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. CHAPTER VII RAGUSA UNDER HUNGARIAN SUPREMACY—THE TURKISH INVASION, 1358-1420 By the treaty of 1358 the whole eastern shore of the Adriatic as far as Durazzo was ceded to Hungary, but as a matter of fact that Power only extended its occupation as far as Ragusa. Not having a strong fleet, King Louis feared that the more southern cities would be difficult to hold, and he therefore never exercised his treaty rights over them. Venice, having lost with Dalmatia her chief naval base, turned her attention towards Albania and the adjoining Slavonic countries. She had at one time occupied Durazzo (1205-1208), and through her colonies in Dalmatia had come into contact with the Albanians. Now that her influence in the former country was destroyed, and that she had lost a large part of her mainland possessions, the population devoted itself to “the bee-like task of accumulating wealth and extending its commerce.”[274] Relations were once more established with Albania, trade with that country was encouraged, and the foundations were laid for the revival of Venetian influence in the Adriatic.[275]