There are two other pieces of Onofrio's work still in existence in Ragusa, the pretty little fountain between the Rector's Palace and the Sponza, next door to the Corpo di Guardia, of which an illustration is given, showing a certain admixture of Renaissance feeling with Gothic foliage, and the much mutilated fountain just within the Porta Pile. It had two columns at each angle, of which only the inner one remains, and a marble cupola surrounded by statues. The aqueduct which supplies it and the other fountains is eight miles long, and brings the water from Gionchetto. It was only completed in 1438, after many discouraging incidents. Opposite to it is the pretty façade of S. Salvatore, built after the earthquake of 1520, and due to Bartolommeo da Mestre, "protomagister" of the cathedral of Sebenico, which it resembles a good deal in the character of its design and mixture of Gothic and Renaissance forms. It has a nave of three bays with an apse; the vaulting is Gothic, as are the windows, but the arches rest on classic pilasters, used also at the angles of the façade, the horizontal lines of which are varied by the semicircular gable and quadrants which flank it. A rose-window occupies the central place, and above the door (which is rather later in style) is a long dedicatory inscription in an ornamented panel space.
PLAN OF LA SPONZA, RAGUSA
At the bottom of the piazza, upon which the Rector's Palace, the cathedral, and S. Biagio face, is the Sponza or Dogana, the ancient custom-house and mint. The custom-house was on the ground floor, and the scales for weighing merchandise hung in the wide arch opposite the entrance. The mint was on the second floor, and the first floor was used for carnival and social meetings of the nobility. The building is of several periods dating from the beginning of the fourteenth century to 1520, a date given by an inscription on the second story. The courtyard has an arcade of round arches, four on each side, and one of a greater breadth at each end, resting on octagonal piers, the caps and arches moulded simply. The first floor has an arcade of pointed arches, two to a bay, with alternate piers and columns, the end having circular arches above the broader arch below. The second story is lighted by four little square windows, and above are three quatrefoils to give air to the roof timbers. On the end wall are two angels in relief, holding "I.H.S." within a garland. The two arcades are vaulted simply, the caps on the first floor have good foliage, and the stories are divided by moulded string-courses. Names of saints are inscribed over the doors of the warehouses opening from the lower cloister.
LA SPONZA AND ONOFRIO'S FOUNTAIN, RAGUSA
The façade terminates with a fantastic cresting above the roof cornice. In the centre of the second story is a niche with a figure of S. Blaise, flanked by two rectangular windows on each side. The piano nobile has two ogee-headed windows with geometric tracery, flat decorated archivolt, and slender shafts on the outer and inner surface of the jamb, and a three-light window in the centre, made up to a square head with quatrefoils in the fashion of the Ca d'Oro at Venice. On the ground floor there is a graceful round-arched portico resting on columns with Renaissance caps; beneath it are the windows and entrance door of the custom-house. The building is still used for its original purpose, and Albanian and Herzegovinian porters lounge about it in strange costumes. The clock-tower was built in 1480, and altered in 1781. There is a bell in it founded by Battista of Arbe. Opposite is the Roland column. Affixed to a pilaster is a symbolic statue typifying freedom of jurisdiction and commerce. It was replaced there in 1878 after a prolonged sojourn in the Rector's Palace, having been thrown down by a storm in 1825, when a brass plate was found with an inscription of the beginning of the fifteenth century, stating that here was the place of the standard of the Republic. It is not a work of any artistic merit.
A little way outside Porta Pile (thought to be a corruption of the Greek word φηλἡφηλἡ, a gate) is the cemetery church "alle Dancé," overlooking a bay beneath the Lapad promontory. It was begun in 1457 for the poor of the city, and contains a fine picture. The west door is elaborately carved with somewhat confused ornament, and in the pointed tympanum is a Madonna and Child flanked by two standing angels, which do not fit in quite comfortably. By the door is a holy-water niche of still stranger design, with a shell-head which quite insufficiently supports the three figures forming the crowning feature. The sacristy was in possession of several women who were washing clothes on both the occasions when I visited the church. The picture is by "Nicholavs Rhagvsinvs," who thus signs it, with the date 1517. It is in the original frame divided by pillars into three compartments, with a predella and a lunette above. In the lunette is a Crucifixion with the Virgin and S. John, two female figures and S. Mary Magdalene, and cherubs round our Lord; the Virgin's robe is deep blue; the others are red or green, on a gold ground. In the centre compartment are the Virgin and Child enthroned, with a little S. John kneeling, surrounded by little angels. Silver crowns have been added. The Virgin has a red robe with a cloak of cloth of gold on which is an elaborate pattern in dark blue; the Child holds fruit and corn; the cherubs have scarlet wings and gilt nimbi. In the right-hand panel is S. Martin on horseback, dividing his cloak; he wears a green tunic, over which is a golden coat with a design in red lines upon it. The cloak is bright scarlet. The beggar is Christ with cruciferous nimbus, On the left hand is S. Gregory, with his dove on his shoulder, carrying a crucifix; he wears a richly-embroidered cope of cloth of gold, with red pattern and a border of saints in niches. These are both on gold grounds. The predella has also three compartments. In the centre is S. George and the dragon, with a pale blue landscape and sea; the princess kneels in the background. On the right hand is a saint receiving a mitre from two bishops, surrounded by other bishops, monks, choristers, &c. On the left, a pope in a golden robe is being crowned by two cardinals, surrounded by cardinals, bishops, Dominicans, and Franciscans. There is a landscape background. The whole effect is most decorative, due partly, no doubt, to the fine frame with golden arabesques on a dark blue ground. Another picture above the high-altar looks later, though it is in a very architectural frame. It represents the Madonna and Child on a large scale in the centre, with God the Father and angels in an oblong panel above. At each side of the Madonna are two small saints one above the other, probably SS. Francis, George, Blaise, and Nicholas. The Madonna and Child and God the Father have crowns of silver or silver-gilt; the Child is nude; the Madonna draped in metal, with a pattern on the outer robe. The background and the frieze are entirely covered with little votive silver plaques.
From the hill which one mounts on the return, the whole of Ragusa lies spread at one's feet, from the great fort S. Lorenzo, perched upon its rock, to the Torre Menze, the culminating point of the walls, in front of which the lower slopes of Monte Sergio are covered with the houses of the suburb. On a fine evening the view past the fort towards the Bocche is enchanting, but when scirocco blows, and the foam splashes high up the rocks, it is not safe to approach the edge. Here a pleasant garden has been laid out, and aloes grow, though not so luxuriantly as on the other side of the town.
Above the door of the salt-magazine near Porta Ploče is the oldest relief of S. Blaise, possibly dating from the beginning of the thirteenth century. Behind the communal palace is the harbour, Porto Casson, which recalls the prosperity of the Republic, when it was one of the richest countries in the world, and when the merchants and privateer captains who lived in the Via Priko, upon the hill, owned between them 100,000,000 ducats, according to computation.