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By Piotr L. Grotowski

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1108-13), both in Kiev. To this group can be added smaller portable works such as manuscripts, icons, sculptures (which are normally of fairly modest dimensions), as well as minor items of applied art. These all make up part of the artistic heritage of Byzantium and are currently preserved in collections throughout the world. '8 When examining the iconography of the military saints one should not overlook artistic circles that, although not integral parts of the 18 See Lazarev (1960) 152-7; Lazarev 1966.

83). Slightly later works include: 12th-C. icons with St George from St George's Monastery in Novgorod and housed in the cathedral of the Dormition (Uspensky Sobor) in the Moscow Kremlin, and a fresco in St George's Church (c. 1170-90) in Staraya Ladoga (Lazarev 1970, figs. on pp. 55, 84-6). 1130, initially in Kievan Rus', and in time also in the Suzdal Principality, and is examined by Ivanov 2004, 99, 103-04; and White 2004, passim. 24 Bulgaria was brought under the control of Byzantium by Basil II and remained within its frontiers until 1185 (recently see Treadgold 1997, 522-33, 657; and Paul Stephenson, "Balkan Borderlands 1018-1204" in The Cambridge History of the Byzantine Empire c.

34 This reservoir of data should permit us to establish a representative group of depictions, with typical, oft-repeating elements of arms and armour, as well as to identify examples that differ from them. The chosen selection should allow us to discuss the methods of depiction of the military equipment in the representative group without having to refer to all the known representations of the military saints. STATE OF RESEARCH Research on the development of the cult and iconography of warrior saints3s Interest in the group of warrior saints in the Eastern Church and in Byzantine culture dates back to the start of the twentieth century although its roots should be sought in the works of the Bollandists, an b, c, 1284, 1285-1289 a, 1290 a, b, 1291; (vol.

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