One of the most intriguing and complex figures in medieval iconography is Saint Maurice, a martyr saint whose depictions evolved over the centuries, particularly in German art. This evolution reaches a striking peak in the 13th century with a sculpture in Magdeburg Cathedral that depicts Saint Maurice with African features. While Saint Maurice was traditionally portrayed as a Roman soldier with European features, this new image incorporates exotic elements, influenced by the Latin etymology of his name, Mauricius, and his association with the Theban Legion. However, this representation is more than just an aesthetic or iconographic choice; it is rooted in a specific historical and political context.
During the reign of Frederick II, the Holy Roman Empire sought to position itself as the defender of Christianity and assert its authority on the international stage, especially in the Holy Land. By examining the various theories explaining this iconographic shift, this article explores how Saint Maurice’s image was used as a tool of imperial propaganda, aimed at motivating the Crusades, legitimising territorial ambitions, and reinforcing the Empire’s influence over the Christians of the East, while competing with France for supremacy in the Holy Land.
Below is a list of theories explaining why Saint Maurice is depicted with African features in Germany, incorporating elements of imperial propaganda and the ambitions of German emperors:
Popular Etymology of the Name “Maurice”
The Latin name Mauricius is derived from Maurus, a term referring to people of African or North African origin. This popular etymology may have played a significant role in portraying Saint Maurice with African features. The association was likely reinforced by the phonetic similarity between Mauricius and Moor, the term used for the inhabitants of North Africa.
The Theban Legion and Its Egyptian Origins
Saint Maurice (center) by Matthias Grünewald in the 16th century
Saint Maurice was the legendary leader of the Theban Legion, a military unit composed of Egyptian soldiers. This Egyptian geographical origin led some artists to depict Saint Maurice with African features, symbolising Christian unity across racial boundaries, while referencing Africa as the homeland of the Legion.
Ecclesiastical and Imperial Propaganda to Encourage Crusades
The depiction of Saint Maurice with African features may have been a form of ecclesiastical propaganda aimed at motivating the emperor to embark on a Crusade. At the time, the German Church and nobility sought to urge the imperial power to defend the Holy Land. The eagle shield carried by Saint Maurice in this statue could be seen as a reference to the Holy Roman Empire, symbolising its mission to protect and spread Christian values globally while mobilising against Muslim enemies.
German Emperors and Their Title of “King of Jerusalem”
Frederick II and eagle
From Frederick II onwards, the German emperors claimed the title of “King of Jerusalem.” This claim was intended to strengthen their authority and legitimise their role as defenders of the Holy Land, especially in light of the decline of the Latin States in the East. By depicting Saint Maurice with African features, the Empire sought to establish a direct link between its divine mission, imperial power, and the protection of Christians in the East, while also reinforcing the necessity of an imperial Crusade.
Representation of the Empire and Imperial Propaganda for Power
The statue may also reflect a desire to emphasise the power of the German Empire in terms of the international expansion of its authority. Saint Maurice’s African features symbolise an openness to foreign influences and an exoticism aligned with the emperor’s goal of distinguishing himself from other Christian powers, particularly France. This imperial propaganda sought to strengthen German influence on the international stage and reinforce the image of the emperor as a universal protector of Christendom, capable of ruling over distant and conquered lands.
Exoticism and a Taste for Orientalism
Emperor Frederick II, in particular, had a marked fascination with exoticism, reflected in his interactions with the Arab world and his interest in Eastern culture and knowledge. This inclination may have influenced artistic representations, giving Saint Maurice an appearance resembling the characteristics of African peoples. This fits into a vision of the Empire that sought to be both universal and open to the world, integrating into a more cosmopolitan view of Christianity.
Replacing French Influence in the Holy Land
Imperial propaganda was also part of a broader competition between the Holy Roman Empire and France. Representing Saint Maurice with African features could have been a way for the emperor to position himself as the true defender of Christians in the Holy Land, thereby supplanting French influence, particularly at a time when the Empire needed to legitimise its position in the face of political and military tensions with France and its rivals in Europe.
Photo by RomkeHoekstra / Wikimedia Commons
These theories illustrate that the depiction of Saint Maurice with African features was far from a mere aesthetic choice; rather, it reflects a complex interplay of historical, religious, political, and cultural factors. It underscores the evolution of medieval iconography, imperial ambitions, and the complex dynamics of the Crusades, while also serving as a vehicle for propaganda to encourage the Empire’s military campaigns and reinforce its power within Christendom.
Dr Lorris Chevalier, who has a Ph.D. in medieval literature, is a historical advisor for movies, including The Last Duel and Napoleon. Click here to view his website.
By Lorris Chevalier
One of the most intriguing and complex figures in medieval iconography is Saint Maurice, a martyr saint whose depictions evolved over the centuries, particularly in German art. This evolution reaches a striking peak in the 13th century with a sculpture in Magdeburg Cathedral that depicts Saint Maurice with African features. While Saint Maurice was traditionally portrayed as a Roman soldier with European features, this new image incorporates exotic elements, influenced by the Latin etymology of his name, Mauricius, and his association with the Theban Legion. However, this representation is more than just an aesthetic or iconographic choice; it is rooted in a specific historical and political context.
During the reign of Frederick II, the Holy Roman Empire sought to position itself as the defender of Christianity and assert its authority on the international stage, especially in the Holy Land. By examining the various theories explaining this iconographic shift, this article explores how Saint Maurice’s image was used as a tool of imperial propaganda, aimed at motivating the Crusades, legitimising territorial ambitions, and reinforcing the Empire’s influence over the Christians of the East, while competing with France for supremacy in the Holy Land.
Below is a list of theories explaining why Saint Maurice is depicted with African features in Germany, incorporating elements of imperial propaganda and the ambitions of German emperors:
Popular Etymology of the Name “Maurice”
The Latin name Mauricius is derived from Maurus, a term referring to people of African or North African origin. This popular etymology may have played a significant role in portraying Saint Maurice with African features. The association was likely reinforced by the phonetic similarity between Mauricius and Moor, the term used for the inhabitants of North Africa.
The Theban Legion and Its Egyptian Origins
Saint Maurice was the legendary leader of the Theban Legion, a military unit composed of Egyptian soldiers. This Egyptian geographical origin led some artists to depict Saint Maurice with African features, symbolising Christian unity across racial boundaries, while referencing Africa as the homeland of the Legion.
Ecclesiastical and Imperial Propaganda to Encourage Crusades
The depiction of Saint Maurice with African features may have been a form of ecclesiastical propaganda aimed at motivating the emperor to embark on a Crusade. At the time, the German Church and nobility sought to urge the imperial power to defend the Holy Land. The eagle shield carried by Saint Maurice in this statue could be seen as a reference to the Holy Roman Empire, symbolising its mission to protect and spread Christian values globally while mobilising against Muslim enemies.
German Emperors and Their Title of “King of Jerusalem”
From Frederick II onwards, the German emperors claimed the title of “King of Jerusalem.” This claim was intended to strengthen their authority and legitimise their role as defenders of the Holy Land, especially in light of the decline of the Latin States in the East. By depicting Saint Maurice with African features, the Empire sought to establish a direct link between its divine mission, imperial power, and the protection of Christians in the East, while also reinforcing the necessity of an imperial Crusade.
Representation of the Empire and Imperial Propaganda for Power
The statue may also reflect a desire to emphasise the power of the German Empire in terms of the international expansion of its authority. Saint Maurice’s African features symbolise an openness to foreign influences and an exoticism aligned with the emperor’s goal of distinguishing himself from other Christian powers, particularly France. This imperial propaganda sought to strengthen German influence on the international stage and reinforce the image of the emperor as a universal protector of Christendom, capable of ruling over distant and conquered lands.
Exoticism and a Taste for Orientalism
Emperor Frederick II, in particular, had a marked fascination with exoticism, reflected in his interactions with the Arab world and his interest in Eastern culture and knowledge. This inclination may have influenced artistic representations, giving Saint Maurice an appearance resembling the characteristics of African peoples. This fits into a vision of the Empire that sought to be both universal and open to the world, integrating into a more cosmopolitan view of Christianity.
Replacing French Influence in the Holy Land
Imperial propaganda was also part of a broader competition between the Holy Roman Empire and France. Representing Saint Maurice with African features could have been a way for the emperor to position himself as the true defender of Christians in the Holy Land, thereby supplanting French influence, particularly at a time when the Empire needed to legitimise its position in the face of political and military tensions with France and its rivals in Europe.
These theories illustrate that the depiction of Saint Maurice with African features was far from a mere aesthetic choice; rather, it reflects a complex interplay of historical, religious, political, and cultural factors. It underscores the evolution of medieval iconography, imperial ambitions, and the complex dynamics of the Crusades, while also serving as a vehicle for propaganda to encourage the Empire’s military campaigns and reinforce its power within Christendom.
Dr Lorris Chevalier, who has a Ph.D. in medieval literature, is a historical advisor for movies, including The Last Duel and Napoleon. Click here to view his website.
Click here to read more from Lorris Chevalier
Top Image: Photo by Mar Yung / Wikimedia Commons
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