BOJAN POPOVIÃ

The Cycle of Saint George

in the Territory of the Peã Patriarchate

The illustrations of the life of St. George were based on the texts descri-
bing the saint's life and posthumous miracles. 1 These texts fall into two groups. 2
The original text was written in the fifth century when it was condemned as he-
retical. A revised version was then made, incorporating the necessary changes in-
to the original. 3 In addition to these two basic types, there is a third, so called
1 The basis for the illustrations of the lives of saints was mainly the texts from the Menologi-
ons, the Synaksarions and collections of various texts. However we occasionally see a direct illustra-
tion of a text. The reason for this might be of a practical nature. There was also a tendency to illu-
strate the posthumous miracles of the saint, as is the case in Georgia (E. Privalova,  Pavnisi,  Tbilisi
1977), Nagoriåino, Deåani (B. M. Popoviã,  Program ÿivopisa u kapeli Peãpala, in  Zidno slikarstvo
manastira Deåana, Beograd 1995, 453—468). There was also an ambition to illustrate the life with a
larger number of scenes, which was not always possible using only one text. However, even in cases
where we find only scenes of tortures or miracles which occurred during the life of the saint, it appe-
ars that painter has not confined himself to one text. It is not always possible to deduce the origin of 
the literary inspiration. In the greatest number of examples, the cycles are only partly preserved, or
are too simple. There are of course other examples, such as the hagiographical icon from Kiev (A.
Bank,   Byzantine Art in Collections of Soviet Museums , Leningrad 1985, 264—266, T. 1), Kastoria
(M. Chatzidakis,  Byzantine Museum in Athens , Athens 1986, 2, 17, T. 11) Novgorod, (V. Lagurina,
V. Pouchkariov,  Les icones de Novgorod, XIII et XIV siecles , Leningrad 1980, 25, 287, fig. 33—36),
known also as the Pogodin icon, after its collector. Authors discussing these cycles are J. Myslivec
and T. Mark-Weiner in a thorough and detailed manner, cf. infra n. 6. The earliest example of the di-
rect influence of the text on the inscription of a scene can be seen in the St. George cycle from Beli-
sirama, Cappadocia, cf. T. Mark-Weiner,   Narrative Cycles of the Life of St. George in Byzantine
World , New York University 1977, 254, 256 (unpublished doctoral dissertation. The book has been
printed on the basis of this study, but is beyond our reach). In this particular case, the inscription co-
mes from the revised version of the life of St. George written by Andrew of Crete,  cf.  infra n. 3. De-
tailed inscriptions and closely corresponding scenes are found in Staro Nagoriåino, cf. B. Todiã,  Sta-
ro Nagoriåino, Beograd 1992, 119—122.
2 The texts on the cult of St. George were studied in the works of: A. Kirpiånikov,  Sveti Geor-
gi i Egori Hrabri , Isledovanie literaturnoi istori hristiansko legend, S. Petersburg 1879; H. Delehaye,
 Les legendes grecques des saints militaires,   Paris 1909 (variorum reprints, New York 1975); K.
Krumbacher,   Der Heilige Georg in der griechischen Uberlieferung, Abhandlungen der Koniglich
Bayerichen Akademie der Wissenschaften, Philosophisch-philologische und historische classe XXV, 3
(Munchen 1911).
3 A. Kirpiånikov,  o. c.,  1—9 (investigates the original and revised texts, particularly the pecu-
liarities of the original texts); K. Krumbacher,  o, c.,  1—18, 30—40 (original texts), 41—51, 196—
199, 207—210, 227—228 (revised texts). T. Mark-Weiner chooses four texts as a probable basis for

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„mixed" type.4 There is also in existence a version of the original text with
slightly different content, in which the birth and parents of St. George are descri-
bed. This text was very important for the Serbian art of the late middle ages. 5
The basic scenes of the cult of St. George are The Torture on the Wheel
and The Miracle of the Victory over the Dragon. 6 Throughout the Middle By-
zantine period the illustration of the saint's life varied in different areas of the
Byzantine world, because the content is based on different texts of the life and
miracles.7 In the Late Byzantine period, a red line connects almost all the cycles
the illustration of the cycles,  op. cit., 21—26. The basic revised text was written by Andrew of Crete
based on a text by an unknown author, from which all unsuitable passages had been eliminated,  cf.
K. Krumbacher,  o. c.  207—210; Ð. Trifunoviã,  Azbuånik srpskih srednjovekovnih knjiÿevnih pojmova ,
Beograd 1990, 274—275. Through the centures two other texts were incorporated in the Menologion
composed by Simeon Metafrast. The first text was by Nikita David and later another text appeared,
cf. K. Krumbacher,   op. cit.,  181, 185, 191, 194—195; J. Popoviã,   Ÿitija svetih za april, Beograd
1973, 347—374. Judging from our research the short text from Constantinopoliten Synaxarion was
too short to influence the artists. Cycles inspired by the text of Andrew of Crete can not easily be fo-
und, cf. J. Popoviã,  o. c.,   453—456, supra n. 1.
4 A. Kirpiånikov,  o. c., 4—8. We can find one scene from the original text on the life of St
George, the story of the magician Atanasios, in the text of Nikita David. However this is one of the
revised versions of the life of the saint, cf. n. 3. The same scene is found in  Hermeneia  of Dionysius
of Fourna, cf. infra n. 26. There is also a Serbian text of this type, printed in Venice by Boÿidar Vu-
koviã, cf. S. Novakoviã,  Prazniåni minej Boÿidara Vukoviãa , Starine, XII (Beograd 1867), 143—148.
5 A. Kirpiånikov,  o. c.,  25—38; K. Krumbacher,  o. c., 18—19; A. Veselovski,  Raziskanija v
oblasti russkih duhovnih stihov, Priloÿenie k XXVII-mu tomu Zapisok I. A. N. n. 3, S. Petersburg
1880, 163—172; N. Tihonravov,  Pamjatniki otreåennoi Russkoi Literaturi, II , U. T., Moskva 1863,
100—111. Older than all these manuscripts is a bronze cross in the National Museum of Niš, proba-
bly made in 9th—10th century. In the corners of the cross are represented: top — Christ (IS CS), cen-
ter — St. George ( GEORGHOS ) , right — Theodoros (UEODOROS ) , left — Gerontios ( GERONT -
HOS ), down — Polichronia (POLYXRONHA ), cf. R. Nikoliã,  Jedan ranosrednjovekovni bronzani
krst , Saopštenja, IV (Beograd 1961), 220—222. The saint's father and mother, whose names appear
only in the original texts of the legend, are celebrated in fresco-painted calendars, B. Todiã,  o. c;  78,
115, 119—122; The saint's father is shown on the front of the western arch in the chapel of St. Nico-
las in Deåani, (cf. V. R. Petkoviã,  Deåani, I,  1941, 27, T. CLXIV) in the first zone in the chapel of 
St. George in Sopoãani, cf. V. J. Ðuriã,  Sopoãani, Beograd 1991, 171.
6 Essential scenes of the cycle were the Beheading, Torture on the wheel and Miracle of 
Victory over the dragon. Torture on the Wheel appears alone in the Hludov psalteur, in IX century,
and from that time on is an obligatory scene of the cycle, cf. Ch. Walter,  The Cycle of Saint George
in the Monastery of Deåani, in   Deåani i vizantijska umetnost sredinom XIV veka , Beograd 1989,
351—353. The same importance of the wheel scene can be found in the post-Byzantine period. This
scene is presented in short calendar „cycles". In the church of the monastery of St. Nicolas Philantro-
pion on the island of the Joannina lake, in the northern outer nartex, from 1560 we can find three
scenes: Interrogation, Flagellation, Torture on the Wheel, cf. M. Acheimastou-Potamianou,  Le mona-
stere de Saint Nicolas des Philantropion, in  Monasteries de l'ile de Joannina, Joannina 1993, 178, T.
297. The similar example can be found on Mount Athos, in the outer narthex of Dohiar monastery,
from 1568: Releasing from the Lime, Torture on the wheel, Beheading, cf. G. Millet,  Monuments de
l'Athos, Paris 1927, 239/2. The scene of the Miraculous Victory over the Dragon is younger then the
previous one. The first example is saved in Cappadocia, in the chapel n. 6 in Goreme, probably from
the second quarter of the Xth century, cf. G. de Jerphanion,   Les eglises ruprestes de Cappadoce ,
I—1, Paris 1925, 97; M. Restle,   Die Byzantinische Wandmalerei in Kleineasien, Recklinghausen
1967, sh. VIII (date).
7 The basic studies on the cult of St. George are: J. Myslivec,   Svaty Jiri ve vychodokre-
stanskem umeni, Byzantinoslavica, V (Praha 1933—1934), 304—375; T. Mark-Weiner,  o. c.  A num-
ber of major cycles do not appear in the first of these because they came to light after the study was
completed. The second author undertook only a survey of the cycles. Literature on the Serbian cycles
can be found in B. Popoviã,  o. c.  (Ðurðevi Stubovi, 1282—1283; Chilandar, XIII century; Bogorodi-

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of the life, wherever they are seen. It appears that a prototype of the cycle
existed, extended with additional scenes in order to expand the cycle. 8
Medieval Serbian cycles made in the same period show similarities. The
most important are those from Staro Nagoriåino and Deåani. Both exibit a creati -
ve approach to illustration. The textual subject was not the only component of 
the painting. Later St. George cycles, such as those from Sopoãani, Reåani and
the Struga icon reflect the taste of their patrons. These illustrate the widely popu-
lar original version of the text of the saint's life. 9
The cults of the saint were stronger in the Post-Byzantine period than they
had been previously. This is evident from the dedications of churches and mona-
steries. However the illustration of the saint's life was not accorded a more di-
stinguished place in the church then had been the case in the earlier period. In
St. George in Staro Nagoriåino the cycle was painted in the second zone of the
naos, in the area of overlap between the earthly and heavenly, although there
existed the possibility of painting the cycle elsewhere. This is the only example
from the Late Byzantine period and it does not appear in the Post-Byzantine
period.10
On the territory of the Peã Patriarchate, from its restoration in 1557 until
the exodus of 1690, there were ten cycles of the life of St. George. This investi-
gation also includes the cycles from the St. George Monastery in Temska and in
the St. George Chapel in the tower of St. George in Hilandar.
Seven cycles were executed in wall painting, three on icons. The cycles
were presented in the Monastery of St. Nicholas, Nikoljac, Bijelo Polje, on the
hagiographical icon from Åajniåe, in the church of St. George in Ribnica, Podgo-
rica, in the St. George Monastery in Lomnica, in the St. George Monastery in
Dobrilovina, in the church of St. Nicholas in the Monastery in Gradište, in the
church of Christ the Saviour in Kuåevište, on the hagiographical icon from Peã,
on the hagiographical icon from Moraåa and in the parekklesion in the St. Geor-
ge tower of the Hilandar monastery. 11
ca Ljeviška, 1310—1313; Staro Nagoriåino, 1316—1318; Deåani, 1346—1347; Vaganeš — perhaps,
1355; Reåani, 1360—1370; Sopoãani, second quarter of the XIVth century; Struga icon, last quarter
of the XIVth century). The author was unaware that the cycle may have been presented in the church
of St. George in Gornji Kozjak, cf. I. M. Ðorðeviã,  Zidno slikarstvo srpske vlastele u doba Nemanji-
ãa, Beograd 1994, 139 (the fragments of the two scenes from the eastern wall of the narthex). It is
important to note the cycle from 1492, painted in Ajdanovac, near Prokuplje, cf. S. Petkoviã,  Srpska
umetnost XVI i XVII veka, Beograd 1995, 15, 25, 28. For the cult of the saints in the XIIth century in
Macedonia and Peloponnesia, see S. Tomekoviã,   Les repercussions du choix du saint patron sur le
 programme iconographique des eglises de 12e siecle dans le Macedoine et dans le Peloponnese, Zo-
graf, 12 (Beograd 1981), 25—43.
8 Cf. B. Popoviã,  o. c.,  cf. supra n. 1.
9 Cf. V. J. Ðuriã,  Ikone iz Jugoslavije, Beograd 1961, 28—29, T. 29 (icon from Struga); Idem,
Sopoãani, supra n. 5 (Sopoãani); I. M. Ðorðeviã,  o. c.,   179—180, cf. supra n. 6 (Reåani).
10 V. N. Lazarev,  Istorija vizantijskoi ÿivopisi, Moskva 1986, 62—64.
11 S. Petkoviã,  Slikarstvo na podruåju Peãke Patrijaršije 1557—1614 , Novi Sad 1965, 68. The
author lists the cycles of St. George in monumental painting in the period from 1557—1690. He sta-
tes that the best cycle is saved in Nikoljac. T. Mark Weiner made a list of all cycles of St. George.
Quoting his research, in the period of 1557—1690. the cycles were executed in the monumental pain-

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The first cycle after this period appeared in the years following 1692, in Ši-
šiãi, Boka Kotorska, Montenegro. The style of that painting, made by Daskal De-
metrios, shows a naive approach to a Byzantine tradition. 12
The first cycle appears in the church of St. Nicholas in the Nikoljac
Monastery, painted in the 1570s. It appears on the north vault and north wall of 
the central bay of the north aisle, above the northern entrance. It consisted of ni-
ne scenes, three in each row. The last three of these have not been preserved:
1. Interrogation:
s(ve)tœ gewrgïe stav præ(d) c(a)re hr(i)st(ianina) sebe ispovelou
(St. George before the emperor, confessing his Christianity)
2. Spearing and Torture with Claws:
s(ve)tœ gewrgïe prüee na drævo povešenü noktimi s btannü taÿe i kopï emü pro-
badae vü outpobou
(St. George hung on a tree, scratched with nails and pierced in the stomach
with a spear)
3. Torture with Stone and Shackles in the Dungeon:
s(ve)tœ gewrgïe vodtimü vü tamnicou i vüzloÿen kamenü velikü na hrübat ego
(St. George in a dungeon, with a large stone placed on his back)
4. Torture on the Wheel:
[s(ve)tœ ge]wrgïe na kole(s)w stavlaet se na mnogïe åesticü drazlaem oumreti
(St. George dismembered on the wheel)
5. The saint appears before the emperor, after the service for the idols
s(ve)tœ gewrgïe ßavlaet se c(a)rou i magnentïo ešte vpiši slouÿbou süvrüša-
yošti

ting in: 1. Greece, Andros, Moni Aghias (Moni Zoodoxou Pigis), XVIth century (?); 2. Mt. Athos,
Monastery of Dochiariou, 1568; 3. Roumania, Roman, Church of St Paraskevi, late XVIth century;
4. Greese, Moni Vitouma, Church of the Koimesis of the Virgin, 1600; 5. Roumania, Sucevita,
Monastery of the Resurrection of Christ, 1602—1604; 6. Mt. Athos, Monastery of Dionysiou, chapel
of St. George, 1609; 7. Greece, Kastoria, Church of the Virgin Koumbelidiki, XVIIth century; 8.
Greece, Phylla, Monastery of St. George ARMA, 1637.; 9. Greece, Aroania, Church of St. George,
middle of the XVIIth century; 10. Greece, Kastoria, (Traianou) church of St. Nicolas, 1663. Icons: 1.
Russia, Moskow, Tretjakov Gallery, no. 14462, XVIth century; 2. Greece, Corfou, Metropolitan
Church of the Virgin; 3. Greece, Phylla Monastery of St. George ARMA, XVIIth century (?); 4. Gre-
ece, Chrysapha, church of St. Demetrios, XVIIth century (?); 5. Greece, Athens, Byzantine Museum,
no. 221; 6. Bulgaria, Sofia, National Archeological Museum, no. 1470. 1684; 7. Greece, Nea Helve-
tia, (Athens) church of St. Demetrios, 1686.; 8. Greece, Paros, Tsipidho (Marpissa), church of St. Ge-
orge, end of XVIIth century. Minor art objects: 1. Greece, silver reliquary of the Holy Cross, XVIIth
century, Mt. Athos, Monastery of Dionysiou; 2. Romania, Silver repousse book cover, Bucharest, Na-
tional Museum; 3. Greece, Silver-gilt hexapterygion, Athens, Benaki Museum, no. 168, XVIIIth
century (?). The broad distribution of the material makes it more difficult to collect every cycle pre-
sented. In the survey some Serbian cycles are missing. The autor fails to list the cycles from Bogoro-
dica Ljeviška, Vaganeš (?), Gornji Kozjak (?), Ajdanovac, Gradište, Kuåevište, Šišiãi, Pološko, Mora-
åa's icon, Pološko's icon, as well as many others made after 1690.
12 Cf. P. Mijoviã,  Bokokotorska slikarska škola XVII—XIX vijeka , I, 17—22; S. Petkoviã,  o. c.,
189, cf. infra n. 14.

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(St. George addressing the emperor and Magnetius after the service)
6. Beating and casting into the dungeon
bï yt s(ve)tagou gewrgïovo i nem(i)lostivo vlekout vüt mnicïou
(St. George beaten and ruthlessly thrown into the dungeon) 13
The scene of the victory over the dragon is shown on the south side of the west
facade in the first zone. 14
The Nikoljac cycle is unique in content. Each scene is illustrated according
to the inscription. Some themes are shown together in the same scene, as is the
case of the scene of torture with a spear and three-pronged hooks. The cycle is
painted without vertical frames, which allows the artist a more narrative appro-
ach. In a number of scenes, the preparations for the next event are shown. For
instance, the rope shown in the scene of the investigation is also used in the sce-
ne of the torture on the wheel. The painter is highly skilled and correctly inter-
prets the classical structure of Byzantine painting. Some figures are highlighted,
as part of the major figure of the scene. Richly painted architecture accentuates
the figures and the movement. Pathos is mostly attained in the figure and face of 
the saint and in the details of the tortures. The adherence to the artistic ideal is
evident even in the detail of the pointed draping on the figure in the scene of the
torture with a spear. We nevertheless note the influence of the Italo-Cretan style.
The saint's face is concealed in two scenes, the torture with stone and shackles
and the torture on the wheel. In the first scene the saint puts his hands over his
face, in the second his face is laid on the wheel. Moreover, in some scenes, the
figure and face of the saint are lyrical, his torso twisted. The limits of this pain-
ting are seen only in one scene, the torture with the spear and clogs. Because of 
the intention of combining two themes into the same scene, the figures of the
torturers are not in the same scale.
The central panel of the hagiographical icon from Åajniåe, from 1574,
shows the saint holding his head. 15 In addition to this there are twelve scenes: 1,
13 The inscriptions from Nikoljac and Ribnica have not been published previously, so they are
presented in this study.
14 Cf. S. Petkoviã,  o. c.,  92, 142, 180, 182, 210, supra n. 10. The author states that the cycle is
detailed and notes three scenes: The Interrogation, The Torture with the Spear, and The Torture on
the Wheel. The frescoes were cleaned and there then appeared The Torture with the Stone and Shac-
kles in the Dungeon, The Saint Before the Emperor after the Service to the Idols and the inscription
of the scene of the Leading to the Dungeon. The scene of the Victory over the Dragon is painted in
Nikoljac, Lomnica, Temska and Hilandar, together with the scene of The Victory of St. Demetrios
over Kalojan (except in Lomnica and Hilandar). These two scenes are painted on the facade of the
Moraåa Monastery in 1616, as well as in the village churches in: Trnava (1579—1580); Ðurakovac
(1592); Mleåan (1601—1602); Kijevo (1602—1603); Vrh (1619); Donji Orahovac (first half of the
XVIIth century), cf.  ibidem, 67. At Ajdanovac a boy is shown behind the saint in the scene, so this is
a mixture of two scenes: The Victory over the Dragon and Releasing the Enslaved Youth, cf. S. Pet-
koviã,  Srpska umetnost u XVI i XVII veku, Beograd 1995, 226. The earliest example from Serbian art
is the Struga icon, cf. supra n. 10.
15 Ð. Mazaliã,  Nekoliko starih ikona , Naše starine, II (Sarajevo 1954), 57—58; S. Ovåinnkova,
 Ikona „Sv. Georgiis otseåenno golovoi" v sobrani moskovskogo istoriåersko muzeja, Vizantija juÿnie-

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The Interrogation; 2, The Torture with the Stone in the Dungeon; 3, The Scra-
ping; 4, The Torture on the Wheel; 5, The Nailing of the Shoes; 6, The Torture
in the Furnace (combined with the Torture in the Cauldron and the Release from
the Lime); 7, The Torture with Poison; 8, The Resurrection of the Man; 9, The
Conversion of the Empress; 10, Christ Appears to the Saint in the Dungeon; 11,
The Beheading: 12, The Saint Punishes the Emperor (in the inscription, the saint
destroys the idols). 16
The central panel of the Åajniåe icon is in the Italo-Cretan style. The saint
and the torturers have young faces. Almost all the scenes tend towards decorati-
veness. An ornament resembling a wave is shown even on the torture instru-
ments. This painting's principal value is its colour. There is a problem with the
subject of the last scene, as we are shown the punishment of the emperor while
the inscription states that the saint is destroying the idols. The key to understan-
ding this scene is the object held in the saint's hand. It may or may not be a
mace.17
In the church of St. George in Ribnica, Podgorica, in the end of the XVIth
century, the cycle is presented in the second zone of the naos, starting from the
eastern wall. The interrogation and the beheading, possibly the first and last sce-
nes of the cycle, may also have been preserved. However the west sides of the
east pilasters are today concealed by the iconostasis.
Southern wall:
2. The Piercing with Spears — at least to judge by what remains of the in-
scription, as the scene has not been preserved:
[s(ve)ta]go gewrgï ßa povesßše na dr
(George hanging on the <tree>)
3. The Beating:
S(ve)tago georgß ßa biß e velouïmi ÿïlami
(St. George beaten by ox tendons)
4. On the east side of the northwest pilaster, perhaps The Torture with the
Stone, judging by the preserved sections of the inscription:
…vïše k(a)men …
(…stone…)
Northern wall:
slavjane drevnaja Rus' zapadnaja Evropa, Zbornik u åast V. N. Lazareva (Moskva 1973), 168—170,
T. 171.
16 The punishment of the emperor Diocletian is also presented on an Italo-cretan icon from
Cetinje museum, cf. A. Åilikov,  Ikone iz fondova Cetinjskih muzeja , Glasnik Cetinjskih muzeja (Ceti-
nje 1997) 105—108, 123.
17 Ð. Mazaliã,  o. c.,  65—69. The author believes that a local painter from Åajniåe or Goraÿde,
created this work.; Lj. Kojiã,  O ikoni sv. Ðorða sa ÿitijem iz Åajniåa , ZLU MS, 7 (Novi Sad 1971),
237—243.

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5. The Torture on the Wheel:

[s(ve)tago ge]wrgi ßa povesïše na vrßteÿe
(St. George put on the wheel)
7. The Resurrection of the Ox from the Prison:
s(ve)tœ gewrgße sedenße na tamnicou glïkeriy vola wÿïvi
(St. George, sitting in a prison, resurrects Glicerios's ox)
8. The Release from the Lime:
s(ve)tago georgße faevio goni ße ou varnïcou fi…
(St. Georgein Lime) 18
The figures of the Ribnica painter have large hands and heads and short bo-
dies. They are presented against painted architecture or landscapes, the latter ap-
pearing as haystacks with vertical bars. However green vegetation grows from
the haystacks, so they can be read as mountains. In the scene of the torture on
the wheel, the torturers are not holding the ropes so we are unable to see which
way the wheel is turning. The inscription from the scene of the resurrection of 
Glicerios' ox is literally illustrated, with the saint shown sitting at the prison
window. This is perhaps drawn from the text of  Hermeneia  of Dionysius of Fo-
urna, where this scene is presented in the same form.
In the Church of St. George in the Monastery of Lomnica, from 1608—
1609, the cycle is presented in the second zone of the narthex, beginning on the
east wall: 1, The Interrogation; 2, The Angel Advising St George; 3, St George
Advising the Empress; 4, The Beating. On the west wall: 6, The Piercing with
Spears; 7, The Torture with the Stone and the Torture in the Lime Pit; 8, The
Torture with Pincers; 9, The Destruction of the Idols; 10, The Resurrection of the
Ox. On the north wall: The Beheading. 19 The Saint on the Throne is shown on
the tympanon of the door on the east wall of the narthex. 20 On the tympanon on
the facade appears the Victory over the Dragon.
The unschooled painter of Lomnica puts great effort into presenting the life
of the saint. The luxury of the throne, the bed and the costume, as well as the
complexity of the painted architecture are in contrast to the ignorance of the pre-
sentation of the theme. The emperor's loros is softly draped around his body, the
saint is laying on a luxurious bed during the torture with the stone; the com-
18 Cf. V. R. Petkoviã,  Pregled crkvenih spomenika kroz povesnicu srpskog naroda , Beograd
1950, 111; S. Petkoviã,  Tragom jedne slikarske radionice iz druge polovine XVI stoleãa , Zbornik Fi-
lozofskog fakulteta, VIII (Beograd 1964), 541—554; A. Skovran,  Freske crkve Sv. Ðorða pod Gori-
com u Titogradu, Starine Crne Gore, III—IV (Cetinje 1965—1966).
19 M. Filipoviã—Ð. Mazaliã,  Crkva manastira Lomnice u Bosni,  Spomenik SAN, CI (Beograd
1951), 143—144; S. Petkoviã,  o. c.  79—80, 92, 118, 179—182; M. Baum,  Prilog prouåavanju sli-
karstva Lomnice, Tuzla 1957, 191—207.
20 The saint sitting on the throne and unsheathing his sword is presented for the first time in a
relief made in the late twelth century in Constantinople. Today it is on the west facade of St. Marco,
Venice, cf. O. Demus,   San Marco in Venice, History, Architecture, Sculpture, Washington 1960,
128—131, T. 40—41.

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plexity of the painted architecture is accomplished by a great number of windows

and doors, sometimes presented in the foreground; landscape is also sometimes
presented in the foreground, with standing figures, instead of the usual landscape
in the background. Expressiveness is achieved by the malicious looks of the tor-
turers and a narrative quality is accomplished by the unification of some scenes,
but the painter fails in these attempts.
In the church of St. George in the Dobrilovina Monastery, in 1609, the
cycle is painted in the second zone of the narthex, beginning on the east wall: 1,
The Interrogation (the beheading of the saint is shown on the northern part of the
east wall, before this scene); 2, The Piercing with Spears; 3, The Saint in the Pri -
son21; 4, The Torture scene, fragments preserved, only the figure of the torturer
on the left side is visible. South wall: 5 and 6 are not preserved apart from the
lower part of the torturer's body in the fifth scene. West wall: 7, The Destruction
of the Idols; 8, The Beating; 9, The Release from the Lime; 10, The Torture with
Heated Shoes or the Nailing of the Shoes; 11, The Leading of the Saint. North
wall: 12, The Beating; 13, The Resurrection of the Ox. East wall, north section:
14, The Beheading. The inscriptions have not been preserved. 22
The painter of Dobrilovina puts the scene of the beheading at the beginning
of the cycle, above the standing figure of St. George. In this way, the scene of 
the beheading is given the importance of first place. All the paintings in the
church appear to be by the same painter. Almost all the faces are similar, long
and narrow. From some scenes it appears that the painter was familiar with the
textual bases of the legend. That is particularly so in the scenes of the interroga-
tion, the destruction of the idols and the release from the lime. Unfortunately the
painter lacked either the courage or the skill to execute the original idea. Usually
he paints the scenes without painted architecture, with a blue-green background
and with a small number of figures. The axes of the figures are within strict ver-
tical and horizontal lines. Drapery is modelled with a small number of straight,
mostly vertical lines. In the interrogation scene, among the many figures, we are
able to recognise only the saint and the emperor. The painting is even poorer
than „one of the weakest paintings of medieval Serbia", painted in the Chapel of 
St. George in Sopoãani.
In the church of St. Nicholas in the Gradište Monastery (1619—1620), the
priest Strahinja from Budimlje painted the cycle along the north side of the vault,
from east to west: 1, The Interrogation; 2, The Beating; 3, The Torture on the
Wheel; 4, The Release from the Lime. 23
21 S. Petkoviã,  o. c.,  92, 146, 209. The author is of the opinion that the subject of the third
scene is probably The Torture in the Cauldron, because the saint is inside a red object. After the clea -
ning of the frescoes, bars painted on the prison window were visible, so we have concluded that the
subject was The Saint in the Prison, perhaps being tortured with the stone. The painter uses red to
depict the details of torture, as in the first beating scene where the block is painted red.
22 Cf.  Ibidem,  92. The author includes only the scenes from the east and north walls. The con-
tent of the scenes on the west wall were revealed only after cleaning.
23 Cf. V. Petroviã,  Freskoslikarstvo manastira Gradišta u Paštroviãima , Istorijski zapisi, XVII,
2 (Titograd 1960), 269—283. The frescoes were destroyed by an earthquake, but the fragments were

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*  THE CYCLE OF SAINT GEORGE

There is an obvious difference in the painting of the St. George cycles in

the church of St Nicholas, where the highly skilled painter creates a mature
work. It appears that the painter lays great importance on the technical details of 
the picture. In the scene of the torture on the wheel, the instrument of torture is
given the greatest importance. The wheel looks more like a machine. The rich
background of the scene of the release from the lime has greater decorative then
thematic value.
In the hagiographical icon of Peã, from the second quarter of the sixteenth
century, in addition to the central panel, which shows St. George on the throne, a
cycle of seventeen scenes is painted: 1, The Interrogation; 2, The Torture with
the Stone and Shackles in the Dungeon; 3, The Torture on the Wheel; 4, The
Angel Healing the Saint; 5, The Release from the Lime; 6, The Torture with He-
ated Shoes; 7, The Flagellation; 8, The Beating on the Mouth and the Torture on
a Pillar; 9, The Challenge of Atanasios; 10, The Resurrection of the Man; 11,
The Destruction of the Idols; 12, Christ Appears in the Dungeon; 13, The Resur-
rection of the Ox; 14, The Conversion of the Empress; 15, The Beheading; 16,
The Miracle of the Reconstruction of the Church; 17, The Miracle of the Delive-
rance of the Enslaved Youth. 24
The dimensions of the Peã icon allow for a detailed presentation of the sce-
nes. The background of the scenes — painted architecture or landscape — points
up the figures. The painter uses strong colours, particularly red. The gesture of 
touching, signifying rudeness and lack of respect is frequently used.
In the chuch of Christ the Saviour formally dedicated to the Introduction of 
the Virgin into the Temple, in the monastery of Kuåevište, from the middle of 
the seventeenth century, the cycle was presented in the third zone of the outer
nartex: (Southern wall?) 1, Fragmentary saved scene; 2, The Saint in Prison with
the Angel Telling His Destiny; 3, The Torture on the Wheel. (Western wall?) 4,
The Torture with Boots; 5, The Interrogation; 6, The Beating; 7, The Interroga-
tion (Atanasios the magician present); 8, The Torture with Poison and the Saint's
Prayer; 9, The Resurrection of the Dead; 10, The Beheading of the Magician and
the Faithful; 11, The Saint Preaching in Prison. Northern wall: 12, Unidentified
scene; 13, The Miracle of the Reconstruction of the Church; 14, The Miracle of 
the Deliverance of the Enslaved Youth; 15, The Saint Enthroned. 25
The outer narthex of the temple was destroyed by fire in the past decade.
The only surviving scenes, the three last from the Northern wall are now barely
recognisable. The colour of these remaining scenes has changed, so only non-ori-
ginal nuances of red can be seen. The study of the Kuåevište's paintings is possi-
reassembled so that at least one more scene became visible, The Release from the Lime. The inten-
tion to give a detailed description of the torture instruments can be seen in Suåeava, Romania, in the
scene of Torture with Stone, cf. Myslivec,   o. c., T. XI, 1.
24 V. J. Ðuriã,  Umetnost u senci prošlosti , 298, n. 9, T. 193, u: V. J. Ðuriã, S. Ãirkoviã, V.
Koraã,   Peãka patrijaršija, Beograd 1990.
25 I am taking the opportunity to express my gratitude to Professor Ivan M. Ðorðeviã. His
photographs published in this study are the only evidence of the cycle of St. George from Kuåevište.

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ble only through the photographs which had fortunately been made by Ivan M.
Ðorðeviã. The beginning scenes of the cycle had not been preserved before the
fire. The fragment of the first is along the same lines as the illustration of the
eighth strophe of the Acathistos, presented in the upper zone. The format of the
scenes allowed the artist to enlarge the cycle. The scenes are as wide as the wall
surface left for the figures presented in the first zone. They are therefore narrow,
but three times as tall. Although the format of the scenes is small, they are full
of figures. All of them have a background of richly painted architecture or lan-
dscape. The figures are presented in picturesque clothing. The principal figures
are clad traditionally, according to the personality of the characters. The painter
respects the textual description of the setting of the events. He therefore presents
landscape in the background where the subject concerns the story of Atanasios
the magician. This is the only cycle in monumental painting which includes the
saint's posthumous miracles. In the final part of the cycle, the miracle of the re-
construction of the church and the miracle of the deliverance of the enslaved
youth are presented. The same two scenes appear on the Peã icon. The first sce-
ne is presented in a similar manner, but the second differs. This is because the
painter of the Kuåevište cycle presents the saint returning the boy to a beardless
figure, who resembles the enslaved youth, in oriental clothing. The painter appe-
ars to be confused about the subject of this scene. In the background of both sce-
nes, the church of St. George is presented. The saint is shown in the lunette of a
church with two domes and a tower, or a dome and two towers, which resembles
the Kuåevište temple in that period.
In the Church of St. George in the Temska Monastery (1654), the cycle is
presented in the third zone of the outer narthex, beginning on the south wall: 1,
Giving Wealth to the Poor; 2, The Interrogation; 3, Preserved fragments of a sce-
ne — from the emperor sitting on the throne at the left side we may suppose that
this is the torture with the spear; 4, Scene not preserved. West wall: 5, The Tor-
ture on the Wheel; 6, The Beating; 7, The Interrogation; 8, The Leading to Pri-
son (perhaps in Heated Shoes); 9, The Poisoning, Prayer, The Resurrection of the
Dead, The Beheading of the Dead and the Magician; 10, The Resurrection of the
Ox; 11, The Beheading. 26
The scene of giving wealth to the poor is presented only in Temska. This
scene does not admit the possibility of seeing the complete cycle illustrated on
the basis of the text of   Hermeneia  of Dionysius of Fourna. The tenth scene of 
the cycle is unique. It is a literary illustration of  Hermeneia's text. The principal
themes of the scene, the poisoning and the resurrection of the dead are frequently
seen in many cycles, but the unification of the two, together with other motifs, is
seen only here. Looking at this scene one realises the difficulty of illustrating the
26 V. Petkoviã,  o. c.,  323; L. Pavloviã,   Manastir Temska, Smederevo 1960, 71, 79—82, figs.
70—80, 86—87, 92, T. 54, 57, 74. Two scenes from  Hermeneia  of Dionysius of Fourna, The Poison-
ing and The Resurrection of the Dead, correspond to the Temska scene,   cf .   Dionÿsioj to‡ ek
Co‡rna, ' Ermhneåa téj zwgracikéj tçxnhj, Petropoli 1909, 183—184.

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*  THE CYCLE OF SAINT GEORGE

complete content of the text, as the complexity of this scene can be compared
only with the menologian scenes.
The hagiographical icon from Moraåa (1670—1671) presents fourteen sce-
nes, in addition to the central panel showing the saint holding the sword: 1, The
Interrogation and Leading of the Saint; 2, The Piercing with Spears; 3, The Tor-
ture with the Stone; 4, The Torture on the Wheel; 5, The Torture in the Furnace,
combined with the Release from the Lime; 6, The Nailing of the Shoes and the
Taking to the Dungeon; 7, The Flagellation; 8, The Torture in the Cauldron; 9,
The Resurrection of the Dead; 10, The Resurrection of the Ox; 11, The Scraping;
12, The Torture with Torches; 13, The Destruction of the Idols; 14, The Behea-
ding.27
The background of the scenes is a flat wall, with two towers in the corners
of the scene field. In some scenes a large group of people is presented in interac-
tion. This is the only cycle containing all three scenes from the original text of 
the legend in which, according to the description, the saint was resurrected by
Christ.28
In the St. George parekkesion in the St. George tower of the Hilandar
Monastery (1686) the cycle is presented in the second zone, beginning from the
south wall: 1, The Interrogation; 2, The Piercing with Spears; 3, The Torture
with the Stone and Shackles in the Dungeon; 4, The Torture on the Wheel; 5,
The Angel Healing the Saint; 6, The Conversion of Alexandra; 7, The Torture in
the Cauldron or in the Furnace; 8, The Beheading. In the tympanon of the west
wall, on the façade, the scene of the victory over the dragon is shown. 29
The Hilandar cycle is rich in detail. In the first scene the painter introduces
the most important personalities from the text of the legend. In addition to the
saint there are Diocletian, Magnetius and Alexandra. The painted architecture so-
metimes has realistic shapes, as in the scene of the torture on the wheel. The
temple of Apollo is painted in the background of this scene. According to the
text of the legend, Diocletian and Magnetius offered a sacrifice there. The
iconography of the Torture with Spears is taken from the cycle of St. Demetrius.
The precursor of the post-Byzantine cycles is that from Staro Nagoriåino.
This is evident primarily from the content, as well as in the course of the cycle.
In this study we found that the content of the Nagoriåino cycle corresponds most
closely to the text of the legend written by Nikita David, and to that by  Herme-
27 R. Ljubinkoviã,   Stvaralaštvo zografa Radula, Naše starine (Sarajevo 1953) 128—130; S.
Petkoviã,  Manastir Moraåa, Beograd 1986, 34, T. 57. Ljubinkoviã compares the hagiographical icons
from Moraåa, Peã and Pološko and finds them similar. The Pološko icon was made in 1630 and, sin-
ce than, has been located in the narthex of Pološko,  cf , V. Popovska-Korobar,   Beleški za ikonostasot 
od crkvata Sveti Gorgi Pološki, Kulturen ÿivot (Skopje 1997), 53, n. 24.
28 Howewer, there are a great number of Serbian cycles with these scenes included in the con-
tents, made after 1690, as those from Sarajevo, cf. Ð. Mazaliã,  Sv. Ðorðe na starim ikonama u Sara-
 jevu, Glasnik Zemaljskog muzeja, 47 (Sarajevo 1935), 49—72.
29 This investigation of the cycle was possible thanks to the collection of drawings in the Hi-
landar Department of the Serbian Academy of Science. The basic information for the cycle can be
obtained from: S. Petkoviã,  Hilandar , Beograd 1989, 62—64, fig. 62.

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BOJAN POPOVIÃ  *

neia  of Dionysius of Fourna. 30 Almost all the post-Byzantine cycles begin with
the scene of interrogation, followed by the scene of the piercing with a spear. In
the post-Byzantine period this scene is often combined with that of the scraping.
Thus we have a unique scene inspired by both texts of the legend. We find a de-
scription of a saint hunging on a tree, stabbed and scratched, in the hagiography
printed by Boÿidar Vukoviã in Venice. 31 The scene of the scraping was fre-
quently shown before the post-Byzantine period, even in such cycles as the Na-
goriåino, where it is the only scene based on the original text of the life. The ap-
pearance of the scene of the torture on the wheel varies with respect to the in-
strument of torture. The wheel is sometimes called   koleso, sometimes   vrteÿ 32.
The saint is led to the dungeon in heated shoes, or the torturers nail his shoes on.
The scene of the poisoning is often painted before the scene of the resurrection
of the dead. From the Nagoriåino cycle on, there is a tendency to show two oxen
instead of one in the scene of the resurrection of the ox. 33 The conversion of the
empress is a frequent scene in this period. 34 In the late Byzantine, the most im-
portant scenes from the original text of the legend were frequently introduced in-
to the content of the cycle. These were the scenes of torture: on the wheel, with
the saw and the cauldron and with torches. Among the preserved Serbian cycles
of this period, these three can be found only on the icon of Radul. The textual
basis for the scene of the release from the lime is taken from the revised version
of the legend. It was unclear for illustration, because the description of the scene
came from the scene of the torture in the cauldron, from the original text of the
legend. In the post-Byzantine period the mixing of the contents of these two sce-
30 The description of the first and third scenes of the life of St. George in the text of   Hermene-
ia  of Dionysius of Fourna is almost the same as the first six scenes of the Nagoriåino cycle. The in-
terrogation and the torture with the spear appear to be derived from the description of the first scene,
while the torture on the wheel, the rescue by the angel, the new interrogation and the beheading of 
the faithful are similar to the description of the third scene. One of the details from the text, the de-
scription of the emperor sitting on a larger throne than Magnetius, appears for the first time in Nago-
riåino. Nevertheless, other scenes of the Nagoriåino cycle are different and the cycle is extended to a
greater number of events than the text from  Hermeneia. One may suppose the influence of another
text, such as the text of the saint's life written by Niceta David, in which is found the description of 
the events connected with the story of Atanasios the magician. The Nagoriåino cycle rests on a rich
base, full of details. Some of these are new, such as that mentioned above, or the appearance of the
Empress Alexandra in the trial scene. The structure and the scenes which are included frequently
vary after this.
31 Cf. infra n. 4.
32 The wheel shown in the scene in Ribnica cycle is named vrteÿ as in the cycle in Kremikov-
ci, cf. K. Paskaleva,  Crkvata Sv. Georgi v Kremikovski manastir , 72—95, fig. 48.
33 Two oxen are shown in Lomnica, at Peã's icon, in Temska and on Moraåa's icon.
34 The conversion of empress to christianity is presented at Åajniåe's icon, in Lomnica, at
Peã's icon, and in chapel of St. George in Hilandar. This scene is rarely presented in earlier periods.
Apart from the eleventh century cycle from St. Sofia in Kiev, this scene is included in the post-
-Byzantine cycles in Kremikovci, and on an icon from the church of the Rogoÿskij Cementery, cf. T.
Mark Weiner,   o. c.,   62, 82. The Kremicovci scene differs, because the saint is shown in a for -
tress-prison, cf. K. Paskaleva,  o. c.,  cf. supra n. 31. The author asserts that the building presented in
this scene is a palace, but by comparison with the building in the scene showing Christ adressing the
saint in the prison, from the cycle of St. George executed in Roman, Roumania, one may deduce that
the building from the Kremicovci cycle is a prison, cf. J. Myslivec,  o. c.,  T. XIII.

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*  THE CYCLE OF SAINT GEORGE

nes is obvious. The saint is usually presented in a barrel of lime; in front of this
is a fire stoked by torturers. It is possible that the description of the lime pit, or
burning pit, as well as the mention of the quicklime (Asbesto) influenced this
scene. Most commonly, in the introductory scene, and sometimes in some others
as well, Magnetius is shown along with the emperor, standing or sitting on a
throne.35 The building of the dungeon is represented only by a black opening, the
sign of darkness. Sometimes a barred window is painted, with the saint shown
behind it. In this case it is a prison building, not a dungeon. 36 The temples from
which the idols fall is one of a central plan, with a larger and a smaller dome
one above the other, resembling a lantern. Sometimes, instead of a temple, co-
lumns or exedra are painted. 37 The empress is beheaded or she suffers a calm
death.38
All painted St. George cycles were investigated, regardless of the medium
of their presentation. Those painted on the hagiographical icons are in some way
different from those painted on frescoes. They are closer to the description given
in the text. It is very difficult to analyse style on the basis of cycles painted over
more than a hundred years and without reference to other works of the same pa-
inter. Despite this it may be said that the cycles are slightly different from those
in the previous period. The Nikoljac cycle is perhaps the best example of monu-
mental painting, while the cycles from the hagiographical icons of Peã and Mo-
raåa are the best of the remaining examples. The Nikoljac cycle shows the influ-
ence of the Italo-Cretan style. The painter's knowledge rests on a solid Byzantine
base, allowing him to paint some details, such as the draperies, in fourteenth
century style. The exquisite style of Radul, the Moraåa icon painter, can be seen
in the fine organisation of figures in the group of people. The Peã icon cycle pa-
inter shows the deepest admiration of the mediaeval Byzantine work, and this is
reflected in the construction of his scenes. He can be compared only with the pa-
inter of Kuåevište's cycle, whose knowledge has deep roots in the Byzantine
style. The Kuåevište cycle wasn't completely preserved before the fire, but the
photographs, which today are the only material by which to judge him, are suffi-
cient to support the claim that this was the longest cycle in Serbian painting. The
high value of the cycle, the picturesqueness, the narrative quality and the small
format of the scenes reveal both a connection to the Byzantine tradition and a
new approach. The Åajniåe icon cycle is technically good work, with strong co-
35 The figure of Magnetius is recognisable in the Hilandar cycle, where it is shown in the first
scene sitting on a smaller throne than Diocletian, as in the second investigation scene of the Nagori-
åino cycle. This is in keeping with the description from  Hermeneia. In the Dobrilovina cycle, the pa-
inter probably presented Magnetius as a soldier who tortures and executes the saint. At Moraåa icon,
Magnetius is sitting with emperor on a throne. He can be recognised as a figure standing next to the
emperor in many cycles.
36 The prison with a window and bars is depicted in Dobrilovina, Kuåevište and Temska.
37 Exedra are shown only on the Åajniåe icon, but the meaning of the scene is unclear, so we
are reluctant to recognise it as a temple.
38 The calm death of Alexandra is depicted in the Åajniåe and Moraåa icons, while the
execution is shown in the Peã icon.

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lours. The Gradište cycle, painted by the priest Strahinja from Budimlje, is closer
to the new period than to the previous one, and some scenes show a great resem-
blance to certain Romanian cycles. The content of the Kuåevište, Hilandar and
Temska cycles rest on a textual basis. The literary foundation is completed with
accomplished painting. The cycles from Lomnica, Dobrilovina and Ribnica are
examples of naive, ignorant painting, although they differ from one another. The
Lomnica painter was inspired by a better painter, but he fails in an attempt at a
logical composition. The Dobrilovina painter is the weakest, almost all his
strength goes into a strictly horizontal and vertical construction of the paintings,
as though he were afraid to attempt a more complex composition. The Ribnica
painter is aware of the real structure of the scenes, but his poorly defined figures,
as well as the background, reveal a naive approach. Inspiration drawn from the
mediaeval tradition is a common feature of all post-Byzantine St. George cycles,
often combined with new trends. As in the late Byzantine period, all the cycles
are alike, regardless of their exact location within the Orthodox world.

Bojan Popoviã

CIKLUS SVETOG ÐORÐA NA PODRUÅJU PEÃKE PATRIJARŠIJE

Rezime

Na podruåju Peãke patrijaršije saåuvano je deset slikanih ciklusa iz ÿivo-

ta svetog Ðorða. U periodu izmeðu 1557. i 1690. godine sedam ciklusa je ÿivopi-
sano dok su tri predstavqena na ÿitijnim ikonama. U ovom istraÿivawu obuhva-
 ãeni su i ciklusi nastali u manastiru svetog Ðorða u Temskoj i u paraklisu sve-
tog Ðorða u Hilandaru.
 Dok se u sredwem veku opaÿa veãa zavisnost slike od odreðenog tipa ÿitija,
oåuvani ciklusi iz ÿivota svetog Ðorða u srpskom slikarstvu ove epohe ujednaåe-
nijeg su sadrÿaja. Buduãi da je ciklus predstavqen u manastiru svetog Ðorða u 
Starom Nagoriåinu najiscrpniji saåuvani ciklus sredweg veka, wegov sadrÿaj se
moÿe sagledati kao osnov mnogih poznijih ciklusa. Brojni detaqi koji se zapaÿa-
 ju u poznovizantijskim ciklusima prvi put se opaÿaju u nagoriåkim scenama, za-
visnim od teksta   Erminije.   Uopšte uzev, ona je u veãoj ili mawoj meri osnov za
veãinu poznovizantijskih ciklusa.
Slikawe toka ÿivota svetog Ðorða u ovom periodu gotovo uvek zapoåiwe sce-
nom Ispitivawa. Nekada se pored Dioklecijana predstavqa i Magnecije kako se-
 di na prestolu mawem od carevog. Potom se predstavqa probadawe kopqima, po-
nekad ujedno sa razdirawem, sliåno opisu iz štampanog  Mineja  Boÿidara Vukovi-
 ãa. Sledi odlazak u tamnicu koju oznaåava crni otvor tmine uokviren slikanom
arhitekturom. Muåewe na toåku, osnovna scena ciklusa, razliåito se prikazuje u 
zavisnosti od instrumenta muåewa. Verovatno usled praãewa drugaåije slikarske
ili tekstualne tradicije, muåewe u kreåu se raznoliko predstavqa. Opisi muåewa
 u kreåu nalikuju muåewu u kotlu, tako da je predstavqen plod ilustracije i jedne i

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 druge scene. U ovom periodu, sve tri scene muka posle kojih je svetiteq bio vas-
krsnut, slikane su jedino na ikoni iz Moraåe. U poznovizantijskom periodu te-
ÿište ciklusa prelazi sa svetiteqevih muka na punu ilustraciju wegovog ÿivota.
Nekada se u više scena ilustruje iskušavawe otrovom, epizoda u kojoj svetiteq
odoleva maðiji. Uticaj  Erminije   ili woj zajedniåkog izvornika na slikanu tradi-
ciju opaÿenu još u H¡¢ veku, bio je presudan za postojawe ove epizode. Pre-
obraãewe carice, takoðe ranije retko predstavqana scena, åesto se javqa u pozno-
vizantijskim ciklusima kao i Aleksandrina mirna ili nasilna smrt. Posmrtna
åuda svetiteqa sreãu se na ikoni iz Peãi i u Kuåevištu. U pitawu je predstava
istih åuda — o obedu, dizawu hrama ili o vraãawu zarobqenog mladiãa.
 Dvanaest ciklusa prikazanih u ovom radu deli veliki vremenski raspon zbog
åega ih je teško porediti. Uz to, oni su delo raznih slikara. Ipak, na osnovu 
ovog uzorka moÿe se uopšteno utvrditi pojedinaåni pristup, literarna podloga,
 uzori, kreativnost i kvalitet slikarstva. Osnovno stremqewe ogleda se u osloncu 
na tradiciju H¡¢ veka kao i u razvijawu odreðenih odlika stila koji su vodili
 umnoÿavawu scena, brojnosti figura, razuðenosti slikane arhitekture ili pejza-
ÿa. Pored oslonca na vizantijsku tradiciju, sreãe se i uticaj italo-kritskog sti-
 la u ciklusima iz Nikoqca, Gradišta i sa ikone iz Åajniåa. Nikoqaåki ciklus
 je visokih slikarskih kvaliteta. Poznavawe tekstualne osnove iskazano je i u nat-
pisima, a ikonografska i likovna obaveštenost upotpuweni su vrsnim slikar-
skim postupkom. Zapaÿa se da slikar predstavqa odreðene figure u izvijenom,
mekom pokretu, kao i da su crte lica nekih figura meke i mladalaåke što je uti-
caj italo-kritskog stila. Na åajniåkoj ikoni izdvaja se, verovatno po preuzetom
crteÿu, veštije slikano centralno poqe. Jednostavnost kompozicija, u ovom slu-
åaju plod osredwosti, obogaãena je sloÿenim bojenim odnosima. Stil peãke ikone
snaÿno je oslowen na sredwovekovno nasleðe. Kompozicije su jasne i u wima ne-
ma preplitawa dogaðaja. Slikar se odluåuje da åesto predstavi dodir, oznaku gru-
bosti i nepristojnosti. Pop Strahiwa iz Budimqa sasvim se izdvaja svojim sti-
 lom. Na sceni muåewa na toåku, osnovna paÿwa poklowena je instrumentu muåe-
wa, naåinu na koji se toåak kreãe. Ciklus svetog Ðorða iz Kuåevišta bio je naj-
opširniji ciklus u srpskom poznovizantijskom slikarstvu. Naÿalost, ošteãen je
pre no što je snimqen — u poÿaru tokom prethodne dekade. Sudeãi po foto mate-
rijalu, moÿe se konstatovati da su scene malog formata bile sve do bordura
ispuwene brojnim figurama u ÿivopisnoj odeãi. Pošto slikar prikazuje scene
sloÿenih kompozicionih rešewa, åini se da se na dve scene s kraja ciklusa
predstavqa i kuåeviški hram. Epizoda s Atanasijem ispripovedana je u åetiri
scene. Ona se pojavquje i u ciklusu iz Temske, ali ilustrovana samo u jednoj sce-
ni. Åiwenica što je u   Erminiji  ona opisana u dve scene omoguãava da se sagleda
naåin na koji su se slikari prilagoðavali opisu. Od uticaja je mogla da bude i
veãa površina prostora kojom je raspolagao kuåeviški slikar. Ciklus iz Temske
odliåan je primer delimiånog preuzimawa odreðenog izvornika. Iako se dobar
 deo ciklusa da tumaåiti tekstom   Erminije , uvodna scena, darovawe imovine, nije
pomenuta u tekstu i sreãe se samo u ovom ciklusu. U hilandarskom ciklusu na
 detaqan naåin je ispripovedano ÿitije svetog Ðorða. Uvodna scena ciklusa,
Ispitivawe, ilustracija je teksta   Erminije , no dopuwena izvesnim detaqima.
Kroz celokupni tok ciklusa slikar je unosio ikonografske pojedinosti koje pone-
kad nisu posledica ilustrovawa teksta, nego preuzimawa ikonografije iz drugih 

109
 

BOJAN POPOVIÃ  *

svetiteqskih ciklusa, kao što je sluåaj sa scenom muåewa kopqima, izvedenom iz

istoimene scene iz ciklusa muåewa svetog Dimitrija. Opadawe slikarskih moãi
i znawa opaÿa se u ciklusima iz Ribnice, Lomnice i Dobrilovine.
Poznovizantijski ciklusi svetog Ðorða u srpskom slikarstvu pokazuju sadr-
ÿinsku objediwenost u daleko veãoj meri no što je to bio sluåaj ranije. U tome
oni i jesu sliåni s ostalim poznovizantijskim ciklusima koji su, sem izvesnih 
topografskih izuzetaka, sliåni ma gde su nastali.

110
 

The Church of St. Nicolas, Nikoljac Monastery, 1570—1580. The Interrogation

(drawing by B. Kiãevac)

The Church of St. Nicolas, Nikoljac Monastery, 1570—1580.

The Spearing and Torture with Claws (drawing by B. Kiãevac)
 

The Church of St. George, Ribnica, Podgorica, end of the XVI century.
The Torture on the Wheel (drawing by B. Kiãevac)

The Church of St. George, Ribnica, Podgorica, end of the XVI century.
The Resurrection of the Ox from the prison (drawing by B. Kiãevac)
 

The Church of St. George, Ribnica, Podgorica, end of the XVI century.
The Release from the Lime (drawing by B. Kiãevac)

The Church of St. George, Dobrilovina Monastery, 1609. The Interrogation

(drawing by B. Kiãevac)
 

The Church of St. George, Dobrilovina Monastery, 1609. The Beating

(drawing by B. Kiãevac)

The Church of St. Nicolas, Gradište monastery, 1619—1620.

The Torture on the Wheel; The release from the Lime (drawing by B. Kiãevac)
 

The Church of Christ the Saviour, Kuåevište, formally edicated to the Introduction
of the Virgin into the Temple, middle of the XVII century. The Miracle of the
Reconstruction of the Church; The Miracle of the Deliverance of the Enslaved Youth
(drawing by B. Kiãevac)

The Church of St. George, Temska Monastery, 1654. The Poisoning, The Prayer,
The Resurrection of the Dead, The Beheading of the Dead and the Magician
(drawing by B. Kiãevac)