Wspomina o niej Sokrates Scholastyk w swej Historii Kościoła III,7. Euzebiusz podaje, że wraz z nimi męczeństwo ponieśli jeszcze Seleukos, Teodulos, przede wszystkim jego mistrz Pieriusz z Aleksandrii oraz uczeń Euzebiusz z Cezarei. The Legend of St. George Saving a Youth from Captivity and its Depiction in Art *. 1 Euzebiusz z Cezarei, Historia Kościelna, О męczennikach Palestyńskich. Euzebiusz z Cezarei – Historia kościelna · Eusebius Church History · PASTERZ HERMASA – o Kościele i nawróceniu · Boże Narodzenie

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He faces the viewer.

George miraculously appears in the boy’s home during the sad banquet. The fresco from — in St. Anna Skete of Athos the princess appears, but in a rocky landscape Apart from the saint accompanied by the boy, the princess, city walls and the dragon were shown on this icon.

Although a broader perspective on the relevant iconography was not their principal aim, they also published for the first time in the case of comparison an icon from the Monastery of Saint Catherine on Mount Sinai, which surely originated from the crusaders’ workshop.

The Italian-Cretan trend in iconography is represented by an icon painted in by the hierodiacon Joseph, now in the Museum of Art and History in Geneva: Fundamentally those authors based their text on previous considerations by Golescu as well as Cormack and Mihalarias, showing only their own proposition of the view of historical events described in the legend.

George with an accompanying figure.

Piotr Grotowski, Cracow

His head is decorated with a narrow diadem of pearls and rubies She can be identified as the boy’s mother—Theophano. George occurred as a direct result of the interpretation of the text of On the son of Leon version, which was a literary source for painters. Privalova in an extensive paper covering all previous findings.

Young George, who was captured by the Bulgarians, was so handsome that their ruler made him a steward and kept the boy in his residence. The composition also includes the figure of the princess standing close to the dragon in the upper-right corner, the city surrounded by walls and a pair of city rulers with keys in their hands. Theodore Tyron fighting against the dragon to rescue a woman named Eusebia. The painting in a chapel at the monastery of Mar Musa al Habashi St. He presumed that the source for the authors of the composition was the version about the son of the general Leon When the first of the authors is satisfied with the statement that the key of the popularity of St.


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This gives histiria some clues about the legend’s date of origin. The youth accompanying George might appear both in more complex scenes with the princess Alexandra and the city walls, where her parents were observing the fight, and in the limited variant depicting only St. The evidence of the exceptional popularity of the legend of St.

After the finish of the course the knowledge: The wall in the background of the composition suggests that the events take place in a house. George with the boy is included in numerous groups of images of saints who are shown with a person accompanying them.

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The monastery workshops on Mount Athos were an important artistic centre promoting the theme of combined legends. George with a youth, particularly apparent in nineteenth-century graphics of the Bulgarian National Renaissance. The motif of kidnapping a handsome adolescent and then making him a steward was kocielnna among the Greeks because of the classical myth about Ganymede, son of the Trojan king Tros or Laomedonwho was captured by Zeus or Cretan Minos.

Peterburg, while collecting literature on the subject. Plezia, Warszawapp.

These arriving figures are welcomed by two further figures with arms open in a gesture of surprise. The sea filled with fish—a part of the landscape under the horse’s hooves—is painted much more clearly on an icon from St. Saba in the valley of the Cedron River.

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This fact cautions us to adopt a careful approach to such identification.

There is an inscription at the top: This publication was of key significance in the further understanding of the iconography of George riding on horseback, accompanied by a boy 9. George is accompanied by his servant instead of the rescued boy. John monastery see also: Kretzenbacher neglect a considerable group of paintings discovered in the last twenty years. The Georgian inscription reads: While the fresco form refers to the story On the son of Leon, the composition of the plaque does not correspond to the theme suggested by the inscription, apart from the figure of the boy behind the saint’s back.

The Pavnisi composition was copied on the northern wing of the transept in the church in Ikvi, but small changes were made.

George’s life and were designed to complement an equestrian representation of the warrior fighting with a dragon However, the icon undoubtedly comes from a Prankish workshop operating in the East Furthermore, it should be noted that the oldest Georgian translations of the legend, which remained in fourteenth-century manuscripts, contained only two versions of the story: One hundred years later a new variant of the theme was created in the Crusader countries.

Nowadays the Cypriot painting is the oldest known composition of such limited formula A good example is a fresco in St. The second part of the episode was depicted on the adjoining wall, where the artist showed the boy’s parents standing behind a table laid for a festivity and three other figures, presumably the parents’ guests.