Stone saints stand sentinel above an ornate Gothic-Renaissance portal in this striking black-and-white view of the Franciscan Church of the Minor Brethren (Crkva Male Braće) in Dubrovnik — then still known internationally as Ragusa — capturing the medieval city's spiritual heart with the kind of crisp photographic clarity that made J. Tošović's cards prized souvenirs of the Adriatic coast. The portal, carved in 1499 and attributed to the workshop of Bonino da Milano, features a deeply sculpted Pietà in its tympanum, flanked by figures of Saints and crowned by a soaring statue against the massive ashlar walls of the church; this image, numbered 11953 in pencil on the front, documents the portal in pristine pre-tourist-boom condition. Published from Ragusa — the city's pre-Yugoslav name — this undivided or early-divided-back card sits firmly in the Edwardian era of Adriatic travel, when steamship tourists from Vienna, Prague, and Budapest collected such architectural studies as artistic keepsakes.