, found on so many houses in Ragusa, to commemorate the earthquake of that year. The façade has a portico of five handsome round arches in the Renaissance style, the columns of which are adorned with elaborate capitals; many of these have been renewed. Above is a row of windows in the purest Venetian style of the fifteenth century. The central window is a three-light aperture, the two side ones are of a single light. The windows of the third story are square like those looking on the courtyard. In the centre is a niche with a statue of St. Blaize, while the row of pinnacles on the roof call to mind many a Venetian palazzo. In spite of all incongruities the Sponza is a very attractive building, full of quaint grace and good work.
It has many interesting associations with Ragusan history. It was here that the caravans about to start on their perilous journeys through the wild Balkan lands formed up, and those which arrived at Ragusa first stopped. Every bale of goods arriving at or departing from the city, by sea or land, had to be first examined at the Sponza, where the proper amount of duty was assessed and paid. All business was transacted at or around this building. To this day it serves as a custom-house, and still forms a picturesque background for the crowds of peasants and traders from all parts of Dalmatia, the Herzegovina, Montenegro, and Albania who congregate here on market days, although the traffic has declined both in bulk and in value since the palmy days of the Republic. The first floor was used in later years for literary and learned societies and entertainments. The second floor was the mint.
Of the Castello no traces now remain, its place having been taken by the Rector’s Palace, with which we shall deal later on. The buildings we have described were almost the only stone edifices in the town. All the rest, including the convent of the Clarisse, founded in 1290, were of timber.[272] Ragusa was in great part destroyed by fire in 1292, and rebuilt shortly afterwards, mostly of wood, as before. In a Reformatio of 1320 the Government published a decree against the excessive use of timber in construction. But the city was improving in various ways. The streets were wider and more regular, and stone steps were built on either side of the Stradone to make the higher quarters more accessible. Elaborate rules were issued to ensure the solidity of the roofs and chimneys, and by 1355 the town was paved with brick.[273] The steep streets on the seaward ridge and on the eight slopes of Monte Sergio began to assume their present aspect, although but few details of fourteenth-century domestic architecture have remained. There are several houses in the Venetian Gothic style, but these were built during the Hungarian occupation, the artistic influence of Venice outlasting her political suzerainty.
Of the plastic arts we find as yet only slight beginnings, but we may mention a few early paintings in the Dominican church. A large crucifix in the Byzantine style, which hangs over the choir arch, was vowed during the black death of 1348. In the sacristy there is a polyptych in ten sections, with the Baptism of Christ in the centre of the lower row, and St. Michael, St. Nicholas, St. Blaize, and St. Stephen; the Virgin, with St. Peter, St. Dominic, St. Peter Martyr, and St. Francis above. The work is very primitive; but if it be by a local master, it is probably of a later date than the style suggests. The robes are very rich and profusely gilt, but the effect is garish rather than brilliant, although restoration may perhaps be responsible for this. A Byzantine Madonna and Child in red is in the same church between the nave and the transept.
In the city records there are occasional entries alluding to the engagement of painters, and in 1344 a certain Magister Bernardus was commissioned to paint the new hall of the communal palace, which he was to decorate “pomis et stellis auratis.” No trace of this work has survived.
An interesting piece of sculpture is the bas-relief of St. Blaize on a wall near the Porta Ploce. The figure is seen in profile, and carries a crozier with a Lamb in the crook. It is somewhat stiff and Oriental in pose, but full of character. Curiously enough, it is the only really good statue of the city’s patron saint at Ragusa. Other images may be seen over the gates, on the fortifications, and on various buildings, but they are all colourless and of very rough workmanship. A plaque of marble, with figures in high relief, in the sacristy of the Franciscan church, deserves notice. It is said to be thirteenth-century work of the Isola di Mezzo.
During the next two hundred years architecture attains to its full development, and at least one painter arises whose work is of considerable value, while the goldsmith’s and silversmith’s art come to occupy an important place.