Bronze St. George the Dragon Slayer Statue

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As one of the most (if not the most) talented and influential sculptors of the Florentine Renaissance, Donatello's works were universally acclaimed and the St. George is no exception. Although it was constructed for a lesser guild and not allowed to be crafted in expensive, prestigious bronze, the statue Donatello created for the armorers guild at Orsanmichele is an incredible accomplishment, a lovely tribute to Roman heroism, and a magnificent adornment to the church.

New Ballad of St. George and the Dragon (EBBA 34079)". English Broadside Ballad Archive. National Library of Scotland - Crawford 1349: University of California at Santa Barbara, Department of English . Retrieved 31 January 2016. {{ cite web}}: CS1 maint: location ( link) According to O. Miller, "The Inventories and Valuations of the King's Goods, 1649-1651," Journal of the Walpole Society 43 (1970-1972): 258. Marcus Canning and Christian de Vietri, Ascalon, abstract sculpture in front of St George's Cathedral, Perth, 2011 [36] Saint George and the Dragon, one of two versions of the theme by the artist, belonged to a series of miniature panels that Raphael painted in Florence for the celebrated court of Urbino. A Roman soldier of Christian faith, Saint George saved the daughter of a pagan king by subduing a dragon with his lance; the princess then led the dragon to the city, where the saint killed it with his sword, prompting the king and his subjects to convert to Christianity.The statue is a mixture of bronze cloth, leather, metal, hair, and flesh. Looking at it, one gets the impression of seeing different parts with real metal, flesh, hair, cloth, and leather, not just bronze plaster. Donatello was a genius, as he saw that having marble or bronze to carve the hair would make the hair appear real.

and in the coat of arms of Georgia since 1991 (based on a coat of arms introduced in 1801 for Georgia within the Russian Empire). Further information: Chaoskampf, Thracian horseman, Saint Theodore Tiro, Tetri Giorgi, Verethragna, Zahhak, and Perseus and AndromedaScholars of this time may also have influenced Donatello's choice of subject for the guild's niche. Scholars of the fifteenth century were extremely interested in educating and providing a good example for young Florentine men. Widely regarded as troublemakers and difficult to tame, the young men of Florence often married late and spent much of their youth getting into various scrapes. The legend and iconography spread rapidly through the Byzantine cultural sphere in the 12th century. It reached Western Christian tradition still in the 12th century, via the crusades. The knights of the First Crusade believed that St. George, along with his fellow soldier-saints Demetrius, Maurice, Theodore and Mercurius had fought alongside them at Antioch and Jerusalem. The legend was popularised in Western tradition in the 13th century based on its Latin versions in the Speculum Historiale and the Golden Legend. At first limited to the courtly setting of Chivalric romance, the legend was popularised in the 13th century and became a favourite literary and pictorial subject in the Late Middle Ages and Renaissance, and it has become an integral part of the Christian traditions relating to Saint George in both Eastern and Western tradition. In the well-known version from Jacobus de Voragine's Legenda aurea ( The Golden Legend, 1260s), the narrative episode of Saint George and the Dragon took place somewhere he called "Silene", in Libya. [15] [16] Forecourt Statues of The State Library of Victoria". THE GARGAREAN. WordPress.com. Archived from the original on 4 March 2016 . Retrieved 31 January 2016. The statue – it is presumed – was commissioned in 1838 as an ex-voto by an anonymous person after gaining a heavenly favour through the intercession of Gozo’s patron saint. It is believed that the gentleman who commissioned it wanted to remain anonymous; a historical document tells us that he lived somewhere near the bishop’s palace in Victoria.