Bronze St. George the Dragon Slayer Statue

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The equestrian statue of Saint George ( Czech: Socha svatého Jiří) is installed at Prague Castle in Prague, Czech Republic. The bronze sculpture was created in 1373 by Transylvanian Saxon sculptors Martin and Georg of "Clussenberch", today's Cluj ( Martinum et Georgium de Clussenberch in the Latin inscription, in which the dialectal Saxon city name is used). [1] The statue was probably cast in Nagyvárad/Großwardein, today's Oradea, where two other works by the two brothers have stood in the dome square until being melted for their metal in the 17th century during the Turkish wars. [1] Donato di Niccolò di Betto Bardi (c. 1386 – 13 December 1466), better known as Donatello (Italian:[donaˈtɛllo]), was an Italian Renaissance sculptor from Florence. He studied classical sculpture and used this to develop a complete Renaissance style in sculpture, whose periods in Rome, Padua and Siena introduced to other parts of Italy a long and productive career. He worked with stone, bronze, wood, clay, stucco and wax, and had several assistants, with four perhaps being a typical number. Though his best-known works were mostly statues in the round, he developed a new, very shallow, type of bas-relief for small works, and a good deal of his output was larger architectural reliefs. Reggio Calabria used Saint George and the dragon in its coat of arms since at least 1757, derived from earlier (15th-century) iconography used on the city seal. Domènech i Montaner, Lluís (1995) Ensenyes nacionals de Catalunya. Barcelona: Generalitat de Catalunya. ISBN 84-393-3575-X. Zurab Tsereteli's St. George and the Dragon on the top of the Okhotny Ryad [ ru] shopping center (1997) in Moscow, Russia

Hodge, Susie. Raphael: His Life and Works in 500 Images. Wigston, Leicestershire, 2013: 137, color figs.Alsop, Joseph. The Rare Art Traditions: The History of Art Collecting and Its Linked Phenomena Wherever These Have Appeared. (Bollingen series 35, no. 27) New York, 1982: 452, 459, fig. 94. When the statue of St George arrived in Gozo’s medieval town, titular statues in Malta were already quite numerous. Donatello was the son of Niccolò di Betto Bardi, who was a member of the Florentine Arte della Lana, and was born in Florence, probably in the year 1386. Donatello was educated in the house of the Martelli family. He apparently received his early artistic training in a goldsmith's workshop, and then worked briefly in the studio of Lorenzo Ghiberti. Early depictions of a horseman killing a dragon are unlikely to represent St. George, who in the 10th century was depicted as killing a human figure, not a dragon. [8] Vinica ceramic icon of Saints Christopher and George as dragon-slayers Withdrawn Banknotes: Reference Guide" (PDF). Bank of England. Archived from the original (PDF) on 29 March 2017 . Retrieved 17 January 2017.

Our cultural heritage needs to be looked after by people who are qualified and trained. We need to know our heritage as throughly as possible to protect it, and we need to be alert. The alarm in this case was raised by somebody in the town telling us what had happened.” For its time, the St. George was revolutionary and very unique. Donatello possessed a fantastic ability to make bronze look like whatever he was sculpting - hair, clothing, etc. - and an admiration for the classical heroes of the old Roman Empire. Another memorable quote was by Francesco Bocchi in the 16th century. The legs move, the arms are ready, the head alert, and the whole figure acts; by virtue of the character, the manner and form of the action present to our eyes a valiant, invincible, and magnanimous soul. InfluenceChambers, Edmund Kerchever, ed. (1878), The Mediaeval Stage: book I. Minstrelsy. book II. Folk drama, Halle: M. Niemeyer, p.221, note 2