[Illustration: 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 πηλη, 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.