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