Lot Essay
This icon is placed amongst a well-known group of panels which take for their model an icon in the Benaki Museum which bears the signature of the Cretan artist Angelos, dated to the second quarter of the 15th century. (See M. Vassilaki-Mavrakaki, \kO Zwgrafos Annelos Akotantos, Qhsaurismata\K (1981), pp.290-8). The icons of the group derive the modelling of the dragon and horse from the St. Mark's Cathedral horses painted by the 14th century Venetian artist Paolo Veneziano. (See London, Royal Academy of Arts. The Horses of San Marco,, 1979 p.83, fig.109).
There are comparable icons of Saint George in the Hellenic Institue, Venice, (see M. Chatzidakis, Icônes de Saint Georges des Grecs et de la Collection de l'Institut, (Venice, 1962), pp.38-39, No. 19, pl.10); in the Church of Haghia ton Haghia, Chora, Patmos, (see M. Chatzidakis, Icons of Patmos, (Athens, 1985), p.75, No. 23, pl.92); on Corfu, (see P. Vocotopoulous, \kEikones Ths Kerkuras\K, (Athens, 1990), No. 10, pp.22-23, pl.12); and on Crete, (see M. Bourboudakis, \kEikones Ths Krhtikhs Tecnhs\K, (Iraklion 1993), No. 173, p.526, pl.173).
Comparison should also be made with a recently discovered 16th century Cretan icon of Saint George in Windsor Castle, England. See D. Buckton, Byzantium: Treasure of Byzantine Art and Culture from British Collections, (London, 1994) No. 236, pp. 222, 224
Compare also with an earlier icon of the same subject from the collection of Professor Ligabue, Venice, dated to the first half of the 15th century. (See M. Chatzidakis, From Candia to Venice:Greek Icons in Italy, 15th-16th Centuries, (Athens, 1993), no.4, pp.36-39).
The accounts of the life of Saint George vary widely. Said to have been born to noble parents in either Cappadocia, Beirut or Lydda in Palestine. Becoming a soldier he was ultimately promoted to commander and became a favourite of the Emperor Diocletian. However, upon George's conversion to Christianity, the Emperor allowed him to be tortured and he died at Nicodemia in 303. A cult of Saint George flourished in Palestine and Cappadocia and he became the patron saint of Cappadocia, Georgia and Muscovy. He became the patron saint of England when his cult was introduced to the country by crusaders returning from Palestine.
The icon illustrates two of the legends associated with the saint: his slaying of the dragon and his rescue of the boy from Mytilene.
The city of Lasia was terrorised by a serpent-like creature, which after eating all of the livestock, prayed upon the inhabitants. It's victims were drawn by lot and when this eventually fell upon the daughter of King Selvios, an apparition of the youthful saint, mounted upon a white horse, appeared and slew the monster. As a result the entire population of the city are said to have converted to Christianity.
The small figure mounted behind Saint George is his namesake from Mytilene. The boy was kidnapped from the Church of Saint George by invading Saracens and taken to Crete and enslaved to a local emir. His mother prayed for his return, and just as the boy George was about to serve the emir with some wine, the Saint appeared, snatched him up upon his horse and returned him to her. This happened with such speed that the boy is depicted with the serving jug and cup.
There are comparable icons of Saint George in the Hellenic Institue, Venice, (see M. Chatzidakis, Icônes de Saint Georges des Grecs et de la Collection de l'Institut, (Venice, 1962), pp.38-39, No. 19, pl.10); in the Church of Haghia ton Haghia, Chora, Patmos, (see M. Chatzidakis, Icons of Patmos, (Athens, 1985), p.75, No. 23, pl.92); on Corfu, (see P. Vocotopoulous, \kEikones Ths Kerkuras\K, (Athens, 1990), No. 10, pp.22-23, pl.12); and on Crete, (see M. Bourboudakis, \kEikones Ths Krhtikhs Tecnhs\K, (Iraklion 1993), No. 173, p.526, pl.173).
Comparison should also be made with a recently discovered 16th century Cretan icon of Saint George in Windsor Castle, England. See D. Buckton, Byzantium: Treasure of Byzantine Art and Culture from British Collections, (London, 1994) No. 236, pp. 222, 224
Compare also with an earlier icon of the same subject from the collection of Professor Ligabue, Venice, dated to the first half of the 15th century. (See M. Chatzidakis, From Candia to Venice:Greek Icons in Italy, 15th-16th Centuries, (Athens, 1993), no.4, pp.36-39).
The accounts of the life of Saint George vary widely. Said to have been born to noble parents in either Cappadocia, Beirut or Lydda in Palestine. Becoming a soldier he was ultimately promoted to commander and became a favourite of the Emperor Diocletian. However, upon George's conversion to Christianity, the Emperor allowed him to be tortured and he died at Nicodemia in 303. A cult of Saint George flourished in Palestine and Cappadocia and he became the patron saint of Cappadocia, Georgia and Muscovy. He became the patron saint of England when his cult was introduced to the country by crusaders returning from Palestine.
The icon illustrates two of the legends associated with the saint: his slaying of the dragon and his rescue of the boy from Mytilene.
The city of Lasia was terrorised by a serpent-like creature, which after eating all of the livestock, prayed upon the inhabitants. It's victims were drawn by lot and when this eventually fell upon the daughter of King Selvios, an apparition of the youthful saint, mounted upon a white horse, appeared and slew the monster. As a result the entire population of the city are said to have converted to Christianity.
The small figure mounted behind Saint George is his namesake from Mytilene. The boy was kidnapped from the Church of Saint George by invading Saracens and taken to Crete and enslaved to a local emir. His mother prayed for his return, and just as the boy George was about to serve the emir with some wine, the Saint appeared, snatched him up upon his horse and returned him to her. This happened with such speed that the boy is depicted with the serving jug and cup.