t-e saintaccompanied y t-e oy, t-e princess, city wa((s and t-e dra*on were s-own on t-isicon. -e wor of t-e painter <ustac-iosXa nineteent-century icon in t-e 9optic9-urc- of t-e =o(y Lir*in in =qrat arR•m;&0Xa(so s-ows t-at t-e t-eme cau*-ton.



;&0 wo eJamp(es, unnown to ). a(ot Rice, U-e 1ccompanied Saint 8eor*e^V,p. 3"%, are proided y T. 5einardus, op. cit., p. ;&;, ot- icons are i((ustrated ont-e insert. Tn t-e Orst icon at t-e top t-ere are two inscriptions: 8ree UT 18ITS8<TR8ITS I514IT!V and 1raic U5y master, t-e in* 5ar€irxis a(5a(at.aintin* y unwort-y Ira-m and •-ann t-e 1rmenian, in t-e year of ;%$K;7&2MV, w-i(e t-e second icon -as on(y an 1raic description: UIcon of t-e *reat

martyr 5ar€irxis. 5ade y 1stqs K<ustac-iosM arR•m a(uds, t-e painter.Rememer, 4ord, protect your serant, t-e unwort-y priest Ba-•m Ka-omiusMand reward -im for -is -ards-ip and admit -im to t-e -eaen(y in*dom. ;&&&K;"3"G$MV. 5einardus does not reect t-e possii(ity t-at in 9optic art St. 8eor*e isaccompanied y -is serant instead of t-e rescued oy.

;&; <.*. t-e sea( of t-e 5onastery of St. 8eor*e t-e 8a(atian from ;"3%, see 5.8o(escu, op. cit., O*s. 2, 3.

;&2 1. Bosc-o, )ie u(*arisc-e Ione, Ber(in ;$"%, nr ;% a(so -is B(*arsaiona..., O*. 3"0.

;&3 Ionen ;3. is ;$. Pa-r-undert..., no. 3".

1 *roup of (ate ima*es of St. 8eor*e wit- a yout- and a dra*on was created int-e Ba(ans, undenia(y drien y t-e nationa( moement of (ieration directeda*ainst t-e Tttoman <mpire;&;, arisin* in t-e Orst -a(f of t-e ;$t- century. 6eepin*t-e anti5us(im messa*e of t-e t-eme in mind t-e artists connected wit- t-eBu(*arian !ationa( Renaissance referred to it wit- particu(ar p(easure. 1mon* t-ewors produced in Bu(*aria durin* t-e ;$t- century some ima*es of 8eor*e wit-t-e oy can e found: an icon of ;"3" painted y t-e priest )ymitr 6ano,current(y in t-e Re*iona( 5useum of =istory in Le(io urnoo an icon from t-e ;$t-century in t-e 5useum of Icons in Larna;&2 and an icon ept in t-e !ationa(

8a((ery in (odi;&3.

;& <.*. t-e woodcut y !io(a S. 6i(nio from circa ;"&0, t-e en*rain* and p(ate,ept in t-e 5onastery of Simonopetra on t-e 5ount 1t-os, from circa ;"&", see

reasures of 5ount 1t-os^, O*. .;3. !umerous eJamp(es of Bu(*arian prints arepu(is-ed y <. omo, B(*arsi zroensi ltampi, SoOa ;$7&, O*s. ;;%, ;%7, 2;;and 2;$.

i*. "

;&& Ic]nes 5e(ites^, p. 200, O*. &".

i*. $

;&% Tne of t-e icons is ept in Saida in t-e Trt-odoJ 1ssem(y of t-e Saiour, t-esecond in t-e Beirut co((ection of Ian Stc-out-ine iid., pp. 2;7, 2;$, O*s. "7, $2.In t-e ac*round of one of t-em is a port wit- sai(in* s-ips ca((in* at it. 5aye it isneit-er a *enre t-eme, nor t-e representation of t-e port in Beirut Das t-e aut-or of



t-e cata(o*ue su**estsN, ut a reference to an o(der icono*rap-ic type, as in t-ecase of 8ree icons.

Ba(an printin* wors-ops of t-e ;$t- century usin* t-e t-eme of St. 8eor*e in

t-eir wors p(ayed an important ro(e in its popu(arisation DO*. "N;&. resuma(y t-ein_uence of t-ese *rap-ic patterns contriuted to t-e fact t-at in t-e ;$t- centuryt-e representation of t-e dou(e mirac(e eentua((y sFueezed out t-e o(derUautonomousV compositions een in communities from w-ic- t-eir ori*in wasderied. -is process can e osered in t-e paintin* of 9-ristian Trt-odoJcommunities in 4eanon. -e motif of t-e yout- comined wit- t-e t-eme of t-eO*-t a*ainst t-e dra*on appears on an icon from t-e e*innin* of t-e ;$t- century,painted y 5ic-ae( t-e 9retan;&& on an ima*e from 1ni Bourdai, current(y adoredin t-e 5e(it 9-urc- of St. 8eor*e in 5i(wauee, Wisconsin D/S1N as we(( as on twoicons from t-e second -a(f of t-e ;$t- century, attriuted to 5i-qi( 5-anna a(uds DO*. $N;&%.

;&7 or t-e icono*rap-y of t-e t-eme see !. -eotoa UT eiono*raOos typos touQ1*iou )imitriou stratiotiou ai ef -ippou ai oi sc-eties paradoseis tont-aumatonV, Kin:M epra*mena tou IY )iet-nous Lyzantino(o*iou SynedriouD-essa(onii ;2;$ 1pri(ou ;$&3N, I, 1t-ina ;$&&, pp. 77"", O*. ;%2, 2 and 9-.Wa(ter, USt. )emetrius: -e 5yro(ytos of -essa(oniaV, <astern 9-urc-es Reiew,L, ;$73, p. ;&7;7", especia((y ;77, O*. ;&.

;&" 1. 6araatsani, op. cit, p. ;2, O*. ;7.

;&$ -is icono*rap-ic ariant a(so ecame popu(ar in ;$t- century *rap-ics, see <. omo, op. cit., O*s. 2&&, 3;%3;". -e same composition one can Ond e.*. on t-eeJterior fresco in cat-o(ico-n of Latopaidi monastery of 5ount 1t-os D;"t- centuryN.

It seems, -oweer, t-at durin* t-e process of cominin* t-e mirac(e wit- t-eyout- and t-e (e*end of t-e princess, t-e O*ure of t-e oy was (osin* its ori*ina(meanin*, deried from t-e teJt of t-e (e*end. Simu(taneous(y it acFuired a newmeanin*, ecomin* t-e saintQs attriute. -is process can a(so e osered inima*es of St. )emetrius wit- 9yprianos, t-e is-op of -enai Dcurrent(y: =enc-ir

ina in unisiaN, (ater (ined to t-e story of t-e miracu(ous -ea(in* of sar6a(oyan;&7. Tn a midei*-teent-century 8ree icon from t-e co((ection of 8eor*ios

sayro*(os;&" are two WarriorSaints depicted on -orseac, spearin* t-e dra*onand t-e O*ure of a pa*an ru(er (yin* down. Be-ind t-em are sma(( O*ures of accompanyin* riders. Tne of t-em is dressed in a priestQs attire, t-e second -as a

towe( or a scarf wrapped around -is nec, and -o(ds an ewer in -is -and. -ecomposition a(so inc(udes t-e O*ure of t-e princess standin* c(ose to t-e dra*on int-e upperri*-t corner, t-e city surrounded y wa((s and a pair of city ru(ers wit-eys in t-eir -ands. -e -a(fO*ure of 9-rist wit- ot- -ands raised in a *esture of (essin* is a(so s-own, and two an*e(s _yin* down towards t-e eart- and -o(din*diadems to crown t-e riders. 1(t-ou*- none of t-e O*ures was proided wit- aninscription, t-e t-eme of t-e scene is c(ear. =oweer, it cannot e said t-at any oneof t-e four mirac(es, t-e e(ements of w-ic- appear on t-e icon, was s-own -ere. -e*(ory of Sts. 8eor*e and )emetrius, transcendin* t-e (imits of -istory, is rat-er t-e



suect -ere. 1(( UaccessoriesV are s-own not on(y to identify t-e saints, ut a(so toreca(( and present t-eir mirac(es;&$.

+ + +

;%0 ). a(ot Rice, U-e 1ccompanied Saint 8eor*e^V, p. 3"7 t-is t-esis is a(readyrefuted y ). R. =owe((, op. cit., p. &, as -e points to t-e fact t-at unti( t-e ;%t-century a came( appeared in t-e ersian representations of Ba-ram 8ur instead of a-orse.

o summarise t-e Ondin*s one can try to reconstruct t-e icono*rap-ic c-an*esof t-e manner in w-ic- t-ree ersions of t-e (e*end of rescuin* t-e yout- fromcaptiity were represented in art. -e (e*end was depicted in t-e ;;t- century as acomp(eJ narratie scene in 8eor*ian art. -e ey motif of t-e oy accompanyin* St.8eor*e occurred as a direct resu(t of t-e interpretation of t-e teJt of Tn t-e son of

4eon ersion, w-ic- was a (iterary source for painters. 1s opposed to ). a(ot RiceQsiew, t-is t-eme was not a orrowin* from t-e icono*rap-y of t-e Iranian Ba-rqin8ur;%0. -at t-e ima*e of St. 8eor*e wit- a companion occurred so ear(y maymean t-at it ecame a compositiona( pattern for t-e eFuestrian representations of t-e ot-er saints rescuin* prisoners from captiity.

Tne -undred years (ater a new ariant of t-e t-eme was created in t-e 9rusadercountries. -e oyQs parents were not represented, ut t-e patc- of a sea wit- Os-was introduced. If t-e inscription Ddated four -undred years (aterN in t-e trapeza of t-e )ionisiou 5onastery of 1t-os is to assist understandin* of t-is t-eme, it can e

conc(uded t-at t-e Syrian artists rep(aced t-e story of Tn t-e son of 4eon wit- t-eU5yti(enianV ersion.

In t-e ;t- century, t-ans to t-eir compositiona( simi(arity, t-e t-eme of t-eoy was mer*ed to*et-er wit- t-e i((ustration of t-e story of t-e O*-t a*ainst t-edra*on and soon ecame t-e on(y manner in w-ic- t-e (e*end was represented int-e Ba(ans and 1sia 5inor. Tn t-e ot-er -and, in 8eor*ia and t-e 4eant, t-eUautonomousV types continued to eJist eside t-e UcominedV one for a (on* time.

-ey were *radua((y rep(aced, part(y due to t-e in_uence of *rap-ics.

Interestin*(y it seems t-at representation of t-e (e*end was not customary int-e Byzantine <mpire, since no eJamp(es from t-ere are presered. 1 simi(armec-anism presuma(y wored in RusQ, w-ere a Fuite diZerent formu(a of depictin*St. 8eor*e wit- t-e yout- rescued y -im was dee(oped. 8eor*ia remains aspeciOc re*ion, a crad(e for t-e icono*rap-ic t-eme, and at t-e same time t-e on(yindependent Trt-odoJ country w-ere t-is t-eme enoyed suc- popu(arity. -is factmay e eJp(ained y t-e constant t-reat of its 5us(im nei*-ours. Tn t-e ot-er-and, t-e suect under consideration was not popu(ar in a(( Trt-odoJ re*ions



suected to ot-er re(i*ions. or eJamp(e, we -ae no eJamp(es from t-ose parts of t-e o(is-4it-uanian 9ommonwea(t- in-aited y Trt-odoJ 9-ristians DBe(orussia,/raineN.

ina((y it s-ou(d e mentioned t-at, despite t-e popu(arity of t-e ima*e of St.8eor*e rescuin* t-e yout- amon* 9rusaders, it did not spread in t-e art of t-eWestern <urope and was conOned to t-e art of t-e <astern 9-urc-es.

4ist of i((ustrations

Saint 8eor*e wit- an ado(escent, icon attriuted to t-e crusader wors-op in =o(y4and Dnow in priate co((ectionX-oused in Britis- 5useumN, ca. midd(e of t-e ;3t-century Dp-oto y . 8rotowsiN.

Saint 8eor*e carryin* away t-e oy oer t-e sea, 9ypriot icon from t-e c-urc- of St.5arina in t-e i((a*e of i(ousa 6e(oedaron Dnow in t-e Byzantine 5useum of t-eBis-opric of ap-osN, (ate ;3t- century Dafter Sop-oc(eusN.

-ree ima*es of t-e Warrior Saint on -orseac, wa(( paintin* in t-e roc c-urc- of t-e U-ree RidersV in <si6ermena D9rimeaN, e*innin* of ;t- century Dsc-emeafter TinnioaN.

Saint 8eor*e wit- t-e youn* man mounted e-ind -im i((s t-e dra*on, fresco int-e c-urc- of St. Po-n t-e -eo(o*ian in a(eoc-ora on 1e*ina, ;t- century DafterLe(mansN.

Saint 8eor*e wit- t-e youn* man mounted e-ind -im i((s t-e dra*on, *i(ded si(erp(aFue from t-e a(tar cross from -ari D)uc-y of Samcc-eSaataa*oN, master5amne Dnow in t-e 5useum of 8eor*ian 1rt in i(isiN, ;&t-;%t- century Dafter

1miranali(iN.St. !ic-o(as returnin* Basi( to -is parents, fra*ments of a !ort-Russian icon of St.!ic-o(as of arais, RostoSuzda( Sc-oo( Dnow in t-e ine 1rts 5useum in 8oriN,;%t- century Dafter RozanoaN.

Saint 8eor*e wit- t-e youn* oy mounted e-ind -im i((s t-e dra*on, 9appadocianicon Dnow in t-e Byzantine 5useum in 1t-ensN, ;%t- century Dp-oto 8. a*rinianosN.

Saint 8eor*e wit- t-e oy mounted e-ind -im i((s t-e dra*on, en*rain* made y-ierodeacon <ut-ymios Dnow in t-e 4irary of Simonopetra 5onastery, 5ount 1t-os,8reeceN, ca. year ;"&" Dafter Yant-aiN.

Saint 8eor*e wit- t-e youn* mounted e-ind -im i((s t-e dra*on, 4eanese iconfrom t-e wors-op of 5i-qi( 5-anna a(uds in t-e Trt-odoJ 5onastery of t-eSaiour in Saida, second -a(f of ;$t- century Dafter 9qndeaN.

Grotowski, Piotr - The Legend of St. George Saving a Youth

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Transcript of Grotowski, Piotr - The Legend of St. George Saving a Youth