MacDermott, Mercia (1998). Bulgarian Folk Customs. Jessica Kingsley Publishers. pp.64–66. ISBN 978-1-8530-2485-6. There is no doubt that besides the 1678 titular altarpiece by Fra Mattia Preti showing a victorious St George standing next to his white stallion and crushing the dragon under his feet, the wooden statue of the martyr saint is the most precious treasure that the Victoria basilica can boast of. A carving from Krupac, Serbia, depicts Apollo and Asclepius as Thracian horsemen, shown besides the serpent entwined around the tree. Another stele shows the Dioscuri as Thracian horsemen on either side of the serpent-entwined tree, killing a boar with their spears. [4]

The statue was restored that same year, when Mgr Saviour Borg was archpriest; the scientific work of restoration and conservation was supervised by the Autieri Cinzia Restauri of Naples, with Fr Ugo Dovere in charge of the team. Charles Clermont-Ganneau, "Horus et Saint Georges, d'après un bas-relief inédit du Louvre". Revue archéologique, 1876. Allegedly, Donatello sculpted St. George as he was thought to have been just moments before encountering and slaying the dragon. He appears deep in thought; his expression is slightly hesitant, yet determined and fearless.

Edmund Spenser expands on the Saint George and the Dragon story in Book I of the Fairy Queen, initially referring to the hero as the Redcross Knight.

Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 170, no. 190, color repr. a few 14th–16th century Novgorod icons such as the 'Miracle of St George', a mid-14th-century icon from the Morozov collection and now in the Tretiakov Gallery, Moscow (Bruk and Iovleva 1995, no. 21), 'St George, Nikita and the Deesis', a 16th-century icon in the Russian Museum, St Petersburg, (Likhachov, Laurina and Pushkariov 1980, fig. 237) and on some Northern Russian icons, for instance, the 'Miracle of St George and his Life' from Ustjuznan and dating from the first half of the 16th century (Rybakov 1995, fig. 214)"

Maguire (1996) has connected the shift from unnamed equestrian heroes used in household magic to the more regulated iconography of named saints to the closer regulation of sacred imagery following the iconoclasm of the 730s. [4] 17th-century drawing of the Arcus Einhardi Mina, John Louis (1979). Thematic and Poetic Analysis of Russian Religious Oral Epics: Epic Duxovnye Stixi (Thesis). University of California, Berkeley. p.73. Warner-Johnson, Tim, and Jeremy Howard, eds. Colnaghi: Past, Present and Future: An Anthology. London, 2016: 64-65, color plate 9. and the "detailed" form also including the princess and the city walls or towers of Lacia (Lasia) with spectators witnessing the miracle. William Shakespeare refers to Saint George and the Dragon in Richard III ( Advance our standards, set upon our foes Our ancient world of courage fair St. George Inspire us with the spleen of fiery dragons act V, sc. 3), Henry V ( The game's afoot: follow your spirit, and upon this charge cry 'God for Harry, England, and Saint George!' act III, sc. 1), and also in King Lear (act I).

Domènech i Montaner, Lluís (1995) Ensenyes nacionals de Catalunya. Barcelona: Generalitat de Catalunya. ISBN 84-393-3575-X. The reason for such a stance has been linked to political events surrounding Florence during the years leading up to the statue's creation. In 1410 a new threat emerged from theEstella’s last mayor said the town did not relish the notoriety that the statue’s restoration had brought it and would prefer that people came to see its historic Jewish quarter instead. “We don’t want to attract visitors because of the poor treatment of our heritage,” Koldo Leoz said last year. “We haven’t publicised it and nor will we.” St. George's bravery and fearlessness were celebrated along with his subsequent conversion of the entire town of Silene to Christianity. The townspeople were won over by St. George's skill and strength and believed he must be divinely favored to be able to slay the dragon that had killed and devoured so many other men.