by Rebecca West
For an ideal first visit the traveller should go into the city and find the light just faintly blue with dusk in the open space that lies inside the gate, and has for its centre the famous fountain by the fifteenth-century Neapolitan architect Onofrio de la Cava. This is a masterpiece, the size of a small chapel, a domed piece of masonry with fourteen jets of water, each leaping from a sculptured plaque set in the middle of a panel divided by two slender pilasters, into a continuous trough that runs all round the fountain: as useful as any horse-trough, and as lovely and elevating as an altar. On the two steps that raise it from the pavement there always lie some carpets with their sellers gossiping beside them. At this hour all cats are grey and all carpets are beautiful; the colours, fused by the evening, acquire richness. On one side of this square is another of the bland little churches which Dalmatians built so often and so well, a town sister of that we had seen in the village where the retired sea captains lived. At this hour its golden stone gives it an air of enjoying its own private sunset, prolonged after the common one. It has a pretty and secular rose-window which might be the brooch for a bride’s bosom. Beside it is a Franciscan convent, with a most definite and sensible Pietà over a late Gothic portal. The Madonna looks as if, had it been in her hands, she would have stopped the whole affair; she is in no degree gloating over the spectacular fate of her son. She is not peasant, she is noble; it is hardly possible to consider her as seducible by the most exalted destiny. Facing these across the square is the old arsenal, its façade pierced by an arch; people walk through it to a garden beyond, where lamps shine among trees, and there is a sound of music. For background there are the huge city walls, good as strength, good as honesty.
Ahead runs the main street of the town, a paved fairway, forbidden to wheeled traffic, lined with comely seventeenth-century houses that have shops on their ground floor. At this time it is the scene of the Corso, an institution which is the heart of social life in every Yugoslavian town, and indeed of nearly all towns and villages in the Balkans. All of the population who have clothing up to the general standard-I have never seen a person in rags and patches join a Corso in a town where good homespun or manufactured textiles are the usual wear, though in poverty-stricken districts I have seen an entire Corso bearing itself with dignity in tatters-join in a procession which walks up and down the main street for an hour or so about sunset. At one moment there is nobody there, just a few people going about the shops or sitting outside cafés; at the next the street is full of all the human beings in the town that feel able to take part in the life of their kind, each one holding up the head and bearing the body so that it may be seen, each one chattering and being a little gayer than in private, each one attempting to establish its individuality. Yet the attempt defeats itself, for this mass of people, moving up and down the length of the street and slowly becoming more and more like each other because of the settling darkness, makes a human being seem no more than a drop of water in a stream. In a stream, moreover, that does not run for ever. The Corso ends as suddenly as it begins. At one instant the vital essence of the town chokes the street with its coursing; the next, the empty pavement is left to the night.
But while it lasts the Corso is life, for what that is worth in this particular corner of the earth; and here, in Dubrovnik, life still has something of the value it must have had in Venice when she was young. A city that had made good bread had learned to make good cake also. A city that had built itself up by good sense and industry had formed a powerful secondary intention of elegance. It is a hundred and thirty years ago that Dubrovnik ceased to exist as a republic, but its buildings are the unaltered cast of its magnificence, its people have still the vivacity of those who possess and can enjoy. Here the urbanity of the Dalmatian cities becomes metropolitan. Follow this Corso and you will find yourself in the same dream that is dreamed by London and Paris and New York; the dream that there is no limit to the distance which man can travel from his base, the cabbage-patch, that there is no pleasure too delicate to be bought by all of us, if the world will but go on getting richer. This is not a dream to be despised; it comes from man’s more amiable parts, it is untainted by cruelty, it springs simply from a desire to escape from the horror that is indeed implicit in all man’s simpler relationships with the earth. It cannot be realized in a city so great as London or Paris or New York, or even the later Venice; it was perhaps possible to realize it in a city no larger than Dubrovnik, which indeed neither was nor is very far from the cabbage-patches. For on any fine night there are some peasants from the countryside outside the walls who have come to walk in the Corso.
To taste the flavour of this Corso and this city, it is good to turn for a minute from the main street into one of the side streets. They mount steep and narrow to the walls which outline the squarish peninsula on which the city stands; close-pressed lines of houses—left at this hour to sleeping children, the old, and servant-maids-which are rich in carved portals and balconies, and perfumed with the spring. For it took the Industrial Revolution to make man conceive the obscene idea of a town as nothing but houses. These carved portals and balconies are twined with flowers that are black because of the evening but would be scarlet by day, and behind high walls countless little gardens send out their sweetness. Back in the main street the people from these houses and gardens sweep down towards their piazza, past a certain statue which you may have seen in other towns, perhaps in front of the Rathaus at Bremen. Such statues are said to represent the hero Orlando or Roland, who defeated the Saracens: they are the sign that a city is part of liberal and lawful Christendom. To the left of the crowd is the Custom House and Mint, in which the history of their forebears for three centuries is written in three stories. In the fourteenth century the citizens of the Republic built themselves a Custom House, just somewhere to take in the parcels; in that age the hand of man worked right, and the courtyard is perfection. A hundred years later so many parcels had come in that the citizens were refined folk and could build a second story for literary gatherings and social assemblies, as lovely as Venetian Gothic could make it. Prosperity became complicated and lush, the next hundred years brought the necessity of establishing a handsome Mint on the top floor, in the Renaissance style; and for sheer lavishness they faced the Custom House with a loggia. Because the people who did this were of the same blood, working in a civilization that their blood and none other had made, these different styles are made one by an inner coherence. The building has a light, fresh, simple charm.
They mill there darkly, the people of Dubrovnik, the buildings running up above them into that whiteness which hangs above the earth the instant before the fall of the night, which is disturbed and dispersed by the coarser whiteness of the electric standards. The Custom House is faced by the Church of St. Blaise, a great baroque mass standing on a balustraded platform, like a captive balloon filled with infinity. In front is an old tower with a huge toy clock: at the hour, two giant bronze figures of men come out and beat a bell. The crowd will lift their heads to see them, as their fathers have done for some hundreds of years. Next to that is the town café, a noble building, where one eats well, looking on to the harbour; for we have reached the other side of the peninsula now, the wind that blows in through the archways is salt. Then to the right is the Rector’s palace, that incomparable building, the special glory of Dubrovnik, and even of Dalmatia, the work of Michelozzo Michelozzi the Florentine and George the Dalmatian, known as Orsini. Simply it consists of a two-storied building, the ground floor shielded by a loggia of six arches, the upper floor showing eight Gothic windows. It is imperfect: it once had a tower at each end, and these have gone. Nevertheless, its effect is complete and delightful, and, like all masterpieces of architecture, it expresses an opinion about the activities which are going to be carried on under its roof. Chartres is a speculation concerning the nature of God and of holiness. The Belvedere in Vienna is a speculation concerning political power. With its balanced treatment of its masses and the suggestion of fecu
ndity in its springing arches and proliferating capitals, the Rector’s palace puts forward an ideal of an ordered and creative society. It is the most explicit building in an amazingly explicit town, that has also an explicit history, with a beginning and an end. It is another example of the visibility of life which is the special character of Yugoslavia, at least so far as those territories which have not been affected by the Teutonic confusion are concerned.
The Corso says, ‘This is the city our fathers made.’ The city says, ‘These are the men and women we have made.’ If you should turn aside and go into the café to eat an evening meal, which here should be preferably the Englische Platte, an anthology of cold meats chosen by a real scholar of the subject, the implications of this display will keep you busy for the night. There is, of course, the obvious meaning of Dubrovnik. It was quite truly a republic: not a protectorate, but an independent power, the only patch of territory on the whole Dalmatian coast, save for a few unimportant acres near Split, that never fell under the rule of either Hungary or Venice. It was a republic that was a miracle: on this tiny peninsula, which is perhaps half a mile across, was based a great economic empire. From Dubrovnik the caravans started for the overland journey to Constantinople. This was the gateway to the East; and it exploited its position with such commercial and financial and naval genius that its ships were familiar all over the known world, while it owned factories and warehouses in every considerable port of Southern Europe and in some ports of the North, and held huge investments such as mines and quarries in the Balkans. Its history is illuminated by our word ‘argosy,’ which means nothing more than a vessel from Ragusa. It is as extraordinary as if the city of London were to have carried out the major part of the commercial achievements of the British Empire up to, say, the reign of Henry VII, with no more territory than itself and about three or four hundred square miles in the home counties which it had gradually acquired by conquest and purchase. That is the primary miracle of Dubrovnik; that and its resistance to Turkey, which for century after century coveted the port as the key to the Adriatic and the invasion of Italy, yet could never dare to seize it because of the diplomatic genius of its defenders.
But as one contemplates the town other issues crowd on the mind. First, the appalling lack of accumulation observable in history, the perpetual cancellation of human achievement, which is the work of careless and violent nature. This place owes its foundation to the ferocity of mankind towards its own kind. For Dubrovnik was first settled by fugitives from the Greek city of Epidaurus, which is ten miles further south down the coast, and from the Roman city of Salonæ, when these were destroyed by the barbarians, and was later augmented by Slavs who had come to these parts as members of the barbarian forces. It was then monstrously harried by the still greater ferocity of fire and earthquake. Some of the fires might be ascribed to human agency, for the prosperity of the group-which was due to its fusion of Greek and Roman culture with Slav virility—meant that they were well worth attacking and therefore they had to make their rocky peninsula into a fortress with abundant stores of munitions. They were, therefore, peculiarly subject to fires arising out of gunpowder explosions. The Rector’s palace was twice burned down for this reason during twenty-seven years. But such damage was trifling compared to the devastation wrought by earthquakes.
The bland little church beside the domed fountain at the City Gate was built in the sixteenth century as a thanksgiving by those who had been spared from an earthquake which, in a first convulsion, shook down houses that were then valued at five thousand pounds, and then continued as a series of shocks for over eighteen months; and there was apparently an earthquake of some degree in this district every twenty years. But the worst was the catastrophe of 1667. The sea was tilted back from the harbour four times, each time leaving it bone dry, and each time rushing back in a flood-wave which pounded many vessels to pieces against the docks and cliffs. The greater part of the public buildings and many private houses were in ruins, and the Rector of the Republic and five thousand citizens were buried underneath them. Then fire broke out; and later still bands of wolfish peasants from the mountain areas devastated by Venetian misrule and Turkish warfare came down and plundered what was left.
We know, by a curious chance, exactly what we lost in the way of architecture on that occasion. In the baroque church opposite the Rector’s palace there is a two-foot-high silver statuette of St. Blaise, who is the patron saint of the city, and he holds in his hand a silver model of Dubrovnik as it was before the earthquake. It shows us the setting for a fairy-tale. In particular it shows the Cathedral, which was built by Richard Cœur de Lion as a thanksgiving for his escape from shipwreck on this coast, as a thirteenth-century building of great beauty and idiosyncrasy, and the main street as a unique expression of commercial pride, a line of houses that were true palaces in their upper parts and shops and offices below. We can deduce also that there was an immense loss of pictures, sculptures, textiles, jewels, and books, which had been drawn by the Republic from West and East during her centuries of successful trading. Indeed, we know of one irreparable loss, so great that we cannot imagine what its marvellous content may have been. There existed in Bosnia a society that was at once barbarous and civilized, an indirect heir to Byzantine civilization and able to fight Rome on doctrinal points as a logic-chopping equal, but savage and murderous. This society was destroyed by the Turk. At the end of the fifteenth century, Catherine, the widow of the last King of Bosnia, murdered by his illegitimate son, who was later himself flayed alive by Mahomet I, fled to Dubrovnik and lived there till she went to Rome to die. Before she left she gave some choral books, richly illustrated and bound, to the monks of the Franciscan monastery, who had a famous library. If these books had survived they would have been a glimpse of a world about which we can now only guess: but the whole library perished.
What is the use of ascribing any catastrophe to nature? Nearly always man’s inherent malignity comes in and uses the opportunities it offers to create a graver catastrophe. At this moment the Turks came down on the Republic to plunder its helplessness, though their relationship had till then been friendly. Kara Mustapha, the Turkish Grand Vizier, a demented alcoholic, pretended that the armed resistance the citizens had been forced to put up against the wretched looters from the mountains was in some obscure way an offence against Turkish nationals, and on this pretext and on confused allegations of breach of tariff agreements he demanded the payment of a million ducats, or nearly half a million pounds. He also demanded that the goods of every citizen who had been killed in the earthquake should be handed to the Sublime Porte, the Republic being (he suddenly claimed) a Turkish possession. For fifteen years the Republic had to fight for its rights and keep the aggressors at bay, which it was able to do by using its commercial potency and its diplomatic genius against the Turks when they were already rocking on their feet under the blows of Austria and Hungary. Those were its sole weapons. France, as professed defender of Christianity and order in Europe, should have aided the Republic. But Louis XIV would not lift his little finger to help her, partly because she had been an ally of Spain, partly because the dreary piece of death-in-life, Madame de Maintenon, supreme type of the she-alligator whom men often like and admire, had so inflamed him with pro-Jesuit passion that a mere rumour that the Republican envoy was a Jansenist was enough to make him cancel his mission.
The story of what happened to the four ambassadors who left to plead with the Turkish Government is one of the classic justifications of the human race: almost a promise that there is something to balance its malignity. Caboga and Bucchia were sent to Constantinople to state the independence of the Republic. They were, by a technique familiar to us today, faced with documents admitting that the Republic was a Turkish possession and told with threats and curses that they must sign them. They refused. Dazed and wearied from hours of bullying they still refused, and were thrown into a plague-stricken prison. There they lay for years, sometimes smuggling home dispatches written
in their excrement on packing paper. Their colleagues, Bona and Gozzi, went to Sarajevo to make the same statement of independence to the Pasha of Bosnia, and were likewise thrown into captivity. They were dragged behind the Turkish Army on a war it was conducting with Russia on the Danube, and there thrown in irons into the dungeons of a fortress in a malarial district, and told they must remain prisoners until they had signed the documents which Caboga and Bucchia had refused to sign in Constantinople. There Bona died. A Ragusan priest who had settled in the district stood by to give him the last sacrament, but was prevented by the jailers. There is no knowing how many such martyrs might have been demanded of Dubrovnik and furnished by her, had not the Turks then been defeated outside Vienna by John Sobieski, King of Poland. Kara Mustapha was executed, and there was lifted from the Republic a fear as black as any we have felt today.
