Ana Maria Gruia - "Saint George on Medieval Stove - PATZINAKIA

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<strong>Ana</strong> <strong>Maria</strong> <strong>Gruia</strong> more to the western iconography and which more to the eastern one. I have selected as “western”: details of arms and armor (except for the spear which is the usual attribute of St. <strong>George</strong> in this scene everywhere), of knightly fashion (such as the feathered diadem or headpiece) and details of horse tack (except for the reins which are equally ubiquitous). I hold as Eastern (post-Byzantine): saintly elements such as crosses, halos, cross-ended weapons, the dextera Domini, Cyrillic inscriptions, mantles and a general decorative or stylized outlook. Counting how many of these appear on each tile, and noticing which are predominant, I will group the tiles into western and eastern looking ones. Then, I will proceed to more sensitive observations related to how the other elements are associated to each, and to the spatial, social, religious and ethnical distributions. I am of course aware that the sample is too small for any kind of statistics, and even in my attempt of quantitative analysis I will nuance and put in context my observations as much as possible. Another problem is caused by the state of publication of the material, sometimes incomplete or providing low quality reproductions. The fragmentary state of some pieces and the general provincial and sometimes naïve style of the representations will force me to take into consideration some “unknown” entries in different fields. The issue of subjectivity and interpretation intervenes of course in my accepting or rejecting tiles and in identifying sometimes hardly visible details. Nevertheless, I do believe that an overall analysis of these tiles as a group is possible and a quantitative approach, no matter how cautious, will shed new light on the matter. As previously stated, there have been discovered and published 63 medieval stove tiles decorated with <strong>Saint</strong> <strong>George</strong> on the present territory of Romania, all depicting the saint slaying the dragon, most often on horseback. This is the only way of depicting the saint on stove tiles everywhere, and the image seems taken out of the narrative and becoming an iconic image, with the dragon as a typical attribute of St. <strong>George</strong>. 7 Out of our group, only 5 tiles depict <strong>George</strong> on foot, 3 in Transylvania and 2 in Moldavia. In three Moldavian cases, the type of depiction is not known. All the rest 55 are representations of <strong>George</strong> on horseback. All the tiles in the present analysis are dated between the fifteenth and the seventeenth centuries, with some differences between the three regions. The earliest and most numerous are the St. <strong>George</strong> tiles from Moldavia: 27 tiles, out of which one dated in the first half of the fifteenth century, most of them in the 7 Konrad Strauss, Die Kachelkunst des 15. bis 17. Jahrhunderts in Europäischen Ländern, München: 1983: „Kachelreliefs mit der Darstellung des Ritters Sankt Georg“: 17-23; Irásné Katalin Melis, „Szent György alakos budai kályhacsempék“ (Depictions of <strong>Saint</strong> <strong>George</strong> on Stove Tiles from Buda), Mûvelõdéstörténeti tanulmányok a magyar közepkorról, Fügedi E. ed., Budapest: Gondolat, 254-358. 10
<strong>Saint</strong> <strong>George</strong> on Medieval Stove Tiles from Transylvania, Moldavia and Wallachia second half of the same century, and some of them in the seventeenth. Next come, as numbers, the tiles from Wallachia: 21, dated in the fifteenth and sixteenth centuries, mostly in the latter. The 15 Transylvanian tiles are dated vaguely to the fifteenth-sixteenth centuries, with two in the first half of the fifteenth century. It is somehow strange to notice that there are no Moldavian tiles with St. <strong>George</strong> from the sixteenth century and that over all, the tiles from Moldavia are earlier than the ones from Transylvania although it is generally presumed that they were adopted outside the Carpathians via Hungary, through the Saxon hospites there. I will just have to notice that in the Romanian historiography stove tiles are not dated very precisely; sometimes being even used to date the archaeological contexts and not the other way around. Also it might be the case that the Moldavian historiography has a tendency to date tiles earlier while the Transylvanian specialists seem more cautious. On the other hand there is no wonder to see several seventeenth century religious tiles in Moldavia and none in Transylvania where one can suspect that the Reformation had some effect on religious imagery even on functional objects such as tiles. But these issues have to be more thoroughly analyzed on larger samples of tiles and through a critical review of previous dating. The tiles come from very diverse social contexts, from castles and fortifications, to urban and town houses, from orthodox monasteries to rural houses (see figure 1). Most (22) come from urban contexts, and they amount, surprisingly, to 12 in Wallachia, 8 in Moldavia and only 2 in Transylvania. 4 tiles, dated no later than the others, were excavated in rural contexts in Transylvania and Wallachia. The second most numerous group can be related to upper-class contexts, such as castles, princely courts, curia, boyar residences or a princely council house. There are 14 such tiles, 9 from Moldavia, 5 from Transylvania and none from south of the Carpathians. Another 9 tiles come from military contexts, such as different types of fortifications, 6 in Moldavia and 3 in Transylvania. A very important group of 6 tiles come from orthodox monasteries: 2 in Moldavia and 4 in Wallachia. One tile was excavated in the workshop where it was produced and other 6 come from unknown contexts. Considering the glazing of tiles, the great majority of them are found in Moldavia (11 out of 17). While in Transylvania and Wallachia one may find green tiles (in each 3), the Moldavian tiles display also more rare glazes such as brown, yellow and transparent glaze with green lines. Glazing is indeed associated more with upper-social contexts, most of them in courts, but they also figure in urban houses. An interesting fact is that in several cases, glazed and unglazed variants of the same tiles were found together, indicating that the alternation of the two types was a decorative device, maybe due to the not so great variety of depictions. Still, this seems to be the case only on stoves heating richer interiors, such as the castle of <strong>George</strong> Martinuzzi in Vinţu de Jos, the 11
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Ana Maria Gruia - "Saint George on Medieval Stove - PATZINAKIA

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