10 iconic dragons of Catalan Gothic

BarcelonaThe images of the dragon reflect the creative audacity of artists in creating a fantastic figure, and the scenes of Saint George slaying the dragon that exalt the figure of the saint evoke the political struggles of his time. Saint George owes all his fame to the dragon. These are 10 emblematic dragons of Catalan Gothic, one of the most splendid historical moments in art.

'Altarpiece of the Virgin Mary and Saint George' from the church of Sant Francesc in Vilafranca de Penedès

By Lluís Borrassà (c. 1395). Preserved in the same church

One of the earliest images of Saint George slaying the dragon, by one of the greatest exponents of Catalan international Gothic, Lluís Borrassà. Astride a white horse, the saint delivers the mortal blow with his lance to the beast, a monstrous creature that has been cornered and is helpless. You can also see how blood has begun to flow from the wound.

'Retaule del Centenar de la Ploma'

From Marçal de Sax and workshop (c. 1400), preserved at the V&A Museum in London

It is one of the cases where the figure of the dragon evokes evil incarnate in Muslim powers: above the image of Saint George slaying the dragon there is a scene from the Battle of El Puig in August 1237, a historical event that allowed James I to enter the city of Valencia and declare the victory of the Christian kingdom a year later. Saint George carries the flat red cross (a flat cross with straight red arms), the same as in the image above where he helps James I in battle.

Sculptural medallion of 'Saint George slaying the dragon' on the gothic facade of the Palau de la Generalitat

From Pere Joan (1418-1419)

The Palau de la Generalitat houses some of the most exceptional representations of Saint George and the dragon. This circular relief, visible at the top of the facade facing Carrer del Bisbe, is considered the oldest sculptural representation of Saint George in the Crown of Aragon, and one of the finest of the 15th century. The Diputació del General were so pleased with the work that they paid Pere Joan double the agreed price, which was 10 florins. As for the composition, which reveals Franco-Flemish influences, the dragon is crushed by the horse, at the same time as Saint George thrusts his spear into it.

'Saint George slaying the dragon'

Parisian anonymous (1420-1450). From the chapel of Sant Jordi in the Palau de la Generalitat. Preserved at the Palau de la Generalitat

It is a masterpiece of silversmithing: the craftsman melted each piece of the harness separately and then fitted them together to form a miniature armour. However, if one can say so, the figure of the dragon was poorly done, as it is simply a miniature that highlights the greatness of the saint, who in this case is not on horseback.

Keystone of the vault of Saint George of the chapel of Saint George of the Palau de la Generalitat

Work directed by Marc Safont (1432-1434)

Another winged dragon at the Palau de la Generalitat, this time on the central keystone of the chapel of Sant Jordi. In the others there is the coat of arms of the Generalitat and the four bars of Catalonia. All in all, a visual political manifesto and of the best art. At this link you can see a 3D model of the keystone of Saint George slaying the dragon.

'Saint George slaying the dragon', by Bernat Martorell

From the altarpiece of the chapel of Sant Jordi of the Palau de la Generalitat (1434-1435). Preserved at the Art Institute of Chicago

The most spectacular dragon of Catalan Gothic art is found in the United States; you only need to see the fear with which Saint George's horse looks at it. "Martorell wanted to create a fearsome beast, without the scene losing its general elegant and sophisticated tone, and without failing to suggest that the saint was more powerful than the monster," states Guadaira Macías, professor of art history at the UB and former curator of the MNAC. For this reason, Martorell painted the dragon "crouched, with its bat-like wings spread and its mouth wide open, responding to the saint's attack, showing its fangs and that waving tongue," explains Macías. Another detail that makes the dragon more terrifying is that the head and body were worked in plaster relief to give it more "material power." Saint George killing the dragon holds curious anecdotes, such as the one experienced by Inés Tell de Pallejà, who was in contact with the museum during the twenty years she lived in Chicago. The technicians restoring the painting asked her if she could identify the language in which some small fragments of newspaper found under the dragon's wings were written, which was none other than Catalan.

Keystone of the cloister fountain of the Barcelona Cathedral

D'Antoni Claperós (1448-1449)

A dragon with a very long spear is mortally wounded by the lance of Saint George. All the details of the saint and the beast adapt to the round profile of the frame, which gives great dynamism to the composition. It is one of the most extraordinary sculptures in the entire complex of the Barcelona Cathedral. The fact that the sculpture is in the cloister, which is a space for meditation, has a pedagogical character for the members of the chapter.

⁠Embroidered altarpiece frontal of the chapel of Sant Jordi of the Palau de la Generalitat

By Antoni Sadurní from a design by Bernat Martorell (1450-1451). Preserved in the chapel of Sant Jordi of the Palau de la Generalitat

It is considered the best piece of Catalan embroidery from the 15th century and one of the best in the European sphere. The dragon has lost the wings that can be seen in the altarpiece by Bernat Martorell, but it maintains its mouth open and its tongue waving. Also the relief, as the embroidery is stuffed with cotton and tow. Likewise, it is a very delicate work: the gold of the base is nuanced with stitches of yellow and green silk. The scales are made in a cord stitch and the crest is of blue, green and gold silk. And the teeth are of silver, and the eyes and the tongue of red silk.

'Altarpiece of Our Lady of the Council of the Elders'

From Jaume Ferrer (1451-1454). Preserved at the Palau de la Paeria in Lleida

Dynamism in compositions is one of the characteristics of the International Gothic: Saint George's dragon in this altarpiece (on the right; the one on the left is Saint Michael) is winged, and writhes because of "the wound from the spear that has struck its neck", as art historian Isidro Puig explains. The dragon breaks the spear with one claw and with the other it grabs one of the horse's legs. But, at the same time, Saint George brandishes his sword, raises it, and prepares to attack it again. The horse's attitude, rearing up on its hind legs, adds dynamism and drama to the scene.

'Saint George slaying the dragon', central panel of the 'Altarpiece of Saint George'

By Pere Niçard (1468-1470). Preserved at the Diocesan Museum of Mallorca

The Altarpiece of Saint George by Pere Niçard is considered one of the great works of Catalan Gothic painting and one of the paradigmatic pieces of the entire history of Mallorcan art. The dragon is quite curious: its rounded shapes are more reminiscent of a dinosaur than a dragon, giving it an endearing air. And the brown color of its skin makes one think of how dragons represented the telluric forces that had to be fought and subdued. "Medieval painters do not usually paint from nature, but rather use models, although this does not mean they do not incorporate other elements they may see," says Cèsar Favà, the Gothic curator at the MNAC. "In the Gothic period, the dragon is very typified, and there are precedents, including festive manifestations such as royal entries and the Corpus Christi festival," adds Favà. On the other hand, the most distinctive feature of this painting is that it includes one of the earliest representations of Palma.