摘要：In his paper the author carries out an analysis of the relief of St Blaise in Dubrovnik. The survived relief is, undoubtedly, the only remaining piece of the Silver Altarpiece in the church of St Blaise and the only preserved fragment of one of Ragusan (Dubrovnik’s) silver altarpieces which were on display in the Dominican and Franciscan churches, as well as in the Cathedral of the Assumption of Our Lady. Nicola of Florence and Francesco from Bergamo, residing in Ragusa, were commissioned by the treasurers of the Cathedral to execute the altarpiece in December, 1417. Lovro Dobričević, son of Marin carved and painted over its wooden wings in the church of St Blaise and made a commitment to paint an iconographic representation of the Annunciation with the figures of Virgin Mary and Gabriel the Archangel from both, their inner side and a polyptych with 18 panels in two tiers depicting figures of the saints, on the exterior. Krile Antunović, a Ragusan painter made some repair interventions on the wooden wings based on the model of the former. Upon damages inflicted on the Silver Altarpiece, it was placed underneath the stone ciborium in the church of St Blaise. Following the fire which broke out in the church in the night between 24th and 25th May, 1706, the Great Council made a decision to remelt all silver artifacts from the treasury of St Blaise, except for the crozier and some repairable objects. As a memento of its kind these more or less undamaged silver relics from the damaged Silver Altarpiece, originating from the Romanesque church, were placed on the new altar by Marino Gropelli. The relief of St Blaise demonstrates the importance of Ragusa as a centre of goldsmith’s trade. Numerous goldsmiths created a specific ‘Ragusan style’ craftsmanship in precious metals, synthesising various goldsmiths’ traditions into a new quality.
