ACTA HISTRIAE
32, 2024, 2
UDK/UDC 94(05) ISSN 1318-0185ACTA HISTRIAE 32, 2024, 2, pp. 177-320
UDK/UDC 94(05) 
Zgodovinsko društvo za južno Primorsko - Koper
Società storica del Litorale - Capodistria
ACTA HISTRIAE
32, 2024, 2
KOPER 2024
ISSN 1318-0185
e-ISSN 2591-1767
ACTA HISTRIAE • 32 • 2024 • 2
ISSN 1318-0185                UDK/UDC 94(05)             Letnik 32, leto 2024, številka 2
e-ISSN 2591-1767
Darko Darovec
Gorazd Bajc, Furio Bianco (IT), Flavij Bonin, Paolo Broggio (IT), Stuart Carroll (UK), Àngel Casals 
Martínez (ES), Alessandro Casellato (IT), Dragica Čeč, Lovorka Čoralić (HR), Darko Darovec, Marco 
Fincardi (IT), Darko Friš, Aleksej Kalc, Borut Klabjan, Urška Lampe, Amanda Madden (USA), John 
Martin (USA), Robert Matijašić (HR), Aleš Maver, Darja Mihelič, Edward Muir (USA), Jeppe Büchert 
Netterstrøm (DK), Žiga Oman, Egon Pelikan, Luciano Pezzolo (IT), Jože Pirjevec, Claudio Povolo (IT), 
Marijan Premović (MNE), Colin Rose (CA), Luca Rossetto (IT), Vida Rožac Darovec, Tamara Scheer 
(AT), Polona Tratnik, Boštjan Udovič, Marta Verginella, Nancy M. Wingfield (USA), Salvator Žitko.
Žiga Oman, Urška Lampe, Boštjan Udovič, Jasmina Rejec
Cecilia Furioso Cenci (it.), Žiga Oman (angl.)
Žiga Oman (angl., slo.), Cecilia Furioso Cenci (it.)
Zgodovinsko društvo za južno Primorsko - Koper / Società storica del Litorale - Capodistria© 
/ Inštitut IRRIS za raziskave, razvoj in strategije družbe, kulture in okolja / Institute IRRIS for 
Research, Development and Strategies of Society, Culture and Environment / Istituto IRRIS 
di ricerca, sviluppo e strategie della società, cultura e ambiente©
Zgodovinsko društvo za južno Primorsko, SI-6000, Koper-Capodistria, Garibaldijeva 18 
/ Via Garibaldi 18, e-mail: actahistriae@gmail.com; https://zdjp.si/en/p/actahistriae/
Založništvo PADRE d.o.o.
300 izvodov/copie/copies
Javna agencija za znanstvenoraziskovalno in inovacijsko dejavnost 
Republike Slovenije / Slovenian Research and Innovation Agency
Sveti Stefan, Črna gora / Sveti Stefan, Montenegro / Sveti Stefan, 
Montenegro (Wikimedia Commons).
Redakcija te številke je bila zaključena 30. junija 2024.
Odgovorni urednik/
Direttore responsabile/
Editor in Chief:
Uredniški odbor/ 
Comitato di redazione/
Board of Editors:
Uredniki/Redattori/
Editors:
Prevodi/Traduzioni/
Translations:
Lektorji/Supervisione/
Language Editors:
Izdajatelja/Editori/
Published by:
Sedež/Sede/Address: 
Tisk/Stampa/Print: 
Naklada/Tiratura/Copies:
Finančna podpora/
Supporto finanziario/
Financially supported by:
Slika na naslovnici/
Foto di copertina/
Picture on the cover:
Revija Acta Histriae je vključena v naslednje podatkovne baze / Gli articoli pubblicati in questa rivista sono inclusi nei seguenti indici di citazione 
/ Articles appearing in this journal are abstracted and indexed in: CLARIVATE ANALYTICS (USA): Social Sciences Citation Index (SSCI), 
Social Scisearch, Arts and Humanities Citation Index (A&HCI), Journal Citation Reports / Social Sciences Edition (USA); IBZ, Internationale 
Bibliographie der Zeitschriftenliteratur (GER); International Bibliography of the Social Sciences (IBSS) (UK); Referativnyi Zhurnal Viniti 
(RUS); European Reference Index for the Humanities and Social Sciences (ERIH PLUS); Elsevier B. V.: SCOPUS (NL); DOAJ.
To delo je objavljeno pod licenco / Quest'opera è distribuita con Licenza / This work is licensed under a Creative Commons BY-NC 4.0.
Navodila avtorjem in vsi članki v barvni verziji so prosto dostopni na spletni strani: https://zdjp.si.
Le norme redazionali e tutti gli articoli nella versione a colori sono disponibili gratuitamente sul sito: https://zdjp.si/it/.
The submission guidelines and all articles are freely available in color via website http: https://zdjp.si/en/.
ACTA HISTRIAE • 32 • 2024 • 2
Volume 32, Koper 2024, issue 2UDK/UDC 94(05) ISSN 1318-0185
e-ISSN 2591-1767
VSEBINA / INDICE GENERALE / CONTENTS
Martin Bele: Plemstvo v mestu in mestne elite .....................................................
La nobiltà nelle città e le élite cittadine
Nobility in Towns and Urban Elites
Dejan Juhart & Martin Bele: Primerjava pečatov celinskih 
in primorskih mest na Slovenskem v srednjem veku ..............................................
Confronto tra i sigilli delle città continentali e litoranee 
della Slovenia medievale
Comparison of Seals of Mainland and Coastal Towns 
in the Slovene Lands in the Middle Ages
Marina Odak: Representations of St. George On Coins Minted 
in the Medieval City of Bar ....................................................................................
Rappresentazione di san Giorgio sulle monete coinate nella città medievale di Bar
Upodobitve sv. Jurija na kovancih kovanih v srednjeveškem mestu Bar
Marijan Premović & Vasilj Jovović: Apprentices from the 
Zeta Littoral in Late Medieval Ragusa .................................................................
Apprendisti del litorale di Zeta nella Ragusa tardo medievale
Vajenci iz Zetskega primorja v poznosrednjeveškem Dubrovniku
Marija Mogorović Crljenko & Danijela Doblanović Šuran: 
Origin of the Population and Councillor Families 
in the Rovinj Census of 1595/6 ..............................................................................
La provenienza della popolazione e le famiglie dei 
consiglieri nel censimento di Rovigno del 1595/6
Izvor prebivalcev in družine svetnikov po popisu 
prebivalstva Rovinja iz let 1595/1596
177
201
225
271
247
ACTA HISTRIAE • 32 • 2024 • 2
Gordana Rovčanin Premović: Potential for 
Reaffirming Architectural Values of Historical Urban Structures 
on the Coast of Montenegro ....................................................................................
Potenzialità di riaffermazione dei valori architettonici 
dei complessi urbani storici sul Litorale montenegrino
Možnosti za reafirmacijo arhitektonske vrednosti 
zgodovinskih urbanih celot v Črnogorskem primorju
297
ACTA HISTRIAE • 32 • 2024 • 2
225
Marina ODAK: REPRESENTATIONS OF ST. GEORGE ON COINS MINTED IN THE MEDIEVAL CITY OF BAR, 225–246
REPRESENTATIONS OF ST. GEORGE ON COINS MINTED
IN THE MEDIEVAL CITY OF BAR
Marina ODAK
Lamartinova br. 21, 11118 Belgrade, Serbia
e-mail: marinaodak4@gmail.com
ABSTRACT
The paper analyzes the iconography of the representations of St. George on 
the coins of the Bar commune, minted back in the fourteenth century. It was 
noticed that the image of St. George on horseback slaying a dragon, which 
is on the obverse of coins minted in Bar, was also on the seal of the city of 
Bar, as well as on the seal of the Bar Cathedral Chapter dating back to the 
fourteenth century, because St. George, the patron of the cathedral which 
was the seat of the Archdiocese of Bar, with the development of the commune 
also became its patron. The iconographic solution of the representation of the 
patron saint of Bar points to a temporal constant when following an important 
iconographic template which seems to have been the foundation for the design 
of the symbol on which the visual identity of the Bar commune, as well as its 
cathedral, is based. It would appear that the template should be sought in the 
very cathedral located in Bar itself, which was the source of the cult of St. 
George in Bar.
Key words: coins of the Bar commune, city seal, representations of St. George, 
Cathedral of St. George in Bar, the seal of the Bar Cathedral Chapter, fourteenth 
century
RAPPRESENTAZIONE DI SAN GIORGIO SULLE MONETE CONIATE 
NELLA CITTÀ MEDIEVALE DI BAR
SINTESI
Il seguente articolo analizza l’iconografia di San Giorgio raffigurata sulle 
monete del comune di Bar, coniate dal XIV secolo. È emerso che la rappresen-
tazione di San Giorgio a cavallo che uccide il drago, raffigurata sul dritto delle 
monete di Bar, era anche presente sul sigillo comunale di Bar come pure sul si-
gillo del capitolo della Cattedrale, risalente al XIV secolo, perché San Giorgio, 
il patrono della Cattedrale, sede dell’arcidiocesi di Bar, con lo sviluppo del co-
mune, ne divenne il patrono. La soluzione iconografica della rappresentazione 
del patrono di Bar indica una costante nel seguire un modello iconografico 
Received: 2024-06-04                                                   DOI 10.19233/ H. 02 .09
ACTA HISTRIAE • 32 • 2024 • 2
226
Marina ODAK: REPRESENTATIONS OF ST. GEORGE ON COINS MINTED IN THE MEDIEVAL CITY OF BAR, 225–246
importante che sembra essere stato la base per l’ideazione del simbolo su cui 
si basa l’identità visiva sia del comune di Bar che della sua Cattedrale. Pare 
che il modello vada cercato proprio nella Cattedrale di Bar, che era la fonte del 
culto di San Giorgio a Bar.
Parole chiave: moneta del comune di Bar, sigillo comunale, raffigurazioni di San 
Giorgio, Cattedrale San Giorgio di Bar, sigillo del capitolo della Cattedrale di 
Bar, XIV secolo
INTRODUCTION
In existing numismatic literature, which dealt with the money used by the com-
mune in the medieval city of Bar, the iconographic and iconological analysis of the 
representations on the coins at the time were almost ignored. However, the iconog-
raphy of the representations and inscriptions on the coins, as a historical document, 
deserves special attention, given that money has always expressed the identity of 
the ones who issue it. The French anthropologist Maurice Godelier viewed money 
as “a symbol, a visible sign of the history of individuals and groups, whose meaning 
comes from the most hidden depths of social structures” (Godelier, 1982, 243), 
reminding us that money, apart from its main purpose in market exchange, is the 
bearer of social, religious, and especially political meaning. At the same time, its 
mass production, durability and widespread use made it the first means of com-
munication to be used for political and ideological purposes. The aim of this paper 
is to provide an iconographic analysis of the representations of St. George on the 
coins of the Bar commune, whereby special attention will be paid to the cult-related 
and political reasons that in the Middle Ages formed the basis for the placement of 
a holy figure on the city’s coinage.
Medieval Bar now lies in ruins, but in the Middle Ages, it held an important 
place among the ancient, fortified towns of the southern part of the eastern 
coast of the Adriatic Sea. Although it is considered to have been founded in 
the early Byzantine era, its first verified mention was in the tenth century, 
under the name Antibareos, in the episcopal notices of the Constantinople 
church (Bošković, 1962, 7; Mijović & Kovačević, 1975, 93). It would then 
be mentioned by Emperor Constantine VII Porphyrogenitus in his work De 
ACTA HISTRIAE • 32 • 2024 • 2
227
Marina ODAK: REPRESENTATIONS OF ST. GEORGE ON COINS MINTED IN THE MEDIEVAL CITY OF BAR, 225–246
administrando imperio who included it on his list of the border castles of the 
Byzantine Theme of Dyrrhachium (Durrës), which extended all the way to 
Dioclia (Porphyrogenitus, 1967, 145). Archaeological research shows that the 
oldest fortified settlement was formed at the end of the eighth and the begin-
ning of the ninth century, and that the city center was located in the southeast 
zone, where the Church of St. Theodore, built as early as the ninth century, 
was located on the most prominent city plateau (Bošković, 1962, 9, 11–12, 
195; Јаnković, 2007, 89).
In the ninth and tenth centuries, Bar was part of the Byzantine Empire, until 
the rise of the Slavic Principality of Dioclia (Duklja) in the eleventh century 
under the rule of Prince Stefan Vojislav, which won its independence by defeat-
ing the Byzantine army in 1042 (Bešić et al., 1967, 385–386; Živković, 2006, 
83–84; Šekularac, 2007, 14–15, 42–43). It was only after the death of King 
Bodin of Dioclia in 1101, who ruled over Bar, that dynastic turmoil occurred, 
and the city once again found itself under Byzantine rule. Between 1183 and 
1186, the Raška prefect Stefan Nemanja took the city and annexed it to the Great 
Principality of Serbia, along with other coastal towns that were then taken from 
the Byzantine Empire (Bešić et al., 1967, 408–410; Šekularac, 2007, 20–21, 25). 
After the death of Serbian Emperor Dušan in 1355, when his empire began to 
weaken, the city passed into the hands of the Balšić dynasty, the regional lords 
of Zeta, who had their own court in Bar in the 1360s. The situation changed in 
1405 when the Venetians briefly took control over it, only to regain it again 
from 1412 to 1421 (Ćirković et al., 1970, 88–128; Šekularac, 2011, 47; Spremić, 
2016, 68–86). Subsequently, the city would undergo a constant change of rulers, 
first by the Serbian despot Stefan Lazarević, then despot Đurađ Branković, after 
which it was for a brief period of time occupied by the Bosnian duke Stefan 
Vukčić Kosača (Šekularac, 2007, 25). Venice took Bar once again in 1443, and 
it remained under its rule until 1571 when it fell to the Ottomans (Ćirković et 
al., 1984, 54–55).
THE DEVELOPMENT OF THE COMMUNE 
AND THE RIGHT TO MINT MONEY
The period from the thirteenth to the fourteenth century was marked by the 
rise of the medieval city of Bar and other towns on the Zeta coast, a time when 
the communal organization of the towns thrived. With the privileges that the 
towns along the Zeta coast received from the Serbian rulers, a medieval com-
mune/town with its own district became a separate, legally, and economically 
unique entity, where over time the rights of rulers boiled down to collecting 
an annual tribute and appointing a town prince (Ćirković et al., 1984, 26–29; 
Аntonović, 2003, 143–147). In the second half of the thirteenth century, the royal 
privileges and rights given to towns, along with local customs, were shaped into 
city statutes, which became not only a basic collection of legal documents, but 
ACTA HISTRIAE • 32 • 2024 • 2
228
Marina ODAK: REPRESENTATIONS OF ST. GEORGE ON COINS MINTED IN THE MEDIEVAL CITY OF BAR, 225–246
also a political symbol, representing the identity of the community that issued 
them (Lonza, 2012, 7). Although the Bar city statute has not been preserved,1 
it was first mentioned in historical sources in 1330, although it is considered 
to have been created earlier (Ćirković et al., 1984, 28; Аntonović, 2003, 118; 
Marković, 2014a, 168).
The further development of the city autonomy accompanied the develop-
ment of its economy, and with the rise in the economy of the medieval city 
came the need to mint coins (Bošković, 1962, 273–277; Ćirković et al., 
1984, 21–23; Hrabak 1999, 167–197; Premović, 2021, 19–49). One of the 
autonomous rights that the towns on the Zeta coast, Kotor, Bar, Ulcinj, Svač, 
Drisht and Shkodër, received from Serbian rulers was the right to mint their 
own coins, copper follaros and half follaros that fulfilled a town’s internal 
needs; however, there are data that indicate that the coins also circulated 
between the towns (Rešetar, 1924, 484). The choice of representations and 
inscriptions on the coins, as well as on the town seal, played an important 
role in the formation and promotion of communal identity (cf. Marinković, 
2006; Odak, 2022b). This is why each town made its own decisions regard-
ing the minting of coins and their appearance. The coins were minted in 
the town mint, and the work related to its organization and the selection 
of moneyers was regulated by the city statute, as shown by certain provi-
sions relating the Kotor city statute.2 Statutory provisions on the minting of 
coins in the medieval and the work of the mint have not been preserved, but 
the Bar mint is mentioned in a final will and testament from 1452, which 
states: per Antiuari quando lauoraui la cecha de li grossi de Balsa per mio 
pagamento (Ivanišević, 2001, 68). A Dubrovnik document dating from 1441, 
which mentions the mint of despot Đurađ in “Albania”, also refers to the 
Bar mint: ceche Albanie per ipsos empte a domino dispoto Georgio. The 
mint was leased3 to the Dubrovnik residents Bogeta Milovanović and Jakob 
P. Primojević, who hired the Dubrovnik goldsmith Jakša Miladinović as the 
minter, and whose compensation amounted to one-third of the profit from the 
mint customs (Hrabak, 1953, 193).
1 A considerable number of statutes of the towns/communes located along the east coast of the Adri-
atic Sea have either not been preserved or have merely been retained in the form of fragments of 
later redactions. This also applies to the statute of the commune of the town of Koper/Capodistria, 
first mentioned in official documents dating back to 1238 renders it the oldest one on the east coast 
of the Adriatic Sea (cf. Darovec, 2023).
2 In the Kotor city statute, the work of the Kotor mint is indirectly mentioned in chapter 14 “On 
the election of minters”: “Also, as written above, two correct and expert minters are elected 
for six months over the town money that will be minted. Each of them should have a salary 
of 10 perpers, and whoever does not want to be in that service, will pay a fine of 25 perpers” 
(Antović, 2009b, 148).
3 In historical sources, it is often mentioned that Serbian rulers leased mints, usually for a year, taking 
the profit from the lease in advance.
ACTA HISTRIAE • 32 • 2024 • 2
229
Marina ODAK: REPRESENTATIONS OF ST. GEORGE ON COINS MINTED IN THE MEDIEVAL CITY OF BAR, 225–246
AN OVERVIEW OF THE RESEARCH ON COINS MINTED 
IN BAR AND THE ICONOGRAPHY OF BAR COINAGE
Theodor Ippen was the first to write about the coins minted in Bar, pub-
lishing in 1901 in the Numismatiche Zeitschrift magazine both a description 
and drawings of two types of these coins, where he mentioned St. George 
as the patron saint of the city (Ippen, 1902, 190–191). Then in 1910, also in 
the Numismatiche Zeitschrift journal, the Austrian numismatist Karl Stockert 
published the most important work on the coins of the towns on the Zeta coast, 
“Die Münzen der Städte Nordalbaniens” (Stockert, 1910, 101–111). In this 
paper, Stockert published a precise numismatic overview of all known coinages 
of towns/communes in Zeta, including the city of Bar, with, in addition to a 
brief historical overview, included a description and drawings of the coins, the 
time of their coinage, and data from documents related to the mints. Stockert’s 
work provided the basis for the presentation of the coins mined in the towns 
in this part of the Adriatic coast in volume VI of Vittorio Emanuele’s Corpus 
Nummorum Italicorum in 1922 (Savoia, 1922, 284–291). Alfred Makanec also 
wrote about the two follaros of Ulcinj and Bar in 1924 in the Gazette of the 
National Museum of Bosnia and Herzegovina, also providing drawings and de-
scriptions (Makanec, 1924, 107–108). The later scientific work that dealt with 
the coins minted in the city of Bar, apart from what was already presented in 
Stockert’s work, included very little new information. The only work that stands 
out is Sergije Dimitrijević’s Dating of Copper Coins of Coastal Cities, which 
presented new dating of coins minted in Zeta coastal towns (Dimitrijević, 2006, 
311–326). Bogumil Hrabak (1953, 188–195) and Ljubomir Nedeljković (1974, 
Fig. 1: Bar (municipality), follaro, the first type, the fourteenth century (Novaković, 2012).
ACTA HISTRIAE • 32 • 2024 • 2
230
Marina ODAK: REPRESENTATIONS OF ST. GEORGE ON COINS MINTED IN THE MEDIEVAL CITY OF BAR, 225–246
111–127) were particularly interested in the coins of the Balšić dynasty which 
were minted in Bar during their reign, while Božidar Šekularac also touched 
upon their coinage (Šekularac, 2011, 111–119).
City follaros, half follaros, and silver dinars were minted in the Bar mint 
during the rule of Đurađ II Stracimirović Balšić (1385–1403), while copper 
bagattinos circulated in Bar during the Venetian protectorate. It is believed 
that the oldest type of Bar follaros (Fig. 1) is a coin with a stylized letter G on 
the obverse, to which the circular inscription EOR GIVS was added. On the 
reverse, the coin bears the stylized letter A, followed by the circular inscription 
TIB AR (Stockert, 1910, 101–103, no. 156, 161). This type of coin has several 
subtypes, on which the inscription following the initials on the obverse is omit-
ted (Stockert, 1910, 102–103, no. 157, 159), but there are also types on which 
the initials on the obverse and reverse are accompanied by three stars (Stockert, 
1910, 102–103, no. 158–159).
While there is no doubt that the initial A on the reverse, with or without 
the accompanying inscription, refers to the name of the city − A(N)TIBAR, 
the initial G, or GEORGIVS, on the obverse, has been subject to different 
interpretations. Some researchers of coins minted in Bar do not attribute this 
inscription to the patron saint of the city, St. George, but believe that it refers 
to Đurađ (George) II Stracimirović Balšić, thus linking the beginning of this 
coinage to his rule over Bar in the 1360s (Stockert, 1910, 109; Makanec, 1924, 
Fig. 2: Bar (municipality), follaro, the second type, the fourteenth century (Novaković, 2012).
ACTA HISTRIAE • 32 • 2024 • 2
231
Marina ODAK: REPRESENTATIONS OF ST. GEORGE ON COINS MINTED IN THE MEDIEVAL CITY OF BAR, 225–246
108). Others, on the other hand, linked the beginning of the minting of follaros 
in Bar in the first half of the fourteenth century (Ippen, 1902, 192; Dimitrijević, 
2006, 322, 324), or even to the last quarter of the fourteenth century (Savoia, 
1922, 290).
The following type of coinage originating from Bar bears the image of St. 
George on both the obverse and the reverse. The saint appears on two icono-
graphic types (Fig. 2); on the obverse of the coin he is depicted as a mounted 
warrior slaying a dragon with a lance, with the inscription SG, while on the 
reverse he is shown standing and holding a lance in both hands and stabbing the 
dragon which lies at his feet. The representation of the saint on the reverse is 
accompanied by the name of the city DAN TIVAR (Stockert 1910, 105–106, no. 
166–177). There were numerous issues of coins, all of which differed in weight. 
The same representations and inscriptions could be found on the half follaros, 
which differed from the follaros by the significantly reduced diameter of the 
coin plate and weight (Stockert, 1910, 106–109, no. 178–195). The high-quality 
engraving, as well as the precision and expertise in processing the molds, led to 
the assumption that the mold for these types of follaros and half follaros minted 
in Bar were made in the Dubrovnik mint (Stockert, 1910, 109), as was the case 
with one type of follaros from the town of Ulcinj (Rešetar, 1924, 186), and 
most likely, one type of follaros from the town of Drisht (Odak, 2022a, 36–40). 
The same depictions of the saint, in a slightly different style, are still found on 
bagattinos, money that was in use in the city of Bar during the Venetian rule, 
which will be discussed later.
Apart from copper coins, the silver dinars of Đurađ II Stracimirović Balšić 
were also minted in Bar. On the obverse, the coin bears the representation of 
St. Lawrence, the patron saint of the Balšić dynasty, standing and facing the 
viewer, wearing a dalmatic with a halo. He holds the Gospel in his right hand 
and a censer in his left. The representation of the saint is complemented by 
the inscription LAVRE NCIVS M. The reverse of the dinar bears the coat of 
arms of the Balšić dynasty, with the inscription M B GEORGI S TRACIMIR 
(Nedeljković, 1974, 116–117, fig. 9–10; Šekularac, 2011, 117).
St. George, whose representation marks the coins minted in Bar, was a Ro-
man soldier martyred during the reign of Emperor Diocletian. The saint enjoyed 
great respect in the Byzantine Empire from the sixth century, when pilgrims 
spoke of his tomb in Lida as a place where miracles take place (Walter, 1995, 
314). It was restored by Emperor Justinian I, and his popularity then grew, 
especially from the tenth century when he became the patron of the military 
aristocracy, and then of the Byzantine emperors (Mango, 1986, 218–219). St. 
George appeared on an imperial coin for the first time under the Komnenoi, 
during the reign of Emperor John II (1118–43) (Hendy, 1999, I, 261–263, pl. IX, 
no. 8а.1–d.3). However, although the image of the saint on horseback slaying 
a dragon was first encountered in a Cappadocian painting from between 976 
and 1021 (Walter, 2016, 127), the mounted image of St. George, as well as 
ACTA HISTRIAE • 32 • 2024 • 2
232
Marina ODAK: REPRESENTATIONS OF ST. GEORGE ON COINS MINTED IN THE MEDIEVAL CITY OF BAR, 225–246
the image of the saint slaying the dragon, was not represented on Byzantine 
coins. It would appear for the first time on the money of the crusader state, the 
Principality of Antioch, minted by Roger I of Salerno (1112–19). On this coin, 
the saint is shown as a holy knight on horseback, piercing the dragon with his 
lance (Metcalf, 1983, 7, pl. 4, no. 55–57). From the beginning of the twelfth 
century, this depiction of St. George was also found in Italian art (Camelliti, 
2012, 235–236) from where it reached the Zeta coast. The specific hagiographic 
scene in which St. George slays the dragon became particularly popular in the 
West after the thirteenth century, thanks to the Golden Legend.
THE CULT OF ST. GEORGE ON THE ZETA COAST
The long rule of the Byzantine Empire over the eastern coast of the Adriatic 
Sea led to the adoption of cults of saints revered in the empire, especially in 
cities, where they became city patrons and where churches were built in their 
honor. St. George was the patron saint of Kotor and its diocese until the ninth 
century, when the relics of St. Tryphon were transferred to Kotor (Živković, 
2010, 223–224). The lasting importance of the old city patron is indicated in 
the first chapter of the Kotor statute, which states that the city authorities and 
judges are elected on St. George’s Day (Antović, 2009a, 1, 53). Legend has it 
that, when transferring the relics of St. Tryphon, they were first brought to the 
abbey of St. George near Perast, which was first mentioned in historical sources 
in 1166. It was then that the abbot of this Benedictine monastery attended the 
consecration ceremony of the Cathedral of St. Tryphon in Kotor (Farlati, 1800, 
433; Smičiklas, 1904, 102).
In the city of Bar, St. George was mentioned for the first time in the bull 
of Pope Clement III from 1089, by which the bishopric of Bar was raised to 
the rank of an archbishopric. On that occasion, the first archbishop of Bar, 
Petar, was bestowed with a pallium, and this sign of archiepiscopal dignity, 
as stated in the bull, could be worn during the celebration of major church 
holidays, the two feasts of the Angels, and for holidays dedicated to saints 
who were respected at the local level, St. George and St. Sergius and Bac-
chus (Thallóczy et al., 1913, 21–22; Jovović, 2005, 53–54). The beginning 
of the veneration of the cult of St. George in the city of Bar is linked to the 
change of the patron saint of the Bar Cathedral, because there is no earlier 
proof of local devotion to this saint. According to the new point of view, 
the cathedral, dedicated to St. Theodore, was destroyed in a fire (Farlati & 
Coleto, 1817, 12; Rаdonić, 1950, 247; Bošković 1962, 11), and was rebuilt 
and dedicated to a new patron − St. George, at the time of the coronation of 
King Mihailo of Dioclia in 1077 (Crnčević, 2013, 93–99).4 The patron saint of 
4 Đurđe Bošković estimated that the Basilica of St. George was built in the twelfth century 
(Bošković, 1962, 19).
ACTA HISTRIAE • 32 • 2024 • 2
233
Marina ODAK: REPRESENTATIONS OF ST. GEORGE ON COINS MINTED IN THE MEDIEVAL CITY OF BAR, 225–246
the Bar Cathedral could also have changed during the reign of King Mihailo’s 
son, Konstantin Bodin (1081–99), during the promotion of the Bishopric of 
Bar to the rank of an archbishopric. This is indirectly evidenced by the king’s 
seal dating from the second half of the eleventh century, depicting the frontal 
busts of two warrior saints, St. Theodore and St. George, as the king’s protec-
tors (Cheynet, 2008, 89–90), but also as patrons of the Duklja Cathedral 
(Preradović & Milanović, 2016, 104). The Vojislavljević dynasty considered 
St. George to be their patron, so the holy warrior is depicted opposite the 
portrait of Prince Stefan Vojislav, the founder of their dynasty, in the Church 
of St. Michael the Archangel in Ston, whose painting dates back to the last 
decades of the first half of the eleventh century (Babić, 2014, 18, 22, 138, 
pl. 35–36; Tomas, 2016, 50–52). Apart from the seal of King Bodin, the im-
age of St. George can also be found on one of the seals of his son George 
(Gerasimov, 1938, 217–218), who himself bears the name of the holy warrior. 
Based on the abovementioned, it seems that it was precisely during the rule 
of the Vojislavljević dynasty in Bar that the state of Dioclia was promoted to 
the rank of a kingdom, and the church of Bar to the rank of an archbishopric, 
which rendered it the ecclesiastic center of Dioclia. Under the influence of 
the Dioclia rulers and their special respect for St. George, a new saint cult 
emerged in Bar. Over time, it would become the basis for the city’s and then 
the communal identity. It can be noticed that the election of the new patron 
of the Bar Cathedral was not an essential turning point, because St. Theodore, 
the first patron of the cathedral, like St. George, was a warrior saint whose 
cult spread from Constantinople in the ninth century to the Mediterranean 
region, where the saint, before the transfer of the relics of St. Mark, was the 
patron of Venice (Fortini Brown, 1991, 518; Walter, 1999, 172).
ST. GEORGE AS THE PATRON OF THE BAR COMMUNE
The tradition of honoring St. George in Bar would reach its full potential 
during the development of the commune, when the saint became not only the 
patron of the cathedral, but was elevated to the status of the patron of the 
commune. The choice of the city’s patron clearly indicates the maturing of the 
commune and the need for symbols that express and strengthen its collective 
identity (Webb, 1996, 6–8; Favini & Savorelli, 2013, 40–41; Lonza, 2017, 23). 
That is why his image was then portrayed on a communal stamp, as well as 
on the coins minted in Bar. The role of the seal to validate and authenticate 
documents made it an official material symbol that confirmed the identity and 
legitimacy of the communal authority (Bedos-Rezak, 1990, 36–38; Favini & 
Savorelli, 2013, 21). The seal of the Bar commune has not been preserved, 
and its oldest recorded print was found on a document that was kept in the 
Dubrovnik archives. This document from 1372 bore the impression of a black, 
round seal, with a left-facing mounted representation of St. George slaying the 
ACTA HISTRIAE • 32 • 2024 • 2
234
Marina ODAK: REPRESENTATIONS OF ST. GEORGE ON COINS MINTED IN THE MEDIEVAL CITY OF BAR, 225–246
dragon (Jireček, 1904, 17). The same iconographic solution is also found on the 
seal of the Bar commune (Fig. 3) that was two centuries younger, dating back 
to 1567, on a document which is kept in the Dubrovnik archive (HR-DADU 
7.3.6, 7, 329).5 A drawing of the seal of the judges of the Bar commune (Fig. 4), 
with the same type of representation of the saint, and the circular inscription + 
SDLICUDICI DA TIVAR was published by Cesare Augusto Levi in 1896 (Levi, 
1896, 43). During the Ottoman occupation of the city, the Christian popula-
tion of Bar enjoyed a certain degree of autonomy until the mid-seventeenth 
century, as evidenced by a seal impression on a letter to the people of Du-
brovnik from 1631, which they signed as Li miseri Christiani della Comunita 
di Antivari. On the barely visible seal image, there is a representation of St. 
George in the characteristic Bar iconography, supplemented by the inscription 
GEORGIVS•PROTECTOR•ANTIBAR (Marković, 2015, 425). The image of 
St. George on the seal of the Bar commune, which has not iconographically 
changed over time, pointed out the continuity of the commune primarily as a 
political entity, and of St. George as a symbol of communal power.
It should be noted that the iconography of the image of St. George on the seal 
of the city of Bar corresponds to the mounted image of the saint on the obverse 
of the coins minted in the city. The position of the horse and the rider, facing 
left with a cloak billowing behind him, is the same on the seal and on the coin. 
The coin clearly shows the saint dressed in a tunic, with armor draped over it, 
and a triangular shield with a cross in the middle rests on the saint’s shoulder. 
With the lance in his right hand, he pierces the dragon lying under the horse, 
while holding the reins with his other hand. Both the coin and the seal show the 
same type of dragon. As the dragon receives the fatal stab wound from the right, 
on some of the coins the lance is mostly covered by the horse’s body. 
The similarity is even more pronounced if one compares the representation of 
the saint on certain issues of these coins (Fig. 5) with the representation of St. 
George on the imprint of the seal of the Bar Cathedral Chapter (Fig. 6) preserved 
on a document from 1578 (Sella & Laurent,1937, pl. LVII, no. 1780). According 
to the Gothic stylization and modeling of the characters, the seal dates back to 
the fourteenth century (Marković, 2014a, 404, fig. 2, 840). On the circular seal, 
showing the pantheon of saints especially revered in the Archbishopric of Bar the 
central part shows a Gothic frame with three figures of saints, in the center of 
which is a representation of St. George on a horse facing left, slaying a dragon 
with a lance, marked SA − G. On the right side of St. George is a figure of St. Peter 
with keys in his hands, and on the left is a representation of St. John the Baptist.6 
5 The seal was published by Savo Marković (2022, 45, fig. 2).
6 Savo Marković, who was the only one who studied this seal so far, states that it is St. Paul who is 
depicted to the left of St. George, however, the iconography of the saint depicted with a charac-
teristic cloak suggests that it is St. John the Baptist, whose cult was prominent on the Zeta coast 
(Marković, 2014a, 840).
ACTA HISTRIAE • 32 • 2024 • 2
235
Marina ODAK: REPRESENTATIONS OF ST. GEORGE ON COINS MINTED IN THE MEDIEVAL CITY OF BAR, 225–246
In the upper part of the seal, above St. George, there is a frontal figure of the Vir-
gin Mary with Christ in her arms.7 The inscription + SIGILLVM. CHAPITULLI. 
ANTIBARENSIS. runs along the edge of the seal. The characteristic iconography 
of the representation of the patron saint of Bar indicates a temporal consistency in 
following an important iconographic template that seems to have been the basis for 
the design of the symbol on which the visual identity of the Bar commune, as well 
as its cathedral, is based. We believe that this template should be sought in the Bar 
Cathedral itself, which was the source of the local cult of St. George.
The cathedral was completely destroyed in an explosion in 1881 (Ćirković et 
al., 1984, 98). Its appearance was recorded by nineteenth-century travel writers, 
from who we learn that above the western portal, most likely in the tympanum, 
there was a marble relief depicting the patron saint of the church, St. George, 
mounted on a horse, slaying a dragon (Hecquard, 1858, 35; Rovinskii, 1883, 
182). It is assumed that the portal was built during the major reconstruction of 
the western façade at the end of the thirteenth and the beginning of the fourteenth 
century (Bošković, 1962, 20; Zagarčanin, 2006, 121). Bar relics and the reliquary 
of the cathedral, an important testimony to the cult of saints in the city, were not 
preserved. We only know a little about them from archival data from the end of 
the fourteenth century. Namely, due to the particularly difficult financial situation 
in which the Bar commune found itself under the rule of the Balšić dynasty, when 
taxes were raised and goods were confiscated from merchants, the city borrowed 
from merchants, and some of the relics of Bar were given twice as collateral. 
7 In 1513, in the Bar Cathedral, two altars were mentioned, dedicated to St. George and the Holy Virgin 
(Blehova Čelebić, 2007, 68; Marković, 2014b, 39).
Fig. 3: The imprint of the seal of the Bar 
commune from 1567 (Marković, 2022).
Fig. 4: A drawing of the seal of the judges of 
the Bar commune published by Cesare A. Levi 
in 1896 (Levi, 1896).
ACTA HISTRIAE • 32 • 2024 • 2
236
Marina ODAK: REPRESENTATIONS OF ST. GEORGE ON COINS MINTED IN THE MEDIEVAL CITY OF BAR, 225–246
According to a document dated March 27, 1399, holy relics from the cathedral, 
which were contained in a large and a small chest, were given as collateral to 
Simo Ninković, a resident of Dubrovnik, as part of some previous business deal-
ings (Thallóczy et al., 1918, 174; Marković, 2014b, 42–43).
Although in medieval cities the patron of the city cathedral and the patron 
of the commune were not always the same saint, in the towns on the Zeta coast, 
Kotor, Ulcinj, Svač, Drisht and Shkodër, it was common for these to have been 
the same saint. The cathedral in Kotor is dedicated to St. Tryphon (Mišić, 2010, 
141), the cathedral in Ulcinj to the Holy Virgin (Mišić, 2010, 304), the patron 
saint of the cathedral in Svač was St. John the Baptist (Mišić, 2010, 249), the 
cathedral in Drisht was dedicated to the Holy Virgin (Mišić, 2010, 98), while 
the patron saint of the cathedral in Shkodër is St. Stephen (Mišić, 2010, 254). 
Representations of the aforementioned saints are on the obverse of the com-
munal money of these towns,8 minted in the second half of the thirteenth and in 
the fourteenth century, while the reverse usually bears another town symbol—a 
representation of the city gates (Odak Mihailović, 2014, 174–181), or, as in the 
case of the town of Shkodër, the town coat of arms (Stockert, 1910, 80–85, no. 
26–42). The images of the patrons on both sides of a coin would appear only 
in certain issues originating from the towns of Kotor (Savoia, 1922, 301–304, 
8 Representations of local patron saints on coins in medieval towns were quite widespread in the West, 
and their likenesses could be found on coins from Aquileia, Trieste/Trst, Ljubljana, St. Veit an der 
Glan/Šentvid ob Glini and Friesach, minted in the thirteenth century (Štekar, 2008, 308–313).
Fig. 5: Bar (municipality) follaro, fourteenth century (Novaković, 2012).
ACTA HISTRIAE • 32 • 2024 • 2
237
Marina ODAK: REPRESENTATIONS OF ST. GEORGE ON COINS MINTED IN THE MEDIEVAL CITY OF BAR, 225–246
type III, no. 72–103, pl. XXVI– XXVII) and Shkodër (Stockert, 1910, 85–87, 
no. 43–52), which were minted in the fourteenth century. What distinguishes 
the coins minted in Bar in comparison to the coins of other towns/communes 
on the Zeta coast is the dominance of the representation of the city’s patron 
saint in the iconography, and with the exception of the first issue, St. George 
is found on both the obverse and the reverse of all the coins minted in the Bar 
mint. It should be noted that in the medieval city of Bar, the representations of 
St. George on communal coins and seals not only pointed to his importance as 
the patron saint of the Bar commune, but also the importance of the cathedral 
dedicated to him as the seat of the Archdiocese of Bar. The presence of the 
archbishop’s seat raised the rank of Bar in relation to the surrounding towns/
episcopal centers that were subordinate to it and gave it a special feature, which 
the city emphasized in its visual representation. That is why, by all accounts, 
the figure of St. George over the western portal of the cathedral in Bar became 
a symbol of the Bar community.
Fig. 6: The imprint of the seal of the Bar Cathedral Chapter from 1578 
(Jovović, 2005).
ACTA HISTRIAE • 32 • 2024 • 2
238
Marina ODAK: REPRESENTATIONS OF ST. GEORGE ON COINS MINTED IN THE MEDIEVAL CITY OF BAR, 225–246
The iconography of the coins minted in Bar did not change for a long time, 
and strict traditionalism in their appearance was characteristic of the coins 
minted along the Zeta coast. Any more radical change in the design of the coins 
usually indicated propaganda intentions, as was the case with the bagattinos, 
which were in circulation in Bar during Venetian rule. In addition to the image 
of St. George, bagattinos also bore the symbol of St. Mark, the patron saint of 
the Republic of Venice which ruled the city at the time. The representation of 
the patron saint of Venice, next to the patron saint of the city on the coins in 
circulation at the time, was a common practice in all towns on the Zeta coast 
under Venetian rule. The first type of bagattinos had a representation of St. 
George standing and slaying a dragon with a lance on the obverse, followed 
by the inscription DANT IVAR. The reverse of the coin included the repre-
sentation of the winged lion of St. Mark, and the accompanying inscription 
+ S MARCVS VENE TIARVMIC (Stockert, 1910, 110–111, no. 196–198). 
Another type of bagattinos (Fig. 7) had a representation of St. George on 
horseback slaying a dragon with a lance on the obverse, accompanied by S 
GEORG ATIVARI, while the reverse included a winged Venetian lion, with 
the circular inscription + S MARCVS VENETI (Stockert, 1910, 111, no. 201). 
It is believed that the bagattinos originating from Bar were minted in Venice 
(Stockert, 1910, 109–110).
Fig. 7: Bar’s bagattino from period of Venetian domination, the fifteenth century 
(Novaković, 2012).
ACTA HISTRIAE • 32 • 2024 • 2
239
Marina ODAK: REPRESENTATIONS OF ST. GEORGE ON COINS MINTED IN THE MEDIEVAL CITY OF BAR, 225–246
ONCE A PATRON, ALWAYS A PATRON: 
SCUOLA DI SAN GIORGIO E TRIFONE
Fleeing from the oncoming Ottoman advancement, residents from the east-
ern coast of the Adriatic Sea fled to Italy,9 especially to Venice, where they 
founded brotherhoods. One of them was the Scuola di San Giorgio e Trifone, 
also known as the Scuola di San Giorgio degli Schiavoni, which was founded 
in 1451 (Čoralić, 1994, 44–45; Spremić, 2016, 160). During the first century 
after its foundation, the headquarters of the brotherhood members, who were 
mostly former residents of Bar and Kotor,10 was in the Church of St. John the 
Baptist of the Knights Hospitaller (San Giovanni Battista del Tempio), where 
they were given the right to erect an altar and dedicate it to St. George and St. 
Tryphon. The importance of St. George lies in the fact that on St. George’s day, 
the brotherhood was obliged to give the prior of the monastery four ducats, two 
loaves of bread and one candle (Čoralić, 1994, 44–45; Spremić, 2016, 160). 
Although the brotherhood was under the protection of three saints, as St. George 
and St. Tryphon were joined by St. Jerome, the patron saint of Dalmatia since 
1464 (Marinković, 2018, 28), the cult and iconography of St. George, a saint es-
pecially revered in Bar and Kotor, visually dominated the building (cf. Perocco, 
1964; Trška, 2018; Barker, 2021). Since its origins, the main symbol of the 
brotherhood was St. George who, mounted on horseback, defeats the dragon 
(Sigovini, 1988, 19–29),11 which is prominent on the brotherhood’s flag, whose 
iconography corresponds to the representation of the saint in the Bar commune.
CONCLUSION
Between the thirteenth and fourteenth centuries, when the towns on the Zeta 
coast were part of the state of the Nemanjić dynasty, municipal government 
developed, and city communes acquired the right to mint copper coins for city 
use, known as follaros and half follaros. The iconographic analysis of the coins 
of the Bar commune, whose coinage dates to the fourteenth century, found that 
the mounted representation of St. George slaying the dragon, which is on the 
obverse of the coins minted in Bar, was a ubiquitous symbol of Bar in that 
period, so, in addition to the seal of the Bar commune, it also bore the seal of 
9 A record still exists of the fact that a patrician of Bar, Marco Samuel Caloian, pleaded with 
the Tuscan Grand Duke in 1574 to allow the resettlement of one hundred families from Bar to 
Tuscany, via Ancona, so that they could avoid the “Turkish tyranny” (Marković, 2018, 605–606, 
624–633).
10 On the basis of preserved wills in the brotherhood, which originate from the fifteenth to the begin-
ning of the nineteenth century, it was established that the largest number of members came from 
Kotor and Bar (Čoralić, 2022, 3, n. 6).
11 Under the influence of the Golden Legend, the trend of representing St. George on a horse slaying 
a dragon spread to Venice as well, by the mid-to-late thirteenth century (Perry, 2014, 17).
ACTA HISTRIAE • 32 • 2024 • 2
240
Marina ODAK: REPRESENTATIONS OF ST. GEORGE ON COINS MINTED IN THE MEDIEVAL CITY OF BAR, 225–246
the Bar Cathedral Chapter, and the same representation adorned the tympanum 
above the western portal of the Bar Cathedral. In its study of the genesis and 
the significance of this representation of the medieval city of Bar, the paper 
presents the development of the cult of St. George in Bar, who began to be 
honored during the reign of the Vojislavljević dynasty from Dioclia, and whose 
patron saint was also St. George. Then, instead of St. Theodore, the cathedral 
in Bar got a new patron, St. George, and the Bishopric of Bar was promoted to 
the rank of an archbishopric. The status of the archiepiscopal center emphasized 
the importance of Bar in relation to other towns and bishoprics in the area that 
were subordinate to it, so with the development of the Bar commune, the patron 
of the cathedral also assumed the role of the communal patron. From that mo-
ment, the mounted representation of St. George slaying the dragon, until then 
the symbol of the Archdiocese of Bar, became the central motif of the visual 
identity of the Bar commune.
ACTA HISTRIAE • 32 • 2024 • 2
241
Marina ODAK: REPRESENTATIONS OF ST. GEORGE ON COINS MINTED IN THE MEDIEVAL CITY OF BAR, 225–246
UPODOBITVE SV. JURIJA NA KOVANCIH KOVANIH 
V SREDNJEVEŠKEM MESTU BAR
Marina ODAK
Lamartinova br. 21, 11118 Beograd, Srbija
e-mail: marinaodak4@gmail.com
POVZETEK
Med 13. in 14. stoletjem, ko so bila mesta v Zetskem primorju del drža-
ve Nemanjićev, se je v njih razvijala mestna oblast, mestne komune pa so si 
pridobile pravico kovanja bakrenega denarja za mestno uporabo, folarjev in 
polfolarjev. Pri ikonografski analizi denarja barske komune, ki so ga začeli 
kovati v 14. stoletju, se pokaže, da je v tistem obdobju vseprisoten simbol Bara 
bila podoba sv. Jurija na konju, ki ubija zmaja, kar zaznamuje averz barskih 
kovancev. Poleg pečata barske komune je ta podoba krasila tudi pečat barskega 
stolnega kapitlja, prav tako pa je bila upodobljena na timpanonu nad zahodnim 
vhodom barske stolnice. Pri obravnavi geneze in pomena te podobe za sre-
dnjeveški Bar je v delu prikazan razvoj kulta sv. Jurija v Baru, ki se je v mestu 
začel v času vladavine dukljanske dinastije Vojislavljevićev, katere zaščitnik je 
bil sveti Jurij. Takrat je barska katedrala namesto sv. Teodorja dobila novega 
zavetnika, sv. Jurija, barska škofija pa je bila povzdignjena v nadškofijo. Status 
nadškofijskega središča je poudarjal pomen Bara v primerjavi z drugimi mesti 
oziroma škofijami v okolici, ki so mu bila podrejena, zato je z dozorevanjem 
barske komune zavetnik stolnice postal tudi zavetnik komune. Takrat je podoba 
sv. Jurija na konju, ki ubija zmaja – dotlej simbol barske nadškofije – postala 
tudi osrednji motiv vizualne identitete barske komune.
Ključne besede: denar mesta Bar, mestni pečat, upodobitve sv. Jurija, katedrala sv. Jurija 
v Baru, pečat barskega stolnega kapitlja, 14. stoletje
ACTA HISTRIAE • 32 • 2024 • 2
242
Marina ODAK: REPRESENTATIONS OF ST. GEORGE ON COINS MINTED IN THE MEDIEVAL CITY OF BAR, 225–246
SOURCES AND BIBLIOGRAPHY
Antonović, Miloš (2003): Grad i župa u Zetskom primorju i severnoj Albaniji u XIV i 
XV veku. Beograd, Istorijski institut.
Antović, Jelena (ed.) (2009a): Statuta civitatis Cathari – Statut grada Kotora: knjiga I, 
fototipsko izdanje originala iz 1616. godine. Kotor, Državni arhiv Crne Gore.
Antović, Jelena (ed.) (2009b): Statuta civitatis Cathari – Statut grada Kotora: knjiga II, 
prevod originala iz 1616. godine sa naučnim aparatom. Kotor, Državni arhiv Crne Gore.
Babić, Valentina (2014): Freske u crkvi sv. Mihaila u Stonu. Beograd – Trebinje, 
Balkanološki institut Srpske akademije nauka i umetnosti – Eparhija zahumsko-
hercegovačka i primorska – Vidoslov izdavaštvo.
Barker, Alison C. (2021): Saint George as Cultural Unifier: Visual Clues in Carpac-
cio’s Cycle at the Scuola Dalmata in Venice. Confraternitas, 32, 1, 26–54.
Bedos-Rezak, Brigitte (1990): Towns and Seals: Representation and Signification in 
Medieval France. In: Pullan, Brian S. & Susan Reynolds (eds.): Town Life and 
Culture in the Middle Ages and Renaissance. Manchester, John Rylands University 
Library of Manchester, 34–47.
Bešić, Zarije, Garašanin, Draga, Garašanin, Milutin & Jovan Kovačević (1967): 
Istorija Crne Gore, od najstarijih vremena do kraja XII vijeka, knj. I. Titograd, 
Redakcija za istoriju Crne Gore.
Blehova Čelebić, Lenka (2007): Vjerska slika Boke Kotorske početkom XVI. vijeka 
– arhivska svjedočanstva. Croatica Christiana periodica, 31, 60, 59–74.
Bošković, Đurđe (1962): Stari Bar. Beograd, Savezni institut za zaštitu spomenika 
kulture.
Camelliti, Vittoria (2012): San Giorgio: culto, immagini e sacre rappresentazioni nelle 
città dell’Italia centrosettentrionale tra XII e XV secolo. In: Caserta, Claudio (ed.): 
San Nicola da Myra dal Salento alla Costa d’Amalfi: il mito di un culto in cam-
mino; atti del VI convegno di studi, Ravello, 24–25 luglio 2009; I Santi Giorgio ed 
Eustachio Milites Christi in terra amalfitana: atti del 7. Convegno di Studi, Ravello, 
23–24 luglio 2010. Napoli, Edizioni Scientifiche Italiane, 235–276.
Cheynet, Jean-Claude (2008): La place de la Serbie dans la diplomatie byzantine à la 
fin du XIe siècle. Zbornik radova Vizantološkog instituta, XLV, 89–98.
Crnčević, Dejan (2013): The Architecture of Cathedral Churches on the Eastern Adri-
atic Coast at the Time of the First Principalities of South Slavs (9th–11th Centuries). 
Beograd, Istorijski institut.
Čoralić, Lovorka (1994): Bratovština slavenskih doseljenika sv. Jurja i Tripuna u 
Veneciji. Izvori, historiografija i mogućnosti istraživanja. Radovi Zavoda za hrvat-
sku povijest Filozofskoga fakulteta Sveučilišta u Zagrebu, 27, 1, 43–58.
Čoralić, Lovorka (2022): Hvarski iseljenici i hrvatska bratovština sv. Jurja i Tripuna u 
Mlecima (15. – 18. stoljeće). Croatica Christiana periodica, 46, 90, 1–15.
Ćirković, Sima, Božić, Ivan, Bogdanović, Dimitrije & Vojislav Đurić (1970): Is-
torija Crne Gore, od kraja XII do kraja XV vijeka, knj II, tom 2. Titograd, Redakcija 
za istoriju Crne Gore.
ACTA HISTRIAE • 32 • 2024 • 2
243
Marina ODAK: REPRESENTATIONS OF ST. GEORGE ON COINS MINTED IN THE MEDIEVAL CITY OF BAR, 225–246
Ćirković, Sima, Hrabak, Bogumil, Damjanović, Nikola, Vujović, Đuro & Ljubo 
Živković (1984): Bar, grad pod Rumijom. Bar, Izbor.
Darovec, Darko (2023): The Genesis of Koper Medieval Statutes (1238–1423). Аcta 
Histriae, 31, 4, 743–776.
Dimitrijević, Sergije (2006): Datiranje bakarnih novčanih vrsta primorskih gradova. 
In: Dimitrijević, Milan S. (ed.): Novac srpskih srednjovekovnih vladara. Beograd, 
Srpsko numizmatičko društvo, 311–326.
Farlati, Daniele & Jacobo Coleto (1817): Illyricum sacrum, Volume VII. Venetiis, 
Sebastianum Coleti.
Farlati, Daniele (1800): Illyricum sacrum, Volume VI. Venetiis, Sebastianum Coleti.
Favini, Vieri & Alessandro Savorelli (2013): Patroni e araldica comunale. In: Caras-
sai, Mario (ed.): Santi, patroni, città: Immagini della devozione civica nelle Marche. 
Ancona, Centro Stampa digitale dell’Assemblea legislativa delle Marche, 15–68.
Fortini Brown, Patricia (1991): The Self-Definition of the Venetian Republic. In: 
Molho, Anthony, Raaflaub, Kurt & Julia Emlen (eds.): City States in Classical An-
tiquity and Medieval Italy. Ann Arbor, The University of Michigan Press, 511–549.
Gerasimov, Todor (1938): Un sceau en plombe de Georges, fils du roi Bodine. Studia 
historico–philologica Serdicensia, 1, 217–218.
Godelier, Maurice (1982): Antropologija. Zagreb, Školska knjiga.
Hecquard, Hyacinthe (1858): Histoire et description de la Haute-Albanie ou Gué-
garie. Paris, A. Bertrand.
Hendy, Michael F. (1999): Catalogue of the Byzantine Coins in the Dumbarton Oaks Collec-
tion and in the Whittemore Collection, volume 4, Alexius I to Michael VIII, 1081–1261, 
parts 1 and 2. Washington, D.C., Dumbarton Oaks – Trustees for Harvard University.
Hrabak, Bogumil (1953): O balšićkim grošima. Istoriski zapisi, IX, 188–195.
Hrabak, Bogumil (1999): Privreda Bara u XIV i XV veku. In: Kovačević, Branislav 
(ed.): Srednjovjekovna istorija Crne Gore kao polje istraživanja: zbornik radova sa 
okruglog stola Istorijskog instituta. Podgorica, Istorijski institut, 167–197. 
HR-DADU – Državni arhiv u Dubrovniku – Diplomata et acta / Isprave i akti, 16. 
stoljeće.
Ippen, Theodor A. (1902): Über Münzen Albaniens. Numismatische Zeitschrift, Band 
33, 189–196.
Ivanišević, Vujadin (2001): Novčarstvo srednjovekovne Srbije. Beograd, Stubovi 
kulture.
Janković, Đorđe (2007): Srpsko pomorje od 7. do 10. Stoleća. Beograd – Herceg 
Novi, Srpsko arheološko društvo – Zavičajni muzej Herceg Novi.
Jireček, Constantin (1904): Die Romanen in den Städten Dalmatiens während des 
Mittelalters II. Wien, Gerold.
Jovović, Ivan (2005): Iz prošlosti Dukljansko-barske nadbiskupije. Bar, Nadbiskupski 
ordinarijat.
Levi, Cesare A., (1896): Venezia e il Montenegro: Giorgio Czernovich. Antivari 
1443‒1494. Stefano Mali il finto Czar e gli ultimi conati della Repubblica. Ven-
ezia, Visentini.
ACTA HISTRIAE • 32 • 2024 • 2
244
Marina ODAK: REPRESENTATIONS OF ST. GEORGE ON COINS MINTED IN THE MEDIEVAL CITY OF BAR, 225–246
Lonza, Nella (2012): The Statute of Dubrovnik of 1272: Between Legal Code and 
Political Symbol. In: Lonza, Nella (ed.): The Statute of Dubrovnik of 1272. Du-
brovnik, Državni arhiv u Dubrovniku, 7–25.
Lonza, Nella (2017): Sveti Vlaho, božanski zaštitnik Dubrovnika, čuvar njegove slo-
bode i mira. In: Horvat-Levaj, Katarina (ed.): Zborna Crkva Sv. Vlaha u Dubrovniku. 
Dubrovnik – Zagreb, Dubrovačka biskupija– Institut za povijest umjetnosti – Art 
Tresor naklada, 19–37.
Makanec, Alfred (1924): Dva folara Ulcinja i Bara. Glasniku Zemaljskog muzeja 
Bosne i Hercegovine, XXXVI, 107–108.
Mango, Cyril (1986): The Art of the Byzantine Empire 312–1453, Sources and Docu-
ments. Toronto – Buffalo – London, University of Toronto Press.
Marinković, Ana (2006): Hagiographical Motifs and Visual Identity: The Late-
medieval Communal Seal of Trogir. Hortus Artium Medievalium, 12, 229–235.
Marinković, Ana (2018): Saints’ Relics in Scuola di San Giorgio degli Schiavoni: 
An Anti-Ottoman Pantheon. Il capitale culturale. Studies on the Value of Cultural 
Heritage, suppl. 7, 25–44.
Marković, Savo (2014a): Stanovništvo srednjovjekovnog Bara. Perast, Gospa od 
Škrpjela.
Marković, Savo (2014b): Certe reliquie Barske nadbiskupije: izvori i tradicija. Cro-
atica Christiana periodica, 38, 73, 35–49.
Marković, Savo (2015): Zavještanje crkve sv. Marije extra muros: prilog proučavanju 
sakralnog nasljeđa Bara. Matica, 63, 409–444.
Marković, Savo (2018): Plan preseljenja Barana u Toskanu. Marco Samuel Caloian 
velikom vojvodi de’ Mediciju: Fiorenza, 1574. Acta Histriae, 26, 2, 599–640.
Marković, Savo (2022): Si aliquid supervenit: O višem društvenom staležu Bara u 
XIV vijeku zbiljom Guliermovih. Istorijski zapisi, XCV, 3–4, 43–63.
Metcalf, David Michael (1983): Coinage of the Crusades and the Latin. East in the 
Ashmolean Museum Oxford. London, Royal Numismatic Society and Society for 
the Study of the Crusades and the Latin East.
Mijović, Pavle & Mirko Kovačević (1975): Gradovi i utvrđenja u Crnoj Gori. Beo-
grad – Ulcinj, Arheološki institut – Muzej Ulcinj.
Mišić, Siniša (ed.) (2010): Leksikon gradova i trgova srednjovekovnih srpskih zemalja 
– prema pisanim izvorima. Beograd, Zavod za udžbenike.
Moravcsik, Gyula & Romilly J. H. Jenkins (eds.) (1967): Constantine Porphyro-
genitus, De Administrando Imperio. Washington, D.C., Dumbarton Oaks Research 
Library and Collection.
Nedeljković, Ljubomir (1974): Novčarstvo Balšića. Starinar, XXII, 111–127.
Novaković, Pavle V. (2012): Perper, crnogorski novac. Beograd, Publikum.
Odak Mihailović, Marina (2014): Na ponos grada: predstave gradske tvrđave na 
novcu Kotora, Ulcinja, Svača, Skadra i Drivasta. Istorijski zapisi, LXXXVII, 3–4, 
161–181.
Odak, Marina (2022a): O novcu grada Drivasta tragom jedne numizmatičke beleške. 
Istorijski zapisi, XCV, 3–4, 25–43.
ACTA HISTRIAE • 32 • 2024 • 2
245
Marina ODAK: REPRESENTATIONS OF ST. GEORGE ON COINS MINTED IN THE MEDIEVAL CITY OF BAR, 225–246
Odak, Marina (2022b): Folar grada Svača: novac kao simbol gradskog identiteta. In: 
Raspopović, Rade & Olga Pelcer Vujačić (eds.): Crna Gora na političkoj i kulturnoj 
mapi Evrope – CLIO MAP. Cetinje, Štamparija Obod, 324–334.
Perocco, Guido (1964): Carpaccio nella Scuola di S. Giorgio degli Schiavoni. Venice, 
Ferdinando Ongania Editore.
Perry, David M. (2014): Saint George and Venice: The Rise of Imperial Culture. In: 
Robinson, James, de Beer, Lloyd & Anna Harnden (eds.): Matter of Faith: An Inter-
disciplinary Study of Relics and Relic Veneration in the Medieval Period. London, 
British Museum Research Publication, 15–22.
Porphyrogenitus, Constantinus VII (1967 [948–952]): Constantinus Porphyro-
genitus, De Administrando Imperio. Corpus Fontium Historiae Byzantine, Vol. 1. 
Moravcsik, Gyula & Romilly J. H. Jenkins (eds.). Washington, D.C., Dumbarton 
Oaks Research Library and Collection.
Premović, Marijan (2021): Barski trgovci u Dubrovniku od 1358. do 1405. godine. 
Radovi Zavoda za povijesne znanosti HAZU u Zadru, 63, 15–55.
Preradović, Dubravka & Ljubomir Milanović (2016): Opštehrišćanski sveti u 
srpskoj kulturnoj praksi i umetnosti. In: Vojvodić, Dragan & Danica Popović 
(eds.): Sakralna umetnost srpskih zemalja u srednjem veku. Beograd, Srpski 
komitet za vizantologiju – Službeni glasnik – Vizantološki institut SANU, 
103–119.
Radonić, Jovan (1950): Rimska kurija i južnoslovenske zemlje od XVI do XIX veka. 
Beograd, Naučna knjiga.
Rešetar, Milan (1924): Dubrovačka numizmatika. Dio 1 (Historički). Beograd – Srem-
ski Karlovci, Srpska akademija.
Rovinskii, Pavel Apollonovič (1883): V novyh vladeniâh Černogorii. (Očerki iz 
putešestviâ). Russkaâ myslʹ, 7, 61–217.
Savoia, Vittorio Emanuele III (1922): Corpus Nummorum Italicorum, Volume VI, 
Veneto (zecche minori) Dalmazia, Albania. Roma, Casa Savoia.
Sella, Pietro & Marie H. Laurent (1937): I sigilli dell’Archivio vaticano, Vol. II. Città 
del Vaticano, Biblioteca apostolica vaticana.
Sigovini, Aldo (1988): Simboli e insegne della Scuola Dalmata. Scuola Dalmata, XXI, 
19–29.
Smičiklas, Tadija (ed.) (1904): Diplomatički zbornik Kraljevine Hrvatske, Dalmacije 
i Slavonije, Svezak II, Listine XII vijeka (1101–1200). Zagreb, JAZU.
Spremić, Momčilo (2016): Srbija i Venecija (VI–XVI vek). Beograd, Službeni glasnik.
Stockert, Karl (1910): Die Münzen der Städte Nordalbaniens. Numismatische 
Zeitschrift, XXXXIII, 67–128.
Šekularac, Božidar (2007): Crna Gora u doba Vojislavljevića. Cetinje, Štamparija 
Obod.
Šekularac, Božidar (2011): Crna Gora u doba Balšića. Cetinje, Štamparija Obod.
Štekar, Andrej (2008): I santi patroni locali su alcune monete d’Aquileia, Trieste, 
Ljubljana, St. Veit e Friesach. Annales, Series Historia et Sociologia, 18, 2, 
305–316.
ACTA HISTRIAE • 32 • 2024 • 2
246
Marina ODAK: REPRESENTATIONS OF ST. GEORGE ON COINS MINTED IN THE MEDIEVAL CITY OF BAR, 225–246
Thallóczy, Ludovicus, Jireček, Constantinus & Emilianus Sufflay (eds.) (1913): 
Acta et diplomata res Albaniae mediae aetatis illustrantia, Vol. 1. Vindobonae, Typis 
Adolphi Holzhausen.
Thallóczy, Ludovicus, Jireček, Constantinus & Emilianus Sufflay (eds.) (1918): 
Acta et diplomata res Albaniae mediae aetatis illustrantia, Vol. 2. Vindobonae, Typis 
Adolphi Holzhausen.
Tomas, Ivana (2016): Nova promišljanja o crkvi Sv. Mihajla u Stonu. Ars Adriatica, 
6, 41–60.
Trška, Tanja (2018): Venetian painters and Dalmatian Patrons: Minor Masters in the 
Scuola di San Giorgio degli Schiavoni Between Collective and Individual. Il capi-
tale culturale. Studies on the Value of Cultural Heritage, suppl. 7, 45–61.
Walter, Christopher (1995): The Origins of the Cult of Saint George. Revue des 
études byzantines, 53, 295–326.
Walter, Christopher (1999): Theodore, Archetype of the Warrior Saint. Revue des 
études byzantines, 57, 163–210.
Walter, Christopher (2016): The Warrior Saints in Byzantine Art and Tradition. Lon-
don – New York, Taylor & Francis Group.
Webb, Diana (1996): Patrons and Defenders: The Saints in the Italian City-states. 
London – New York, I. B. Tauris.
Zagarčanin, Mladen (2006): Medieval Stoneworks from Stari Bar. In: Gelichi, Sauro 
(ed.): The Archaeology of an Abandoned Town: the 2005 Project in Stari Bar. Flor-
ence, All’insegna del giglio, 113–127.
Živković, Tibor (2006): Portreti srpskih vladara (XI–XII). Beograd, Zavod za 
udžbenike i nastavna sredstva.
Živković, Valentina (2010): Religioznost i umetnost u Kotoru XIV–XVI vek. Beograd, 
Balkanološki institut Srpske akademije nauka i umetnosti.