Chapter C: Ivlio (9)

The cathedral has a fine west doorway with twisted and knotted colonnettes and a pointed arch with tracery in the tympanum, and a modern figure of a bishop in front of it. Enormous brackets supporting couchant lions rest upon the knotted columns, with curious figures of Adam and Eve on their lower faces. A circular hood mould, with ogee finial, springs from them. In the gable is a traceried rose, above which is an elaborate cornice with beasts' heads projecting at the angles, shell niches, and floral finial, and at the meeting-point of the ramps a bust of an elderly woman in the costume of the fourteenth century, with hair in curls at each side of the face, a jewelled circlet, pleated gown with tightly fitting sleeves slashed and embroidered, and a border round the neck above a laced under-garment. There are two other doors at the ends of the aisles. The tower appears to have been added above the north aisle about 1463; it finishes with a shafted parapet and two open octagons with domical roofs, one above the other. Along the aisle roof a carved cornice runs, and above the trefoiled pointed clerestory windows is an arched corbelled cornice. The nave and aisles terminate in semicircular apses. The nave and choir together are of five bays, with a pointed arcade on monolithic pillars. The aisles are cross-vaulted without ribs, but with pointed arches between the bays. The roof of the nave is of wood. The triforium is of two round arches to each bay, with short coupled columns, now built up, and with wooden figures of the Apostles set in each arch. The tower occupies one bay of the north aisle, and encroaches on the next arch. Four of the caps have the symbols of the Evangelists; those of the columns of the south aisle bear flowing late Gothic foliage resembling two at Sebenico, and the doorway illustrated at Traù; those of the north arcade are of the seventeenth century. A fourth aisle was added to the north in 1532 as a burial chapel. The ciborium has three octagonal stages pierced with quatrefoils, above long architrave blocks, the carving of all the lower part being Renaissance in style. The interior of the church was sadly modernised in 1804, but the curious sacristy door still remains. It has a tympanum with S. Michael weighing souls and trampling on the Devil, and, below the lintel, two brackets with musicians, the hood mould running up in ogee-shape to a finial. The high-altar-piece is a Tintoretto--S. Mark vested as a bishop and blessing, with a lion at his feet between SS. Bartholomew and Jerome, who are nearer the spectator. On a side altar is a picture representing the Trinity, by Giacomo da Ponte (1510-1592). The treasury possesses some good embroideries and two or three chalices, one of which, with a half-figure of Christ in the tomb, is set before the baldacchino on Good Friday, to show symbolically that the Body of Christ is in the Sacrament.

On the way to the church of Ognissanti the Palazzo Arneri is passed; it has a fine knocker in the manner of John of Bologna--Neptune standing and controlling two lions, a design of which there are examples in Padua and elsewhere. The church of All Saints was built in 1303. It has been modernised, but still retains a ciborium with quatrefoil piercings and angle pinnacles, bearing much resemblance to that in the cathedral. A stair leads to a Greek church, in which are several painted wood crucifixes and Byzantine pictures.

Some forty minutes away, on a small island to the east, is the Franciscan convent, La Badia, a building of the fifteenth century for the most part, containing a rather pretty cloister of white marble erected in 1477. The arches are stilted, pointed, and trefoiled, arranged in groups of three, with wider slightly segmental openings with cuspings for entrances. The spandrils are filled with Gothic leafage, the bases and caps to the columns are early Renaissance, and the frieze is quite plain, with a dentilled cornice. The church is not interesting architecturally; the western façade is imitated from the cathedral, but it contains a crucifix brought from Bosnia by refugees after the battle of Kossovo.

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The plague of 1558 smote Curzola very heavily, and as years went by it sank lower and lower. The convenience of the neighbouring pine-woods, the two ports between which the town lies, and the existence of Porto Pedocchio caused the Venetians to move their arsenal hither from Lesina in 1776; and during the last century it has recovered to some extent, but the population remains poor.

The island of Lissa lies to the north-east of Curzola, much farther away from the mainland. The climate is very mild; palms, cactus, aloes, and myrtle flourish; and a wine known as Opollo is as much sought after as that made from Lissan grape-juice, praised in antiquity by Agatharchides. It is cut into by two large bays, to the west the Valle di Comisa, and to the north-east the harbour of Lissa. There are some small remains of antiquity. The foundations of the Roman theatre are partly in the sea, and other Roman ruins are round about the harbour, though the ancient Issa occupied the site of Gradina, 300 ft. above the sea. One statue at least which was found here has been taken to Vienna. Lago says that under the building of the Blessed Virgin "delle Graticelle" there are caverns said to contain the graves of Diomede and his companions. Apollonius of Rhodes says that the original colonists came from Issa in Lesbos, and were Pelasgic Liburnians; but Polybius tells of a Greek colonisation in 392 B.C. under Dionysios the Elder, of Syracuse. It is certain, from gems and inscriptions found, that a free state existed here about 340 B.C. It was through Issa seeking protection from Rome that the commencement of the conquest of Illyria sprang. Their being able to help the Romans with twenty ships in their war with Philip of Macedon, and their founding such cities as Tragurium and Epetium show their importance in antiquity. The Goths of Ravenna destroyed the town in 535 A.D., on their way to Salona. It was destroyed a second time by the Narentans, and a third time, in 1483, by the Aragonese. The great battle for which Lissa is celebrated took place on March 13, 1811, when the French were beaten by the English, who destroyed all their ships but three, the commander Dubourdieu being killed, after which Lissa was made a kind of Adriatic Malta. The Austrians strengthened the fortifications of the English, making it an arsenal, and in 1866 Tegethoff beat the Italian fleet here. Some interest attaches to the fortifications, monuments, and graveyards of the island, on account of the British occupation. The monument recording the English victory is in the English cemetery; in the other is a memorial to those who died in the Italo-Austrian fight. At Busi, a few miles away, is a blue grotto, discovered in 1884, claimed to be even more remarkable than the celebrated grotto at Capri.

Lagosta lies due south of Curzola. It belonged to Ragusa, and the islanders are still very proud of the connection. Uros I. (the Great) gave it to Ragusa in the second half of the thirteenth century. In the cathedral is a Titian signed on the back.

Meleda is east of Lagosta, and south of Sabbioncello. It also belonged to Ragusa, given to the Republic by a Servian prince in the twelfth century. It has historical memories of Julius Cæsar, Octavian, Septimius Severus, and Caracalla, and was used in antiquity as a place of banishment, like Bua opposite Traù. In the town of Porto Palazzo ruins of the palace built by the Cilician Agesilaus of Anazarba, governor of Cilicia under Nero, and sent here by Septimius Severus, still exist. In the ninth century the island was part of the Narentan dominions. The building, formerly a convent, traditionally said to have been founded before 1000 on the little island of S. Maria del Lago, is like a mediæval castle with battlemented walls and a tower. The cloister is picturesque with ancient date-palms, and there are several monuments in the church. The island is prettily situated near the shore of the Lago Grande, one of two lagoons reached by a pleasant road from Porto Palazzo.

Nearer to Gravosa is Mezzo, the ancient Delaphodia, which also belonged to Ragusa. The mother church is away from the town, and is known as S. Maria del Biscione, a building of the fifteenth century. It contains an altar-piece with gilt arabesques on a blue ground, and large painted and gilt wooden figures of Apostles and the subject of the Assumption. A predella contains carvings of the Last Supper and the Washing of the Disciples' Feet. It was made in the seventeenth century, though the style is earlier. There are also two pictures--a Madonna and Saints, of the earlier Venetian school, and an enthroned Madonna and Child with four panels of saints at the sides, both restored. In the sacristy are a Venetian lavabo, some embroideries, and a fine fifteenth-century processional cross. An iron grille round a side altar bears the Visconti arms, which are also those of Mezzo. The "biscione" (serpent) in these arms gives its name to the bay, and so to the church. The church of the deserted Franciscan convent is now used as the parish church. It is a building of the latter part of the fifteenth century, and contains some fine carved stalls of the usual type, and a fine altar-piece by Nicolaus Raguseus, 9 ft. high, and with an arched top. God the Father is enthroned above, surrounded by angels with the instruments of the Passion. The five panels in the upper row show the Angel of the Annunciation, S. Blaise, Christ with the Cross, and half-figures of S. Anthony and the Virgin. The centre subject is rather broader. Below it is a later painted wood carving of the Madonna and Child. The panels at the sides have figures of SS. Roch and John the Baptist, Francis and Catherine. The frame is carved and painted blue, and gilded. There is another picture by the same artist in S. Nicholas, which was the Dominican church--an Annunciation, dated March 16, 1513, with a predella of five subjects, a praying Dominican, a Nativity of Christ, a galley in the harbour of Mezzo, the Adoration of the Magi, and the entrance of the Dominicans into the cloister. A good campanile still remains, though the cloister is ruined. There are several chapels in the place, also roofless and in ruins, and two ruined castles.

A Captain Pracat, who left 200,000 ducats to the Republic of Ragusa, and who was honoured with a half-length figure set up in the court of the Rector's Palace in 1638, was a native of Mezzo. A towel given him by the Emperor Charles V. is preserved at Mezzo, together with some church plate of unusual design. The chalice is a mixture of late Gothic and early Renaissance in character, with two little angels, now wingless, holding to its edge, and treading with one foot on the knop, thus forming handles. It is so large as to recall the ancient ministerial chalices. Medallions with the Evangelists' symbols ornament the bowl, with scroll-work between; the knop is covered with similar ornament, and on the foot is a full-length figure of S. Blaise. An ostensory has the same detail of the flying angels, and there is also a large paten with Christ as the Man of Sorrows on a blue enamel ground.

The island of Lacroma is beyond Ragusa, and can be easily visited from that place. It is the last Austrian island of any importance, and will be described in the next chapter.

XXIII

RAGUSA

Ragusa is one of the most charming spots in Dalmatia, and one can quite understand the action of the inhabitants who refused to leave it notwithstanding the ruin wrought by the earthquake of 1667, when it was proposed to move the community to a safer situation. The grey town upon its rocky seat, lighted by the brilliant sun, contrasts with the blue of the sea and the green of the luxuriant vegetation (much of it tropical), amidst which villas nestle picturesquely, and from the cliffs on either side at morning and evening the glow of the sun's level rays, or the characteristic silhouettes of town and rock are equally effective, according to the position of the spectator. But the sea, which is generally calm and blue, can be lashed to fury when _scirocco_ blows, so strongly sometimes that it is difficult to keep one's feet, and, though storms do not usually last many days, the spray has been known to fly right over Fort S. Lorenzo, situated on an isolated rock 100 ft. above the water.

Large steamers cannot enter the little harbour, so Gravosa, on the estuary of the Ombla, a mile or so away, serves as the usual port. It is sheltered by the rocky island of Daxa, and affords another of those fine harbours with which Dalmatia is so well provided. On one of our visits to Ragusa we stayed at the Hotel Petka at Gravosa, and in front of the windows a flotilla of torpedo-boats lay at anchor with steam up. It was interesting to see the men doing everything to word of command. In the morning they got up at a signal; drew up water to a signal, washed themselves and then the boats, prepared meals, &c., &c., all in public view, for there was very little deck and apparently no room below at all. In the hotel we were interested by some tame swallows, which flew about the hall and came into the restaurant; but a detestable mechanical piano, operated by an electrical motor on the penny-in-the-slot plan, which was a source of great pleasure to some Slav visitors, interfered a good deal with our comfort. I am sorry to say that when I had time to look over the account for the rooms (for we were hurried in leaving) I found that we had been charged for a day more than we had been there, the only instance of such a thing which we experienced in our journeys up and down the coast. Some of the houses along the road by the water have delightful gardens, and piles of fruit and vegetables made fascinating colour compositions by the waterside, whilst the vivid colour of some of the strange costumes, such as that of the quaint old Herzegovinian charcoal porter, contrasted well with the more ordinary clothes of officials and traders. Large numbers of Herzegovinian emigrants take boat at Gravosa; and I remember one day, when Ragusa was full of them and their friends and every vehicle crowded between that place and Gravosa, what a strange sight the pier presented, so thickly packed with people that one wondered none were pushed off. The variety of colour and picturesqueness of costume and type among the men and women was interesting, and it was touching to think of the sundering of friends and relations, and the grief at parting which many of them showed in their strongly marked countenances. From Gravosa the source of the Ombla is easily visited, a strange river springing full-grown from beneath a cliff but a few miles from the sea. The Greeks called it Arione, the Latins Umbla, and it is believed to be the same river as the Trebisnizza, which becomes subterranean some two and a half hours' journey away in the Herzegovina. Its depth is unknown, as the actual source at the foot of the Falkenberg cannot be approached, but the weir which dams up the river creates a pool some 65 ft. across, in which mulberry-trees, fig-trees, reeds, and bushes are reflected, and furnishes the power for working two great mills. The river is but three miles long before it merges in the estuary, and its banks are sprinkled with villas and villages, the railway station and the admiralty stores occupying the portion nearest to the harbour.

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From Gravosa the excursion to the plane-trees of Cannosa and to Stagno may be made. The great plane-trees are 40 ft. in circumference, and their branches spread over a diameter of some 200 ft. The larger one takes twelve men with outstretched arms to surround it. The villa of Count Gozze, close by, has beautiful gardens. Stagno has historical interest. It is twenty-three miles from Ragusa, and is mentioned in the "Tavola Peutingeriana" as "Turns Stagni"; the Romans knew it as "Stagnum." There are traces of ancient walls right across the isthmus, which is only a kilometre wide, Sabbioncello being thus almost an island. It was given to Ragusa by Stephen VI. of Servia in 1333, and the Republic spent 120,000 ducats in fortifying it during the next twenty-four years. Till 1815 it remained tributary to Ragusa, and was ruled by a civil and political count. A little way north-west was the northern slip of territory which Ragusa gave to Turkey to prevent her territories touching those of Venice, the little peninsula of Klek, with about two-thirds of a mile of coast and the little port of Neum. On the south the Sutorina valley fulfilled the same function. Both were handed over to Turkey in 1699 at the peace of Carlowitz with the assistance of Spain, and were only incorporated with Austria in 1878.

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The road to Ragusa climbs the neck of the peninsula of Lapad, where the Ragusan merchants had their villas in their days of prosperity, passing the exercising-ground, up and down which recruits march and manoeuvre notwithstanding the heat. The high walls have masses of flowers hanging over them and little summer-houses perched upon them here and there among the verdure. At the bottom of the descent is a tree-planted promenade, across which the grey walls of the Porta Pile glimmer, pierced with a low arch above which the patron saint, S. Biagio, looks forth from an early Renaissance niche, with his hand raised in blessing, as he does from above the other gates and from the huge bulk of the Torre Menze, the great tower crowning the line of walls which ramps up the slope to the left. The situation is magnificent, and from the sea the view of the town is unique among Dalmatian cities by reason of the strong sea walls, a sign of freedom from the supremacy of Venice, whose winged lion only appears in one place, by the convent of S. Maria, on the gate to the sea, closed in 1358, where the upper border of the panel may also be seen. Within these walls the streets are mere narrow lanes in one direction, and in the other mainly flights of steps which climb the hill. Fine effects of light are produced in consequence, especially when the street dives beneath houses through dark arches. The only broad street is the Stradone, which runs from one gate to the other, and was once an arm of the sea, though one can scarcely believe that it could have been so sufficiently recently to have allowed of the ships lying close to the merchants' houses in the time of Ragusan prosperity, as some say. The houses along this street are all of the same character, and were, no doubt, built after the great earthquake of 1667. Many of them have shops beneath an arch, half of which is filled by the counter, while on the wall outside hang draperies of ravishing colours, or embroideries or metal-work, sparkling in the sun, or cases containing jewellery, brightly coloured leather-work, &c. Above the roof-cornices quaint dormers and strangely fashioned chimneys rise, producing a most picturesque sky-line.

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The walls are perfect in their whole circuit, and give one a very clear idea of the complicated arrangements for the defence of a mediæval town, by the many gateways and tortuous roads by which the town is entered, while the external appearance remains quite mediæval.

These fortifications date from 1380, when the last Venetian Count had gone, but there are later additions. At this time the Castel S. Lorenzo was built, displacing an oratory built on the site of a nunnery established before the eleventh century. Forte Molo, by the harbour (formerly Fort S. Giovanni, and now much altered) and the tower of S. Luca still remain of the earlier fortifications. As the town spread it was fortified by the addition of the Torre Menze (built in 1464 by Michelozzo and George of Sebenico, but altered in 1538), the Torre Leverone (built in 1539 to defend the harbour and the road to Breno), and Fort S. Margherita (1571). The French built Fort Imperiale on Monte Sergio and the battery on Lacroma. The cliff-like masses of stone are stern and forbidding, and one thinks the citizens must have been glad to escape from them on to the wooded slopes of Monte Sergio (bare and stony now), though their apparent impregnability must have been comforting in those days; when the strong hand often over-ruled right and justice.

The origin of the city is given thus. Fugitives from Epidaurus (Ragusa Vecchia) in 639 took refuge on a rocky hill sheltered by an oak wood (_dubrava_ in Slav, from which the Slav name Dubrovnik may be derived), and Salonitans joined them. In 690 or 870 they began to enclose the place with walls, with the help of the Servian ruler, Paulimir. These walls only enclosed the southern part, and the Stradone served as ditch and harbour. It is claimed that the Republic was founded in 663. Three extensions of the walls are recorded before the twelfth century. There was a Slavonic colony on Monte Sergio, on the other side of the ditch, and the name of their patron saint, Sergius, has survived in that name. The patron saint of the Latin colony on the island was Bacchus, and when the two colonies amalgamated, as neither would accept the patron saint of the other, they chose a fresh one, S. Blaise. They put themselves under Venetian protection in 998, the first count being Ottone Orseolo. The earliest recorded commercial treaty is with Pisa, made in 1169. From 1205 we find Venice supreme, and she remained so for nearly a hundred and fifty years, with an interval of Byzantine rule. In 1358 Ragusa was under the protection of the king of Hungary: the sneer against it of being "sette bandiere" (seven flagged) suggests that it sought protection from more than one power at a time. It was the headquarters of effort for the conversion of the Slavs, which explains the gifts made to its churches by Servian kings and nobles. From 1358 it was practically independent, though it paid a tribute of 500 iperperi to Hungary, and used the Hungarian standard as well as that of S. Biagio. The fifteenth century was the period of greatest prosperity, overshadowed by the fear of being eaten up by Venice. To make themselves secure the Ragusans paid tribute to Constantinople in 1453 of 1,500 ducats, increased afterwards to 10,000; and this tribute appears to have been continued till 1718. Sigismond Malatesta came to Ragusa in 1464, intending to make it a base of attack on Italy in conjunction with the Sultan, but stayed there, and became military commander. Ragusa thus gained the special benevolence of the Pontifical Court, and permission to traffic with the infidel.

The greatest misfortune which befel Ragusa was the earthquake of April 6, 1667, which is thus described. In the early morning "there came from below ground a horrible and dreadful earthquake, which in a few moments destroyed the Rector's palace, the Rector himself being killed, and all the other palaces, churches, monasteries, and houses in the city, everything being overthrown, and there was much loss of life; the havoc was increased by the huge rocks which fell from the mountains; thus the city became a heap of stones. At the same time, a wind having arisen, misfortune was heaped upon misfortune, and, in consequence of the fall of timbers upon the kitchen fires, flames burst forth: the fire lasted several days, causing much suffering to the few survivors of this horrible disaster. Not more than 600, besides 25 nobles, escaped, and it was a sad sight to see these people, most of them injured, wandering about almost beside themselves with despair, in the ruined streets, imploring pity and pardon from the Lord God for their sins. Moreover, the Castle rock was seen to burst open and close again twice, and the waters of the sea sank back four times. Even the wells dried up completely. The land fort remained untouched; the sea fort, the dogana, and the lazaretto were partially damaged, but can be repaired in a short time. Many, moved by compassion at hearing the lamentable cries of those buried among the ruins, struggled to remove the rubbish of stones and timber with which they were covered, and found some still alive, although they had been three, four, or even five days in that terrible condition" (from a Venetian book of 1667). A good deal of plundering went on, the peasants and Morlacchi looking on the catastrophe as a godsend. Biagio Caboga and Michele Bosdari armed their retainers, and kept watch over the ruined churches and public buildings: the relics and remains of the cathedral treasure were removed to a chapel in the Dominican monastery, and bricked up, with a barred aperture only left; and the State treasure was taken to Fort Leverone, where a provisional government was established. The situation appeared so hopeless that it was proposed to move the town to Gravosa, but the citizens would not leave the place. Apparently some 5,000 people had been killed, but the fragments of Venetian architecture on the slopes of Monte Sergio, as well as the one house pointed out beyond the cathedral, show that a good many houses survived in part.

In 1796, when the French occupied the Ionian Islands, a French commissary appeared at Ragusa, and asked for a loan of 1,000,000 francs. It was granted, but produced a rebellion which brought about a short occupation by Austrian troops. By the peace of Presburg (1805), Austria ceded Dalmatia and the Bocche to France. The Bocchesi and Montenegrins determined rather to give themselves to Russia, and, with the help of a squadron sent from Corfu, took the Bocche from Austria as far as Castelnuovo. The French moved towards Ragusa, meaning to occupy Cattaro. General Lauriston, with 800 men, crossed the Ombla and entered the city under pretext of resting his soldiers. The news reached Cattaro, and the Bocchesi, Montenegrins, and Russians invaded the territory of the Republic, beating the French near Ragusa Vecchia, and besieging them in Ragusa. On July 6, 1806, Gravosa was burnt, with the shipping and stores. In 1808 Marmont declared the Republic dead and buried, and the French retained Ragusa till 1814. In January of that year Count Biagio Bernardo di Caboga raised the people, and with English and Austrian troops, freed his country from the French. The flag of Ragusa flew for the last time between those of Austria and England on January 3. On the 28th the territory was taken possession of by Austria. A short time before the French occupation Ragusa had 400 sea-going ships.

There is very little remaining from the early period, though there are records of building being done. Resti, who is an authority for the local history of Ragusa, says that Stefano, king of Croatia Bianca, vowed to restore S. Stefano, Ragusa, and remained there two years while it was being done, spending much money upon it. His wife Margherita, a noble Roman lady, sent a quantity of silver to ornament the relics of the saints, of which the church had many and finally the royal couple visited it, the king being accompanied by several barons, and the queen by her ladies. The rest of the Court stayed at Breno and Canali, because the Ragusans said they could not accommodate them all, the city being but small. The king, in return for the distinguished treatment which was accorded him, is said to have given to the Republic, Breno, Vergato, Ombla, Gravosa, the valley of Malfi, and part of Gionchetto, on the condition of churches dedicated to S. Stephen being built in all the towns. After his death his queen resolved to retire to Ragusa and become a nun. She had a small room built for her by the side of S. Stefano, and also built the little church of S. Margherita, removed in 1570 when the fort which still bears the same name was constructed, and rebuilt in the present military hospital, the old Jesuit convent, where it was used as a mortuary. She also brought to Ragusa two pieces of the wood of the true Cross, the larger of which is still in the cathedral The cell which was built for her still existed in the fifteenth century. The church of S. Stefano was the old cathedral; it was partially destroyed by the earthquake of 1667, and never rebuilt. The site is now used as a recreation ground for the cathedral clergy. Above an early Renaissance door, made when the building was converted into a sacristy for the later church, is encrusted a piece of ninth-century sculpture, with the usual arches, crosses, and palmettes, and in the adjoining wall is an oculus with an ornamented moulding. By the side of the bishop's palace is a little chapel with a door apparently of the ninth century. It has a scroll pattern up the jambs and across the lintel, with the characteristic triple furrowing, and above the lintel a palmette cornice; on the reveal is a twisted guilloche treated in the same manner. There are two or three early churches of little interest on the hill; one at least has been rebuilt. Gelcich says: "Of the Byzantine epoch, except the bas-reliefs of S. Stefano, nothing remains save a memory in the name of the mountain above the city, and the worship of some saint whose name recalls the East."

The present cathedral was rebuilt between 1667 and 1713, and is of the usual character. It, however, possesses several good pictures and a very rich treasury. The most interesting of the pictures is a triptych or portable altar, an old Bruges picture, which the envoys took with them when they went to Constantinople every three years to pay the tribute. The subject is the Adoration of the Magi. In the centre the Virgin is seated with the Child on her lap. He is kneeling, and extending His hand to the oldest of the three kings, who has placed sceptre and gifts at the Saviour's feet. Behind him is another king; through arches a landscape is seen at the back. On the left wing are the third king, a Moor, with a group of figures and landscape behind. On the right wing is a bald-headed man in a rich robe, and in the background a castle. The centre panel is 2 ft. 9 in. high by 1 ft. 9 in. broad. It is in the style of Memling. There are also several Padovaninos and pictures ascribed to Titian and others, a Palma Vecchio, and a fine head of Christ by Pordenone.

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The formalities for opening the treasure caused us some trouble. We arrived just as the usual weekly exhibition was over, and I was told that it was impossible for it to be opened again for seven days. I explained that I had a special permission from the Government to see such things, but that I preferred asking Monsignore (and the little Canon who opened the treasury) to be good enough to give me the facilities which I desired. He asked to have the _statthalter's_ letter to show the bishop. I knew, of course, that he wanted to take it to the _municipio_, to see if it was authentic, and therefore consented, on his engaging to return it; and so we parted. The next day I was allowed to enter the treasury, thereby obliging a rich American family, who would otherwise have found the doors shut, and had a test of my knowledge applied by being asked the period to which a reliquary belonged of which the date was known. Having passed my examination satisfactorily, I had the pleasure of handling any of the objects which I desired to examine, and, further, of being asked to oblige Monsignore by telling him the period when certain of the objects were made. Some of the photographs of the reliquaries were not quite successful, and the next year we returned to make others, taking with us some copies which we had promised to send to the bishop. I was rather amused to be greeted effusively as "Carissimo"; it was such a contrast to our first reception.

The treasury is particularly rich in reliquaries, of which the most valued contains the head of S. Blaise. It consists of a number of small Byzantine enamels reset in an elaborate floral pattern of filigree and enamel by a Venetian goldsmith in 1694--"Franc°° Ferro Venet°," as he signs himself on the lower edge. The design resembles the later Hungarian enamel-work very closely. The stalks are simply gold wires, and the leaves, flowers, &c., are filled in with enamels of different colours, very delicately varied, leaving the copper ground showing, each plaque being surrounded with a twist of gold and pinned down to the capsule of the skull. Legend says that the head was brought to Ragusa in 1026, but even the Byzantine enamels scarcely look as old as that; and the occurrence of two half-lengths of S. Blaise and two of S. Peter suggests that it was made up with fragments of several reliquaries, of which other portions have been used in the arm reliquary of S. Blaise. The names appear to have been added in the thirteenth century; the letters are Latin. There are three rows of the enamels. At the top, upon the curve, are four figures in roundels--"SS. Andreas, Blasivs, Petrvs," and the Archangel Michael. The nimbi are blue-green, the figures red. The second row has eight enamels, alternately round and square; the round ones are unnamed, and represent three saints (one with a stole, holding a cross in the right hand) and a badly restored Madonna. The others are: an Apostle with a roll, "Santvs Petrvs"; a bishop, "Santvs Blasivs"; "Santvs Matevs" with a book in the left hand; "Santvs Jacobvs" with a roll. The third row has eight circular enamels, alternately figures and ornaments. The figures are: Christ enthroned, blessing with the right hand, and with a roll in the left inscribed "IC XC"; S. John the Baptist with inscription "S. IO. BAPT."; S. Zenobius, with his name in full, commencing with a Greek s; and S. John the Evangelist, "S. Johes Eb Agelisa." The arm reliquary is inscribed "Tomaso Paleologo despota del Peloponeso donato a Giorgio Radovanovich civi Raguseo 1452." The saints who appear on the enamels are SS. Laurence, Andrew, Nereus, Achilleus, Lucas, Tomas, Simon, Bartholomew, and Paul. Another reliquary has remains of enamel plaques of Christ, the Virgin, Simeon, SS. John the Evangelist, Blaise, and John the Baptist. A hand of S. Blaise is contained in a beautiful filigree reliquary, and is kept under glass. A head reliquary has a fine pierced pattern and a punched border of early Renaissance character, with niello medallions of the Evangelists' symbols. Another, not quite so good, is dated 1349, and has similar nielli, with interlacings of oak-sprigs. There are several very curious thorax reliquaries, and many arms. Two portable altars with inlaid reliquaries in patriarchal crosses were seen by Eitelberger, with fine figure subjects; on one the Virgin and S. John in _repoussé_ in Romanesque style, and Christ on the Cross on the other, with the monograms added in enamel. These I did not see. A cross with reliefs of the Virgin and Child, with angels at the top, S. Mary Magdalene below, and SS. Blaise and Vincent on the arms, encloses what the Canon told us with pride was the largest piece of the true Cross in existence. A processional cross of the fourteenth century, set upon an eighteenth-century stem, bears figures in relief of Christ, and the Evangelists' symbols, gilt on a silver ground. On the back are the Madonna and Child, with God the Father above and a cherub beneath, SS. Biagio and Francis. Most of the objects are either of the fourteenth or late thirteenth century in style, but may very likely be later, the goldsmiths still using the patterns of an earlier period. The curious reliquary supporting the jaw of S. Stephen of Hungary, and with a figure of the monarch hanging below it, is interesting (as well as unusual) as being an example of ancient Hungarian silversmith's work. It was brought to Ragusa for safety during the Turkish period. There are also several monstrance-like reliquaries, and one fine monstrance of a later period with something of German style in its foliated ornament; but the objects which are exhibited with most pride and with evident expectation of the stupefaction of the tourist are a ewer and dish of silver-gilt, which are covered with representations of sea creatures and weeds, worked with the most extraordinary realism and fineness, and proving very satisfactorily that the copying of nature and the production of a work of art are not necessarily connected. They are kept in leather cases, and the tourist generally makes the expected exclamations when they are disclosed to view. There is an "N" stamped upon the metal, and it is thought that Nuremberg was responsible for them.

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The church of S. Biagio is quite near, a late Renaissance building, which replaced the votive church erected in 1349-52 after the plague of 1348, and burnt in 1706. Above the high-altar is the celebrated silver statue of S. Blaise which was saved from the fire, and is now preserved under glass. It is made of silver plates, gilded, on a basis of wood, and shows the front part of an old man with a long beard, in episcopal robes, holding a model of the city. The back portion has never been completed. The head is too large, the neck too short, and the arms too long. The chasuble has an embroidered cross with figures of Christ and three saints or Apostles, with two little angels censing below the arms, and a quatrefoil in the centre. Two half-length saints are on the dalmatic beneath a double arch. The draperies are well treated, especially the chasuble, upon which is worked an elaborate Burgundian pattern. The details of the town which the saint holds in his hand prove that it was made between 1480 and: 1485. It shows the harbour closed by a chain. The breakwater was built in 1485. The clock-tower also appears (built in 1480). The cast portions of the figure (of which the town is one) are of silver of a different colour from that of the beaten parts, and there is no-doubt, from the variety of style in certain of the details that it has been restored more than once, probably after the fires of 1547 and 1706.

The Dominican convent is just within the Porta Ploce, and the stair which leads to it dates back to Roman times, though it now has Venetian-looking balustrades of the fourteenth century. It led to a gate of the city. Until the seventeenth century it was the duty of the Dominicans to defend Porta Ploce; the Franciscans defended Porta Pile; and the cathedral canons Porta Pescheria. One hundred soldiers were selected monthly from the various ranks, and were divided into two bands for alternate nightly police; twenty-seven more were told off to defend nine selected points against external attack. The lesser towers belonged to patrician houses who were responsible for their defence, whilst the greater and more exposed were looked after by the State. The Dominicans were first established in 1225, in S. Giacomo in Peline, a small, roughly constructed church high on the hill, which has a fourteenth-century Madonna over the altar. Tradition says that S. Dominic himself established the community. The present church was building in 1297, and was consecrated in 1306. The portions which survived the earthquake of 1667 are the south door with the apse of the chapel close to it, the main apse, and the sacristy. This last is the ancient church of the Assumption, given to the Dominicans in 1253 by the Palmotta. The convent was built in 1348. The church has a long nave with a horizontal wooden roof and a polygonal apse. The choir was once vaulted. There are two side altars in recesses rather behind the high-altar. Above them are restored pictures by Nicolaus Raguseus. To the right the centre panel is filled by a figure of S. Nicholas in a shell-headed niche; on the right are SS. Mary Magdalene and James; on the left, SS. John the Baptist and Stephen. The panels are round-headed, and the sky fills the space behind the figures with their gilded nimbi. On S. Stephen's dalmatic are patterns in gold; S. Nicholas's chasuble is of gold with patterns on it. In the picture to the left the Madonna is seated on the crescent moon holding the Child, and surrounded by cherubs; on her right are S. Biagio holding the city, and S. Paul; on her left, S. Thomas Aquinas holding a church, and S. Augustine. There is a good deal of gold used in the draperies, and the ground is gold. Both these pictures are very decorative. The high-altar-piece is a Venetian Madonna and Child, with SS. Dominic and Clara. On the north wall is a picture ascribed to Titian, parts of which may be from his hand, but it has been restored. It represents S. Biagio with a crozier, holding the town; S. Mary Magdalene in ecstasy, with long hair and a white dress; at the right the donor kneeling, and behind him Tobit and the Angel. There is also a great coloured crucifix with SS. John and Mary, regarded as miraculous at the time of the plague of 1358. It was placed here by Pasquale Resti, and is well modelled, with the head cast down. The dark brown colouring of the hair is not pleasant, and the white drapery cuts hardly against the dark-hued flesh.

The pulpit is of stone; beneath shell-headed niches on the front stand figures of SS. Catherine of Siena, Dominic, Thomas Aquinas, and Peter Martyr. They and their emblems are painted; the nimbi and the ribs of the shells are gilded. Across the west end of the nave is a fine early Renaissance triple arch which was once the architectural setting to three altars on the north side of the church. Among the ornament, traces of Gothic feeling still linger. In the sacristy are an Early Martyrdom of S. Laurence and two other pictures in compartments on a gold ground, which bear a certain resemblance to others produced in the March of Ancona. The frame of one of them is especially fine, with projecting hoods to the niches in which the figures stand. In the centre is the Baptism of Christ, with a landscape background; on the right are SS. Augustine and Stephen; on the left, SS. Nicholas and Michael. Above are half-lengths of the Madonna and Child in a vesica starred with cherubs; on the right, SS. Peter Martyr and Francis; on the left, SS. Peter and Dominic. Another has the Madonna, SS. Julian, James, Dominic, and Matthew on a gold ground. These have also been restored. There are also two good Flemish pictures on panel, a Christ and a veiled woman. Within a pointed arch is an interesting funerary inscription stating that the port was the work of "Pasqualis Michaelis Ragusinus," with the date 1485. He was also master of the foundry, and apparently supervised the fortifications. He was the architect of the bridge of Porta Pile in 1471, and to him the design of the Sponza is ascribed by some. The note recording the commencing of the construction of the port (February 19, 1481) embodies the fact of the sailors' approval of the design.

The cross of Uros I. (1275-1320) is over an altar in a room within the sacristy, the door of which is kept double-locked. It is not very interesting from the point of view of craft. It is a patriarchal cross with piercings at the crossings, and rosettes at the ends of the arms, which are probably later additions. The material is silver, parcel-gilt.

The treasury contains reliquaries and chalices, and a Gothic monstrance, but nothing of great interest. The south door has round arches beneath an ogee hood, the jambs are ornamented with damaged scrolled leafage, and in the tympanum is a figure of S. Dominic. The apse of the chapel close by is Romanesque, and, with the flight of steps to the door and the foliage of a tree which overhangs them, makes a picturesque background to the groups of Herzegovinians who pass on their way from the Porta Ploce to the Stradone. The cloister is, however, the most picturesque part of the convent. Beneath round arches smaller cusped round arches with shafts and caps are grouped in threes, the head having two circles within it, sometimes pierced as quatrefoils, sometimes with an interlacing pattern with Oriental suggestion, and reminding one of the patterns in a similar situation in the cloister at Tarragona. The same mixture of ornamental _motifs_ may be noticed in the richly carved moulding which terminates the wall beneath the parapet. The well in the centre is of 1623, but takes its place among the trees, flowers, and warm-toned stone quite pleasantly. Above towers the campanile containing two old bells, one cast by Battista of Arbe in 1516, and one by Bartolommeo of Cremona, in 1363. It was built by a Ragusan, Fra Stefano, in 1424, and has three stories of two-light windows, with mid-wall shafts under round arches, and a crowning octagonal stage. The enlargement of the church and convent was executed by the architect Pasqualis Michaelis, just referred to.

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The Franciscan convent is at the other end of the Stradone, just inside the Porta Pile. The Order was at first established outside; but the convent founded in 1235 was destroyed by the Republic to prevent the Servians from using it as shelter, and in 1315 the monks came within the walls. It is said that S. Francis himself came to Ragusa in 1220, and several of the Franciscan convents in Dalmatia claim to have been founded by him. The church has a late Gothic doorway on the south, with an ogee tympanum bearing a Pietà, and flanked by pinnacled niches which have statues of SS. John the Baptist and Jerome; above is a figure of a bearded saint holding a book. The foliage is well carved, and the pilasters are panelled in two stages. Behind the church is the first cloister, surrounded by an arcade resting on coupled octagonal colonnettes with unmoulded round arches, divided into groups of six by piers. The wall above is pierced by oculi of different sizes, some of which have quatrefoil tracery within, and the caps of the columns show an almost Romanesque variety and vivacity. The wall terminates with a carved quarter-roll moulding and a balustrade with cusped round arches above coupled colonnettes. This balustrade, notwithstanding its style, was only completed in 1629, unless this date refers merely to repairs done at that time. On the south side is a fifteenth-century fountain, with a later statue of S. Francis; in front of it is a paved walk flanked by seats, the backs of which form the enclosure of the raised garden on each side. It is as pleasant a place as the Dominican cloister, though quite unlike it. The architect was Mag. Mycha of Antivari, whose signature may be found on a corner pilaster, with the date 1363. Higher up the hill is another cloister, long and narrow, with round arches resting on square piers, and a well under a picturesque penthouse roof. Here it was that the herbs and simples were grown. By the side of the steep stair (which goes up still higher) a little rill of water flows, I suppose, to the lower cloister. The convent cost 28,000 ducats to the public treasury, besides much given by generous donors, the Ghent merchants especially contributing largely. The top of the campanile was replaced after the earthquake of 1667. In the sacristy are some stall-fronts and cupboards ornamented with intarsia of arabesques and figures of saints of the Order, the latter rather rough in workmanship. Also a pretty, early Renaissance lavabo in Istrian stone. The church plate, including a fine monstrance, is kept in a Gothic cupboard painted with the arms of the Bona family. In the church is a great crucifix which came from Stagno, painted in tempera, with the symbols of the Evangelists. The library is rich in literary documents, and in the convent, upstairs, is a picture which shows Ragusa as it was before the earthquake.

High on the hill above the Franciscan church is the early nuns' church of La Sigurata, hidden away in a court. Like several others of the early churches it shows no sign of its great antiquity.

The Rector's Palace was commenced in 1388 and completed in 1424, at a cost of 40,000 zecchins. In 1435 it was partially burnt, and was restored under "Onofrio Giordani de la Cava," who had been five years in the city.

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