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+      The Project Gutenberg eBook of The Shores of the Adriatic, by F. Hamilton Jackson.
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+<pre>
+
+Project Gutenberg's The Shores of the Adriatic, by F. Hamilton Jackson
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Shores of the Adriatic
+       The Austrian Side, The K�stenlande, Istria, and Dalmatia
+
+Author: F. Hamilton Jackson
+
+Release Date: November 26, 2009 [EBook #30548]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE SHORES OF THE ADRIATIC ***
+
+
+
+
+Produced by Thanks to, Marilynda Fraser-Cunliffe, and the
+Online Distributed Proofreaders Europe Europe at
+http://dp.rastko.net. ( This book was produced from scanned
+images of public domain material from the Digital &
+Multimedia Center, Michigan State University Libraries.)
+
+
+
+
+
+
+</pre>
+
+
+
+
+
+
+
+
+
+
+<h1>THE SHORES OF THE ADRIATIC</h1>
+
+<p><br /><span class="pagenum"><a name="Page_i" id="Page_i">[Pg i]</a></span></p>
+
+<p><br /><span class="pagenum"><a name="Page_ii" id="Page_ii">[Pg ii]</a></span></p>
+
+
+<h2>THE AUSTRIAN SIDE</h2>
+
+<h3>THE K�STENLANDE, ISTRIA, AND DALMATIA</h3>
+
+
+<h2>By F. HAMILTON JACKSON, R.B.A.</h2>
+
+<p class="center"><span class="smcap">Vice-President Of The Institute Of Decorative Designers Cantor Lecturer,
+Etc.</span></p>
+
+<p class="center">FULLY ILLUSTRATED WITH PLANS. DRAWINGS BY THE AUTHOR,<br />AND PHOTOGRAPHS
+TAKEN SPECIALLY FOR THIS WORK</p>
+<p><br /><span class="pagenum"><a name="Page_iii" id="Page_iii">[Pg iii]</a></span></p>
+
+
+<div class="figcenter" style="width: 138px;">
+<a name="titlepage" id="titlepage"></a>
+<img src="images/p005.jpg" width="138" height="160" alt="" title="decoration" />
+</div>
+
+
+<p class="center">LONDON JOHN MURRAY, ALBEMARLE STREET, W. 1908<span class="pagenum"><a name="Page_iv" id="Page_iv">[Pg iv]</a></span></p>
+
+<p class="center">PRINTED BY HAZELL, WATSON AND VINEY, LD., LONDON AND AYLESBURY.<span class="pagenum"><a name="Page_v" id="Page_v">[Pg v]</a></span></p>
+
+<div class="figcenter" style="width: 372px;">
+<a name="frontis" id="frontis"></a>
+<img src="images/p004.jpg" width="372" height="550" alt="HERZEGOVINIAN WOMEN AT A BAKER&#39;S SHOP IN RAGUSA.
+" title="" />
+<span class="caption">HERZEGOVINIAN WOMEN AT A BAKER&#39;S SHOP IN RAGUSA.
+<br /><i>Frontispiece</i></span>
+</div>
+
+<hr style="width: 65%;" />
+<h2><a name="PREFACE" id="PREFACE"></a>PREFACE</h2>
+
+
+<p>This volume is complementary to that dealing with the Italian side of
+the Adriatic, and follows much the same lines. It has not been thought
+necessary to repeat what appeared there about the sea itself, but some
+further details on the subject have been added in an introductory
+chapter. The concluding chapter treats of the influence which the two
+coasts exerted on each other, and contains some hints as to certain
+arch�ological problems of great interest, which deserve fuller and more
+individual treatment than they can receive in such a work as the
+present.</p>
+
+<p>In a country which still contains so much that is unfamiliar, so many
+medi�val survivals in customs and costume, and so much that is fine in
+scenery, architecture, and the decorative arts, the picturesque aspect
+of the country has been dwelt upon more than was the case in dealing
+with the Italian side, and the meticulous description of buildings has
+to a great extent been abandoned, except in cases where it was necessary
+for the full understanding of the deductions drawn from existing
+details. At the same time, matters of arch�ology have not been
+neglected, and the rich remains of medi�val goldsmiths' work have
+received special attention. The costume, the customs, and the folk-lore
+of the Morlacchi are also treated of in considerable detail.</p>
+
+<p>The determination of the Croat majority to stamp out the Italian
+language by insisting upon instruction<span class="pagenum"><a name="Page_vi" id="Page_vi">[Pg vi]</a></span> in the schools being given
+solely in Croat will, in the course of a generation, make Italian a
+foreign language understood by few; and it seems wise for those who
+desire to visit Dalmatia to do so soon, while it is still understood and
+before Italian culture is forgotten.</p>
+
+<p>The present work does not pretend to in any way rival Mr. T.G. Jackson's
+classic volumes on the architecture of the country, in completeness of
+historical treatment or architectural detail. Though Sir Gardner
+Wilkinson had published a book on the country, and the brothers Adam's
+full description of Diocletian's Palace was well known to connoisseurs,
+he may be said to have practically discovered Dalmatia for the
+Englishman; and it is a proof of the excellence of his work that, though
+twenty years have elapsed since it was published, it has never been
+surpassed, and its value remains undiminished. To these volumes the
+author desires to acknowledge his indebtedness, as well as to the
+"Mittheilungen" of the Austrian Central Commission for the Conservation
+of Historical Monuments; the "Bullettino di Storia Dalmata," conducted
+by Mgr. Buli&#263; at Spalato; the "Atti" of the Istrian "Societ� di
+Archeologia e Storia Patria," published at Parenzo; and the "Archeografo
+Triestino," published at Trieste, all chronicling discoveries as they
+were made, and containing articles giving interesting and reliable
+information upon the history and antiquities of the coast. In addition,
+the following works have been consulted:</p>
+
+<p>Freeman's "Subject Lands of Venice"; Munro's "Rambles and Studies in
+Bosnia and Herzegovina"; Neale's "Travels in Dalmatia"; Villari's
+"Ragusa"; Benussi's "L'Istria"; Bianchi's "Zara Cristiana" and
+"Antichit� Romane e medi�vale di Zara"; Mgr. Buli&#263;'s "Guide to Spalato
+and Salona"; Caprin's "Il Trecento a Trieste," "Alpi Gulie," and
+"L'Istria noblissima";<span class="pagenum"><a name="Page_vii" id="Page_vii">[Pg vii]</a></span> Carrara's "La Dalmazia descritta"; Chiudina's
+"Le Castella di Spalato"; Fabianich's "La Dalmazia n� primi cinque
+secoli del Cristianesimo"; Fosco's "La Cathedrale di Sebenico";
+Franceschi's "L'Istria"; Gelcich's "Memorie storiche delle Bocche di
+Cattaro" and "Dello Sviluppo civile di Ragusa"; Lago's "Memorie sulla
+Dalmazia"; Lucio's "History of Dalmatia and Tra�"; Ludwig and Molmenti's
+"Vittore Carpaccio"; Mantegazza's "L'Altra Sponda"; Modrich's "La
+Dalmazia"; Pasini's "Il Tesoro di S. Marco in Venezia"; Cav. G.B. di
+Rossi's "La Capsella Argentea africana," &amp;c., and the two series of
+"Bullettino di Archeologia Cristiana"; Sabalich's "Guida Archeologica di
+Zaza"; Tamaro's "Le Citta dell' Istria"; and volumes of the Zara
+"Annuario Dalmatico"; Bamberger's "Blaues Meer und Schwarze Berge";
+Danilo's "Dalmatien"; "Die Monarchic in Wort und Bild"; Eitelberger von
+Edelberg's "Gesammelte Kunsthistorischen Schriften"; Hauser's "Spalato
+und die monumente Dalmatiens"; Heider's "Mittelaltliche Kunst denkmale
+des &#338;sterreichischen Kaiserstaates"; Passarge's "Dalmatien und
+Montenegro"; Petermann's "F�hrer durch Dalmatien"; Tomasin's "Die
+Volkstamme im Gebiete von Triest und in Istrien"; Von Warsberg's
+"Dalmatien"; and Count Lanckoronski's magnificent monograph of the
+Cathedral of Aquileia.</p>
+
+<p>A small portion of the matter of this volume has appeared in <i>The
+Builder</i> and <i>The Guardian</i>, but has been revised and, to a great
+extent, rewritten. The author's thanks are due to the proprietors for
+permission to republish these articles. He desires to express his thanks
+also to the Austrian Government especially, and to the ecclesiastical
+authorities, for special facilities very kindly afforded him for
+prosecuting his studies; to the Central Commission, for the loan of
+clich�s of most of the plans; to the directorate<span class="pagenum"><a name="Page_viii" id="Page_viii">[Pg viii]</a></span> of the Archeografo
+Triestino, for permission to reproduce the plan of the cathedral,
+Trieste; to the Istrian Arch�ological Society, for the plan of the three
+cathedrals of Parenzo, and for permission, very courteously given by the
+president, Dr. Amoroso, to use anything published by them on the
+subject; to Mgr. Buli&#263;, Sig. Maionica, Curator of the Museum, Aquileia,
+and to Sig. Puschi, of the Museum, Trieste, for much information kindly
+given by word of mouth; and to Mr. Palmer, Librarian of the Art Library,
+South Kensington, for calling his attention to several books which were
+exceedingly useful.</p>
+
+<p>The photographs (as in the Italian volume) are from the excellent
+negatives of Mr. Cooper Ashton, the travelling companion of many foreign
+arch�ological expeditions.<span class="pagenum"><a name="Page_ix" id="Page_ix">[Pg ix]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="CONTENTS" id="CONTENTS"></a>CONTENTS</h2>
+
+<div class="centered">
+<table border="0" cellpadding="2" width="65%" cellspacing="0" summary="CONTENTS">
+<tr><td align="right">&nbsp;</td><td align="left">&nbsp;</td><td align="right">PAGE</td></tr>
+<tr><td align="right">&nbsp;</td><td align="left"><span class="smcap">Preface</span></td><td align="right"><a href='#Page_v'>v</a></td></tr>
+<tr><td align="right">&nbsp;</td><td align="left"><span class="smcap">Lists of Illustrations and Plans</span></td><td align="right"><a href='#Page_xi'>xi-xv</a></td></tr>
+<tr><td align="right">I.</td><td align="left"><span class="smcap">Introductory Chapter</span></td><td align="right"><a href='#Page_1'>1</a></td></tr>
+<tr><td align="right">II.</td><td align="left"><span class="smcap">The Races and their Customs</span></td><td align="right"><a href='#Page_6'>6</a></td></tr>
+<tr><td align="right">III.</td><td align="left"><span class="smcap">Aquileia</span></td><td align="right"><a href='#Page_23'>23</a></td></tr>
+<tr><td align="right">IV.</td><td align="left"><span class="smcap">Grado</span></td><td align="right"><a href='#Page_41'>41</a></td></tr>
+<tr><td align="right">V.</td><td align="left"><span class="smcap">Grado to Trieste</span></td><td align="right"><a href='#Page_54'>54</a></td></tr>
+<tr><td align="right">VI.</td><td align="left"><span class="smcap">Historical Sketch of Istria</span></td><td align="right"><a href='#Page_69'>69</a></td></tr>
+<tr><td align="right">VII.</td><td align="left"><span class="smcap">Muggia to Pirano</span></td><td align="right"><a href='#Page_79'>79</a></td></tr>
+<tr><td align="right">VIII.</td><td align="left"><span class="smcap">Umaco to Parenzo</span></td><td align="right"><a href='#Page_104'>104</a></td></tr>
+<tr><td align="right">IX.</td><td align="left"><span class="smcap">Parenzo</span></td><td align="right"><a href='#Page_107'>107</a></td></tr>
+<tr><td align="right">X.</td><td align="left"><span class="smcap">To Pola by Sea</span></td><td align="right"><a href='#Page_127'>127</a></td></tr>
+<tr><td align="right">XI.</td><td align="left"><span class="smcap">To Pola by Land</span></td><td align="right"><a href='#Page_133'>133</a></td></tr>
+<tr><td align="right">XII.</td><td align="left"><span class="smcap">Pola</span></td><td align="right"><a href='#Page_143'>143</a></td></tr>
+<tr><td align="right">XIII.</td><td align="left"><span class="smcap">Characteristics of the Istrian Coast</span></td><td align="right"><a href='#Page_160'>160</a></td></tr>
+<tr><td align="right">XIV.</td><td align="left"><span class="smcap">Fiume and Veglia</span></td><td align="right"><a href='#Page_163'>163</a></td></tr>
+<tr><td align="right">XV.</td><td align="left"><span class="smcap">Ossero and Cherso</span></td><td align="right"><a href='#Page_180'>180</a></td></tr>
+<tr><td align="right">XVI.</td><td align="left"><span class="smcap">Historical Sketch of Dalmatia</span></td><td align="right"><a href='#Page_187'>187</a></td></tr>
+<tr><td align="right">XVII.</td><td align="left"><span class="smcap">Arbe</span></td><td align="right"><a href='#Page_192'>192</a></td></tr>
+<tr><td align="right">XVIII.</td><td align="left"><span class="smcap">Zara</span></td><td align="right"><a href='#Page_205'>205</a></td></tr>
+<tr><td align="right">XIX.</td><td align="left"><span class="smcap">Sebenico</span><span class="pagenum"><a name="Page_x" id="Page_x">[Pg x]</a></span></td><td align="right"><a href='#Page_245'>245</a></td></tr>
+<tr><td align="right">XX.</td><td align="left"><span class="smcap">Tra� and the Riviera dei Sette Castelli</span></td><td align="right"><a href='#Page_262'>262</a></td></tr>
+<tr><td align="right">XXI.</td><td align="left"><span class="smcap">Spalato</span></td><td align="right"><a href='#Page_292'>292</a></td></tr>
+<tr><td align="right">XXII.</td><td align="left"><span class="smcap">The Southern Group of Islands</span></td><td align="right"><a href='#Page_316'>316</a></td></tr>
+<tr><td align="right">XXIII.</td><td align="left"><span class="smcap">Ragusa</span></td><td align="right"><a href='#Page_333'>333</a></td></tr>
+<tr><td align="right">XXIV.</td><td align="left"><span class="smcap">The Bocche di Cattaro</span></td><td align="right"><a href='#Page_369'>369</a></td></tr>
+<tr><td align="right">XXV.</td><td align="left"><span class="smcap">The Reciprocal Influences of the Two Shores</span></td><td align="right"><a href='#Page_397'>397</a></td></tr>
+<tr><td align="right">&nbsp;</td><td align="left"><span class="smcap">Index</span></td><td align="right"><a href='#INDEX'>409</a></td></tr>
+</table></div>
+
+
+<p><span class="pagenum"><a name="Page_xi" id="Page_xi">[Pg xi]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="ILLUSTRATIONS" id="ILLUSTRATIONS"></a>ILLUSTRATIONS</h2>
+
+<h3>I. FROM PHOTOGRAPHS</h3>
+
+
+
+<div class="centered">
+<table border="0" cellpadding="2" width="65%" cellspacing="0" summary="ILLUSTRATIONS">
+
+<tr><td align="left">Herzegovinian Women at a Baker's Shop in Ragusa</td><td align="right"><a href='#frontis'><i>Frontispiece</i></a></td></tr>
+<tr><td align="left">Statue of Venus, Museum, Aquileia</td><td align="right"><a href='#p036'>36</a></td></tr>
+<tr><td align="left">Pulpit in the Cathedral, Grado</td><td align="right"><a href='#Page_45'>45</a></td></tr>
+<tr><td align="left">Shipping at Trieste: the Canal, with the Greek Church and Sant' Antonio</td><td align="right"><a href='#Page_57'>57</a></td></tr>
+<tr><td align="left">Pirano, from near the Cathedral</td><td align="right"><a href='#Page_97'>97</a></td></tr>
+<tr><td align="left">Marble Capital of the Sixth Century, Parenzo</td><td align="right"><a href='#Page_113'>113</a></td></tr>
+<tr><td align="left">High-altar, Parenzo, from the South Aisle</td><td align="right"><a href='#Page_116'>116</a></td></tr>
+<tr><td align="left">Wine-boats in the Fiumara Canal, Fiume</td><td align="right"><a href='#Page_163'>163</a></td></tr>
+<tr><td align="left">South Portion of Choir-screen, Cathedral, Veglia</td><td align="right"><a href='#Page_173'>173</a></td></tr>
+<tr><td align="left">The Harbour of Besca Nova</td><td align="right"><a href='#Page_176'>176</a></td></tr>
+<tr><td align="left">Chimneys at Besca Nova</td><td align="right"><a href='#Page_178'>178</a></td></tr>
+<tr><td align="left">Monstrance in Colleggiata, Ossero</td><td align="right"><a href='#p184'>184</a></td></tr>
+<tr><td align="left">Smergo Fishermen</td><td align="right"><a href='#Page_186'>186</a></td></tr>
+<tr><td align="left">Ascent to the Ramparts, Zara</td><td align="right"><a href='#Page_205'>205</a></td></tr>
+<tr><td align="left">Carving on Right Jamb of West Door, Cathedral, Tra�</td><td align="right"><a href='#p272'>272</a></td></tr>
+<tr><td align="left">Interior of the Cathedral, Tra�</td><td align="right"><a href='#Page_276'>276</a></td></tr>
+<tr><td align="left">Door of the "Atrio Rotondo", Palace of Diocletian, Spalato</td><td align="right"><a href='#Page_294'>294</a></td></tr>
+<tr><td align="left">Interior of the Cathedral, Spalato</td><td align="right"><a href='#Page_296'>296</a></td></tr>
+<tr><td align="left">Panel from Guvina's Doors of the Cathedral, Spalato</td><td align="right"><a href='#Page_299'>299</a></td></tr>
+<tr><td align="left">Stall-backs in Choir, Cathedral, Spalato</td><td align="right"><a href='#Page_300'>300</a></td></tr>
+<tr><td align="left">A Morlacco Family, between Salona and Clissa</td><td align="right"><a href='#Page_314'>314</a></td></tr>
+<tr><td align="left">Travelling at ease: among the Islands</td><td align="right"><a href='#Page_329'>329</a></td></tr>
+<tr><td align="left">Herzegovinian Charcoal Porter, Gravosa<span class="pagenum"><a name="Page_xii" id="Page_xii">[Pg xii]</a></span></td><td align="right"><a href='#Page_334'>334</a></td></tr>
+<tr><td align="left">Reliquary of the Head of S. Blaise, Cathedral Treasury, Ragusa</td><td align="right"><a href='#Page_343'>343</a></td></tr>
+<tr><td align="left">Cloister of the Dominican Convent, Ragusa</td><td align="right"><a href='#Page_349'>349</a></td></tr>
+<tr><td align="left">Lavabo in Sacristy of Franciscan Convent, Ragusa</td><td align="right"><a href='#Page_353'>353</a></td></tr>
+<tr><td align="left">Loggia of Rector's Palace, Ragusa</td><td align="right"><a href='#Page_354'>354</a></td></tr>
+<tr><td align="left">Capital from the Loggia, Rector's Palace, Ragusa</td><td align="right"><a href='#Page_355'>355</a></td></tr>
+<tr><td align="left">�sculapius Capital, Rector's Palace, Ragusa</td><td align="right"><a href='#p356'>356</a></td></tr>
+<tr><td align="left">Fountain of Onofrio di La Cava, Ragusa</td><td align="right"><a href='#Page_357'>357</a></td></tr>
+<tr><td align="left">Reliquary of the Head of S. Trifone, Cattaro</td><td align="right"><a href='#p384'>384</a></td></tr>
+<tr><td align="left">Albanian Horse-dealers, Cattaro</td><td align="right"><a href='#Page_388'>388</a></td></tr>
+</table></div>
+
+<h3>II. FULL-PAGE LINE DRAWINGS</h3>
+
+<div class="centered">
+<table border="0" cellpadding="2" width="65%" cellspacing="0" summary="ILLUSTRATIONS">
+
+<tr><td align="left">Narthex of the Cathedral, Aquileia</td><td align="right"><a href='#p054'>35</a></td></tr>
+<tr><td align="left">A Corner in Grado</td><td align="right"><a href='#Page_42'>42</a></td></tr>
+<tr><td align="left">The Patriarch's Throne, Cathedral, Grado</td><td align="right"><a href='#Page_46'>46</a></td></tr>
+<tr><td align="left">Choir-screen and Ambo, Muggia Vecchia</td><td align="right"><a href='#p081'>81</a></td></tr>
+<tr><td align="left">The "Fontico" and S. Giacorno, Capodistria</td><td align="right"><a href='#Page_90'>90</a></td></tr>
+<tr><td align="left">The Piazza da Ponte, Capodistria</td><td align="right"><a href='#Page_92'>92</a></td></tr>
+<tr><td align="left">The Inner Harbour, Pirano</td><td align="right"><a href='#Page_94'>94</a></td></tr>
+<tr><td align="left">Opus Sectile in the Apse, Cathedral, Parenzo</td><td align="right"><a href='#Page_114'>114</a></td></tr>
+<tr><td align="left">The Atrium and Western Fa�ade, Cathedral, Parenzo</td><td align="right"><a href='#Page_119'>119</a></td></tr>
+<tr><td align="left">View across the Nave, Cathedral, Parenzo</td><td align="right"><a href='#Page_121'>121</a></td></tr>
+<tr><td align="left">An Istrian Farm-house</td><td align="right"><a href='#Page_133'>133</a></td></tr>
+<tr><td align="left">Interior of the Basilica, San Lorenzo in Pasenatico</td><td align="right"><a href='#Page_134'>134</a></td></tr>
+<tr><td align="left">Entrance to the Castle, Pisino</td><td align="right"><a href='#Page_137'>137</a></td></tr>
+<tr><td align="left">An Angle of the Castle, San Vincenti</td><td align="right"><a href='#Page_139'>139</a></td></tr>
+<tr><td align="left">Arch of the Sergii, Pola</td><td align="right"><a href='#Page_145'>145</a></td></tr>
+<tr><td align="left">The Amphitheatre, Pola</td><td align="right"><a href='#Page_146'>146</a></td></tr>
+<tr><td align="left">West Doorway, S. Francesco, Pola</td><td align="right"><a href='#Page_154'>154</a></td></tr>
+<tr><td align="left">Interior of the Cathedral, Veglia</td><td align="right"><a href='#Page_171'>171</a></td></tr>
+<tr><td align="left">In the Harbour, Besca Nova</td><td align="right"><a href='#Page_175'>175</a></td></tr>
+<tr><td align="left">The Main Street, Besca Nova</td><td align="right"><a href='#Page_177'>177</a></td></tr>
+<tr><td align="left">Lussin Grande</td><td align="right"><a href='#Page_181'>181</a></td></tr>
+<tr><td align="left">West Door of the Colleggiata, Ossero</td><td align="right"><a href='#Page_183'>183</a></td></tr>
+<tr><td align="left">The Landing-place, Arbe</td><td align="right"><a href='#Page_193'>193</a></td></tr>
+<tr><td align="left">The Porta Marina, Zara</td><td align="right"><a href='#Page_207'>207</a></td></tr>
+<tr><td align="left">North Door of Western Fa�ade, Cathedral, Zara</td><td align="right"><a href='#Page_220'>220</a></td></tr>
+<tr><td align="left">Apse of S. Crisogono, Zara</td><td align="right"><a href='#p230'>230</a></td></tr>
+<tr><td align="left">Entrance to the Town of Nona</td><td align="right"><a href='#Page_239'>239</a></td></tr>
+<tr><td align="left">Eastern End of Cathedral, Sebenico</td><td align="right"><a href='#Page_248'>248</a></td></tr>
+<tr><td align="left">Late Venetian-Gothic Doorway, Sebenico</td><td align="right"><a href='#Page_253'>253</a></td></tr>
+<tr><td align="left">South-east Portion of Choir, Cathedral, Sebenico</td><td align="right"><a href='#Page_254'>254</a></td></tr>
+<tr><td align="left">Belfry of Greek Church, Sebenico</td><td align="right"><a href='#Page_257'>257</a></td></tr>
+<tr><td align="left">The Porta Marina and Custom House, Tra�<span class="pagenum"><a name="Page_xiii" id="Page_xiii">[Pg xiii]</a></span></td><td align="right"><a href='#Page_265'>265</a></td></tr>
+<tr><td align="left">The Porta S. Giovanni, Tra�</td><td align="right"><a href='#Page_266'>266</a></td></tr>
+<tr><td align="left">A Decayed Palace, Tra�</td><td align="right"><a href='#Page_282'>282</a></td></tr>
+<tr><td align="left">The Quay, Castel Vecchio</td><td align="right"><a href='#p287'>287</a></td></tr>
+<tr><td align="left">The Porta Aurea, Spalato</td><td align="right"><a href='#Page_293'>293</a></td></tr>
+<tr><td align="left">Italian Fruit and Vegetable Boats, Spalato</td><td align="right"><a href='#Page_303'>303</a></td></tr>
+<tr><td align="left">Cloister of S. Francesco, Spalato</td><td align="right"><a href='#Page_305'>305</a></td></tr>
+<tr><td align="left">Osteria at Salona</td><td align="right"><a href='#Page_310'>310</a></td></tr>
+<tr><td align="left">Basilica of the Christian Cemetery, Salona</td><td align="right"><a href='#Page_312'>312</a></td></tr>
+<tr><td align="left">Porta Pile, Ragusa</td><td align="right"><a href='#Page_336'>336</a></td></tr>
+<tr><td align="left">Torre Menze and Fort S. Lorenzo, Ragusa</td><td align="right"><a href='#Page_337'>337</a></td></tr>
+<tr><td align="left">La Sponza and Onofrio's Fountain, Ragusa</td><td align="right"><a href='#Page_359'>359</a></td></tr>
+<tr><td align="left">The Ruined Bastion, Castelnuovo, Bocche di Cattaro</td><td align="right"><a href='#Page_373'>373</a></td></tr>
+<tr><td align="left">Dobrota, Bocche di Cattaro</td><td align="right"><a href='#Page_378'>378</a></td></tr>
+<tr><td align="left">Ciborium of S. Trifone, Cattaro</td><td align="right"><a href='#Page_383'>383</a></td></tr>
+<tr><td align="left">S. Luka, Cattaro</td><td align="right"><a href='#Page_385'>385</a></td></tr>
+<tr><td align="left">The Scuola Nautica, Cattaro</td><td align="right"><a href='#Page_386'>386</a></td></tr>
+</table></div>
+
+<h3>III. LINE DRAWINGS IN TEXT</h3>
+
+<div class="centered">
+<table border="0" cellpadding="2" width="65%" cellspacing="0" summary="ILLUSTRATIONS">
+
+<tr><td align="left">Knocker of the Rector's Palace, Ragusa</td><td align="right"><a href='#titlepage'><i>On Title</i></a></td></tr>
+<tr><td align="left">Antique Statue in the Museum, Aquileia</td><td align="right"><a href='#p037'>37</a></td></tr>
+<tr><td align="left">Figure of S. Giusto, Campanile of the Cathedral, Trieste</td><td align="right"><a href='#p063'>63</a></td></tr>
+<tr><td align="left">Arco di Riccardo, Trieste</td><td align="right"><a href='#Page_65'>65</a></td></tr>
+<tr><td align="left">West End of the Church, Muggia Vecchia</td><td align="right"><a href='#Page_80'>80</a></td></tr>
+<tr><td align="left">Knocker on Palazzo Tacco, Capodistria</td><td align="right"><a href='#p092'>91</a></td></tr>
+<tr><td align="left">Greek Benedictional Cross, Parenzo</td><td align="right"><a href='#Page_117'>117</a></td></tr>
+<tr><td align="left">Sarcophagus of S. Eufemia, Rovigno</td><td align="right"><a href='#p130'>130</a></td></tr>
+<tr><td align="left">Wayside Chapel outside San Vincenti</td><td align="right"><a href='#Page_140'>140</a></td></tr>
+<tr><td align="left">Stall on the Wine-quay, Fiume</td><td align="right"><a href='#Page_164'>164</a></td></tr>
+<tr><td align="left">Veglia, showing the Castle Towers<span class="pagenum"><a name="Page_xiv" id="Page_xiv">[Pg xiv]</a></span></td><td align="right"><a href='#Page_172'>172</a></td></tr>
+<tr><td align="left">Reliquary of the Head of Sant Christopher</td><td align="right"><a href='#Page_196'>196</a></td></tr>
+<tr><td align="left">Arbe, from the Shore</td><td align="right"><a href='#Page_203'>203</a></td></tr>
+<tr><td align="left">Morlacco Girl, Zara</td><td align="right"><a href='#p212'>212</a></td></tr>
+<tr><td align="left">Going to Market, Zara</td><td align="right"><a href='#Page_213'>213</a></td></tr>
+<tr><td align="left">Altar of Sant' Anastasia, Zara</td><td align="right"><a href='#Page_225'>225</a></td></tr>
+<tr><td align="left">Reliquary of Sant' Orontius, Zara</td><td align="right"><a href='#Page_226'>226</a></td></tr>
+<tr><td align="left">Reliquary of the Clothes of Our Lord, S. Maria Nuova, Zara</td><td align="right"><a href='#Page_234'>234</a></td></tr>
+<tr><td align="left">Costume of Sebenico</td><td align="right"><a href='#Page_257'>257</a></td></tr>
+<tr><td align="left">Late Gothic Lintel at Tra�</td><td align="right"><a href='#Page_283'>283</a></td></tr>
+<tr><td align="left">A Quaint Costume, Tra�</td><td align="right"><a href='#Page_286'>286</a></td></tr>
+<tr><td align="left">Reliquaries and Chalice, Treasury, Spalato Cathedral</td><td align="right"><a href='#Page_297'>297</a></td></tr>
+<tr><td align="left">Morse in the Treasury, Spalato Cathedral</td><td align="right"><a href='#Page_298'>298</a></td></tr>
+<tr><td align="left">Porta Maggiore, Lesina</td><td align="right"><a href='#Page_319'>319</a></td></tr>
+<tr><td align="left">West Door of the Cathedral, Curzola</td><td align="right"><a href='#Page_326'>326</a></td></tr>
+<tr><td align="left">Head Reliquary in Cathedral, Ragusa</td><td align="right"><a href='#Page_344'>345</a></td></tr>
+<tr><td align="left">Reliquary of the Jaw of S. Stephen of Hungary</td><td align="right"><a href='#p346'>346</a></td></tr>
+<tr><td align="left">A Corner of the Walls, Cattaro</td><td align="right"><a href='#p388'>388</a></td></tr>
+<tr><td align="left">Montenegrins in the Market, Cattaro</td><td align="right"><a href='#Page_392'>392</a></td></tr>
+<tr><td align="left">Early Greek Ship, from Millingen's Vases</td><td align="right"><a href='#p407'><i>Tailpiece</i></a></td></tr>
+</table></div>
+
+<h3>IV. PLANS AND SECTIONS</h3>
+
+<div class="centered">
+<table border="0" cellpadding="2" width="65%" cellspacing="0" summary="ILLUSTRATIONS">
+
+<tr><td align="left">Plan of the Cathedral, Aquileia</td><td align="right"><a href='#p028'>28</a></td></tr>
+<tr><td align="left">Plan of the Cathedral, Trieste</td><td align="right"><a href='#Page_60'>60</a></td></tr>
+<tr><td align="left">Plan of Pulpit, Muggia Vecchia</td><td align="right"><a href='#Page_82'>82</a></td></tr>
+<tr><td align="left">Plan of the Three Basilicas, Parenzo</td><td align="right"><a href='#Page_109'>109</a></td></tr>
+<tr><td align="left">Plan of S. Maria Formosa, Pola</td><td align="right"><a href='#Page_148'>148</a></td></tr>
+<tr><td align="left">Plans of S. Donate, Zara</td><td align="right"><a href='#p214'>214</a></td></tr>
+<tr><td align="left">Plans and Section of S. Lorenzo, Zara</td><td align="right"><i>Between pages</i> <a href='#Page_216'>216-217</a></td></tr>
+<tr><td align="left">Plan of Foundations discovered on the Riva Nuova, Zara</td><td align="right"><a href='#Page_218'>218</a></td></tr>
+<tr><td align="left">Plan of the Cathedral, Zara</td><td align="right"><a href='#Page_223'>223</a></td></tr>
+<tr><td align="left">Plan of Cathedral Crypt, Zara</td><td align="right"><a href='#Page_224'>224</a></td></tr>
+<tr><td align="left">Plan of S. Nicol�, Nona</td><td align="right"><a href='#Page_242'>242</a></td></tr>
+<tr><td align="left">Plan and Sections, S. Barbara, Tra�</td><td align="right"><a href='#Page_268'>268</a></td></tr>
+<tr><td align="left">Plan of the Cathedral, Tra�<span class="pagenum"><a name="Page_xv" id="Page_xv">[Pg xv]</a></span></td><td align="right"><a href='#Page_271'>271</a></td></tr>
+<tr><td align="left">Plan of Cathedral and Campanile, Spalato</td><td align="right"><a href='#Page_295'>295</a></td></tr>
+<tr><td align="left">Plan of the Dominican Convent, Ragusa</td><td align="right"><a href='#Page_348'>348</a></td></tr>
+<tr><td align="left">Plan and Elevation of one Bay of Cloister, Dominican Convent, Ragusa</td><td align="right"><a href='#Page_352'>352</a></td></tr>
+
+<tr><td align="left">Plan of La Sponza, Ragusa</td><td align="right"><a href='#Page_358'>358</a></td></tr>
+<tr><td align="left">Plan of the Cathedral, Cattaro</td><td align="right"><a href='#Page_381'>381</a></td></tr>
+<tr><td align="left">Map of Istria and Dalmatia</td><td align="right"><a href='#endofbook'><i>At end of book</i></a></td></tr>
+
+</table></div>
+
+
+<p><span class="pagenum"><a name="Page_1" id="Page_1">[Pg 1]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="I" id="I"></a>I</h2>
+
+<h3>INTRODUCTORY CHAPTER</h3>
+
+
+<p>The two shores of the Adriatic are totally different in their natural
+characteristics; the western being almost islandless and destitute of
+harbours, while the eastern is fringed by an almost continuous chain of
+islands and possesses several magnificent harbours which communicate
+with the open sea by narrow channels easily fortified, the rocks rising
+precipitously from the water along the greater part of the coast,
+whereas on the Italian side there is an equally continuous strip of
+alluvial plain between the foothills and the sea.</p>
+
+<p>The Adriatic was once bounded by a kind of ridge stretching from Monte
+Gargano to Albania. North of this line the depth is much less than in
+the Ionian Sea. When the surface of the earth sank, the Dalmatian
+islands were formed by the letting in of the sea. The depth near Parenzo
+is about 120 ft.; in the Quarnero, near Fiume, 195 ft.; between Cherso
+and Arbe, 335 ft.; and south-west of the island Zuri (some 24 miles from
+the mainland), about 700 ft. Depths as great as 335 ft. to 490 ft. are,
+however, not very common within nine miles of the mainland. In the
+Bocche di Cattaro the depth near the mouth is 165 ft., but half a mile
+west of the Punta d'Ostro, 335 ft. North of the line from Monte Gargano
+to Pelagosa, Cazza, and Curzola it is never as much as 780 ft.;
+south-east of this line the<span class="pagenum"><a name="Page_2" id="Page_2">[Pg 2]</a></span> bottom sinks so much that between Cattaro
+and Brindisi it reaches a depth of over 5,000 ft. The tide is scarcely
+perceptible, and the currents are very slight. The land is still
+sinking, as is proved by the Roman sarcophagi found beneath the water at
+Vranjic and the submerged roads between Aquileia and Grado; while there
+are records of the destruction of ancient towns from sudden subsidences,
+as that of Cissa, near Rovigno. The subsidence has been calculated as
+about a yard in 1,000 years. Cluverius proves from Ptolemy that in
+antiquity the name Adriatic only applied to that part of the gulf which
+lay to the north of a line between Monte Gargano and Durazzo. A passage
+of Strabo, describing the people of Epirus, runs: "The Adriatic being
+ended, the Ionian commences, the first shore of which is in the
+neighbourhood of Epidamnus and Apollonia." When Venice conquered Durazzo
+the limits of the Adriatic were extended, and it was thenceforth called
+the Gulf of Venice. In 1859 the almost incredible fact is recorded that
+it was frozen for several days!</p>
+
+<p>The Austrian provinces which lie along the coast are, commencing at the
+north, the K�stenlande, Istria, and Dalmatia. In the first the Julian
+Alps form a great boundary wall to the plain of the Isonzo, from which
+the ground rises between Monfalcone and Nabresina to the stony district
+of the Karst. The Istrian ranges are spurs from this lofty plateau, the
+chain culminating in Monte Maggiore, north-west of Fiume. All these
+heights belong to the Julian Alps. Beyond Fiume, southwards, there are
+three principal mountain chains, all of which have much the same
+formation of limestone, pale brownish or grey in colour, with fossils
+and streaks of other colours. The first is the Dinaric Alps or Velebits,
+a continuation of the Julian Alps. These separate Dalmatia from Bosnia
+as far as Imoschi, where they enter Herzegovina, finally joining the
+Monte<span class="pagenum"><a name="Page_3" id="Page_3">[Pg 3]</a></span>negrin chain. The chain of the shore commences on the left bank of
+the Kerka and extends to the Narenta, which cuts it. It runs as far as
+Trebinje, beyond the river. The Montenegrin mountains, which are so
+impressive above the Bocche di Cattaro, joining with those of the
+Herzegovina, make the third chain. The islands and rocks in the sea
+appear to be submarine branches of the littoral chain; the strata lie in
+the same direction&mdash;in the North Dalmatian islands to the north-west, in
+the Southern to the west. On the peninsula of Sabbioncello they lie
+partly in one and partly in the other direction. The former connection
+between the islands and the mainland is proved by the remains of
+rhinoceros, horse, and stag in the diluvial bone breccias of Lesina, and
+the survival of the jackal in Giuppana, Curzola, and Sabbioncello.
+Geologists hold that the deeply cut bays of Sabbioncello and Gravosa, as
+well as of the Bocche di Cattaro, and the step-shaped sinkings of the
+northern and eastern limestone mountains towards the Adriatic basin are
+signs of the tearing away of the islands from the mainland, perhaps
+through the destruction of the permeable strata.</p>
+
+<p>These generally show in their forms the craggy and stony character of
+the Dinaric Alps, rising perpendicularly from the water on the side of
+the prevailing wind, and without vegetation. On the other side are
+softer hills and plains with southern vegetation, the aromatic scents
+from which are carried by the breeze. There are about twenty large
+islands, some of which are over 30 miles long; but the number may be
+raised to a hundred by counting in the small ones. They are generally in
+groups or chains, though some are isolated. The water is generally deep
+up to the shore, so there are very few sandbanks.</p>
+
+<p>The greater portion of the naked surface of the land is formed of
+limestone and dolomites, which are closely<span class="pagenum"><a name="Page_4" id="Page_4">[Pg 4]</a></span> related: there are also, on
+the lower levels, grey or red sands, among which schistous loams of
+uniform colour predominate. These two formations stretch from one end of
+the province to the other in sloping beds. They are interrupted here and
+there by loam and schistous clay and horizontal beds of a kind of
+limestone: below these are lignites and chalky limestone, in which
+shells are found belonging to a later formation. The oldest formations
+are the volcanic mountains near Knin and on Lissa. Next follow the trias
+strata, as under the Velebits and westwards from Sinj, then the
+sandstone beds, the different eocene beds and alluvial strata, as in the
+plain of Dernis, north of the Vrana Lake, by Nona and Imoski. The
+principal characteristic of the Karst district (to which Dalmatia
+belongs geologically) is the way the water flows, sometimes above,
+sometimes under ground. Where the woods were cut down to supply the
+Romans and Venetians with material for constructing their fleets, and
+where natural afforestation has been stopped by the feeding of sheep and
+goats, the red earth has either been washed away by the rains or blown
+away by the winds, so that it is only in the hollows that cultivation
+can be carried on.</p>
+
+<p>The bitter north wind, the Bora, is the curse of the district. In the
+island of Arbe it sometimes blows even in June and July, stripping the
+vineyards as if hundreds of men had been at work, and carrying the salt
+spray all over the island, to the great detriment of vegetation. It is
+sometimes strong enough to upset pedestrians, and it is said that if it
+were not for it, there would be neither winter nor cold in the Dalmatian
+littoral. On the heights winter begins in November and lasts till April,
+with heavy snowfalls; but on the coast spring begins in February, and
+winter only at the beginning of December. The summer, which commences in
+May, is usually rainless, with the heat tempered by sea-breezes,<span class="pagenum"><a name="Page_5" id="Page_5">[Pg 5]</a></span> though
+at the end of August heavy rains commence, and in autumn the frequent
+changes of temperature are dangerous. The flora consists of nearly 2,500
+species, described by Visiani in his "Flora Dalmatica." The aquatic
+flora contains nearly 700 varieties, many of the seaweeds being
+exclusively Dalmatian. Views on the coast of Ragusa, or at Castelnuovo,
+in the Bocche, resemble those of Sardinia and Sicily. On one side may be
+seen green meadows, fruit trees, flowing water, cornfields, beechwoods,
+&amp;c.; on the other, olive groves, thickets of arbutus, hedge plants the
+height of a tree, myrtles, and bay; on the naked rock aloes grow and the
+<i>opuntia</i>; in gardens, dwarf and date-palms, unprotected <i>cycas
+revoluta</i>, and orange and lemon trees; and wide valleys are filled with
+lofty carob trees&mdash;so close are the boundaries between the flora of
+middle Europe and of the Mediterranean. Almonds flower in December, and
+peas and beans are often gathered at Christmas. At Cannosa the date-palm
+ripens its fruit, and flowers are always to be seen. The Euphorbia
+Dendroides grows as high as in Crete, and rosemary bushes are frequently
+up to the shoulder of a man. In August the Syrian hibiscus is violet-red
+and the scarlet-red arbutus fruit hangs till Christmas. On Monte Marjan,
+near Spalato, where Diocletian had his parks, the sheltered aspect
+creates a tropical climate. Wild aloes grow 6 ft. high, and in midwinter
+numbers of field flowers may be picked as if it were spring.<span class="pagenum"><a name="Page_6" id="Page_6">[Pg 6]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="II" id="II"></a>II</h2>
+
+<h3>THE RACES AND THEIR CUSTOMS</h3>
+
+
+<p>The people of Istria and Dalmatia are a very mixed race, as might be
+expected from the history of the countries. On these shores and islands
+were Greek colonies and Roman <i>municipia</i>, which have left their trace
+in the names of places and families. Greek colonies were at Issa
+(Lissa), Pharia (Lesina), Epetium (Stobre&#269;), Tragurium (Tra�), Melita
+(Meleda), Corcyra (Curzola), Buta (Budua), and Ambrachia (Brazza), to
+name some of those which have survived as towns to the present day.
+Roman family names occur especially round Spalato, such as Lutia
+(Lucio), C�pia (Cippico), Valeria (Valeri), Junia (Giunio), Coceia
+(Coceich), Marcia (Marce), Cassia (Cassio), C�lia (Celio), and Statilia
+(Statileo). Byzantine names testify to the rule of Byzantium, such as
+Paleologo, Lascaris, Andronico, Grisogono, Catacumano. In Istria there
+is a considerable admixture of German blood; on the rocks of Zara the
+Crusaders abandoned sick Frenchmen; whilst thither and to Spalato also
+came Ghibellines in exile. Franks, Croats, Bosniaks, Hungarians,
+Genoese, Neapolitans, and above all, Venetians have held sway over
+portions of the coast at different times. Families of Hungarian and
+Bosnian gentlemen established the free commune of Poglizza; exiles from
+Spain, Jews, for the most part driven out in 1492, established
+themselves at Spalato and Ragusa; Lombards descended upon the coasts and
+islands;<span class="pagenum"><a name="Page_7" id="Page_7">[Pg 7]</a></span> and Venetians commenced to establish themselves in Dalmatia in
+the eleventh century, Istria coming even earlier more or less under
+their influence. In 1552, in the Council of Zara, out of seventeen noble
+families more than two-thirds were of Italian descent; and at Lesina the
+proportion was even greater. At Zara the Italians still preponderate,
+but the Slav element is in the majority in the greater part of Dalmatia,
+and even in the country parts of Istria. There are also many French,
+Hungarians, Bosniaks, Herzegovinians, Germans, Swiss, and gypsies, the
+Slav majority increasing towards the south.</p>
+
+<p>In Istria the present inhabitants may be divided into Italians,
+Roumanians, and Slavs: to the last division belong the Morlacchi, the
+Tschitsches, Slovens, and Croats. The Italians are the most intelligent
+portion of the population, and are craftsmen, large occupiers of land,
+merchants, and sailors. They are the descendants of those who were
+subjects of Venice from the fourteenth century till the fall of the
+Republic. The Slovens were in Istria as early as the eighth century, and
+Paulus Diaconus mentions them as being near Cividale. Records exist of
+Croats raids in the tenth century, whilst further south there were two
+great immigrations&mdash;the first, in the seventh century, by the
+"Belocroats," called by Porphyrogenitus, Croats, from the banks of the
+Elbe, descendants of whom may to-day be found in the islands; and the
+second, in the fourteenth century, by the people of Rascia, who now
+inhabit much of the interior and are known as "Morlacchi," a name
+derived from the Slav "Mauro vlach," the black Wallachs.</p>
+
+<p>According to Lucio, who refers to William of Tyre, all Dalmatians used
+the Roman language until 1200. After the Croats came down, the name of
+"Dalmatian," strictly speaking, belonged only to the cities of Zara,
+Tra�, Spalato, and Ragusa, to the western islands of<span class="pagenum"><a name="Page_8" id="Page_8">[Pg 8]</a></span> Dalmatia, and to
+Lissa and Lagosta&mdash;Eastern Dalmatia was a Servian province; Western, a
+Croatian. It is known that Slavs came in 1463 to Salvore, in 1526 to the
+district of Rovigno, in 1549 to the district of Cittanova, Montona,
+Parenzo, and Pola, in 1595 to Fontane, in 1624 and 1634 (the plague
+years) to Fillipano, 1647 to near Pola, and 1650 to Peroi, near Fasano.
+Those now there came from the Bocche and Montenegro, settled in
+1658-1659 by Doge Giovanni Pesaro, after the great plague. The women
+still wear the ancient costume. The Slavs are most numerous between
+Dragogna and Trieste. Procopius gives an interesting description of them
+worth quoting: "The two nations of the Autars and the Slavs know no
+monarchical government; but from ancient times live freely in common
+fashion. They take all questions of great importance or difficulty to a
+common national council. The customs of the two nations are alike in
+everything else. These barbarians believe, by an article of faith
+transmitted from their ancestors, that, among many, there is one sole
+master of all things, whom they look upon as the author of the thunder;
+and to him they sacrifice bulls and other victims. They do not know what
+the goddess Fortune may be, nor believe that she has any influence on
+human affairs. When they feel themselves threatened by death, either by
+illness or wounds given in battle, they are told to promise a sacrifice
+to God if they escape the danger. Then, if they soon get about again,
+they fulfil the vow, firmly persuaded that by it they have recovered
+their health. They offer worship to woods, to nymphs, and other genii,
+immolating victims to them, and prophesying in the act. They live in
+rough huts far away from each other, and often change the situation. The
+greater part of them fight on foot, armed with shield and with darts,
+but without corslet. Some of them do not wear<span class="pagenum"><a name="Page_9" id="Page_9">[Pg 9]</a></span> their ordinary clothes in
+battle, but draperies which scarcely reach to the thigh, and so they
+present themselves to the enemy. They all speak the same barbarous
+tongue, nor differ much in appearance, but are all tall and powerful.
+The colour of the flesh and the hair is neither vermilion nor brown, but
+reddish. They live a somewhat fatiguing life, somewhat neglected and
+uncultivated, like the Massagetae, and, like them, on sordid food. They
+are not cunning, nor evildoers, but follow the customs of the Huns in
+sacking and rapine. They possess vast lands and occupy the greater part
+of the further bank of the Danube." They have retained many
+characteristics of an earlier age, though not of the period of
+Procopius.</p>
+
+<p>The men are tall and muscular, with strongly marked features. Their eyes
+are generally either grey or blue, the forehead broad and prominent, the
+teeth white and strong, the hair sometimes blonde, but ranging through
+all shades to black, and the countenance intelligent and expressive. The
+boys herd the flocks barefoot and half naked, so that their skin is
+always bronzed, and the men generally have bare breasts. Their sight and
+hearing are remarkably keen, and in Dalmatia they can make themselves
+heard from one hill to another, a feat which is partly owing to the
+quality of the air. Their excellent health enables them to support all
+kinds of hardships; they sleep out of doors (covering the head), except
+in winter, at which season they stay a good deal by the fire, though
+they may be seen in the city with icicles on their hairy chests. They
+have neither stoves, chimneys, nor glass in the windows. A case of a
+monk has been recorded, who, at the age of 105, made watches and read
+with the naked eye, ate and drank, walked and "wept" like a boy of
+twenty. The costume is distinctive and, with slight variations, is worn
+throughout Dalmatia. In<span class="pagenum"><a name="Page_10" id="Page_10">[Pg 10]</a></span> Istria there are considerable differences both
+in colour and form. "The Morlacco in full dress has on his head the
+<i>kapa</i>, a cap of scarlet cloth, with black embroidery on the border and
+hanging fringe on one side; in some districts bordering on Bosnia a rich
+band of silk or coloured wools is twisted round it. Over the skirt of
+rough linen (the <i>kosulja</i>), open to show the breast, is the <i>krozet</i>, a
+waistcoat crossed on the breast with flat buttons of silver, or tin, and
+embroidery; it is bound to the sides with a girdle (<i>pas</i>) made of red
+strings. The trousers (<i>benevrechi</i>) are of a coarse blue cloth fitting
+to the legs and very tight at the calf, below which they are split up
+and fastened by <i>sponje</i>, copper or silver hooks. The stockings
+(<i>nazubei</i>) are of wool of various patterns. The shoes (<i>opanci</i>) have a
+sole of ox-leather and uppers of strips of dried sheeps' skin (<i>opute</i>);
+a longer <i>oputa</i> passes several times round the ankle and holds the shoe
+firm; it turns up at the toe and looks quite Oriental. Instead of the
+<i>krozet</i>, or over it, some wear the <i>jacerma</i>, a sleeveless red cloth
+jacket, covered in front with little discs of tin (<i>siliki</i>), or large
+balls of silver (<i>toke</i>), or by rows of coins. And over the <i>pas</i> they
+have the <i>pasnjaca</i>, a band of red leather covering part of the abdomen,
+with various divisions, in which they used to carry their rich arms,
+pistols, knives, &amp;c., now filled with the pipe, pipe-cleaner, <i>britva</i>,
+a very small scimitar with a bone handle, and a small knife in a sheath.
+Finally, there is the <i>koporan</i>, a jacket with sleeves of blue cloth,
+with embroidery on the elbows and back; but few Morlacchi wear it.</p>
+
+<p>"The women have a large handkerchief (<i>ja&#269;mak</i>) on their heads,
+embroidered on the borders; instead of the <i>kosulja</i>, or above it, they
+have the <i>oplece</i>&mdash;that is, the coverer of the shoulders; it is closed
+at the neck, embroidered on the breast, and on the ample sleeves also.
+Round the neck is the <i>gerdan</i>, several strings of glass<span class="pagenum"><a name="Page_11" id="Page_11">[Pg 11]</a></span> beads of
+different colours; it is bound at the stomach by the <i>litar</i>, a long
+band of leather a couple of inches wide covered with little tin discs
+and very heavy. From the <i>litar</i> hang the <i>britva</i> and a lot of keys, by
+chains, which are sometimes costly. The gown (<i>vustan</i>) is of blue
+cloth, but in summer of linen, reaching to the middle of the calf. The
+apron (<i>prejaca</i>, or, in Venetian, <i>travesa</i>) is always a <i>chef-d'&#339;uvre</i>
+of workmanship, which the Morlacca thinks a deal of. The footwear is
+composed of three parts: <i>bicve</i>, of blue cloth reaching up to the knee,
+tightly laced up with little hooks, and finishing at the ankle in a
+ring; over them the true stockings (<i>nazubei</i>) of rough wool, with
+patterns in vivid colours and <i>opanci</i>, or <i>filare</i>, like the men's. The
+girl does not have the <i>litar</i>; on her head is no <i>ja&#269;mak</i>, but a red
+cloth cap, sparkling with antique or modern coins of silver, and
+occasionally of gold. In some places the girl has on her bosom the
+<i>gendar</i>, several rows of coins which hang from the neck, sometimes
+below the stomach, tinkling at every step; this is her dowry, and
+sometimes worth as much as �50. When she is married she puts off the
+<i>gendar</i> and sparkling <i>kapa</i>. The men used to have a pigtail, of which
+they were very proud. The wife used to comb it twice a month, anoint it
+with butter, and tie up the end with ribbons and amulets. It was the
+only time when a Morlacco addressed his wife affectionately. In barracks
+and in prison the hair is cut, so the pigtail is rarely seen now. To
+complete the toilet the <i>torba</i> and <i>torbak</i> must be mentioned: the
+first of red wool, with embroidery, worn by both men and women on the
+back, laced round the shoulders; the second generally of skin, worn only
+by the men, and hanging crosswise by a broad band of leather on the left
+hip."</p>
+
+<p>I have given this detailed description of the costume (quoted from
+Signor Modrich's "Dalmazia"), thinking it would be of interest; but
+descriptions of the costumes<span class="pagenum"><a name="Page_12" id="Page_12">[Pg 12]</a></span> as they appear to the ordinary traveller
+will be found in the sections dealing with the various places on the
+coast.</p>
+
+<p>The Dalmatians are very fond of music and are constantly singing. They
+have a proverb: "He who sings thinks not of evil." Tomaseo thought their
+folk-songs richer than those of any other nation, ranging as they do
+over all manner of subjects. They are generally heroical or amorous in
+character, divided into short verses and sung in two parts; the bass
+delivers a kind of recitative, and the baritone joins in, the long final
+note with which each finishes dying away in a full chord. It is
+extraordinary how serious the men are over it, even when singing over
+their wine, in which they sometimes exceed. At Tra� one Sunday afternoon
+we saw a party of eight or ten sitting round a table in a caf� as
+serious as if at a funeral, with wine before them, and enjoying their
+melancholy music. On this occasion the alto part was flat, and the
+effect was not as good as it is out of doors. Later we came across more
+than one group of four, standing where two streets met, and singing
+without looking at each other. In the narrow ancient streets the notes
+sounded quite in character with the surroundings and with the quaint
+dresses of the singers. Modrich says that they use the <i>svirala</i>, a kind
+of bagpipe with two canes, one with four and the other with three holes,
+and suggests that the long-drawn terminating notes of the songs are in
+imitation of its sound; but we neither saw nor heard this instrument,
+all the singing being unaccompanied. The principal occupations of the
+people are agriculture, cattle-raising, and fishing, or sea-faring. They
+are exceedingly religious, devoted to church and priest, and observe the
+great festivals with feasting and rejoicing, and with ceremonies many of
+which are evidently survivals of heathen observances. The greatest
+festival is Christ<span class="pagenum"><a name="Page_13" id="Page_13">[Pg 13]</a></span>mas. In preparation all clothes are washed and
+mended, house and yard cleaned, and better and richer food than they
+usually have is provided. On the Eve they work hard; before sunrise
+house and yard are decked with bay or olive branches or some other
+evergreen, which they think protects from lightning. On this day the
+sun, which the ancient Slavs worshipped, woke from sleep, as one may
+say, and the days began to lengthen perceptibly.</p>
+
+<p>The father of the sun was Perun, the thunder-god. To this god the oak
+was dedicated. In the folk-songs he is replaced by S. Elias, and to this
+day a great log of oak is placed on the fire on Christmas Eve, and
+kindled for the preparation of the evening meal. It burns all night and
+the whole of the following day, and in many places is kept smouldering
+for eight days. The customs observed are as follows. The head of the
+family bares his head and says: "Blessed be thou, O log; God preserve
+thee!" and sprinkles wine upon it crosswise. Then corn is thrown over
+it, and he invokes every blessing from heaven for the health of those
+belonging to the house, present or absent, for the success of domestic
+undertakings, and for the harvest, to which the others present reply
+"Amen," fire off guns in sign of joy, and say: "Welcome to the evening
+of the log." Then they sit down to table in the kitchen, even if other
+rooms are available, which suggests a survival of the practice of eating
+by the ancient family altar, the hearth. In the centre of the table are
+three candles twisted together in honour of the Trinity, lighted, and
+stuck into a great loaf ornamented with ivy. This loaf is afterwards
+broken up and given to the sheep and cows when bringing forth, or when
+sick. A little of every kind of food is thrown on to the burning log. If
+there are three logs (as in some places), the right-hand one must be the
+biggest&mdash;the Father, the Son to the left,<span class="pagenum"><a name="Page_14" id="Page_14">[Pg 14]</a></span> and the Spirit in the middle,
+the aspersion being made in this order. Boccaccio, in the "Genealogy of
+the Gods," refers to a similar custom in his day in Florence, evidently
+the survival, or transmutation, of some heathen rite. After supper the
+hymn "Es wurde geboren der Himmels K�nig von der unbefleckten Jungfrau
+Maria" is sung, and then the young people usually play Christmas games.
+Little houses are made of flour or bran, with a piece of money in one,
+which belongs to the person who selects that house. On Christmas Day
+they visit neighbours and relations, married daughters come with husband
+and children to the midday meal, bringing two loaves&mdash;one of finer
+quality for the mother, one of the usual kind as big as possible for the
+father. During the octave groups of young people (and sometimes of men
+also) go singing carols from house to house, and are rewarded with money
+and wine in return for wishing the donors a rich wine, olive, and fruit
+crop. On New Year's Day the three tapers of Christmas Eve are
+re-lighted. Before drinking at the meal the head of the house uses the
+following formula: "I wish you a good New Year; may you enjoy it in
+health and happiness, neither offend God, nor lose your soul, but have
+every tender joy and celestial glory." Then he drinks in undiluted wine
+three times, and blesses those present in the name of the Father, Son,
+and Spirit, and pours the remainder of the wine on the candles to
+extinguish them. If by chance one remains alight it is considered an
+augury of long life to the person in front of whom it stands. The holy
+water of the Vigil of the Epiphany, called "water of the Three Kings,"
+and used by the priests to bless every dwelling, is preserved to
+sprinkle the fields and the sick also, and is thought to be specific
+against the temptations of the devil at the hour of death. It is said to
+remain uncorrupted for as long as twenty-five years. Children go about
+on New Year's<span class="pagenum"><a name="Page_15" id="Page_15">[Pg 15]</a></span> Day with a branch of rosemary stuck in an apple in which
+are kreuzer or ten-kreuzer pieces, wishing good fortune and collecting
+gifts. In Trieste and some of the Istrian towns, girls and boys go about
+throughout the octave of Epiphany with little lanterns, kneel on the
+steps of the houses, sing a song in honour of the three Holy Kings, and
+then, knocking, ask for money. The song tells how Christ was born poor,
+lived poor, and died on the Cross, and then goes on to wish friendly
+donors as many angels to take them to heaven as a sieve has holes; for
+the hard-hearted as many devils to take them as nails stuck in the door!
+In some neighbourhoods children are taken into the vineyards on
+Innocents' Day, when they strike the vines with switches and sing:
+"Bear, bear fruit, pretty vine, else will I cut thy head off."</p>
+
+<p>Great preparations are made for Easter, when young lambs and turkeys are
+slain, which the folk-songs tell us used to be offered to the sun-god.
+Roasted lamb, cooked eggs, cheese, and bread and salt are carried early
+to the church to be blessed by the priest. When the bearers return, the
+table is blessed by the head of the family, and God thanked for the
+well-completed Lenten fast, after which they sit cheerfully down to
+their meal, burning all fragments left, since the food has been blessed,
+and taking care not to let anything fall to the ground. In Lent, and
+during other fasts, they eat neither flesh nor eggs, nor any kind of
+milk food. They have a saying that it is less culpable to kill a person
+in <i>vendetta</i> than to eat rich food in Lent. S. John the Baptist's Day
+is one of their principal feasts. On the Eve the shepherds light fires
+on all the hills. On the morning they swim for the first time in the
+year, or wash from head to foot, and also wash all their animals. The
+girls and boys make garlands of flowers and broom, set them on their
+heads, and dance "with devotional joy." This<span class="pagenum"><a name="Page_16" id="Page_16">[Pg 16]</a></span> is no doubt part of the
+ancient heathen festival of midsummer. Another festival which has
+nothing to do with the Church is the "Fasching" or "Pust," on Monday
+during Carnival. Groups of masked male dancers go through the villages
+with horns on their heads, or with bells at their girdles weighing
+several pounds, in one hand a strong stick, in the other a bag of ashes.
+They dance, jest, fight with other bands, and throw ashes over the women
+and children who run away. One of them generally carries a clothed
+figure like a man&mdash;the "Pust"&mdash;which next day, or on Ash Wednesday, is
+burnt or buried. This is a relic of the heathen custom of destroying
+Morana or Mora, the goddess of night, of darkness, winter, and death,
+who, the country-folk say, sits on men at night and drinks their blood,
+and of Mrak (twilight), her helper, who brings little children to her by
+twilight. The priest, who used to be an oracle to his flock, was asked
+first to every festivity, and consulted in every difficulty. "The priest
+says so" put an end to all questioning. With their religious feeling,
+superstition goes hand in hand. They believe in vampires, nightmares,
+witches, and "Vilen." The vampire is an evil spirit which appears by
+night to frighten men, in the guise of a lately dead man or woman "who
+had not lived piously." It is a human skin filled with blood, covered
+with a shroud, and shows itself at crossways and on bridges, in caves
+and graveyards, but also rattles window-shutters and throws down tiles
+from the roof. It is not safe to call to it; if it reaches out to any
+one three times that is taken as a sign that it is a good spirit from
+purgatory asking for help. For protection a thorn-stick is carried, with
+which the vampire is thrust through. The "Alp" (the nightmare) is an
+evil old maid who sits on the back or breast of sleepers, holds their
+hands and feet, and stops their mouth so that they cannot cry for help;<span class="pagenum"><a name="Page_17" id="Page_17">[Pg 17]</a></span>
+therefore they never sleep on the back, but on the right side, and keep
+near the bed an open bottle-gourd, of which the "Alp" or "Mora" is
+afraid. It generally wears a white dress and black bodice, with a white
+veil over loose hair. Witches only appear in bad weather, and hold their
+assemblies under walnut-trees or on certain hills. Excessive hail is
+supposed to be their work. They can be killed by firing with three
+grains of corn and the Paschal wax-candle at the lightning before the
+thunder sounds. If this can be done, the witch dies. "Vilen" are maidens
+with horses' hoofs. They are found in caves and collect in woods, at the
+sources of streams or springs. The name comes from the Slav "bijela,"
+the white; they are not regarded as evil spirits. In the neighbourhood
+of Spalato they think that new-born children, if strong and handsome,
+are likely to be taken away by "Vilen," and therefore watch the infants
+most carefully till they are baptized. These maidens busy themselves
+with rope-making, spinning, and gold and silver embroidery, and have the
+power of changing stones and coal to gold and silver. In summer, when
+hail falls on the vineyards, peasants may still be seen to turn to the
+black clouds and throw up salt and shredded garlic. It is said that the
+devil can be seen if one stand at the church door in such weather with a
+priest, treading with the right foot upon the priest's right. He is like
+a great dragon spreading his claws and reaching to the upper clouds from
+the earth; but the priests never allow the trial, for fear the man
+should die of fright at the sight. This reminds one of the Chinese and
+Japanese storm-dragon.</p>
+
+<p>The peasants practise astrology to find lucky times to commence
+undertakings. Falling stars are considered to be the opening of heaven,
+and anything asked for at that moment will be granted. Thunders are the
+rumbling which S. Elias makes with his car. Amulets<span class="pagenum"><a name="Page_18" id="Page_18">[Pg 18]</a></span> are worn,
+especially near the Turkish border. It is considered lucky to spill wine
+on oneself. To meet a snake, a viper in the house, or a centipede
+crawling over the walls is also lucky. On the other hand, misfortune
+attends crackling wood, the birth of black lambs, the entering a house
+left foot first, sitting at table seven or thirteen in number, giving
+drink with the left hand, spilling oil or salt, and leaving two rods or
+knife and spoon crosswise. A crowing hen means domestic misfortune&mdash;she
+must be killed to avoid it; and the baying of a dog or hooting of an owl
+at night imports the death of a neighbour. Their customs are
+patriarchal. The father has full authority over his sons, and their
+wives are merely fresh daughters of the house. Every boy is held to be
+worth more than the women, from the age of eight, and girls and women
+who meet a man are expected to salute him. In some places, in the middle
+of the last century, this salutation was accompanied with a kiss. The
+oldest man in the house (<i>stareshina</i>) was the only one who could leave
+anything by will. He said prayers morning and evening, blessed the
+table, welcomed the guests, sat with them at table, and hurried the
+service of his family. He arranged the work of each member of the
+household, carried on all commercial transactions, and disposed of the
+results as he pleased. If he found the duties too heavy for him he
+transferred the responsibility to some other male member. The
+<i>stopanjica</i> (the mistress) was the directress of the house, and the
+other women worked under her orders. These people are exceedingly
+honest, and in some of the villages no locks are to be found either on
+door or chest.</p>
+
+<p>They have a ceremony by which two persons swear friendship before the
+altar, and are then called half-brothers or half-sisters. At one time
+the usage was also practised between persons of different sex. They are<span class="pagenum"><a name="Page_19" id="Page_19">[Pg 19]</a></span>
+also tenacious in prosecuting a <i>vendetta</i>, and, till about seventy
+years ago, there was but one way in which a blood feud could be
+extinguished. It was called the <i>Karvarina</i>, or price of blood, and its
+acceptance was preceded by several very curious ceremonies. The
+relations dipped the murdered man's shirt in his blood, and kept it till
+he was avenged, or the price of blood was arranged. The family of the
+murderer asked for a truce of several weeks, and sent a solemn embassy
+of twelve young women with their babies. Arrived at the house, the
+babies were put down, and the women wept, asking for peace and pity in
+the name of S. John the Baptist, and the putting away of anger for pity
+of the little ones. After a time the people of the house picked up the
+children and promised to bring to the font twelve of their children yet
+unborn to be attendants at the marriage of as many girls, and gave the
+mothers a piece of silver, a veil, and a cloth in sign of peace. Then
+the relations of the slain chose twenty-four judges, who were entreated
+by the other side to serve, and could not refuse, nor might they receive
+payment. To the preliminaries of the judgment on the appointed day the
+"dance of blood" succeeded. The criminal, with joined hands, and with
+the fatal sword at his neck, extricated himself from the slow,
+melancholy dance, and cried three times: "Pardon!" The nearest relation
+ordered the principal judge to drive him ignominiously away. The judge
+obeyed, and struck him to the earth with his foot, but as soon as his
+forehead touched the ground he turned and cried again: "In the Name of
+God, pardon me!" The dancing stopped, and the dancers burst into tears.
+The embittered relative of the murdered man went to him, raised him,
+embraced him, and kissed him on the forehead, and, turning to the rest,
+cried out: "This man has been my enemy hitherto, but shall be my
+friend&mdash;my brother&mdash;henceforward, to me and to you all also, and<span class="pagenum"><a name="Page_20" id="Page_20">[Pg 20]</a></span> to any
+who were blood-relations of our dear friend who was killed," and then
+broke a silver coin in two, giving him one half. Then the oldest of the
+judges read the sentence imposing the price of blood, from 50 to 140
+zecchins of gold. Part of the money went to the Church, a third to the
+expenses of the judgment, and the rest to the family, who generally
+applied it to some pious use.</p>
+
+<p>Marriage customs vary slightly. About Pola and Parenzo the country
+people make a great display, and go through ceremonies pointing to the
+capture or purchase of the bride. The cort�ge is headed by a
+standard-bearer, an unmarried relation, carrying a linen flag of
+different colours, and on it a wheel-shaped loaf with a great apple on
+the point of a long pole. The guests knock loudly at the door: after a
+time a voice asks who they are and what they want. The oldest man
+answers: "A rose out of the garden," or "A hind out of the thicket."
+After some debate, first an old woman is brought out, then a younger,
+then the bridesmaids. They take them all, but want another&mdash;"A barefoot
+girl is still there." At last the bride appears. "That is the right one;
+we will take her away," all cry, and the bride-leader asks for her
+stockings and fine shoes, which generally contain a silver coin. These
+she herself puts on. The bridegroom gives shoes or some other gift to
+the mother and all the home people. Then one of the guests fires at an
+apple on a stick fixed to the roof, or on a tree-top, and it is
+considered a disgrace to all if he misses. Now the bride comes down,
+garlanded and with one or two apples in her hand, which she throws at
+the bridegroom, who tries to cover her with the flag. Whether struck or
+not, he picks the apples up, to eat with his bride after the ceremony.
+Then they go off to church. Other customs accompany the journey home.</p>
+
+<p>The Morlacchi are very hospitable; if any one approaches one of their
+houses they ask him in, and<span class="pagenum"><a name="Page_21" id="Page_21">[Pg 21]</a></span> will not let him go without his tasting
+bread and wine. They are exceedingly loyal and devoted to their native
+land. They are very fond of proverbs, of which I quote a few: "The empty
+sack does not stand upright"; "Penitence does not make the madman well
+again"; "If you will not be a thief I will not watch"; "You can't shut
+out the sun with the palm of your hand"; "Be married by your ears and
+not your eyes"; "There is most milk in other people's cows"; "He who
+cries most loudly works the least"; "Promises console the foolish"; "He
+who has been bitten by a viper fears the lizard"; "The wolf changes his
+skin, but not his habits"; "As the mother spins, so the daughter
+weaves"; "Horses by their pace, maidens by their stock."</p>
+
+<p>They are a powerful and a proud race, as the following story from Fortis
+shows, and will without doubt leave their mark on European history when
+their culture equals their physical powers; but the present
+race-animosity between Croat and Italian is deplorable. The Croats,
+being in the majority, are using their power to oppress the
+Italian-speaking portion of the population. The schools are now all
+Croat, and the Italians have no means of instruction for their children
+in their own language except at Zara. At Spalato the race-feeling is
+especially bitter; it is the only city in Dalmatia in which the
+anniversary of the Italian defeat at Lissa is f�ted with display of
+flags and music by the <i>municipio</i>. The Italian theatre was burnt down
+some years ago, and the Croat majority on the council voted a large sum
+of money (stated to have been �60,000) to build a new Croat theatre to
+replace it; and this they refused to let to Italian companies. But there
+are no Croat companies ready to bear the expense of coming to Spalato,
+so the theatre remains closed!</p>
+
+<p>The story told by Fortis is as follows: "Venice was<span class="pagenum"><a name="Page_22" id="Page_22">[Pg 22]</a></span> exchanging
+prisoners-of-war with the Turks, and gave several Turkish soldiers for
+each Dalmatian. A deputy of the Porte observed that this was scarcely
+fair, to whom a Morlacco of Sinj replied fiercely: 'Know that our prince
+willingly gives many asses for a horse.'"<span class="pagenum"><a name="Page_23" id="Page_23">[Pg 23]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="III" id="III"></a>III</h2>
+
+<h3>AQUILEIA</h3>
+
+
+<p>The city of Aquileia, called by the Greeks Chrysopolis, because it was
+one of the largest and richest cities of the empire, is now represented
+by a cluster of houses, a cathedral, and a museum in which the greater
+part of the objects found by excavating are housed. It is easily reached
+by carriage from either Villa Vicentina or Cervignano, a pleasant drive
+of an hour or so; and it gives one some idea of the size of the ancient
+city to remember that the whole of the ground passed over, at least from
+Villa Vicentina, was originally included in its suburbs. The city
+stretched 16 miles along the shore, but the ground has sunk some five
+feet, and much of ancient Aquileia now lies beneath the lagoon. The
+inscriptions show that most of the inhabitants were foreigners. At
+present the environs are malarious; but at the time when the naval
+station was established here the climate must have been much more
+healthy; on account, probably, of the great pine-forest which stretched
+along the shore, and of which there are still some small remains towards
+the Belvedere. At that time the Natisone debouched close to the town,
+and there was ample anchorage for ships. In the eleventh century the
+great port and arsenal were at Morrano and S. Marco al Belvedere, which
+were then still islands. The sea-mouth was between Grado and S. Pietro
+d'Oro, where the pharos was.<span class="pagenum"><a name="Page_24" id="Page_24">[Pg 24]</a></span></p>
+
+<p>The city was founded in 181 <span class="smcap">B.C.</span>, and its name is said to have
+originated in the appearance of an eagle which was seen while the plan
+was being laid out. It was the centre from which numerous roads
+diverged. Here Vespasian was hailed emperor by his legion. In 238
+Maximin and his son were killed beneath its walls. Alaric besieged it,
+and Attila destroyed it in 452. Forty years later Theodoric took the
+lordship of Italy from Odoacer on the banks of the Isonzo, and in 552
+the citizens who had returned were again driven away to the deltas of
+other rivers by Alboin, who was, it is said, called from Pannonia by
+Narses to wreak his vengeance on the son of Justinian.</p>
+
+<p>Christianity was planted in Aquileia in apostolic times. According to
+tradition S. Mark was sent by S. Peter from Rome to the city, and there
+wrote or translated his gospel into Greek. S. Hermagoras, who was
+Aquileian by birth, followed him as overseer of the Church. He was
+consecrated the first bishop of Italy in Rome, the diocese ranking next
+to the Roman see as being the most ancient after that city. There is no
+doubt possible as to the existence of Christianity here at the end of
+the third century. There were churches in the time of Constantine, and a
+baptistery as early as 270, in the days of Aurelian. In Constantinian
+times it was a centre of Catholic life. SS. Jerome and Ambrose lived
+within its walls, and towards the end of the fourth century the bishops
+of Como, Venetia, Istria, Noricum, Pannonia, and even Augsburg, as some
+say, were under Valerian the bishop. Till Carolingian times the
+patriarchs were Italians, Greeks, or Friulians; but, with the
+establishment of the Holy Roman Empire, the patriarchs of Aquileia
+politically were attached to it, and were friends of the emperors, who
+often stayed in the city on their journeys to and from Italy. All the
+names are German from the end of the tenth century<span class="pagenum"><a name="Page_25" id="Page_25">[Pg 25]</a></span> to the middle of the
+thirteenth. The patriarchate was exceedingly prosperous under Poppo
+(1019-1045), who had been chancellor to Henry II. He moved his seat back
+to Aquileia from Cividale, built a fine palace (of which the two
+isolated pillars and the ruined walls to the south of the cathedral
+remain) and the existing cathedral, using portions of an earlier one as
+material.</p>
+
+<p>As at Parenzo, excavations have revealed the plan of earlier buildings
+upon and around the site of the cathedral. This was the Capitol of the
+ancient city, and probably a street ran between the baptistery and the
+cathedral. To the north lay the forum and the cattle-market, as
+inscriptions prove. The discovery of drains proves that there were
+dwelling-houses as well as temples near; but the wall of the original
+city was just east of the cathedral, and beyond it a branch of the
+Natisone flowed, affording additional protection. The river was
+canalised and navigable for seven miles. The piers of a bridge still
+remain near Monastero.</p>
+
+<p>A large antique building of some kind, perhaps a prison or
+courts-of-law, connected with the martyrdom of SS. Hermagoras and
+Fortunatus, was used in the construction of the first cathedral, and
+portions of imperial work are to be seen in the lower parts of the
+eastern wall and the paving of the crypt. The baptistery, which rises to
+the west, also is on the base of a heathen temple. In the year 348 a new
+church was so far ready that a great meeting could be held in it, at
+which the emperor's brother was present, Athanasius tells us. It was
+finished in 381, when a council was held in it. The destruction wrought
+by Attila appears to have been complete, for no inscriptions have been
+found of his date, nor any Lombard objects, and at the time of the
+Lombard invasion the patriarch fled to Grado with all the church
+valuables, and moved his seat thither.<span class="pagenum"><a name="Page_26" id="Page_26">[Pg 26]</a></span></p>
+
+<p>The foundations show that there were two basilicas side by side, with a
+narthex common to both and a passage between them up to the transept. To
+the south the narthex terminated in an apse nearly 20 ft. across, and
+there was a hall, probably open to the sky, between the narthex and the
+baptistery, with others to the north and south of it. The basilica to
+the north of the present cathedral extended under the campanile and the
+graveyard, and mosaics of its floor have been found on two levels,
+sunken in part by the weight of the campanile. The lower mosaic has been
+found over a space of more than 120 ft., but the excavations could not
+be made complete owing to the ground being used as a cemetery. One
+pattern is purely geometrical; another has birds, dogs, hares, baskets
+of flowers, and floral scrolls in octagons and squares set diagonally
+between them; both marble and vitreous pastes are used, as well as gold
+tesser�. Inscriptions were also found in letters of the third or
+beginning of the fourth century: "***ore Felix hic crevisti hic Felix"
+and "Cyriacus vivas." The former is held to prove that there was a
+domestic basilica here at that period. The bottom of the wall was
+painted with geometrical patterns imitating marble plating. The mosaic
+runs right under the campanile. There is a door to the south, and two
+pillars parallel to the face of the wall, and one to the left, opposite
+the north angle. The upper building has a double row of bases of
+columns, nine or ten in number, with an external wall 19 ft. 6 in. from
+the present basilica, and with the western wall of the narthex level
+with the present narthex, beneath the piazza. Antique fragments were
+used in the foundations. The lower part of the wall of the existing
+building is of the same materials and thickness, and probably of the
+same date. The much simpler mosaic patterns of the floor are at the same
+level both inside<span class="pagenum"><a name="Page_27" id="Page_27">[Pg 27]</a></span> and outside&mdash;viz. 2 ft. 9 in. below the present
+pavement. Near the round building in the north aisle a fish mosaic was
+found on which the sarcophagus of Poppo stood. Signs of a
+conflagration&mdash;fragments of charcoal, &amp;c.&mdash;were also found on this
+pavement. The colours used in the mosaics are white, blue, grey, palish
+green-grey, yellow, brown, black, several blues and reds, and two
+greens. The finest fragment has a figure of a peacock with tail
+displayed, which was in the narthex in front of the door to the church,
+and is now in the museum. On the pavement coins were found, most of
+which belonged to the third and fourth centuries; but there were also
+one Greek coin of Marcianopolis, two so-called Consular coins, one
+Augustan, three of the second century, one Ostrogothic of Ravenna, and
+several Aquileian of 1400. In the eighteenth century sarcophagi were
+disinterred bearing fourth-century crosses, of an earlier date than
+Attila, at all events.</p>
+
+<p>There appears to have been a restoration in the sixth century, probably
+under Narses; the use of super-abaci and the caps in the transept
+suggest this. Perhaps the council of 557 may have had something to do
+with it. Twin basilicas occur elsewhere in Istria, though they were not
+always of the same date, as at Trieste, S. Michele in Monte, Pola, and
+probably at Ossero, where the seven-naved basilica of which Mr. T.G.
+Jackson gives the plan would be easily explained by the supposition.</p>
+
+<p>The original east end was square. The semicircular apse within it is of
+a later date, probably of the ninth century, of which period there are
+other remains&mdash;viz. the beautiful slabs of the choir now in the south
+transept, with the remains of the bases of the pillars of the screen
+above. Two of the patterns are exactly like some at Muggia Vecchia;
+others resemble ornamented pillars of the door of S. Ambrogio, Milan;
+others are<span class="pagenum"><a name="Page_28" id="Page_28">[Pg 28]</a></span> very like the fragments preserved at S. Maria in Valle,
+Cividale; whilst a band of interlacings resembles one which occurs on an
+Assyrian cylinder, not only in its forms, but in its irregularities. A
+piece of antique fluted pilaster now does duty as a base. The ornament
+on the steps of the throne is also of this period, probably executed
+under either Paulinus (&#9768;802) or Maxentius (&#9768;833) by Comacines, who probably went on to Rome to work in S.
+Maria in Cosmedin. The Liber Pontificalis under Hadrian I. mentions the
+"tres apsides in ea constituens" of that church as if they were
+something new.<span class="pagenum"><a name="Page_29" id="Page_29">[Pg 29]</a></span></p>
+
+<div class="figcenter" style="width: 512px;">
+<a name="p028" id="p028"></a>
+<img src="images/p046.jpg" width="512" height="650" alt="PLAN OF THE CATHEDRAL, AQUILEIA" title="" />
+<span class="caption">PLAN OF THE CATHEDRAL, AQUILEIA</span>
+</div>
+
+<p>The cathedral was much damaged by the earthquake of 998, and Poppo began
+to rebuild it after the Latcran Council of 1027 had declared the see of
+Aquileia first in Italy after Rome, It was sufficiently finished in 1031
+for it to be consecrated by him on the festival of the patron saint
+(July 13), two Roman cardinal-bishops and twelve bishops being present,
+as a later inscription states. Of this building the greater part
+remains, though with considerable alterations and additions made in the
+fourteenth century, after the earthquake of 1348, and in the fifteenth
+century. The twenty columns of the nave arcade, some of which are
+granite and some Istrian limestone, show by their different heights and
+thickness that they came from other buildings. Some of them are in more
+than one piece. The bases are Attic of different heights and are of
+Poppo's time, as the caps appear to be also. Two similar caps are in the
+churchyard; and one, hollowed out, is used as a holy-water basin. Some
+of the same character were found at Monastero under another basilica.
+The central nave is 39 ft. broad, and the aisles 26 ft. The transept is
+about 136 ft. long, with an apse 32 ft. 6 in. broad opening from it, 21
+ft. deep. The exterior length of the building is 218 ft. The round
+arches from the aisles<span class="pagenum"><a name="Page_30" id="Page_30">[Pg 30]</a></span> to the transepts are older than the nave arcade.
+The columns are antique; that on the south has also a Corinthian cap,
+but the base is Romanesque. The base of the northern column is a
+shapeless block; the cap is like those of the nave, but the super-abacus
+is plain. Across the transepts two round arches are thrown in a line
+with the aisle walls, resting on very thin columns of cipollino; that on
+the south is of several pieces not belonging to each other. The caps
+vary in design. North and south of these arches are the chapels, with
+their apses. The arch of the apse is round, with two antique granite
+columns; it had three small round windows in it. The bishop's throne is
+from the earlier church. Beneath the late-Gothic seats round the apse
+are the seats of Poppo's time, with remains of inscriptions: the
+pavement of marble slabs and mosaic patterns is also due to him.</p>
+
+<p>In 1896 frescoes of the eleventh century were discovered beneath the
+rococo plaster-work in the semi-dome. In the centre is the Madonna and
+Child enthroned in a vesica above six saints, and surrounded by the
+symbols of the Evangelists. The saints to the spectator's right are SS.
+Hermagoras, Fortunatus, and Euphemia; to the left are SS. Mark, Hilarus,
+and Titianus. Among them are persons on a smaller scale&mdash;Poppo holding
+his church, the emperor (Conrad II.) and the empress, an unnamed person,
+and a boy "Einricus" (afterwards Henry III.); a border of medallions,
+with heads and peacocks alternately, surrounds the field. Below, between
+the three windows, are six more saints, three on each side. Two
+different hands can be traced. In the crypt are also paintings of the
+eleventh and twelfth centuries, the difference in technique being
+marked. On the vaults are the legends of SS. Hermagoras and Fortunatus;
+in the lunettes the life of the Virgin, angels, Apostles, and saints,
+and on the<span class="pagenum"><a name="Page_31" id="Page_31">[Pg 31]</a></span> soffits of the arches; and painted hangings in outline with
+figure-subjects upon them, on the lower part of the wall. There is one
+subject from the life of S. Mark. Two kinds of intonaco are used, one
+hard and white, the other grey and sandier. There are two rows of
+pillars in the crypt, six in the wall round the apse, and two
+(Renaissance) at the sides of the westward niche, which looks like a
+western apse with altar in front of it. The roof is a wagon vault
+pierced with cross-vaults, but not truly quadripartite, and the caps a
+curious combination of badly cut foliage and scrolls and round-arched
+arcading. Iron grilles of 1500 isolate the space within the columns
+where the sarcophagus stands. There were doorways to the triangular
+spaces left between the apse and the rectangular external form, which
+were walled up at a later date. The stairs to the crypt go through the
+side wings of the Renaissance tribune above with a crookedly set room on
+each side, with little windows in the walls, one of which is blocked by
+the marble sheeting, while those towards the crypt are also walled up,
+showing that the structure is early, and is probably Poppo's. The doors
+are of iron, with lions' heads on the south side and man-headed animals
+on the other.</p>
+
+<p>The Patriarch Raimondo della Torre (who died in 1299) built the chapel
+of SS. Ambrogio and Margherita, which was used as the sepulchral chapel
+of the family. It opens to the nave, with two pointed arches with an
+oculus above. In the middle of the side wall, between two sarcophagi of
+white marble, is that of Allegranza di Rho, second wife of Moschino
+della Torre and mother of the Patriarch Gastone. She died July 23, 1300,
+and her sarcophagus is the only one of the five in the chapel inscribed.
+On the front are reliefs, and on the sloping cover her effigy. One of
+those at her side has a figure of a person in subdeacon's dress, with a
+key, no doubt<span class="pagenum"><a name="Page_32" id="Page_32">[Pg 32]</a></span> Rainaldo della Torre, treasurer to the church and brother
+of Gastone. His will of March 31, 1332, gives a precise description of
+the monument he wished to have erected to him. There was to be an
+archivolt over it, but if it was erected it must have fallen in the
+earthquake of 1348, as there are no traces of it. One of red marble,
+with a patriarch fully robed, with pallium and mitre, standing on a
+dragon between a processional cross and a crozier, with censing angels
+on each side of the head, is that of either Raimondo or Pagano. It also
+bears a relief of the Annunciation. On the front of another are three
+circular plaques with the Agnus Dei in the centre and crosses in the
+others; in the spaces between are flatly treated towers, the arms of the
+family. In the north transept a sarcophagus front, or altar, stands
+against the wall supported on pillars. It has five ogee trefoil niches
+with saints within them, and a framing of late Gothic foliage, with
+half-lengths of angels in the spandrils. The central saint is
+accompanied by two small kneeling donors; the other four are the
+Aquileian virgins. In the south transept is a sarcophagus on four
+Romanesque columns with twisted pillars at the corners, and the sides of
+the central subject (S. Hermagoras, with the four virgins small, on
+their knees, and the hand of God above). The spaces between are inlaid
+with red marble. The caps appear to be of the fourteenth century, the
+period of the foliage cornice.</p>
+
+<p>As a consequence of the earthquake of January 25, 1348, a good part of
+the church fell down on October 19. Constant wars prevented the
+patriarch from having money to spend on its restoration. A document of
+1354 reveals a lamentable state of things&mdash;the population was but
+100&mdash;worshippers did not come, and the clergy had fled to save
+themselves from sickness and death; no one came to the services of Holy
+Week be<span class="pagenum"><a name="Page_33" id="Page_33">[Pg 33]</a></span>cause the roads were under water, &amp;c.; with a final request that
+Udine might be named as the seat of the patriarchate. The rebuilding was
+commenced under Lodovico della Torre (1360) and finished under Marquard
+da Randeck (1365-1380), the architect being unknown. At this time the
+nave arcade was made pointed, and some of the super-abaci carved with
+Gothic foliage. After Venice had expropriated the patriarch (in 1420)
+money was spent upon the cathedral. In 1479 the choir seats were
+renewed. In 1493, under Nicol� Donato, the winter choir was renewed. In
+1495 the high-altar was erected, upon which Antonio di Osteno,
+Bernardino di Bissone, and Domenico di Udine were employed. Work was
+also done in the crypt, in connection with the better preservation of
+the relics of some saints. In 1498 the tribune appears to have been
+made, under Domenico Grimani. This is a very decorative arrangement,
+with a central feature, flanked by two flights of steps, and side
+platforms furnished with a balustrade, which project some way into the
+transepts, and are carved elaborately with graceful arabesques. In the
+centre below is a niche with shell-head and grated window, through which
+the inside of the crypt is visible. To the right is a ciborium altar,
+with a relief of Christ in the tomb half-length, supported by the Virgin
+and S. John, flanked by two scroll-bearing angels. An inscription
+describes it as an oratory, where relics of the saints are venerated.
+The pillars bear an architrave&mdash;a shell-he ad beneath, an arch above,
+and a gable termination of early Renaissance shape&mdash;above a shallow
+cornice. The effect is heavy. The left side was used as a
+singing-gallery. In the apse hangs a picture by Pellegrino di S. Daniele
+(which was put up in 1503), a good deal repainted&mdash;a Risen Christ with
+SS. Peter and Herniagoras. The fine frame was carved by Giovanni Pietro
+di Udine in 1500, and gilded<span class="pagenum"><a name="Page_34" id="Page_34">[Pg 34]</a></span> two years later by Antonio de' Tironi of
+Bergamo. Before 1484 the floor was of beaten earth; at that time a
+pavement of red Veronese marble was commenced, completed in 1544. The
+aisles are at a slightly higher level than the nave. The Gothic roof was
+remade on the pattern of those of SS. Zeno and Fermo, Verona, in 1526
+(signed Giuliano q Vivente of Udine), and restored in 1560. It is now
+painted in chequers. Beams resting on corbels beneath the windows cross
+the nave, while the aisles have a flat panelled roof, with bosses at the
+intersections of the framing.</p>
+
+<p>The font is supported by four small pillars surrounding a larger central
+one. In the north aisle is a circular building with a conical wooden
+roof supported upon a little colonnade&mdash;work of the fifteenth century in
+its present form. There was, however, a "sepolcro"&mdash;a copy of the Holy
+Sepulchre&mdash;here, with a flat cupola, mentioned in 1077, and described as
+being near the grave of Patriarch Sigeard, and in 1085 an altar was
+consecrated within it by Patriarch Frederick II. The ceremony of
+carrying the Host thither on Good Friday and locking and sealing the
+door, from which it was brought out on Easter Day, lasted till the
+suppression of the patriarchate in 1751.</p>
+
+<div class="figcenter" style="width: 590px;">
+<a name="p054" id="p054"></a>
+<img src="images/p054.jpg" width="590" height="464" alt="NARTHEX OF THE CATHEDRAL, AQUILEIA" title="" />
+<span class="caption">NARTHEX OF THE CATHEDRAL, AQUILEIA</span>
+</div>
+
+
+<p>At that time the treasure and archives were divided between the
+bishoprics of G�rz and Udine. The precious objects were stolen from
+Udine, and have disappeared, but at G�rz there still remain several.
+There is a bishop's crozier of the end of the twelfth century,
+Romanesque in style, decorated with seven pieces of rock-crystal
+arranged diagonally, and with a knop of the same, set at a later date.
+The crook is set with precious stones, rubies, turquoises, aquamarine,
+and lapis lazuli. Within is the Lamb holding a cross; under it the whorl
+finishes with a dragon. A much older bishop's staff is of worm-eaten
+wood&mdash;set in<span class="pagenum"><a name="Page_35" id="Page_35">[Pg 35]</a></span> metal at a later date to preserve it from
+destruction&mdash;said to have been given to S. Hermagoras by S. Peter or S.
+Mark. There is also a great crucifix of gilded silver on a wood basis
+worked with a rough naturalism free from Byzantine influence. The cross
+is made into a tree, from which grapes hang; the nimbus is set with
+large amethysts and small rubies. Of the same period is a fine
+book-cover of gilded silver with the subject of the Ascension. Christ
+enthroned in a vesica is supported by two angels; below is the Madonna
+as <i>orante</i>, surrounded by the Apostles. The border consists of fine
+leaf-scrolls, late twelfth century in character. A silver statuette of
+the Madonna and Child is of the fourteenth century. The Child is nude,
+tall, and thin, and wears a crown decorated with pearls and trefoils.
+The naked portions are matt silver, the draperies are gilded. It stands
+on a pedestal of three ornamented steps. The fate of the precious
+objects is reversed in the case of the documents. Those sent to G�rz
+have disappeared, whilst Udine still preserves a considerable number. At
+Aquileia the only object remaining from the treasury is a statue of the
+Madonna and Child, of Istrian marble, heavily painted. The work
+resembles in style the carving at S. Giovanni in Fonte, Verona.</p>
+
+<p>The campanile must have been built by Poppo, although the base looks
+like Roman masonry, since the mosaics go right under it, but it was
+added to later, and the octagonal bell-chamber is inscribed: "<span class="smcap">MD</span> �
+<span class="smcap">XLVIII TADEVS</span> � <span class="smcap">LVRANVS</span> � <span class="smcap">HOC</span> � <span class="smcap">O</span> � <span class="smcap">FECIT</span>." It is 39 ft. square and the
+walls are over 7 ft. thick. The entrance is approached by 27 steps. It
+is 70 ft. to the floor of the bell-chamber.</p>
+
+<p>The narthex has three thick antique pillars, part granite and part
+marble, with heavy early Christian Corinthian caps and super-abaci with
+crosses upon<span class="pagenum"><a name="Page_36" id="Page_36">[Pg 36]</a></span> them. The baptistery lies to the west of the narthex,
+united to it by a building known as the Chiesa dei Pagani. This consists
+of three bays with a descent of three steps from the first, over which
+there was once a cupola. The other bays are cross-vaulted, and there are
+several round-headed windows. In the pavement is a curious pierced
+stone. It has a cross with the Agnus Dei in the centre (pierced), and
+four little window shapes in the angles with round-headed tympana and
+oblong piercings below. There was a second story; part of the wall of
+this remains, constructed of ancient tiles, which were much used in
+Aquileia in the Middle Ages; an inscription records a restoration in
+1738. The baptistery was originally a Roman building, square externally
+and octagonal within, with four niches, one of which is partially
+preserved. Remains of the others have been found outside the octagon.
+There was an hexagonal font in the centre, and in the angles of the
+walls are the springings of vaults; there are also six pillar-stumps of
+different thicknesses. Most of the present building is modern, the
+result of several restorations. On each side of the baptistery and
+Chiesa dei Pagani were halls with mosaic floors of the Christian period,
+of which that to the south was least damaged when discovered; it had
+three patterned fields, with borders. The open hall between was
+stone-paved&mdash;a bit of the paving was found a foot deeper than the
+original floor of the baptistery.</p>
+
+<div class="figcenter" style="width: 307px;">
+<a name="p036" id="p036"></a>
+<img src="images/p057.jpg" width="307" height="500" alt="STATUE OF VENUS, MUSEUM. AQUILEIA
+" title="" />
+<span class="caption">STATUE OF VENUS, MUSEUM. AQUILEIA
+</span>
+</div>
+
+<p><a name="p037" id="p037"></a></p>
+<div class="figleft" style="width: 184px;">
+
+<img src="images/p059.jpg" width="184" height="400" alt="ANTIQUE STATUE IN THE MUSEUM, AQUILEIA" title="" />
+<span class="caption">ANTIQUE STATUE IN THE MUSEUM, AQUILEIA</span>
+</div>
+
+<p>The museum contains a quantity of exceedingly interesting objects, the
+fruit of excavations, which the director, Signor Maionica, most kindly
+piloted me through, calling attention to the various objects of special
+interest and giving me details about them of which otherwise I should
+have been ignorant. The collection of objects in amber, many of them
+stained a fine red, is the finest in existence, though the most<span class="pagenum"><a name="Page_37" id="Page_37">[Pg 37]</a></span>
+splendid examples have gone to the British Museum, to Udine and G�rz.
+The sculptured objects include a very beautiful youthful Venus, a girl
+apparently of about 17, a draped statue of the Emperor Claudius in Greek
+costume, one of Tiberius as Pontifex Maximus (both found near the
+theatre), one of Livia, showing the arrangement of the back hair, and
+marble wigs to place upon the heads of statues to keep them in the
+fashion. There is also a draped Venus with a Cupid hiding beneath her
+robe, a copy of the Aura (Spring-rain) of Scopas, of which another is in
+the museum at Trieste, and a most interesting sculptor's model for use
+in the studio, showing how arms and legs of other pieces of marble were
+affixed to statues. A pedestal shows the life of Priapus, from his birth
+in the spring to his winter's inactivity; others have winged Cupids
+bearing torches and bestriding dolphins, the idea being of a voyage to
+the Islands of the Blest. A panel shows Bacchanalian Cupids; one desires
+to drink, one is drinking from a crater, another, supported away,
+inebriated; the robed master of the feast bears a sceptre and is playing
+the Pan-pipes. Another relief represents a banquet in a triclinium. One
+man sounds a double pipe, another<span class="pagenum"><a name="Page_38" id="Page_38">[Pg 38]</a></span> carries food to the guests, one of
+whom is singing an obscene song, which disgusts the women, who make the
+sign of displeasure at him. In a relief of the time of Heliogabalus a
+meteoric stone is seen carried in procession, preceded by duumvirs,
+lictors, &amp;c.&mdash;an evidence of an Oriental cult practised in Aquileia.
+Five great medallions from the same building show busts in very high
+relief of Jupiter, Mercury, Vulcan, Venus, and Minerva. A stone table
+with a sundial and windrose engraved upon it has a low seat on three
+sides, but the fourth free, so that the hour may be seen at all times of
+the day without the annoyance of dodging one's shadow. The letters of
+the inscription point to the second century <span class="smcap">A.D.</span> as the date of its
+production. Many sarcophagi come from the north-east of Aquileia near
+Columbara, where a monument was found much resembling those of Petra and
+Baalbek in its forms. Inscriptions name clothiers, fullers, joiners,
+linen-weavers, builders and servants, purple-dyers, pikesmiths, a
+silver-worker, an Oriental pearl merchant with a sign of the city of
+Rome, &amp;c. In the eighteenth century the Mint was discovered, with bars
+of silver and baskets of coin. A fine plate of beaten silver, with the
+story of Triptolemus, found here is now at Vienna.</p>
+
+<p>Many pieces of ornament are preserved, often very finely modelled and
+also with traces of colour. The larger pieces, many of which are coarse
+in workmanship, are housed under a long shed in the open; among them are
+slabs of ninth-century ornament, lead coffins, and pipes with pointed
+covers to keep the sand out, urns for ashes, &amp;c. There appears to have
+been a Roman rococo at Aquileia, earlier than at Spalato or Florence.
+Here, too, are some of the early Christian mosaics found during
+the excavations in and around the cathedral. Especially beautiful are
+the fragments with peacocks and other birds, and lambs, with freely
+growing scrolls of vine.<span class="pagenum"><a name="Page_39" id="Page_39">[Pg 39]</a></span> An asbestos net, found at Monastero, used to
+wrap round the body during cremation and so keep the bones together, is
+interesting, as are lachrymatories misshapen by the flames, small
+bottles of rock-crystal beautifully cut, a few enamelled objects and
+carvings in ivory, principally children's toys. Rings set with gems were
+made of gold for the nobles and of iron for the citizens, who at a later
+period used silver and even gold. Over 40,000 coins have been found in
+the course of the excavations, and lamps bearing no less than 800
+different makers' marks. The marks are the same as those found all
+through Istria, Dalmatia, and the islands, proving a large export trade.
+The most important were those of C. Vibio Pansa, whose stamp (or those
+of his successors) is found in conjunction with imperial names till the
+time of Constantine. In the delta of the Isonzo, near Monfalcone, a
+portion was called "Insula Pansiana" even in the Middle Ages. A river in
+the bay of Monfalcone is still called Panzano, and near there is a place
+of the same name. There were also glass works at S. Stefano, Aquileia,
+where fragments of coloured glass have been found.</p>
+
+<p>Ruskin refers to a curious ceremony, instituted in the twelfth century,
+which was observed in Venice till 1549 "in memorial of the submission of
+Woldaric, patriarch of Aquileia, who, having taken up arms against the
+patriarch of Grado, and being defeated and taken prisoner by the
+Venetians, was sentenced, not to death, but to send every year on
+'Giovedi Grasso' sixty-two large loaves, twelve fat pigs, and a bull, to
+the Doge; the bull being understood to represent the patriarch and the
+twelve pigs his clergy; and the ceremonies of the day consisting in the
+decapitation of these representatives, and a distribution of their
+joints among the senators; together with a symbolic record of the attack
+on Aquileia, by the<span class="pagenum"><a name="Page_40" id="Page_40">[Pg 40]</a></span> erection of a wooden castle in the rooms of the
+Ducal Palace, which the <i>Doge and the Senate</i> attacked and demolished
+with clubs." Mutinelli quotes the decree.</p>
+
+<p>The patriarchate reached the zenith of its power under Volfkertis of
+Cologne, known to the Italians as Volchero. He was elected in 1204, and
+ruled till 1218. His dioceses included seventeen bishoprics of Venice on
+terra firma, stretching as far as Como and Trent, and six in Istria. The
+Venetian island bishoprics, by the convention of 1180, were under the
+Patriarch of Grado. In 1208 his dominions were so much increased that
+they almost exceeded those of the Pope in extent. He held the duchies of
+Carniola and Friuli, as well as the marquisate of Istria. He struck his
+own coins, of which there are two types, one closely resembling those of
+Aix-la-Chapelle and Cologne, and governed constitutionally with the
+assistance of a parliament of three estates.<span class="pagenum"><a name="Page_41" id="Page_41">[Pg 41]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="IV" id="IV"></a>IV</h2>
+
+<h3>GRADO</h3>
+
+
+<p>From Aquileia a steam-launch plies back and forth to Grado, a distance
+of some six or seven miles, at first along a canal with grassy banks
+plentifully besprinkled with giant snowdrops in the spring, then through
+wide stretches of lagoon along a channel, marked by piles, sometimes
+approaching the fishermen's huts, which occupy the summit of slight
+elevations rising but little above the surface of the water. These huts
+are mere shelters of reeds, and, one would think, quite unfit for human
+habitation, but close by them the nets may be seen drying, and perhaps
+food in course of preparation over an open fire, while the boat, thrust
+into a creek or tied to a stake, occupies the foreground. These
+wide-spreading lagoons, the resort of many kinds of water-fowl in their
+passage from north to south and <i>vice vers�</i>, are very pictorial. The
+enclosures in which fish brought in by the tide are retained, the beds
+of reeds and rushes with yellow water-lilies, the figures of women and
+children wading and seeking fishy treasures, provide excellent material
+for the artist. Occasionally a boat passes in which a woman is taking
+fish to Aquileia, leaving behind it a long trail of ripples. The two
+great campanili, of Grado which we are nearing, and of Aquileia passing
+into the distance behind us, each with its cluster of low buildings
+around, are prominent against the horizon showing dark against the fine<span class="pagenum"><a name="Page_42" id="Page_42">[Pg 42]</a></span>
+cumulus clouds, which are heaped in sharply defined masses against the
+blue of the upper sky and rise in threatening billows like exhalations
+from some vast cauldron, soon to fade away innocuously in the late
+afternoon.</p>
+
+<p>Grado is on one of the islands of which a chain stretches from the mouth
+of the Isonzo to that of the Brenta right across the northern border of
+the Adriatic. Its port was one of the harbours of Aquileia, at first for
+purposes of war, but later for those of commerce. The town was square in
+plan, walled, and full of people. Cassiodorus speaks of its material
+conditions. The modern town is most picturesque, with narrow streets and
+numerous courtyards, with outside staircases, quaint shops, and
+fascinating plays of light and shade, and so much of the life of the
+people passes in the open air that there is always interesting matter
+for observation. It is a seaside resort, visited a good deal for bathing
+during the summer months, and there is also, as at Rovigno, an
+establishment for scrofulous children. But its chief attraction for us
+is arch�ological, for it contains early Christian antiquities of
+considerable importance.</p>
+
+<div class="figcenter" style="width: 500px;">
+<a name="p042" id="p042"></a>
+<img src="images/p065.jpg" width="500" height="499" alt="A CORNER IN GRADO
+" title="" />
+<span class="caption">A CORNER IN GRADO
+</span>
+</div>
+
+<p>Its greatest prosperity was between the time of the great wanderings of
+the peoples and the descent of the barbarians into Italy. Its patriarch
+took the lead in establishing the government of the islands from which
+the Venetian Republic sprang. In 460 Nicetas called all the bishops,
+clergy, and leading officials of the islands together to deliberate on
+the question of government, and, after discussion, they agreed to
+establish one under the directorship of Tribunes. The first tribune was
+to live at Grado, with three others, called "maggiori," but depending
+upon him, one for Rivoalto, one for Candeana, and one for Dorsea, living
+at Rialto, Eraclea, and Torcello respectively. They had charge of the
+administration of justice, presided over the execution of the<span class="pagenum"><a name="Page_43" id="Page_43">[Pg 43]</a></span> laws,
+enforced discipline, and met at times in council to discuss propositions
+laid before them. Grado lost its supremacy in 696, when the assembly
+held at Eraclea gave it to that city, though the Patriarch of Grado,
+Cristoforo, was given equality with the three tribunes which Eraclea
+then had. The next year the first doge, Paolo Lucio Anafesto, was
+elected. It was by means of Fortunatus of Trieste, Patriarch of Grado
+(803-825), that the cry of the Istrians, oppressed by the Frankish duke
+and his supporters, came to the ears of Charlemagne, with the result
+that after a strict inquiry held at Risano in 804, when the
+representatives of the cities and castella exposed the odious
+proceedings of the bishop, the duke, and their adherents, they obtained
+redress. In 875 the Saracens attacked Grado, but were repulsed. The next
+year a similar attack was made by the Slavs of Croatia and Dalmatia, but
+the Doge Orso met them, defeated them, and gave back to several Istrian
+towns objects of which they had been robbed.</p>
+
+<p>Between Grado and Aquileia there was a constant struggle for supremacy,
+which was in reality a contest between Venice and the empire, Aquileia
+standing for the latter and Grado for the former. A formal peace was
+concluded between them during the Lateran Council of 1180, by which the
+Patriarch of Grado renounced all claims over the Istrian bishoprics,
+except as regards the hundred amphoras of wine sent by Capodistria from
+1075, given as a personal honour to the Doge Pietro Candiano, and by him
+handed over to the Patriarch of Grado. In 452 the Patriarch of Aquileia
+fled to Grado from the Huns, returning after they had passed, and in
+578, when Aquileia had become Lombard, Paulinus transferred his seat to
+Grado, thus putting himself under Byzantine protection. In 579 a synod
+was held in the church. From 607 there were two patriarchs&mdash;one in Grado
+and one in Aquileia&mdash;established for political<span class="pagenum"><a name="Page_44" id="Page_44">[Pg 44]</a></span> reasons by the Lombards;
+they were schismatical, that is to say, adherents of the "three
+chapters." During the continuance of this schism, in 610, three Istrian
+bishops were taken from their very churches by the military, and carried
+off to Grado, where they were compelled to bend to the Imperial will in
+the matter. Gregory III. sanctioned the division of the two
+patriarchates in 731, both having become orthodox, Aquileia in 698 and
+Grado in 715. In 1451 the patriarchate of Grado was transferred to
+Venice, where the patriarch had been living for a long time.</p>
+
+<p>The foundations of the cathedral were laid under Nicetas (456) by the
+architect Paulus, who was sent to him by Pope Leo I. The plan is
+Romanesque, a basilica with nave and aisles and no transept, the nave
+terminating in an apse eastward. It has two western doors, which open
+into a portico of almost the whole breadth of the church, part being cut
+off by the campanile, which is nearly 20 ft. square and over 160 ft.
+high. The clerestory and low-pitched wooden roof of the nave are
+supported by two piers and ten columns on each side. The columns are
+antique, but of varied material&mdash;cipollino, white and black and
+white-veined marble, and granite; and there is one of a rosy and white
+breccia. The caps vary both in design and size, and have been repaired
+with stucco. Some of them are decadent Roman and the rest Byzantine: the
+bases are hidden by a square wooden boxing. The eleven arches of the
+nave arcade are round. The round-headed windows of both nave and aisles
+had pierced slabs of stone in them, but in 1740 the openings were made
+lunette-shaped. One pierced slab of the ninth century has been found,
+and is now placed high up in the apse above the patriarch's throne.
+Under Fortunatus and John the Younger, about the beginning of the ninth
+century, the church appears to<span class="pagenum"><a name="Page_45" id="Page_45">[Pg 45]</a></span> have been beautified; and again, in
+the second half of the tenth, under Vitalis. It is related that the
+relics were then provided with fresh receptacles and inscriptions. The
+choir occupies three bays of the nave, with a modern enclosure raised by
+several steps. Just outside the rail, by the fourth column on the left,
+stands the interesting pulpit, which has a later canopy, but itself
+appears to be of the ninth century, judging by the columns, two of which
+are twisted, and by the carving of the symbols of the Evangelists, which
+seems to be rather later. On the other hand, there is a square O in the
+inscription on S. John's book, of which other instances occur at Cattaro
+in an inscription of the ninth century, and in one of the seventh at
+Spalato. The pulpit is sexfoil in plan; one side is open, and one has a
+large cross carved upon it. The canopy has six fourteenth or
+fifteenth-century octagonal colonnettes, supporting ogee trefoiled
+arches with a domical termination, coloured in red and white chequers,
+and with scrolls and rosettes of red on the spandrils of the arches
+below. The shape and decoration show Arab influence strongly.</p>
+
+<div class="figcenter" style="width: 315px;">
+<img src="images/p070.jpg" width="315" height="500" alt="PULPIT IN THE CATHEDRAL, GRADO
+" title="" />
+<span class="caption">PULPIT IN THE CATHEDRAL, GRADO
+</span>
+</div>
+
+<p>In the pavement is still preserved a great deal of that laid down by
+Elias in the sixth century. It filled the nave, being entirely worked in
+tesser� of very few colours&mdash;black, a green-grey, red, yellow, and
+white. From the west door a pattern, surrounded by a border, stretches
+as far as the fifth pair of columns. It consists of a central band of a
+wavy pattern, interrupted by inscriptions and medallions; the
+easternmost one is blank and has a running border, with the corners of
+the square (cut off by the band of inscriptions) filled with
+scroll-work. The side portions are cut up into squares by bands of open
+interlacings, with ivy leaves in the interstices, and different designs
+within the squares, or with inscriptions, most of them in Latin, but one
+in<span class="pagenum"><a name="Page_46" id="Page_46">[Pg 46]</a></span> Greek. They record the gift of so many feet of pavement, as at
+Parenzo; and one donor, Laurentius the Viscount Palatine, seems to have
+been generous to both cathedrals. A long inscription leaves no doubt as
+to the date, and that it was laid down under the Patriarch Elias
+(571-585); it runs: "Atria quae cernis vario formata decore squallida
+sub picto caelatur marmore tellus longa vetustatis senio fuscaverat �tas
+prisca en cesserunt magno novitatis honori praesulis Haeliae studio
+praestante beati haec sunt tecta pio semper devota timori."</p>
+
+<div class="figleft" style="width: 331px;">
+<img src="images/p073.jpg" width="331" height="550" alt="THE PATRIARCH&#39;S THRONE. CATHEDRAL, GRADO
+" title="" />
+<span class="caption">THE PATRIARCH&#39;S THRONE. CATHEDRAL, GRADO
+</span>
+</div>
+
+<p>The flat ceilings and the rococo stucco-work are due to the restorations
+of 1740. The apse contains remains of medi�val painting&mdash;a seated Christ
+of colossal size surrounded by the symbols of the four Evangelists, with
+raised right hand and a closed book in the left; on one side S. John the
+Baptist holding an open scroll, and on the other a saint in green, with
+gold-shot stole and nimbus, but no attribute&mdash;both larger than life. The
+corners are occupied by the patron saints, Hermagoras and Fortunatus.
+Round the apse, just above the patriarch's seat, runs a row of portraits
+of bishops of later date, half-lengths, beneath a round-arched arcade on
+a gold ground. On the left nave pier, near the door, are the remains of
+a painting of S. Helena, who has nimbus, cross, and book. In the centre
+of the apse is the ancient patriarch's seat, with an inscription upon
+the wall commemorating the ancient supremacy of the see: it is mainly
+composed of mutilated ninth-century carved slabs, probably portions of
+the chancel of that date. Other slabs with similar designs and portions
+of a ciborium are preserved in a little collection of marbles under a
+shed behind the apse, where are also several sarcophagi and other
+antique fragments.</p>
+
+
+
+<p>In the treasury are two early reliquaries of silver, found beneath the
+high-altar in August, 1871. One is<span class="pagenum"><a name="Page_47" id="Page_47">[Pg 47]</a></span> cylindrical, with a convex lid,
+upon which is represented in relief the Virgin enthroned, with the Babe
+at her breast. Her right hand holds a cross-headed sceptre, and behind
+her head is a nimbus with the usual monogram, M&#919; &#920;T. The
+cylinder has no decoration but two bands of names of saints in Roman
+capital letters. These are: "Sanc. Maria, Sanc. Vitvs, Scs. Cassianvs,
+Sanc. Pancrativs, Sanc. Ypolitvs, Sanc. Apollinaris, Sanc. Martinvs."
+Within is a central cylinder and six compartments radiating from it,
+which contained a small cylindrical vase of gold with rings round it, a
+little glass flask, closed up and containing water, a little gold box
+with crosses and a leaf pattern on the outside, and a cross of
+dark-green enamel on the cover, a small slab of chalk or cement with a
+Greek cross imprinted on it, and several thin gold plates with the names
+of saints upon them. Several of the printed accounts of the discovery of
+this treasure say that there were six of these plates in the casket; but
+the glass case which encloses it and its contents has eleven, with the
+names as follows: "Domna Maria, Scs. Cassianvs, Sc. Martinvs, Sc.
+Brancativs, Scs. Troteomvs, Sca. Agnes, Scs. Bitvs, Scs. Apolinnaris,
+Scs. Hyppolitvs, Scs. Sabastianvs, Scs. Severvs." Dr. Kandler thought
+that it came from the church of S. Niceta in Aquileia, and was brought
+to the island with other treasures in 452, for safety, from Attila. De
+Rossi thought that the appellative "Domna" distinguishing the Virgin was
+an argument against such high antiquity; but in a later number of his
+"Bullettino" he described an inscription of about 457 at Loja, in Spain,
+in which the title "Domnus" or "Domna" is applied to all the saints,
+including the Virgin. There is a legend that "When Paul was patriarch of
+Aquileia the priest Geminianus was told in a vision to go to the
+destroyed city of Trieste to find the bodies of 42 martyrs buried
+between the wall of<span class="pagenum"><a name="Page_48" id="Page_48">[Pg 48]</a></span> the church dedicated to them and the city wall.
+Going thither with many other Venetians he found the holy bodies in the
+specified place, covered over with marble slabs, and, taking them, went
+to the destroyed city of Aquileia, where he added to the relics the
+bodies of Cantius, Cantianus, Cantianilla, and the virgins Euphemia,
+Dorothea, Thecla, and Erasma, and then took them all to Grado." Paul is
+Paulinus I. (557-569), and the occurrence took place after the Lombards
+had gone by in 568. The forty-two martyrs were laid side by side in the
+church of S. Vitale, and Paul died the next year.</p>
+
+<p>The other reliquary is elliptical, and has upon its sides reliefs and
+inscriptions bordered with a rough leaf-moulding. Round the middle are
+eight medallions with male and female heads, divided into two groups of
+five and three by palm-trees. Above and below is a row of names; those
+of the top row being: "&#9766; Sanctvs Cantivs, Sanc. Cantianvs,
+Sancta Cantianilla, Santvs Qvirinvs, Santvs Latinv." The lower row runs:
+"&#9766; S. Lavrentivs, vs loannes, vs Niceforvs
+Santisreddedidbotvm" (vir spectabilis, &amp;c., reddidit votum). The use of
+b for v is characteristic of the period of the Patriarch Elias. The
+cover is slightly domical; upon it are two lambs, and between them a
+gemmed cross. They stand on a hill from which the four rivers of
+Paradise flow. Within was a second silver casket filled with water, and
+some remains of relics. At Pola some reliquaries of somewhat the same
+kind were found, of which a description will be given later.</p>
+
+<p>In the Museo Sacro of the Vatican library is a similar capsella found at
+A�n Beida in Tunisia. It is oval, and has the same bands of ornament;
+round the body are reliefs. On one side is a lamb with a cross above his
+back, and on either side four sheep (with<span class="pagenum"><a name="Page_49" id="Page_49">[Pg 49]</a></span> tufted tails, a Tunisian
+variety) coming towards him from an arched and pillared building. On the
+other is the Labarum monogram with ornamental terminations on a hill
+from which the four Paradise streams flow; a stag on either side kneels
+to drink. On the cover stands a saint, on the four Paradise streams,
+between two lighted tapers in candlesticks, holding a crown; whilst the
+hand of God holds another over his head. There are no nimbi. The
+reliquary was empty and without any compartments. De Rossi pronounced it
+to be of the sixth century, or the end of the fifth.</p>
+
+<p>The treasury also contains an oblong fourteenth-century casket and two
+Limoges <i>gemellions</i>, as well as a good deal of late silver work, and an
+interesting altar frontal. The <i>gemellions</i> are champlev� on copper,
+with engraved backs showing traces of gilding. A central circle on the
+face contains a shield with a rampant lion, enamelled in blue; round it
+is a quatrefoil made by four larger circles which overlap at the
+reentering angle. The spandril spaces are filled with dragon-like
+monsters on a green ground. The ring and the shield show metal. The
+quatrefoil is outlined with white, and filled with scrolls and figures
+fighting with each other or with beasts. The corner pieces have a little
+tower and scrolls, the windows and cornice are red enamel, the ground is
+green. The outside edge has a zigzag of blue enamel. The hole through
+which the water was poured over the hands has a spout representing an
+animal's head. I believe these basins to be the only examples of Limoges
+work to be found along the coast.</p>
+
+<p>The altar-frontal is inscribed: "&#9766; MCCCLXII de Settembrio
+in lo tempo del nobele Miser Andrea Contarini Doxe di Vanesia e Miser
+Francesco Contarini Conte de' Grado fo fatta questa palla e Donado
+Macalorso da Vinesia me fece." It is of silver-gilt, 4 ft. 7 in.<span class="pagenum"><a name="Page_50" id="Page_50">[Pg 50]</a></span> high
+and 7 ft. 4 in. long, with twenty-one divisions, in three rows of seven
+panels, the bars being covered with leaf scrolls and with medallion
+half-lengths of Greek saints at the crossings. In the upper row, in the
+middle panel, is a half-length "Ecce Homo," right and left are the
+symbols of the Evangelists, and the outer corners have the
+Annunciation&mdash;the Virgin on the right, and the angel on the left. In the
+centre of the second row Christ sits in the attitude of blessing, with
+raised right hand, and holding an open book in the left. On its pages is
+inscribed: "Ego sum lux mundi qui in me crediderit non morietur in
+�ternum Amen." On the right are SS. John, Paul, and Fortunatus; on the
+left, SS. Felix, Peter, and Martha. In the lowest row the centre shows a
+chalice with the Host; on the right, SS. Hermagoras, Thecla, and Erasma;
+on the left, SS. Dorothea, Euphemia, and another Fortunatus.</p>
+
+<p>The patriarchal seat given by Heraclius to the Patriarch Primigenius was
+taken in 1520 to S. Mark's, Venice, where it may still be seen in the
+treasury. Pasini says it is certainly of Egyptian manufacture, in proof
+of which both the character of the ornaments and tradition are invoked.
+The Chronicles of the Acts of S. Mark in Aquileia, which are earlier
+than the eleventh century, say that it was covered with ivory plaques,
+"utique antiquo," but the large amount of carving upon it leaves little
+space for the attachment of further ornament. Its history seems quite
+clear. Heraclius brought it from Alexandria to Constantinople about 630,
+and between 1520 and 1534 it was behind the high-altar of S. Mark's. In
+the latter year it was moved into the baptistery on to the altar, where
+it stayed till taken into the treasury.</p>
+
+<p>It is made of Oriental cipollino. The medallion at the top is cemented
+on. On it is a crux ansata, with<span class="pagenum"><a name="Page_51" id="Page_51">[Pg 51]</a></span> two figures at the sides, both in
+front and behind, believed to be the four Evangelists. On the exterior
+of the arms are ten lighted tapers, thought to symbolise the ten
+churches founded in Africa by SS. Matthew and Mark. Below the medallion
+in front is a Lamb on a hill, from which the rivers of Paradise flow,
+and on which is either a vine or a fig-tree. On the back are an eagle
+and a lion, each with six wings. The background is starred, there are
+two palms at the bottom, and a Tree of Life in the space between the
+lion's lower wings. Above the eagle's head is a crescent. Beneath the
+tapers on the outside is a bull with six wings on a starred background,
+and on the other side an angel, also with six wings, with two palms
+below, and two little two-winged trumpeting angels in the top corners,
+on a similarly starred ground. These three sides have a band of
+lattice-work at the base; the front has a panel with zigzag lines. The
+inscription on the front has puzzled paleographists. It has been read as
+Hebrew and as stating that it is the chair of S. Mark. A hole in the
+back and another in the side are thought to have perhaps held the d�bris
+of the wooden chair which he actually used.</p>
+
+<p>Herr Graeven believes that he has identified several plaques of ivory
+which belonged to the chair in different museums. They all display the
+type of head afterwards used for S. Paul in Western art, which Dr.
+Strzygowski has identified as representing S. Mark in Alexandrian
+ivories.</p>
+
+<p>The octagonal baptistery, to the north of the cathedral, shows no sign
+of its age, which must no doubt be considerable; near to it is the
+church of S. Maria delle Grazie, which has fragments of similar paving
+to that in the cathedral, including the inscriptions. In the floor in
+front of the altar are also several pieces of ninth-century ciborium
+heads, and bits of<span class="pagenum"><a name="Page_52" id="Page_52">[Pg 52]</a></span> twelfth-century carving. It is possible that the
+baptistery once had a canopy such as still exists at Cividale, and that
+the fragments here and at the cathedral formed part of it. The nave has
+six bays, with five antique columns on each side, of cipollino, granite,
+white and black, and white-veined marble. The caps are very varied. Some
+are Byzantine of the type of those at S. Apollinare in Classe; two are
+truncated reversed pyramids with roughly cut scrolls on the surface, and
+one of these has a super-abacus. Two of them are queer, rough things,
+with brackets at the angles in place of volutes, and a deep abacus
+sloping back, with a cross upon it. The bases of the pillars are boxed
+in, as at the cathedral. An antique base serves as support to the
+holy-water basin. The floor has been mended with slabs of red and white
+marble and tiles, and the mosaic goes on into the rooms which flank the
+apse, at the ends of the aisles. This arrangement of the plan is exactly
+the same as that in a church at Kanytelides not far from Tarsus, the
+plan of which Miss Lowthian Bell gives in her book on Cilicia and
+Lycaonia; it also occurs in the church of Bir-Umm-Ali in Tunisia. De
+Vogu� gives two plans closely resembling it, and Mr. H.C. Butler
+describes some very similar plans near Is-Sanem�n in the Northern Haur�n
+(the ancient �re), which are probably Constantinian. It seems certain
+that it is an Oriental importation, especially in connection with the
+fact that the free-standing apse, as in the earlier church at Parenzo
+and at Salona, occurs quite frequently in Cilicia and Lycaonia, as Miss
+Lowthian Bell shows.</p>
+
+<p>Between Grado and Aquileia is a little island with a celebrated church,
+S. Maria di Barbana. In the early centuries of the Christian era legend
+says that a picture of the Virgin floated hither on a springtide, and
+was caught in the branches of a little tree, which lived till<span class="pagenum"><a name="Page_53" id="Page_53">[Pg 53]</a></span> the
+middle of the nineteenth century when a great storm destroyed it. The
+picture and the church which contains it are the object of an annual
+pilgrimage on the Feast of the Assumption; people from all around
+accompany a sacred picture from Grado to visit it. On this day the
+lagoon is alive with numberless craft, the priests' boat leading, with
+banners and tapers and fully vested ecclesiastics; and the air resounds
+with simple church melodies. At Barbana the Virgin's picture waits on
+the pier to greet that from Grado; and report says that it has been
+observed to nod at the moment the sister picture reached the shore!<span class="pagenum"><a name="Page_54" id="Page_54">[Pg 54]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="V" id="V"></a>V</h2>
+
+<h3>GRADO TO TRIESTE</h3>
+
+
+<p>There is a small steamer which plies from Grado to Trieste, going one
+day and returning the next, but fine weather is very necessary for that
+mode of travel, as the sea can be very rough between Venice and Trieste.
+We did not hit the day of its sailing, so retraced our steps to Villa
+Vicentina and went <i>vi�</i> Monfalcone and Nabresina. Between these two
+places the railway rises steadily, giving fine views over the sea and
+plain. Looking forward and back the pale-grey line of the viaducts winds
+round and about the slopes like some gigantic snake, or like the
+aqueducts of the Campagna of Rome. Here the grey limestone breaks
+through the vegetation more and more, for the line is approaching the
+lofty stony plateau of the Karst, and enormous heaps of d�bris
+accentuate the position of the numerous quarries. They are very
+extensive, going far into the rock, which is also pierced by many great
+hollows, like entrances to an unknown under-world. All over Istria these
+memorials of sunken river channels occur&mdash;a maze of holes and paths, in
+which the water is still sinking deeper through the porous stone as
+through a sieve. Curious funnel-shaped depressions often occur amid
+uniform slopes, several hundred feet across and sometimes 200 ft. deep,
+as if worn by ancient whirlpools, and many of the rivers become
+subterranean,<span class="pagenum"><a name="Page_55" id="Page_55">[Pg 55]</a></span> sometimes coming to the surface again many miles away.
+The river Rjeka, for instance, enters into the grottoes of S. Canzian,
+near Diva&#269;a&mdash;a succession of narrow abysses, hollows, pits, waterfalls,
+and stalactite grottoes, with pools in them; and other examples will be
+noted farther down the coast.</p>
+
+<p>The Castle of Duino has been called "The pearl of the Coastlands." It
+stands finely upon its rock, just where the diluvial plain meets the
+lime or sandstone formation. In a couple of hundred paces or so the
+vegetation changes its character from that of upper Italy to the
+softness of the southern islands, the sheltered slope to the sea being
+like an evergreen garden. Aloes root in the rocks as at Sorrento, and
+even in winter the purple cyclamen may be found in flower. Its name in
+antiquity was Castrum Pucinum. Here Augustus had a villa, whence the
+best wine for his table was brought. From the line, too, the campanili
+of Grado and Aquileia are visible, far away over the plain, dark against
+lagoon or sky in the evening, or flashing white in the morning sun.</p>
+
+<p>At Monfalcone we took corner seats in an unoccupied carriage, but while
+we were arranging our things an old man, rather infirm, got in and made
+me to understand that he wanted mine. German was the language which he
+spoke. I thought perhaps I was intruding, though there was nothing on
+the seat to show that it was taken, so gave it up. We had two nice
+youths, who were talking Italian, at the other end of the compartment,
+cadets of some kind in uniform, going home for the Easter holidays. The
+old man was very short-sighted and gazed at the landscape through a
+little telescope. When we left Nabresina and went the other way to run
+down to Trieste, the views changed to the other side of the carriage,
+and to my astonishment the selfish old fellow moved across and<span class="pagenum"><a name="Page_56" id="Page_56">[Pg 56]</a></span> turned
+one of the youths out of his place! to which he submitted quite meekly.</p>
+
+<p>The descent from the high land to the coast level is very fine, the eye
+ranging far over the blue water, headland projecting beyond headland,
+paler and more diaphanous, till the historic point of Salvore fades into
+the distance scarcely distinguishable. Below the blue is stained by the
+smoke of steamers and flecked with the many-coloured sails of other
+craft, while in the middle-distance populous Trieste stretches round the
+curve of the bay, with many vessels at its wharves, and the smoke from
+the Lloyd-Arsenal mingling with that from the iron-works at Muggia
+beyond S. Servolo across the bay; or, if it should be night, lines of
+lights define the long stretch of quays and streets like strings of
+pearls, and sparkle up the heights which the houses climb in several
+directions. Prosecco is passed, which gives its name to a celebrated
+wine much esteemed in Trieste; Miramar, with its memories of the
+ill-fated Maximilian of Mexico, who delighted in its beautiful situation
+and splendour of appointment; then comes Barcola, where excavations have
+proved the existence of Roman villas, which have enriched the museum of
+Trieste with many interesting objects; and at last the train slackens
+and stops at the west end of the town, in the fine station built with
+that disregard for economy of space and lavish expenditure of material
+which the Englishman finds remarkable in Continental railway management.<span class="pagenum"><a name="Page_57" id="Page_57">[Pg 57]</a></span></p>
+
+<div class="figcenter" style="width: 387px;">
+<img src="images/p086.jpg" width="387" height="550" alt="SHIPPING AT TRIESTE: THE CANAL, WITH THE GREEK CHURCH AND
+SANT&#39; ANTONIO
+
+" title="" />
+<span class="caption">SHIPPING AT TRIESTE: THE CANAL, WITH THE GREEK CHURCH AND
+SANT&#39; ANTONIO
+</span>
+</div>
+
+<p>Trieste is primarily a modern town, and the people are very proud of the
+important buildings which adorn it, as they have every right to be. The
+post office, for instance, is palatial, and round and near to the Piazza
+Grande are large and showy edifices which include the Town Hall and the
+Lloyd Palace, while the Greek church is a fine building in the Byzantine
+style, decorated with mosaics, and the church of Sant' Antonio makes
+a very effective termination to the Canale Grande. The broad quays are
+thronged with people of many nationalities and varied costumes, from the
+ships which lie along them flaunting ensigns of all kinds&mdash;red and white
+crosses, blue, yellow, and black stripes, moons and stars&mdash;Italian,
+Norwegian, Greek, Turkish, French, and Montenegrin, as well as Istrian
+and Dalmatian. The Greek ships generally lie in the Canal, the Norwegian
+by the Molo S. Carlo (so called from a warship which was sunk in 1737),
+and beyond the health office for the port at the Molo Giuseppino, where
+many others also lie, and the various passenger steamers in definite
+berths&mdash;the big English steamers at the end of the projecting quays.
+From a Sicilian ship hundreds of chests of oranges and lemons may be
+seen unloading; from a Venetian <i>trabarcolo</i> great heaps of onions and
+ropes of garlic; an Istrian boat disgorges a small mountain of green
+water-melons; from a Dalmatian cutter barrel after barrel of wine is
+rolled out, much of which goes on to Bordeaux (!); and the same from a
+Greek schooner near, while its neighbour from the Levant lands grapes
+and chests of raisins, and the Norwegian ship brings train oil or wood.
+Many Turkish and Albanian costumes lighten up the crowd with their
+brilliant colours and quaint shapes, Bosniaks and Montenegrins are
+occasionally seen, and a fair number of Morlacchi, though fewer than
+lower down the coast. The weather-beaten Chioggian fishermen, too, with
+their red caps and waist-scarves, black curly hair and great rings in
+their ears, are very picturesque, though less unusual. The Triestines
+themselves are abandoning the old costume of the countryman, the
+"mandriere," described as consisting of a long waistcoat with great
+silver buttons hanging on it, short black hose open at the knee, and a
+short<span class="pagenum"><a name="Page_58" id="Page_58">[Pg 58]</a></span> black, close-fitting jacket. In summer he wore a broad, flapping
+hat; in winter a costly cap of so-called beaver-skin, which he had
+probably inherited from his grandfather. The women had broad frocks with
+coloured borders, and a short, heavy cloth jacket; and on their heads a
+white linen cloth hanging down behind, with costly lace upon it. The
+girl of the people, the "sessolotta," and the seamstress, the
+"sartorella," both go bareheaded, and are proud of their hair; they are
+fond of flowers and songs, and spend much of their time in the open air.
+I quote a Gradese song, which is also sung at Trieste, and must be of
+some antiquity, since it names the gondola, which is not now seen either
+at Grado or Trieste.</p>
+
+<p>
+<span style="margin-left: 1em;">Lisetta guarda, bella � la luna</span><br />
+<span style="margin-left: 1em;">Argento piove sulla laguna,</span><br />
+<span style="margin-left: 1em;">Non � una nuvola; quieto � il mar&mdash;</span><br />
+<span style="margin-left: 1em;">Lisetta, in gondola ti voi menar?</span><br />
+<br />
+<span style="margin-left: 1em;">La bavisella che va soffiando</span><br />
+<span style="margin-left: 1em;">Con quel bel viso di quando in quando</span><br />
+<span style="margin-left: 1em;">I biondi boccoli te li fa far&mdash;</span><br />
+<span style="margin-left: 1em;">Lisetta, in gondola ti voi menar?</span><br />
+</p>
+
+<p>The markets are rich with colour and well looked after. Officials go
+round constantly testing the articles of food sold, while the women (who
+are generally the sellers) look on with anxiety. A dozen or more, men
+and women, will bring in their wares on a cart, 10 or 15 ft. long, each
+putting a hand to the work.</p>
+
+<p>The city existed in antiquity. Strabo knew it as a Carnian market-town.
+Various derivations of the Latin name "Tergeste" have been suggested, of
+which perhaps the most probable is from the Celtic "twr," water or sea,
+and "geste," colony, establishment. The fact that it was the only city
+held by the Carni on the sea-coast increases the probability. A Roman
+colony<span class="pagenum"><a name="Page_59" id="Page_59">[Pg 59]</a></span> was established here in 129 <span class="smcap">B.C.</span> The amount of tribute paid by
+the various cities is an index of their importance; both Pola and
+Parenzo paid more than Trieste. The Triestines were enrolled in the
+tribe Pupinia. The city was the landing-place for Roman troops, as was
+the case in Trajan's campaign against the Dacians. The fulling
+establishments of both Trieste and Pola were known far and wide.</p>
+
+<p>The Romans made the hill of S. Giusto the centre of their colony, adding
+to the defensive works the temple of the Capitoline divinities,
+reconstructed with a magnificence worthy of the increased importance of
+the city by Clodius Quirinale, prefect of the fleet of Ravenna. Remains
+of it are the seven columns within the campanile (built in 1337 and
+restored in 1556), still bearing architrave, frieze, and cornice, and
+fragments of architectural carving and inscriptions encrusted in its
+walls, or preserved in the civic Museo Lapidario. There was an antique
+theatre at Trieste also; its shape only can be traced, though the name
+of the street is still "Rena Vecchia."<span class="pagenum"><a name="Page_60" id="Page_60">[Pg 60]</a></span></p>
+
+<div class="figcenter" style="width: 533px;">
+<img src="images/p090.jpg" width="533" height="592" alt="PLAN OF THE CATHEDRAL, TRIESTE" title="" />
+<span class="caption">PLAN OF THE CATHEDRAL, TRIESTE</span>
+</div>
+
+<p>S. Hermagoras is said to have planted a church here about 50 <span class="smcap">A.D.</span>, by
+means of missionaries sent from Aquileia. S. Giusto, one of the patron
+saints of the city, probably died about 303. The other two are S.
+Sergio, a soldier, whose halberd still appears in the arms of the town,
+and S. Servolo, a pious youth who lived at one time in a grotto not far
+from this place, where they both were martyred. There is said to have
+been a bishop in the fourth century, but the list of authentic bishops
+begins with Frugiferus in the sixth. When Christianity triumphed, a
+church was built on the Capitol on the ruins of the ancient temple of
+Jupiter, Juno, and Minerva, dedicated to the Virgin of the Assumption.
+This was the part to the north of the present church (see plan), now the
+nave of the Holy Sacrament, "del Santissimo," in the apse of which are
+the mosaics of the twelve Apostles, probably earlier than the sixth
+century; while those in the vault, together with the border, are later.
+Till some twenty years ago<span class="pagenum"><a name="Page_61" id="Page_61">[Pg 61]</a></span> a difference in the level of the floor
+between the three columns farthest east on each side (where the pulpit
+stands) marked the place of the original choir. The walled-up clerestory
+windows of the right side are ancient. The fourteen columns have been
+plastered over to make them uniform, but are evidently of different
+thicknesses, suggesting the use of older material. The caps are for the
+most part rough imitations of Corinthian, and the bases are stilted
+Attic in type. Of the baptistery nothing remains but the hexagonal font
+of marble in the chapel of S. John the Baptist, where there is also an
+ancient well and the apparatus for baptism by ablution, not now used. In
+the time of Justinian, the second, smaller, church (probably dedicated
+to SS. Giusto and Servolo) was erected at the south side by Bishop
+Frugiferus, about 550, as the monogram at the left of the apse shows.
+The mosaics in the apse are late Byzantine. Four great columns support a
+cupola in front of the presbytery, by means of four round arches,
+pendentives, and a drum, round which is an arcade of sixteen stilted
+round arches with foliated caps and prominently projecting abaci, which
+it is thought may belong to the original building, though the cupola
+itself is later. The small apse of the south aisle, with vaulted roof,
+also belonged to the first building. In front of the apses is a <i>solea</i>
+with a wagon vault, except in front of the small aisle apse, where it is
+quadripartite. The aisle is raised a step above the nave. The arcades
+are uniformly round-arched and stilted, and the caps generally have
+super-abaci. The north aisle has pointed arches at intervals and a flat
+roof; the nave of the Santissimo also has a flat roof with beams and
+brackets. There is a triumphal arch and one blocked window in the apse,
+with mosaic on the splay of the jamb.</p>
+
+<div class="figcenter" style="width: 408px;">
+<a name="p063" id="p063"></a>
+<img src="images/p093.jpg" width="408" height="550" alt="FIGURE OF S. GIUSTO, CAMPANILE OF THE CATHEDRAL, TRIESTE" title="" />
+<span class="caption">FIGURE OF S. GIUSTO, CAMPANILE OF THE CATHEDRAL, TRIESTE</span>
+</div>
+
+<p>The mosaic in the semi-dome is probably an eleventh-<span class="pagenum"><a name="Page_62" id="Page_62">[Pg 62]</a></span>century restoration
+of an older work, itself very carefully restored in 1863. The Virgin,
+robed in blue and holding the Divine Child to her bosom, is enthroned
+between the archangels Michael and Gabriel, who hold lilies and are
+robed in priestly costume. The Child blesses with the right hand in the
+Greek fashion. Below, on the wall, are figures of the Apostles, of a
+very early date, for SS. Peter and Paul are without their usual
+attributes, and the white draperies shaded with pale colours are early
+Christian in arrangement. Between the figures are palm-trees and
+conventional plant ornaments. The church is very dark, but the details
+of the mosaics may be studied in the careful copies in the museum. Above
+the altar of S. Giusto, to the right, in the semi-dome, SS. Giusto and
+Servolo stand on each side of our Saviour, beneath whose feet are two
+monsters, asp and basilisk. The central apse was reconstructed in the
+seventeenth century. The main reconstruction took place in the
+fourteenth century. The aisle walls of the two churches were demolished,
+and a nave built reaching from the pillars of one church to those of the
+other, thus uniting them under one roof, the western wall being placed
+contiguous to the campanile, and chapels added at each side. The
+memorial of the Gens Barbia was sawn in two and used as jambs for the
+west door, and inscriptions from the pedestals of statues and classical
+ornamental fragments were used in the campanile, both round the openings
+and close to the niche which encloses the statue of S. Giusto holding a
+model of the cathedral and castle. The consecration took place in 1385,
+Bishop Henry of Wildenstein officiating. Below the S. Giusto mosaics are
+wall-paintings of the fourteenth century, in niches of a much earlier
+date, with slender antique columns of precious marbles; in the centre
+the saint stands with a model of the city in his hand&mdash;the earliest<span class="pagenum"><a name="Page_63" id="Page_63">[Pg 63]</a></span>
+record of its appearance extant; the other niches show his sufferings.
+In the niche of S. Apollinaris are remains of frescoes of two dates
+found in 1892, and<span class="pagenum"><a name="Page_64" id="Page_64">[Pg 64]</a></span> thought to belong to the sixth and the tenth
+centuries; other remains of the fourteenth or fifteenth century, found
+under whitewash, prove that the whole church was ornamented with
+painting as the "Acts" relate. When the roof was raised the exterior of
+the drum of S. Giusto was enclosed within the church. The trilobate roof
+of the nave was medi�val, but has lately been restored. The fa�ade also
+was restored in 1843, and the gravestones ranged along its base were
+then removed from the floor.</p>
+
+
+
+<p>In the sacristy is a picture signed Tommaso Giottino, and dated 1313; it
+is thought to have belonged to the high-altar. There is a picture by
+Benedetto Carpaccio, of the Madonna, between SS. Giusto and Servolo, in
+the right-hand portion of the church. The treasury is kept in the chapel
+of S. Antonio Abate, to the north of the apse of the Santissimo; it is
+closed with a very fine late Renaissance German iron grille, with
+elaborate projecting floral bosses. It contains a thirteenth-century
+processional cross, with a <i>repouss�</i> Christ on a ground of gilded
+silver.</p>
+
+<p>The original wheel-window of the fa�ade is in the Museo Lapidario, just
+below the cathedral, where a good many well-heads of Venetian type are
+also preserved, and a few fragments of eighth and ninth-century carving,
+as well as the usual antique columns, bases, and inscriptions, one
+expects to find. There are also stone balista balls, relics of ancient
+sieges, many cinerary urns, and a few mutilated figures, grouped under
+the trees and upon the terraces which descend to the little temple in
+which the better pieces are housed. These include the lower half of a
+female figure, graceful in pose, and, in the folds of the drapery, a
+decree of the Decurions' College of Trieste in honour of the qu�stor and
+Senator Fabius Severus (of the time of Antoninus Pius), engraved on one
+of two large<span class="pagenum"><a name="Page_65" id="Page_65">[Pg 65]</a></span> pedestals, a sarcophagus and steles, the inscriptions from
+the jambs of the campanile, &amp;c. The collection is mainly due to Dr. Dom.
+di Rossetti, who, in 1830, erected the monument to Winckelmann (murdered
+here in 1768), which is against one of the walls. Near the Jesuit
+church, half-way down the slope of the hill, is a half-buried Roman
+arch of the time of Severus, ornamented equally on both sides, perhaps a
+memorial of one of the ancient gates. It is known as the Arco di
+Riccardo, from some fancied connection with Richard C&#339;ur de Lion.</p>
+
+<div class="figright" style="width: 327px;">
+<img src="images/p095.jpg" width="327" height="450" alt="ARCO DI RICCARDO, TRIESTE" title="" />
+<span class="caption">ARCO DI RICCARDO, TRIESTE</span>
+</div>
+
+<p>The finest objects in the Civic Museum are two pieces of antique Greek
+metal-work found at Taranto. One is a bronze jug, upon which are
+represented two griffins, facing each other by the sides of a palmette,
+with a flowing band of vine-leaves surrounding the body above. The
+relief is very delicate, and the design beautiful. The other is a<span class="pagenum"><a name="Page_66" id="Page_66">[Pg 66]</a></span>
+rhyton of silver which is almost unique. The <i>motif</i> is the head of a
+young deer. The ears, which project at right angles, are riveted on; the
+rest is <i>repouss�</i> in one piece. It is so finely modelled and so
+accurate in its detail, that it has been recognised as a representation
+of the <i>Cervus Dama</i>, which was formerly common in South Italy. The
+interior of the ears and the lip of the cup have been gilt, and in the
+nostrils is niello. Round the neck is a band with four small figures,
+probably representing the nuptials of Poseidon and Saturia, daughter of
+Minos, from which sprang Taras, the mythical founder of Taranto. Two of
+the figures are seated, two standing; their draperies are gilded. The
+handle curves gracefully to the back of the jawbones, where it is
+attached to a palmette. The work may be of the fourth century <span class="smcap">B.C.</span>, the
+doe's head being much finer than the figures, which are possibly a later
+addition. The only similar piece of silver-work known is the bull's-head
+rhyton in the Hermitage Collection, St. Petersburg. In this also the
+figures (which are of barbarians) are inferior to the animal forms.</p>
+
+<p>There are various sculptures discovered at Barcola, the finest of which
+is a male torso with the greater part of the legs, prehistoric objects,
+coins, a personification of Istria, things found at Pirano, and three
+splendid large Chinese bronzes. The copies of the mosaics of the
+Apostles from S. Giusto are on the ceiling of the upper room. A seal of
+the city of the fourteenth century bears three towers and the
+inscription: "Sistilianum � publica � Casiilir � mare � Certos � dat �
+michi � fines." Sistiana was on the north of Trieste; Castilir, the
+river Risano, was the southern boundary. The present arms were given by
+Frederick IV., 1464&mdash;a black two-headed eagle on gold on the first of
+three horizontal fields, and on the lowest the halberd of S. Sergius, on
+the colours of the archduchy of Austria.<span class="pagenum"><a name="Page_67" id="Page_67">[Pg 67]</a></span></p>
+
+<p>The bishopric of Trieste corresponded to the Roman <i>municipium</i> in its
+boundaries. The bishops gradually became temporal lords of the city, and
+in 1295 the commune bought its freedom from Brissa di Toppo for two
+hundred marks. At this time the first communal palace was built. The
+first statute, however, dates from 1313-1319. It provides for a foreign
+podest�, a greater and lesser council, and the usual officials from the
+noble families. The title of Count of Trieste was first taken by Antonio
+di Negri (1350-1370). During his time Venice besieged the city for
+eleven months, conquering it in 1368, notwithstanding the attempted
+succour of Leopold of Austria. They then built a fort on the hill of S.
+Giusto and another on the shore called Amarina. Trieste made overtures
+to the dukes of Austria, and war continued between them and Venice till
+1370, when it was ended by the peace of Kaisach, by which Venice agreed
+to pay 75,000 florins of gold, and to give up the castle of Vragna, as
+well as to relinquish all claim to Trieste and her territory. The
+Venetian forts were demolished, and in 1382 the city gave itself to the
+Habsburgs to make itself secure. In 1470 Frederick III. built the castle
+to control the factions which had been indulging in civil war, and
+Trieste lost a good deal of her liberty. The medi�val city formed a
+triangle on the north-west slope of the castle. Till the middle of the
+eighteenth century it was a small town of 6,000 inhabitants, but the
+gift of free harbour rights by Charles VI., in 1719, soon made it
+prosperous. Italian, German, and Swiss merchants settled in numbers, and
+the population grew till it is now over 160,000.</p>
+
+<p>The bishop of Trieste was subject to the Patriarch of Aquileia, and a
+special form of worship was used, invented by the Patriarch Paulinus.
+This is still in existence, partly printed and partly in MS.<span class="pagenum"><a name="Page_68" id="Page_68">[Pg 68]</a></span></p>
+
+<p>On Saturday, June 10, 1501, Canon Johannes Baptista, the chancellor,
+used the Roman rite in the cathedral for the first time, a fact noted as
+remarkable in several documents. In Aquileia itself the form continued
+in use till 1585, and in S. Mark's, Venice, till the fall of the
+Republic. In Trieste confraternities were established very early. That
+of S. Giusto is mentioned in 1072.<span class="pagenum"><a name="Page_69" id="Page_69">[Pg 69]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="VI" id="VI"></a>VI</h2>
+
+<h3>HISTORICAL SKETCH OF ISTRIA</h3>
+
+
+<p>The name "Istria" is derived from the Istro, confounded by the ancient
+geographers with the Danube (Ister), and therefore supposed to be a
+branch of it. Considering the testimony of ancient writers as to the
+migration of Thracians, it appears probable that the Istrians were of
+these people, a band who left Pontic Istria by ascending the rivers
+Danube, Save, and Lubiana, crossed the Julian Alps, and descended to the
+Adriatic. Some such migration may be at the root of the story of the
+passage of the Argonauts, pursued by the Colchians. In the ninth century
+<span class="smcap">B.C.</span> Ionians from Miletus settled colonies in Istria, who were followed
+by Corinthians in 735 <span class="smcap">B.C.</span> It has been claimed that the name "Adriatic"
+is derived from Adar, the Asiatic sun-god, or god of fire. Plenty of
+stone implements and other prehistoric objects have been found in caves
+and burial places, and there are many Celtic place-names; the Celts
+arrived in the fourth or fifth century <span class="smcap">B.C.</span>, and contested the country
+with the older immigrants. Under Roman rule the two races ultimately
+intermixed, the Celts being in the majority.</p>
+
+<p>The oldest inhabitants thus appear to have been of Pelasgic stock,
+Celto-Thracian. The Carnians were a branch of those of Lycaonia and
+Acarnania, who also settled in Gaul, and, according to Livy, mixed with
+the Etruscans during the reign of Tarquinius Priscus.<span class="pagenum"><a name="Page_70" id="Page_70">[Pg 70]</a></span> They were sailors
+and merchants, but also pirates. When the Romans founded Aquileia they
+were forced to take measures to ensure safe navigation and to prevent
+danger to the new colony. Therefore, in 178 <span class="smcap">B.C.</span>, an expedition against
+the Istrians was undertaken under the Consul Aulus Manlius Vulso, but
+without the authorisation of the Senate, the army being transported by
+ship to the environs of Muggia. The Istrians attacked the camp in a fog,
+and, having driven the Romans to the shore, sat down to eat&mdash;and drink.
+While they were incapacitated in consequence, the Romans returned and
+killed most of them. The following year they entered Istria again,
+sacking and devastating the country. In the battle which followed, 4,000
+Istrians were left on the field, and the rest took refuge in the cities,
+and asked for peace. The negotiations were broken off owing to the
+Consul Claudius proceeding in an irregular manner, and Nesactium was
+vigorously besieged with two fresh legions. A stream which defended the
+walls and supplied drinking-water was diverted by the Romans; its
+failure convinced the inhabitants that their gods were either powerless
+or angry, and during the final assault the despairing Istrians killed
+their women and children to save them from slavery, and threw their
+bodies over the walls. Epulus, the king, fell upon his sword when he saw
+the enemy within the walls; the rest either perished or were made
+slaves. Mutila and Faveria were also attacked and levelled with the
+ground, and quiet reigned in Istria. Livy says that at that time 5,622
+persons were sold into slavery, the authors of the war were beaten and
+then decapitated, and Istria was garrisoned with Roman troops. In 129
+<span class="smcap">B.C.</span> the Istrians rose in revolt when Rome was occupied with the Gepid
+war. The Consul Caius Sempronius Tuditanus crushed this revolt, and
+after that colonies were established at<span class="pagenum"><a name="Page_71" id="Page_71">[Pg 71]</a></span> �gida (Capodistria), �monia
+(Cittanova), Albona, Parentium, Piquentum, Pola, Tergeste, and probably
+in other places. Many Istrians fled into the Karst region, and for a
+long time the land was unsafe. Julius C�sar had to take measures to
+protect Tergeste from raids.</p>
+
+<p>The Italianising of the country proceeded apace. Many Slav names occur
+in Roman inscriptions; but in 127 <span class="smcap">B.C.</span> 14,000 Roman colonists arrived,
+and year by year more came, until the time of Augustus, both plebeians
+and patricians. Many of the latter of Istrian birth occupied important
+posts outside Istria; and, according to an ancient Aquileian breviary
+quoted by Dr. Kandler, many of the Christian martyrs belonged to
+patrician families. The names of SS. Euphemia, Thecla, Apollinaris,
+Lazarus, Justina, Zeno, Sergius, Bacchus, Servulus, and Justus may be
+quoted. The towns benefited in material ways, aqueducts were constructed
+to supply them with water, and fine roads, such as the consular road
+from Pola to Aquileia and Venetia, with its many branches, provided easy
+and rapid communication. There was traffic in wines, wood, marble, and
+granite. Istrian acorns nourished a fine breed of pigs which were
+exported to Rome. The purple-dyeing factories of Cissa near Rovigno, the
+fulling works of Pola and Trieste, and the potteries of Aquileia were
+known far and wide. Nor were philanthropic works neglected. Under some
+of the later Pagan emperors foundling hospitals and schools were
+established in separate provinces for orphans and poor children.</p>
+
+<p>Under the just and wise rule of Theodoric the province flourished; but
+the people always regarded the Goths as barbarians, and when the
+Byzantines attacked Istria in 539-544 and 552 the troops of Vitalius,
+Belisarius, and Narses were welcomed. They called<span class="pagenum"><a name="Page_72" id="Page_72">[Pg 72]</a></span> the Greek Government
+"Sancta Respublica," and erected basilicas in gratitude for the freeing
+of the land from the Arian Goths. Justinian re-established the Roman
+constitution with certain alterations, among which was the power of
+appeal to the court of the bishop, which gave him control and
+surveillance over the municipal functionaries. His power was not
+supreme, however, the military defence of the frontier being equally
+important. For some sixty years the "Schism of the Three Chapters" rent
+this part of Christendom, and caused a great deal of ill-feeling and
+many questionable actions. It arose from the Emperor Justinian in 544
+condemning (1) the writings of Theodore, bishop of Mopsnestia, who
+anticipated the heresy of Nestorius; (2) the writings of Theodoret,
+bishop of Cyrus, against the twelve anathemas of S. Cyril of Alexandria,
+and the decrees of the Council of Ephesus; and (3) the letter of Ibas,
+bishop of Edessa, to Maris the Persian. The Latin Church, with Vigilius
+the pope at its head, declined to accept the Imperial decree, which was
+in contradiction to the Council of Chalcedon of 451. In 548 the pope,
+while at Constantinople, was induced to repudiate them; but, on finding
+how strong the opposition was, revoked his agreement in 550, and induced
+the emperor to summon a council, which met in 553 and condemned the
+three chapters and their authors. The pope returned to Rome, and died
+there in 554, having confirmed the decision of the Council of
+Constantinople, and anathematised those who refused to accept it.
+Notwithstanding this, the bishops of Lombardy, Venice, and Istria, with
+the Aquileian patriarch Macedonius at their head, and other bishops,
+refused, and this refusal produced the "Istrian schism," or schism of
+the "Tre Capitoli." Paulinus, who succeeded Macedonius, called a synod
+at Aquileia in 557, which repudiated the decision of the Council of
+Constanti<span class="pagenum"><a name="Page_73" id="Page_73">[Pg 73]</a></span>nople. Pelagius II., who was then pope, called in the secular
+arm, but the descent of the Lombards in 568 stopped the discussion.
+Euphrasius of Parenzo was one of the principal supporters of Macedonius,
+and the pope did not hesitate to make the most disgraceful charges
+against him. In 578 Paulinus transferred the patriarchate to Grado, so
+putting himself under Byzantine protection. Elias of Grado held the same
+opinions as his predecessor, even excommunicating his adversaries. His
+successor, Severus, holding the same views, Smaragdus the Exarch made an
+expedition to Grado in 588, took Severus and the bishops of Parenzo and
+Trieste to Ravenna, and kept them there in prison for a twelvemonth,
+till they agreed to condemn the three chapters. When they returned they
+found their clergy would not go with them, so a synod was convened at
+Marano, and there they revoked their condemnation. Smaragdus, exarch
+again in 603, so arranged matters that on the death of Severus (who had
+preached revolt) Candidiano was appointed patriarch, a man who was
+devoted to the papal authority, and who reconciled himself with Rome,
+thus ending the schism. It had caused grievous disorders, the bishops
+being sometimes for and sometimes against it, and the clergy sometimes
+in strife among themselves and sometimes with the Patriarch of Grado;
+but the mode in which it was ended was quite as disgraceful as any of
+the deeds done during its course. In 610 armed Byzantine soldiers
+entered the basilicas and dragged three Istrian bishops from the altars,
+with menaces and vituperation, compelling them to accompany them to
+Grado, where they were forced to bend to the Imperial commands and
+reconsecrate Candidiano patriarch.</p>
+
+<p>The Lombards re-established the patriarchate of Aquileia, electing Abbot
+John, who was opposed to the pope, and thus there was a double
+patriarchate. The<span class="pagenum"><a name="Page_74" id="Page_74">[Pg 74]</a></span> Aquileian patriarchs only became reconciled to the
+papacy in 698 when the Lombards had ceased to be Arians. The Istrian
+bishops obeyed the Patriarch of Grado until the Council of Mantua (827),
+which decided that they should return to Aquileia. Istria was Lombard
+only from 751 to 788.</p>
+
+<p>When Charlemagne conquered the country in 789 feudalism was substituted
+for the Roman autonomy with the co-operation of the higher clergy. The
+Frank duke was supreme, and his underlings had arbitrary power. Public
+property was confiscated for the benefit of the duke and his supporters,
+and all kinds of arbitrary and exorbitant imposts and restraints were
+imposed upon the people, even to the prohibition of fishing! The result
+was great discontent, and at last, in 804, by the intervention of
+Fortunatus, Patriarch of Grado, an inquiry was held at Risano, the acts
+of which were embodied in the "placito" of Risano. The envoys of
+Charlemagne restored the communal property and the jurisdiction over
+foreigners, exempted freemen from servile tasks, suppressed arbitrary
+imposts, and restored the tribunes and other Byzantine magistrates, whom
+the people were allowed to select freely according to the ancient
+custom. In 952 Istria became a German fief by gift of Otho I. of Germany
+(who had conquered Italy the year before) in feud to his brother Henry,
+duke of Bavaria, together with Verona and Friuli. Documents show the
+presence of large numbers of persons of German origin during the tenth
+century; but the maritime cities, depending upon commerce, were forced
+into connection with Venice by the necessity of making arrangements for
+mutual defence against Slav and Saracen Corsairs, and thus the
+foundations were laid for the Republic's later supremacy.</p>
+
+<p>Great part of the history of Istria relates to incursions by the
+barbarians, either beaten off, or successful,<span class="pagenum"><a name="Page_75" id="Page_75">[Pg 75]</a></span> with the destruction of
+towns, and the carrying off of slaves and booty. The descent of the
+Lombards was followed by a raid of the Avars in 599, but they were
+beaten off. Three years later they came again in company with Slavs and
+Lombards. In 611 the Huns or Slovens descended on Istria, in 670 they
+were defeated near Cividale by Duke Vetturi, and in 718 were conquered
+in three battles near Lauriana by Duke Pemmo. His son Ratchis copied the
+bad example of the Huns, sacking and killing far into Carniola. Between
+620 and 630 the Serbo-Croats descended from the Carpathians and crossed
+the Danube by suggestion of Heraclius, driving the Avars from Dalmatia
+and taking their place. The result of these constant barbarian raids was
+the concentration of the population in the towns on the sea-coast.</p>
+
+<p>The pirates in the Adriatic were first the Narentans and next the
+Saracens, who devastated the coasts of Dalmatia in 840, fruitlessly
+besieging Ragusa for fifteen months, and afterwards taking Taranto and
+Bari. In 842 they defeated the Venetians at Taranto, and, on the octave
+of Easter, took Ossero and burnt it. They then passed on to Ancona and
+Adria, and as they returned captured a whole Venetian squadron. In 876
+the Slavs of Croatia and Dalmatia raided the Istrian coast towns, but
+were defeated at Grado. The Emperor Basil occupied Dalmatia in 877 on
+the pretext of Slav piracy. He gave the tribute from the Roman cities of
+Dalmatia to the Croats and Narentans, so that Spalato, Zara, Tra�, Arbe,
+and the Byzantine cities of Veglia and Ossero had to pay tribute to the
+Croats. The successful expedition of Pietro Orseolo II. against the
+Narentan pirates tended to the greater security of the coast towns and
+strengthened the bond which Venice was weaving.</p>
+
+<p>In 933 a solemn treaty of peace was signed at<span class="pagenum"><a name="Page_76" id="Page_76">[Pg 76]</a></span> Rialto between Istria and
+Venice by the Marquis of Istria, the bishops of Pola and Cittanova, two
+"locopositi," two "scabini," and twelve other trustees from Pola,
+Capodistria, Muggia, and Pirano, there convened. A fresh treaty was made
+in 977 with Capodistria, giving Venice special advantages, and these
+negotiations were carried on without reference to the Imperial
+authority, the nominal feudal lord. Walking thus warily, avoiding
+offence to the Emperor of Germany, Venice took 200 years of continuous
+political action to acquire the Istrian cities. By 1145 Venice had
+obtained for herself liberty of commerce in most of the Istrian towns
+and complete exemption from any kind of taxation; she had established at
+Pola and Capodistria a representative, to look after the punctual
+execution of treaties, and to protect Venetians from injustice, and had
+also made the Istrian cities pay her a tribute, either in money or
+products, obtaining also assistance for her navy from them whenever it
+was fighting beyond Zara and Ancona. The importance attached by Venice
+to these concessions is proved by the triumph which was given to the
+squadron of Morosini and Gradonico when returning victorious from
+Istrian waters. It was then that the doge assumed the title of "dux
+totius Istri�," but the dates of the dedition of the several cities are
+much later. The re-organisation of the communes took place between 1150
+and 1180. The podest� had a council of assessors, the "consiglio
+minore"; the larger "consiglio del popolo" was called together for the
+more important matters, such as declaration of war, conclusion of peace,
+legislation, imposition of taxes, election of podest� and consuls, &amp;c.;
+while many documents show that the whole body of citizens was summoned
+to a "parlamento" for the publication of new laws, very important
+deliberations requiring practical unanimity, the installation of fresh<span class="pagenum"><a name="Page_77" id="Page_77">[Pg 77]</a></span>
+magistrates, &amp;c. The "statute" was apparently drawn up when a foreign
+podest� succeeded to native consuls as an assertion of the ancient
+judicial custom. That of Capodistria, the earliest, is of 1238-1239;
+that of Pola, 1264. As soon as the communes began to extend their work
+of domestic supervision a "fontico" was established, a place where corn
+was sold at little above cost price. Everything was supervised&mdash;the time
+of vintage and of selling the new wine was fixed, the amount of bread to
+be baked in each oven was prescribed, the justices tasted the wine
+before the taverners began to sell, cut off the tails of fish unsold by
+the evening, and generally looked after the strict fulfilment of the
+regulations affecting food. As the vintage approached, the guards in the
+vineyards were doubled, and, from August 3, dogs were tethered to a
+stake to intimidate thieves. The prices of foreign goods were fixed and,
+before commencing to sell, merchants were obliged to expose their wares
+on the quays or in the piazza for three days. Standard measures were cut
+in stone in conspicuous places, and at Albona the various imposts were
+carved on the clock-tower in the piazza. Armed men were not allowed to
+enter the cities, and the officials interested themselves in everything
+going on, an example of which may be quoted from Pirano. When S.
+Francesco was built in 1301, the podest� carried the first stone on his
+shoulder, and set it in the ground before the assembled people. Venice
+succeeded the patriarch as overlord of the Istrian communes in 1420, and
+after this the history of Istria is merged in that of the Republic.</p>
+
+<p>The ravages of the plague were fearful, and practically depopulated the
+province, returning again and again till 1631. In the fourteenth century
+it decimated the Brioni Islands; no less than five Benedictine convents<span class="pagenum"><a name="Page_78" id="Page_78">[Pg 78]</a></span>
+were abandoned&mdash;three in Pola and one near Barbana d'Arsia, as well as
+that on the Brioni Islands. In Muggia an inscription states that half
+the population died in 1347. In 1361 Ossero was so devastated that two
+years later the bishop abandoned it and went to live in Zara. In 1371
+the country round Pola was so afflicted that of seventy-two towns only
+eleven preserved their names, the rest disappearing without leaving any
+trace. In Cittanova in 1643 there were only ten inhabitants left, the
+bishop abandoned it to live in Buie or Verteneglio, and in 1686, as
+there were not enough citizens to constitute a council, they had to add
+strangers to make a quorum. Angelo Morosini, podest� of Capodistria in
+1646, described it as "Goddess of desolation and refuge of solitude
+itself." Parenzo was so severely smitten that only thirty persons
+remained. At Pola in 1631 there were but 300 persons left, including the
+garrison of foreigners, and of the citizens but three families. This was
+the last visitation.<span class="pagenum"><a name="Page_79" id="Page_79">[Pg 79]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="VII" id="VII"></a>VII</h2>
+
+<h3>MUGGIA TO PIRANO</h3>
+
+
+<p>From Trieste steamers, large and small, ply to most of the places on the
+coast, and the islands down to Fiume. Though there is railway
+communication with a few places, travelling by water is much pleasanter
+in fine weather, and the towns are more easily accessible from the
+seaside. The country people throng to market in the early hours of the
+morning, and are ready to return by the time the average English tourist
+has finished his breakfast and sets out sightseeing.</p>
+
+
+
+
+
+<div class="figleft" style="width: 450px;">
+<img src="images/p110.jpg" width="450" height="366" alt="WEST END OF THE CHURCH, MUGGIA VECCHIA" title="" />
+<span class="caption">WEST END OF THE CHURCH, MUGGIA VECCHIA</span>
+</div>
+<p>We went to Muggia about midday by one of the little steamboats which
+round the Punta S. Andrea, and, passing the Lloyd-Arsenal, cross the
+bay, the Vallone di Muggia. The boat was full of belated <i>contadini</i>,
+for the most part rugged and picturesque, among whom was an old woman
+with a few long candles, which she vainly offered for sale to every
+person on the boat; a boy with nuts and sweets was more fortunate, and
+lessened his stock considerably. The deck was lumbered up with baskets,
+milk-cans, &amp;c., which had been full in the early morning, and most of
+the passengers had bundles and parcels containing their purchases. Some
+thirty minutes were sufficient in the fine weather with which we were
+favoured to take us across, and, passing the smoky iron-works which are
+the principal industry of modern Muggia, we disembarked at the little
+quay, and immediately became objects of<span class="pagenum"><a name="Page_80" id="Page_80">[Pg 80]</a></span> interest to a small crowd of
+impertinent boys. Our principal objective was the ancient church on the
+hill where Muggia Vecchia once stood. We found on inquiry that it was
+closed as being in a dangerous state. This entailed visits to the
+<i>municipio</i> and to the parish priest, under escort of a uniformed
+official, who then conducted us by a steep and stony path up the hill
+Monte Michele, towards the summit of which, higher than the church,
+prehistoric graves have been found, consisting of stone slabs set
+roughly together, making a kind of chest which opens on to the hillside.
+The church stands amid fragments of ruined walls, the remains of the
+town destroyed by the Genoese in 1354. To the west is a stony space
+where wild irises grow and bloom profusely in the crevices of the rocks,
+and from which<span class="pagenum"><a name="Page_81" id="Page_81">[Pg 81]</a></span> there is a fine view over the sea northwards to the
+highlands of the Karst. Between this flowery wilderness and the church
+is an open grassy space enclosed by a wall, and with a few trees round
+its edges, which was probably the atrium. Opening upon this is the
+narthex, an open portico level with the tower which stands at the west
+end of the north aisle, with a stone seat running round the wall. Two
+steps lead <i>down</i> into the nave, and there is a door in the south aisle,
+which has two windows, the clerestory having four; though on the north
+side, where the graveyard lies, there are none. The building consists of
+a nave and aisles divided by an arcade of five round arches upon
+rectangular piers without caps, the two eastern bays being enclosed by
+dwarf walls with framings of marble slabs upon which interlacing
+patterns of the ninth century are carved. They return across the ends of
+the aisles, in each of which is an altar beneath a wagon vault, though
+there is no apse. The central apse is vaulted with a semi-dome, but does
+not show externally. The choir is raised two steps above the nave, and
+the altar is approached by a third. The ambo or pulpit stands outside
+the screen on four columns, approached by steep steps from within; an
+octagonal column of coloured marble supports a slab for a book-rest,
+facing eastwards at the foot of the steps. In plan the ambo somewhat
+resembles that at Grado, with six half-colonnettes projecting from the
+curved form, two of them terminating in heads on each side of the
+book-rest, itself supported on an octagonal shaft which dies into its
+underside with very flat vine or oak leaves spread over the surface. The
+whole has been so plentifully whitewashed that detail is nearly
+obliterated, but there is sufficient difference between the styles of
+various parts to make it probable that a reconstruction took place at
+some period, older material<span class="pagenum"><a name="Page_82" id="Page_82">[Pg 82]</a></span> being employed to a great extent. The fact
+that two of the bases have angle claws and are manifestly not in their
+original position supports this theory. The altar to the left is part of
+a Roman sarcophagus with a funerary inscription in letters of the
+Imperial period:</p>
+
+<p class="center">
+C. IVLIO<br />
+NICOSTRATO<br />
+FILIO � PIISSIMO<br />
+ANN � XVIII � M � VIIII � D � XII<br />
+IVLIVS � NICOSTRATVS.
+</p>
+
+<div class="figcenter" style="width: 395px;">
+<img src="images/p114.jpg" width="395" height="245" alt="PLAN OF PULPIT, MUGGIA VECCHIA" title="" />
+<span class="caption">PLAN OF PULPIT, MUGGIA VECCHIA</span>
+</div>
+
+
+
+<div class="figcenter" style="width: 504px;">
+<a name="p081" id="p081"></a>
+<img src="images/p112.jpg" width="504" height="600" alt="CHOIR-SCREEN AND AMBO, MUGGIA VECCHIA
+" title="" />
+<span class="caption">CHOIR-SCREEN AND AMBO, MUGGIA VECCHIA
+</span>
+</div>
+
+
+
+
+
+<p>Upon the piers and walls are remains of paintings of various dates. On
+the first pier to the left is S. Catherine, vested as a Byzantine
+empress. Further to the east are the Madonna "Blacherniotissa" and S.
+Dominic, and near the ambo figures of the four Evangelists; the last
+apparently of the period of the foundation of the church, the ninth or
+early tenth century. On the last pier, which is broader than the others,
+and suggests a later addition (perhaps in the thirteenth century), is a
+gigantic S. Christopher, roughly painted, and with the well-known
+inscription stating that whoso looks at it will not die a sudden death
+that day. The<span class="pagenum"><a name="Page_83" id="Page_83">[Pg 83]</a></span> aisles have lean-to roofs, and the nave roof we found
+shored up, the supporting timbers being wreathed with garlands of
+artificial flowers. The dedication is to SS. Peter and Paul.</p>
+
+<p>As we descended the hill our guide, observing that flowers interested
+us, made a sudden dive through the gate of a garden full of wallflowers
+and picked a bunch for us, presenting it with as much grace as if they
+had been his own! a proceeding to which the rightful owners appeared to
+have no objection. The more modern town lay below us with its walls and
+towers, some of them ruinous and some restored, and looked picturesque
+enough except for the ancient castle which has been turned into a modern
+house by its latest purchaser, who has tried with more zeal than
+judgment to copy the style of the older portions. Through the postern by
+which we had left the town a number of workmen from the iron-works
+straggled, grimy and weary; in their modern dress and employment marking
+a contrast with their surroundings. Muggia Nuova first appears in
+history in 1235. When Paganino Doria destroyed Monticula (Muggia
+Vecchia) in 1354, the port Vicuna Lauri (now Muggia) increased, and
+twenty years later was surrounded with walls by the Patriarch Marquand
+da Randeck after his triumphal entry. It had nine square towers, a
+bastioned keep on the east, and a barbican with unequal sides, which
+covered the Porta a Mare, or of S. Rocco. Three other gates, the Porta
+Grande, which faced to the country, the Porta S. Francesco or Del
+Castello, and the Portizza, which joined the Imperial road of Zaule with
+a drawbridge, added to the defences, and a chain closed the port.</p>
+
+<p>The nave of the church is of the eighteenth century, the apse twelfth,
+and the fa�ade of the fifteenth century, with a wheel window of 1467
+above the<span class="pagenum"><a name="Page_84" id="Page_84">[Pg 84]</a></span> west door, and a gable of an ogee-trefoil shape. In the
+centre of the rose of sixteen rays is a little relief of the Virgin and
+Child; the tracery is like that of the cathedral at Trieste. The door is
+square-headed, with a cable moulding on the inner and a dentil on the
+outer edge, and with a slightly ogee tympanum above, in which are an
+enthroned God the Father with Christ in His lap, two kneeling figures
+with palms at the sides, and two little angels on the uprights of the
+throne. On the architrave is an Agnus Dei. Two windows, slightly
+ogee-headed, flank the door. Coats of arms and inscriptions give the
+date. The treasury contains a late Gothic ostensory with Renaissance
+patterns on the foot, a chalice which has portions of several dates, and
+a seventeenth-century processional cross. The contemporary municipal
+palace is now made into dwelling-houses, though the lion of S. Mark,
+with closed book and the date 1444, still looks down from the wall, and
+the shapes of the windows reveal a medi�val building.</p>
+
+<p>While we were on the hill the few children had become a crowd, and our
+proceedings were much hampered, although our friendly guard adopted very
+rough measures more than once to keep them in order. The people have
+always been turbulent and unruly, and no doubt there is still an
+hereditary disposition among them to resist authority, though one must
+acknowledge that it was only among the young that we ourselves observed
+it.</p>
+
+<p>Muggia Vecchia is first mentioned in a diploma of Ugo and Lothair, king
+of Italy, in 971, by which the Castello was given to the church of
+Aquileia. In 1202, when the Venetians were on their way to the Holy
+Land, they subjected the coast towns under the pretext of enforcing the
+patriarch's rights. Doge Enrico Dandolo disembarked at Muggia with<span class="pagenum"><a name="Page_85" id="Page_85">[Pg 85]</a></span> part
+of his troops, and was received by clergy and people with the ringing of
+bells. The citizens being collected swore fealty and subjection to the
+Republic, promising not to help pirates, and to pay each S. Martin's Day
+twenty-five "orne" of good wine. From this date till 1420 the city was
+ruled by a podest� elected every six months by the council and confirmed
+by the patriarch. There were three judges and several "anziani," who
+formed the lesser council, to attend to daily business. In the
+thirteenth century it had its own statute, and at that time the commune
+paid a doctor, a surgeon, and a schoolmaster. The crest is a turreted
+castle, seen on the campanile of the old church borne by two figures. It
+was sometimes under Venice and sometimes under the patriarch till 1420.
+At one time four noble hostages were confined for the latter in
+Cividale, who were obliged to prove their presence every day; at another
+the procurator swore fealty to Venice and received the standard of S.
+Mark with much pomp. In 1371 the council decided to elect every year two
+upright men who should do their best to settle disputes and quarrels
+among the citizens, and in case of failure to report to the council,
+when extraordinary measures were to be taken. The next year Raffaello
+Steno attacked the city at the head of the exiles and killed many
+supporters of the patriarch, sacking their houses and proscribing his
+followers; and it was only at the end of 1374 that he succeeded in
+retaking the town, coming in person to do so. After his triumphal entry
+in that year a castle was built to keep the people in subjection, and a
+castellan with a garrison was left in it; but the town rebelled again in
+1377.</p>
+
+<p>Capodistria is at the head of the next bay to the south-west, on rising
+ground which was once an island, though now joined to the mainland. From
+the sea the most conspicuous building is a great yellow prison.<span class="pagenum"><a name="Page_86" id="Page_86">[Pg 86]</a></span> There
+is also a naval school there, the cadets from which have to endure a
+certain amount of chaff when they acknowledge having spent five years at
+Capodistria. According to Dandolo the city was founded on the island of
+Capraria, and named in honour of Justin II. (565-578) Justinopolis; the
+fact of its having been free of money taxes during the Byzantine
+dominion makes some such origin probable; but it occupies the site of
+the Roman colony of �gida, founded in 128 <span class="smcap">B.C.</span>, and a few antique
+fragments have been found, such as the restored statue of Justice on the
+communal palace, a Roman work of the Lower Empire, and the reliefs of an
+ox and a female dancer encrusted in the wall of a garden. In the church
+of S. Clemente there is also a little round antique altar, used as a
+holy-water basin.</p>
+
+<p>Under Pietro Orseolo a treaty was made between Venice and Capodistria in
+977, under which the hundred amphoras of wine (which had been sent since
+932 as an annual present to the doge, and handed by him to the Patriarch
+of Grado) were made obligatory and a perpetual tribute, while a Venetian
+officer resided in Capodistria to look after it. Another stipulation was
+that the city should always be at peace with Venice, even if the rest of
+Istria were at war. The Venetian representative or consul had the right
+to sit with the Capodistrian judges whenever a Venetian had cause to
+appear before them. In 1145, envoys had to go to Venice to swear on the
+Gospels true and loyal fidelity to S. Mark, the Doge Polano, and all his
+successors, and to the commune of Venice, undertaking to renew the oath
+on the election of each new doge. In 1186 the commune was represented by
+a podest� and four consuls, the year in which the bishopric was founded
+on the strength of their promise to provide sufficient income. Eight
+years later they were obliged to decree that if any one did not pay his
+dues by the usual time he should have<span class="pagenum"><a name="Page_87" id="Page_87">[Pg 87]</a></span> his vineyard taken away, and if
+the tithe of oil was not paid by the Purification, it should be doubled.
+It was the first Istrian city with a fully formed commune, and the
+notice of the meeting of the council on July 5, 1186, is the earliest
+notice preserved of such a meeting. The first statute appears in
+1238-1239.</p>
+
+<p>When Venice had acquired the city the senate commanded Tommaso Gritti
+and Piero Gradenigo to build Castel Leone; it was constructed astride
+the road which crossed the marshes, so that all travellers and vehicles
+entering or leaving the city had to pass through it. The walls, for
+which the Patriarch Gregorio Montelungo was responsible, were damaged in
+1278, when the city swore fealty to Venice, and were thrown down on the
+sea side after the insurrection of 1348. They were not completely
+repaired till the sixteenth century. In 1550 Michele Sanmicheli, and
+subsequently his nephew Alvise Brignoli and others were sent by the
+senate to report, and finally the repair of the walls of many of the
+Istrian towns was committed to Constantine and Francesco Capi. A hundred
+years later they were in such a state that Stefano Capello reported that
+it was useless to guard the gates, for entrance was easy through the
+ruinous part of the walls. The only portion now remaining is the Porta
+della Muda, built by Sebastian Contarini in the seventeenth century. It
+bears an inscription of 1701 stating that the sea then no longer flowed
+round it.</p>
+
+<p>The Palazzo Comunale was burnt after the revolt of 1348, when the city
+had to surrender unconditionally, the clergy carrying crosses, and the
+citizens in procession, followed by the soldiers and the other
+foreigners, meeting the army outside the gates. Fifty of the persons
+most compromised were sent to Venice for trial, and the city was
+punished by increase of taxation and modification of some of the
+chapters of the statute. A few<span class="pagenum"><a name="Page_88" id="Page_88">[Pg 88]</a></span> years after it rebelled again, and was
+then deprived of all municipal rights. The burnt portion of the palace
+was ordered to be restored in 1353, but it had to be pulled down
+afterwards, and in 1385 the senate gave orders to the Podesti Leonardo
+Bembo to level it and rebuild. It bears resemblance in some of its
+details to palaces of the Bembo family in Venice. It was not completed
+till 1447, under Domenico Diedo. The right wing was altered in 1481, and
+further damaging alterations were made in 1664 by Vincenzo Bembo, who
+was so proud of his work that he put up a pompous inscription. There are
+numerous coats of arms of podest�s and busts on the fa�ade, the earliest
+of which is dated 1432. Under the portico were the "bocche del leone"
+for secret denunciations, and, though the masks are gone, the chests
+within are still in position.</p>
+
+<p>At right angles to the Palazzo Comunale is the cathedral, with the
+campanile projecting and flanking the fa�ade to the south. It has a
+ground story of Gothic, three pointed arches, the central one pierced by
+a doorway with clustered pillars, and figures beneath niches above them,
+and an upper story with classic pilasters and cornice, the central space
+pierced by a circular window. These are somewhat the characteristics of
+the cathedral at Cividale, of which two Capodistrians, Bartolommeo Costa
+and Giovanni Sedula, were architects. It was reconsecrated in 1445, but
+the upper part was not finished till 1598. The side doors, with
+beautiful arabesques carved on the jambs, were constructed with material
+from the tribune in which the big Carpaccio was housed. It was destroyed
+in 1714 during the restoration of the cathedral. There is a terra-cotta
+medallion of Constantino Copronymus on the fa�ade. The present campanile
+is of 1480. The great bell was cast in 1333 by two sons of the
+celebrated bell-founder, Jacopo da Venezia. Under the bell-chamber of
+the older<span class="pagenum"><a name="Page_89" id="Page_89">[Pg 89]</a></span> campanile was an iron cage in which ecclesiastics guilty of
+grievous crime were exposed, a punishment abolished in 1497.</p>
+
+<p>The interior of the church, considered the finest of the period in
+Istria, was recast in 1741 by the Venetian engineer Giorgio Massari.
+Under the last arch of the nave to the right is a picture by Vittore
+Carpaccio, signed and dated 1516&mdash;a Madonna and Child enthroned upon a
+damask-hung seat raised on five steps, which are covered with an
+Oriental carpet. Upon the steps saints are ranged, SS. Jerome, Roch, and
+an old man to the left&mdash;perhaps Zacchariah or Joseph; SS. Sebastian,
+George, and a bishop to the right&mdash;probably S. Louis of Toulouse: at the
+bottom a little lute-playing angel sits, flanked by two amorini on a
+lower level with white drapery. The Virgin is seated in an arched
+vestibule with a flat ceiling through which the sky and trees are seen.
+It was restored in 1829. Another picture from S. Nicol� near the port
+shows the Virgin with SS. Nicholas of Bari and John the Baptist. The
+organ wings were painted by Vittore's son Benedetto in 1538, and two
+other pictures of his are affixed to the west wall. The subjects are the
+Slaughter of the Innocents and the Presentation in the Temple. Other
+pictures by him are a Coronation of the Virgin, in the communal palace,
+signed and dated 1537, his earliest known picture; the Virgin between
+SS. James and Bartholomew, 1538; and the town damaged by a sea-storm. In
+Santa Anna is a picture of the Name of Jesus adored by SS. Paul, John
+the Baptist, Francis, and Bernardino, and surrounded by cherubs' heads.
+In the communal palace an indifferent picture of the entrance of a
+podest� escorted by the councillors (dated 1517) is ascribed to Vittore
+Carpaccio, who has been claimed as a Capodistrian, as his son Benedetto
+certainly was. He lived in the Largo di Porta S. Martino, in an old
+house<span class="pagenum"><a name="Page_90" id="Page_90">[Pg 90]</a></span> of two stories. In 1500 it was inhabited by the Scarpaza family,
+and before that they possessed a little farm in the locality called San
+Vittore; but the Capodistrian tradition as to Vittore's birthplace is
+erroneous, since he was born at Venice of a family of Mazzorbo, record
+of which has been found by Signor Molmenti. Lazzaro Sebastiani is also
+claimed as Capodistrian, and memorials of two other painters exist,
+Cleriginus de Justinopoli, who was living in 1471, and Giorgio Vincenti.
+A Mag. Domenico di Capodistria began the pretty octagonal chapel at
+Vicovaro above Tivoli.</p>
+
+<div class="figcenter" style="width: 650px;">
+<img src="images/p123.jpg" width="650" height="351" alt="THE &quot;FONTICO&quot; AND S. GIACOMO, CAPODISTRIA
+" title="" />
+<span class="caption">THE &quot;FONTICO&quot; AND S. GIACOMO, CAPODISTRIA
+</span>
+</div>
+
+<div class="figright" style="width: 234px;">
+<a name="p092" id="p092"></a>
+<img src="images/p125.jpg" width="234" height="400" alt="KNOCKER ON PALAZZO TACCO, CAPODISTRIA" title="" />
+<span class="caption">KNOCKER ON PALAZZO TACCO, CAPODISTRIA</span>
+</div>
+<p>In the choir of the church of Santa Anna is a picture by Cima da
+Conegliano in the original frame made by Vittore da Feltre. In the
+central arched compartment the Virgin sits enthroned with the Child on
+her knees and angels at her sides; on the steps below are two child
+angels with mandoline and fiddle. The lower range of panels has
+full-length figures of SS. Anna, Mary Magdalene, Joachim, and Catherine.
+In the upper are half-lengths of SS. Chiara, Francis, Jerome, and
+Nazario, with Christ between SS. Peter and Andrew in the centre. It has
+been restored. There is also an altar-frontal of cut and gilded leather.</p>
+
+
+
+<p>The lions from the ancient cathedral doors are now in the atrium of the
+high-school. The ancient baptistery is close to the north side of the
+cathedral; it has suffered Renaissance alteration inside, but outside
+still shows the early arrangement of pilaster-strips and corbel-tables.
+It is circular in plan, and has several round-headed, unmoulded windows
+built up, as well as a pointed-arched door with fourteenth-century
+shields in the tympanum.</p>
+
+
+
+<p>In the large piazza which stretches to the south-east of the cathedral
+are two well-heads and the "fontico" or place where corn was sold
+cheaply to the poor, a building of 1432, restored in 1529, plentifully
+studded<span class="pagenum"><a name="Page_91" id="Page_91">[Pg 91]</a></span> with coats of arms. Opposite the Palazzo Comunalelis the
+Loggia, now a caf�, built in 1464 for a literary academy. It has seven
+pointed and traceried arches in front and two at the side, a Madonna and
+Child decorates the south-west angle, and coats of arms are between the
+windows of the upper story. Here the Compagnia della Calza was
+instituted in 1478 in imitation of that of Venice. A few houses have
+remains of late Gothic painting, and in others something of the medi�val
+arrangement may still be seen. Upon the Palazzo Tacco is a very
+beautiful knocker, ascribed to Sansovino, now happily the property of
+the commune; and the Casa del Bello has a fine negro's head as handle,
+rather worn by use, and an elaborate knocker, probably of German work.
+The Casa Borisi also has a handle with the head and shoulders of a child
+emergent from leaves, and a knocker of similar design.</p>
+
+
+
+<p>In the cathedral treasury is a late fifteenth-century silver-gilt
+chalice with elaborately worked knop and stem; on the knop are saints
+under canopies, and angels with outspread wings emerge from scroll-work<span class="pagenum"><a name="Page_92" id="Page_92">[Pg 92]</a></span>
+round the base of the cup. Also a monstrance of the same period with
+very elaborate and beautiful architectural ornament and figures of
+angels in adoration. In two elaborate silver-gilt crosses of the
+sixteenth century there is a curious mixture of Gothic and Renaissance
+details.</p>
+
+<div class="figcenter" style="width: 650px;">
+<img src="images/p127.jpg" width="650" height="372" alt="THE PIAZZA DA PONTE, CAPODISTRIA
+
+" title="" />
+<span class="caption">THE PIAZZA DA PONTE, CAPODISTRIA
+
+</span>
+</div>
+
+<p>There is also a Byzantine civil casket at Capodistria, with traces of
+ancient gilding upon it. It has the usual rosettes in the borders, and
+small plaques with figure subjects. On the front there are three gods
+and goddesses, separated by a repetition of the border pattern. The
+handle and fastenings are later in date.</p>
+
+<p>Just inside the Porta della Muda is the Piazza da Ponte, so called after
+the Podest� Lorenzo da Ponte, who in 1666 had the very curious fountain
+erected, in which he imagined a further memorial of himself by the
+punning design of the bridge, so unsuitable for its position. In front
+of the Palazzo Tacco is a column with a statue of S. Giustina, set up to
+commemorate the battle of Lepanto, at which Domenico di Tacco commanded
+a ship fitted out at his own expense.</p>
+
+
+
+<p>In the churches on Good Friday a crucifix was laid on the chancel steps.
+Women and children knelt round and kissed it. In one or two of them a
+dead Christ, life-size and painted, was exhibited behind glass. There
+was also the "tomba," a custom to which one is used in Italy. A few men
+joined in the devotion. The Good Friday procession is over half a mile
+long, and takes two hours to get round the town, starting from the
+cathedral west door at twilight. It is formed in great part of the
+ancient confraternities (among which that of S. Maria is mentioned as
+early as 1082), who carry some 200 implements and standards, torches,
+candelabra, wax tapers, figures of saints, and lanterns. At the end of
+the procession a rich baldacchino is borne aloft above the priest who
+carries the Host. "Mazzieri" (from the mace<span class="pagenum"><a name="Page_93" id="Page_93">[Pg 93]</a></span> which they carry as sign
+of authority) keep order. Other processions by daylight take place on
+Corpus Domini and S. Nazario (June 19). The people have always been fond
+of such displays, and till the seventeenth century there was a great
+function at the departure of the rector, who was solemnly bidden
+farewell by one of the syndics or nobles in the cathedral. These Istrian
+coast towns have always shown enlightenment in the matter of education.
+In 1699 a school was opened in Capodistria for the sons of citizens and
+patricians, in which Latin, Greek, Italian, mathematics, rhetoric, and
+physics were taught. And, in order that poor and talented young men
+should not be cut off from the possibility of learning, this town, and,
+after its example, Isola, Muggia, Parenzo, Pola, and Trieste established
+scholarships at the University of Padua, where Istrian professors became
+rectors. But, even in the fourteenth century, there were already school
+teachers in Pirano, Muggia, and Capodistria.</p>
+
+<p>It is Pirano on its headland, with the cathedral standing out against
+the sea, and with its crown of battlemented towers among cypresses and
+other trees which terminates the land as seen from the railway
+descending from Nabresina to Trieste; for, though the Point of Salvore
+stretches actually farther out, it is low, and does not catch the eye as
+Pirano does, especially when its characteristic silhouette is emphasised
+by the blue shadow of a passing cloud. The headland upon which the
+cathedral is built, with its arched buttresses below, hides the town,
+except for the fortified cresting high above the trees; but, when the
+point is rounded and the harbour entered, one is tempted to assert that
+there are few places so picturesque. The quays are crowded with
+fishing-boats, which are backed by the brilliantly white buildings. The
+green water reflects boats, buildings, and sky with a bewildering<span class="pagenum"><a name="Page_94" id="Page_94">[Pg 94]</a></span>
+flashing and mingling of varied colours; while, above the houses of the
+Piazza Tartini, other houses and towers climb to the battlemented walls
+which crown the hill above a space filled with the grey of olives and
+green of the grass beneath them. Within the town the streets are narrow
+and often arched over, producing striking effects of light and shade;
+and there are external stairs to some of the houses and many balconies.</p>
+
+<div class="figcenter" style="width: 650px;">
+<img src="images/p131.jpg" width="650" height="413" alt="THE INNER HARBOUR, PIRANO
+" title="" />
+<span class="caption">THE INNER HARBOUR, PIRANO
+</span>
+</div>
+<p>It is an ancient town, and may have been founded by Celtic immigrants,
+since the word "pyrn" (a possible derivation for its name) means "top of
+the hill" in Celtic. It certainly was inhabited in Roman times, for the
+foundations of a Roman house have been found, as well as inscriptions,
+bronzes, and other objects now preserved in the museums of Trieste,
+Parenzo, and Pola. The names of a good many places near are of Roman
+derivation, but the first definite mention of Pirano is made by the
+anonymous Ravennese chronicler. In the tenth century the Istrians
+attacked the possessions of the Patriarch of Grado and of Venice, under
+the Marquis Winter, who governed for Ugo, king of Italy. The doge
+retaliated by prohibiting all commerce with Pirano, Trieste, Muggia,
+Capodistria, Cittanova, and Pola, and this soon brought them to their
+knees, finally resulting in the treaty of 933.</p>
+
+
+
+<p>A castle, the residence of the count or burgrave, was built nearly
+opposite the cathedral, with a wall falling sheer to the sea; this wall
+was still in existence in 1483, and was seen by Sanudo, but it was
+destroyed soon after. Venice gradually laid a heavier hand on this part
+of the eastern shore of the Adriatic, and, though the citizens struggled
+to retain their independence, the year 1283 saw the dedition of Pirano.
+Yet it always retained the right of displaying its own standard of S.
+George in the Piazza by the side of that of S. Mark. The existing bases
+for the support of these standards<span class="pagenum"><a name="Page_95" id="Page_95">[Pg 95]</a></span> date from 1464 and 1466, and bear
+the figure of S. George on one, and S. Mark's lion on the other, with
+the arms of the podest�s who ruled in those years. On the base of the
+Venetian standard the measures of length then in use are engraved. The
+standards for measures of capacity were three hollows sunk in a stone
+which once stood at the foot of the stair of the communal palace. This
+palace was demolished in 1877. It was a building erected in 1291,
+outside the circuit of the walls as it then existed, "to show that a new
+spirit ought to animate the citizens to forget their ancient divisions,"
+as a chronicler says. From 1264 Venice practically had control of the
+government, being the principal customer for the salt, which was (and is
+still) the chief product of the place.</p>
+
+<p>The city is an irregular triangle in plan, and is divided into four
+sections, known as "Porte"&mdash;Porta Muggia, Porta Domo, Porta Misana, and
+Porta Campo. Walls enclosed each of these sections, which were thrown
+down by Venice at the same time that many of the nobles' towers were
+destroyed; but some portions remain here and there, utilised for the
+erection of later houses. Round the "Punta," the most ancient part of
+the city, are remains of early walls, thought to be late Roman. The
+Venetians allowed only one wall for protection, and the present towered
+portion, so conspicuous along the crest of the hill, was finished in
+1488. The suburb, the Borgo Marzana, which stretched along the shore,
+was also enclosed within their circuit by 1533. They recall those of
+Soave and Marostica in North Italy, where the houses cluster round the
+piazza below, and the hillside is covered with olives, through and above
+which the line of battlements may be traced high above the tops of the
+campanili. The harbour was once larger than it now is, the Piazza
+Tartini occupying the site of part of it. In 1320 the Venetians sent
+three engineers<span class="pagenum"><a name="Page_96" id="Page_96">[Pg 96]</a></span> to construct a port, but all that was done was to
+strengthen the inner harbour as then existing. The chain which closed it
+was replaced by a drawbridge in 1578, shown in a picture in the
+cathedral, but this was demolished in 1894.</p>
+
+<p>In 1379 the Genoese fleet of fifteen galleys demanded the surrender of
+Pirano. Reply was made with cannon-shots which sank three large ships,
+and the others sailed away. It was the only Istrian city which thus
+repelled the Genoese attack, and the incident is also interesting as
+showing that the Venetians used bombards before the war of Chioggia.</p>
+
+<p>The statute is more ancient than those of most of the neighbouring
+cities, and gives curious details as to pains and penalties and
+municipal regulations. The penalty for mutilation was a corresponding
+mutilation unless the fine prescribed was paid. The making of false
+money was punished with death. The false witness, if insolvent, lost his
+right nostril, and his name was published as a perjurer on the stair of
+the communal palace. He who destroyed the property of another lost his
+right hand. But there was no public executioner; and there are many
+records of the flight of guilty persons, though an intention to make
+"the punishment fit the crime" is evident. No one was allowed to build a
+house close to the walls, and thatch was forbidden. A blasphemer was
+pilloried for a day (a list of illegal words and phrases is attached to
+this section). Workmen were forbidden to receive more than the wage
+prescribed, butchers had to accept the price fixed for meat by the
+justices, and the times and places for fishing were specified. The
+commune had an inn "let to an honest man," with six good beds, which he
+had to provide. No one else was allowed to let rooms till 1469, when the
+payment of a tax of three ducats a year entitled the payer to a license.
+In 1484 interest on loans was fixed<span class="pagenum"><a name="Page_97" id="Page_97">[Pg 97]</a></span> at 20 per cent., and Jews were
+allowed to charge no more. This people enjoyed considerable liberties,
+as in Venice, and corresponding concessions were made to them. With the
+establishment of a "Monte di Piet�" their occupation was gone, and they
+migrated to Trieste. The commune paid a chief bombardier, a captain of
+ordnance, a palace chaplain, two doctors and a surgeon, a canon of the
+Community, a master of arithmetic, a professor of humanities and
+rhetoric, and a preacher for Lent.</p>
+
+<div class="figcenter" style="width: 550px;">
+<img src="images/p136.jpg" width="550" height="358" alt="PIRANO, FROM NEAR THE CATHEDRAL
+" title="" />
+<span class="caption">PIRANO, FROM NEAR THE CATHEDRAL
+</span>
+</div>
+
+<p>An academy, called "Dei Virtuosi," was also sustained at the public
+expense, and by it public festivals were organised, with the
+accompaniment of decorations and music, &amp;c. The festival of Corpus
+Domini is still celebrated with the hanging of cloths and paintings on
+the walls of the houses, and with stretching awnings, like the
+Florentine medi�val "cieli," across the streets, which are strewn with
+flowers and ornamented with altars and fountains. Processions also still
+accompany funerals and marriages, when garlands, flowers, and confetti
+are thrown upon the cort�ge as it passes. The banner and pall are black,
+with white embroidery, and the members of a red-clothed confraternity
+attend the funerals, bearing a crucifix and tapers. Many of them are
+quite old men, and they raise a quavering chant as they climb the steep
+ascent to the cathedral, which is a late Renaissance building, and not
+interesting, though finely placed. The campanile is an evident copy of
+that of S. Mark at Venice.</p>
+
+<p>In 1572, under an altar in the cathedral, a fine Byzantine civil casket
+of ivory was found. Presented in 1884 to the Emperor by the
+municipality, it is now in the Court museum at Vienna. It has a sliding
+lid, the usual borders of rosettes, and long panels of subjects imitated
+from the antique. In the library above the sacristy are several early
+paintings in carved and gilt frames. The most important represents a
+long arcade<span class="pagenum"><a name="Page_98" id="Page_98">[Pg 98]</a></span> with four saints on each side of a broader central panel,
+on which are the Virgin and Child enthroned. The figures have small
+heads and meagre limbs. There is also a Crucifixion, which, from its
+shape, was probably the top panel of a large picture in compartments.
+These are of the fourteenth century. A later example shows four saints
+in trefoil-headed panels, with a cornice above, composed of a series of
+shell-headed tops of niches. These originally formed the doors of a
+cupboard. There are also said to be a psalter and antiphonary of the
+fourteenth century, and a Bull of Urban V. relating to the Crusades of
+1365. The ancient baptistery stood opposite the cathedral, if one may
+trust the views in Carpaccio's picture, and in one by Domenico
+Tintoretto in the town-hall. The modern one is on the slope of the hill,
+just below the campanile. It contains an early rectangular font. On the
+side facing the door is a carving similar to that on the font at
+Venzone&mdash;a naked youth astride of a sea-monster, said to typify the
+control of the bodily appetites by the reason. The other sides are much
+damaged.</p>
+
+<p>The other important church is that of S. Francesco, which has a good
+early Renaissance doorway and a cloister, some seventeenth-century
+carved chairs, several Venetian pictures, and an early altar-piece. On
+the fa�ade a curious inscription is set in the wall, which states that
+the church was dedicated on S. Mark's Eve, 1344, and that seven altars
+were then consecrated by seven bishops&mdash;nine being mentioned,
+however&mdash;Justinoplensis (Capodistria), Enonensis (Cittanova),
+Parentinus, Polensis, Petenesinus (Pisino), Capiolensis, Evelinensis
+(Buie), Domatensis, Soaralensis. The lion of the church is, however, the
+fine Carpaccio in the chapel to the left at the bottom of the nave,
+dated 1518, and signed "Victoris Charpatii Veneti opus," considered by
+some his best work. It represents the Virgin seated,<span class="pagenum"><a name="Page_99" id="Page_99">[Pg 99]</a></span> and holding the
+Child to her breast. He has two cherries in His left hand; to His right
+are three saints&mdash;S. Francis with a cross, S. George, and S. Louis of
+Toulouse; to the left, S. Anthony, Santa Chiara, and S. Louis of France.
+At the feet of the Virgin are two angels with lute and violin on each
+side of a pot of lilies; a pillared hall, with a view of Pirano in the
+distance, forms the background. The chapel has pilasters with very
+beautiful arabesques. The design of the architecture and of the picture
+agrees perfectly, and it is evident that it was intended that the
+painted architecture should continue the effect of perspective, which
+commences with the reality of carved and built-up marble.</p>
+
+<p>In the office of the salt-works is a picture by Carpaccio's son
+Benedetto, signed and dated 1541, which came from S. Lucia di Val di
+Fasano. It shows the Virgin seated with the Child in a little shirt, in
+the act of blessing. On the left is S. Lucy, on the right S. George
+standing, with their heads on the same level as the Virgin, and
+therefore on a smaller scale. The throne has a very shallow step. The
+figure of S. George is a repetition of that by Benedetto's father in S.
+Francesco.</p>
+
+<p>In the Piazza Tartini, near a fourteenth-century house of Venetian
+Gothic, once the palace of the family of del Bello, is a modern statue
+of Tartini the violinist (1692-1770), who here commenced the study of
+music, which led him to extraordinary executive triumphs and the
+production of the celebrated "Trillo del diavolo."</p>
+
+<p>Outside the walls, on the road to Porto Rose, are the ruins of the
+monastery of S. Bernardino, founded in 1450 by S. Giovanni da
+Capistrano, to whom the ruined convent on the island opposite Rovigno is
+also due. It once possessed a Vivarini, a Madonna with a sleeping Child,
+which was sent to Vienna in 1803. In the church of S. George is a
+fragment of a carved stall with a figure of the saint, which should be
+mentioned.<span class="pagenum"><a name="Page_100" id="Page_100">[Pg 100]</a></span></p>
+
+<p>The town of Salvore seems to have been under the jurisdiction of Pirano,
+and the commune held a fair there on S. John the Baptist's Day, to
+celebrate the naval battle in 1177, in which Frederick Barbarossa was
+conquered in the deep bay between it and Pirano. The jousts, boat-races,
+and hunts which were held then and on the feasts of Pentecost and S.
+Orligo were so sumptuous that the <i>provveditore</i> limited the
+expenditure.</p>
+
+<p>The last boat for Trieste left Pirano at 1.30 p.m., an hour so
+ridiculously early, that we determined to walk to Isola and proceed
+thence by train. We started off bravely up the steep road which led to
+the fifteenth-century Porta di Raspo, obtaining fine views down the
+alleys and through garden doors as we ascended the hill. High above our
+heads the battlements towered, and as we approached the walls we
+realised what a business it must have been to attack a town so protected
+before the invention of gunpowder. Soon the road bent away to the right,
+which was not the direction in which we wished to go, but a path led to
+some brick-works, and there we found an idle workman, who advised us to
+go along the shore as being much shorter. So we plunged and slid about
+among rocks of a considerable size, and skirted the base of slippery
+cliffs, and ploughed through sand and shingle for some miles, rejoicing
+when we met the road again in a flat piece of land where there were
+salt-pans. From this point it made a long sweep inland and then rose in
+wide curves up the shoulder of a hill which divided us from Isola. Here
+we saw a train draw up to take on board two gentlemen and a little boy;
+there was no sign of station or halting-place, and we wondered whether
+all that was necessary was to stand by the line and wave one's hand to
+the driver in order to be taken up! A stony path led us to the
+summit&mdash;another short cut, which happily called for less exertion than
+our previous jaunt along the shore&mdash;and a charming view amply<span class="pagenum"><a name="Page_101" id="Page_101">[Pg 101]</a></span> repaid us
+for our labours. In the foreground the stony path dropped between steep
+banks, the soil being occupied by vines and olives, with a little shrine
+perched on one of the banks. In the middle distance Isola lay like a
+jewel upon the sea, opalescent with delicate blue shadows and the
+indescribable tints of grey stone buildings at a distance in sunlight;
+with the campanile crowning the slight elevation of the clustered
+houses. Beyond were the horns of the Bay of Capodistria and the
+highlands of the Julian Alps, blue in the shadow of the declining sun. A
+few lighter houses scattered along the peninsula served to soften the
+transition from the grey town to the green country.</p>
+
+<p>The town is at least as old as the beginning of the eleventh century,
+for in 1041 it was ceded to the monastery of Aquileia; at this time it
+was probably unwalled, for in 1165 the Abbess Valperta allowed the
+inhabitants to remove to Monte Albuciano and build fresh houses there,
+as they did not feel secure. After the dedition to Venice in 1280 it was
+strengthened; but that did not prevent a body of the patriarch's troops
+scaling the walls and taking it on August 25, 1379, to be driven out a
+few days after by the podest�s of Capodistria, Pirano, and Umago. Since
+1411 it has been joined to the Capodistria road by a bridge, and no one
+would now suppose that it was originally&mdash;as its name denotes&mdash;an
+island. Nine square towers defended the walls, and the principal gate
+was protected by a barbican. The ditch was so useful to the people in
+peaceful times that the commune threatened with severe penalties those
+who went by night to deposit in it the refuse of their houses and
+stables. No trace of these works now remains.</p>
+
+<p>The <i>Colleggiata</i> is a late Renaissance building, but contains some
+interesting things, including a picture by Girolamo Santa Croce of the
+Madonna enthroned, with SS. Nicholas and Joseph, and a child angel with
+a<span class="pagenum"><a name="Page_102" id="Page_102">[Pg 102]</a></span> violin on the plinth, signed and dated 1537, but restored. The
+treasury contains a fine monstrance of silver, Gothic in design, with
+bands of pierced work and tabernacles at the sides on twisted columns.
+It has a spire-like top with windows and pinnacles between round its
+base, a feature which is repeated on the knop. In the seventeenth
+century several figures were added or replaced and the stem repaired.
+The Scuola dei Battuti, built in 1451, has a door with a frescoed
+tympanum beneath a pointed arch on brackets, a good deal
+weather-worn&mdash;Madonna sheltering the penitents beneath her cloak&mdash;and
+pretty arabesque scrolls on the soffit.</p>
+
+<p>Isola is delightful from outside; but inside there is much dirt, and
+little food for the traveller. All that we could obtain was bread and
+rough red wine. While waiting for the train, as the sun set and twilight
+fell, we saw many of the <i>contadini</i> returning from their work, most of
+them on donkeys or ponies&mdash;a father with a little son before or behind
+him, a man in a black cloak with panniers laden with branches of trees,
+which hid the saddle, and, in the semi-obscurity, made them look like
+some monstrous beast of strange form, another perched upon a great
+bundle of hay or grass, and so on, all passing rapidly from the malaria
+of the fields to the safety of the malodorous town.</p>
+
+<p>It reminded one of the return of the townspeople within the walls at
+nightfall necessitated by the medi�val custom of closing the gates an
+hour after "Ave Maria," after which none could enter or leave the
+cities; and how the lamps of the shrines were the only illumination of
+the streets, about which none were allowed to go without carrying a
+light.</p>
+
+<p>In the train we had as fellow traveller an engineer who spoke English
+well. He said that all over Istria nothing could be obtained to eat
+(except, of course, in<span class="pagenum"><a name="Page_103" id="Page_103">[Pg 103]</a></span> the more important towns). He had been
+constructing a new line near Diva&#269;a, where nothing was obtainable, and
+he and his companions had been obliged to take a cook and all supplies
+with them. He appeared to have a very bad opinion of the Triestines,
+whom he characterised as drunken swine, which we had not observed
+ourselves. He said that beer was too dear for the majority, so they got
+drunk on black wine and brandy&mdash;a statement which sounded strange to our
+English ears. The smaller boats, being for the use of the country
+people, are very inconvenient for tourists, since they generally start
+so as to arrive at Trieste early in the day, thus allowing of return the
+same night with the purchases made. Baedeker advises an excursion to
+Muggia and on to Capodistria and Isola and Pirano, "returning by boat in
+the evening"; but the last boat from Pirano leaves at 1.30 p.m., and the
+last one from Capodistria at 4.0 (by which, by-the-bye, we paid twice as
+much as we paid for the same journey in the morning), and after that the
+traveller is dependent upon the little railway, which lands him in
+Trieste after 10.0 p.m., at the S. Andrea Station, rather late to obtain
+a meal.<span class="pagenum"><a name="Page_104" id="Page_104">[Pg 104]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="VIII" id="VIII"></a>VIII</h2>
+
+<h3>UMAGO TO PARENZO</h3>
+
+
+<p>The next place along the coast, after passing the Promontory of Salvore
+and turning south, is Umago. It is sheltered behind a shoal, upon which
+the Chronicles say that the ship laden with the relics of S. Mark struck
+during a storm on its way to Venice. It was given as a feud to the
+bishop of Trieste in 929, at Pavia, by Ugo of Provence, king of Italy,
+and to the bishop of Cittanova in 1029 or 1038 by the Emperor Conrad. It
+had been sacked by the Slavs of Croatia and Dalmatia in 876, at the same
+time with Cittanova, Rovigno, and Sipar (at which last place very early
+wall-paintings are said to exist). It swore fealty to Venice in 1269;
+but very little is known of its history, the English apparently having
+burnt the archives in the piazza early in the nineteenth century. At
+that period no one seems to have thought that such things could be of
+any value; indeed at Portole, about 1850, the podest� actually sold all
+the communal deeds to the grocer of the place, thinking them useless
+rubbish, and at Cittanova the parchments were used by the citizens to
+mend windows!</p>
+
+<p>Cittanova lies at the mouth of the Quieto valley which, commencing at
+Pinguente, passes Montona on its isolated hill (visible from the coast
+like lofty Buie), and terminates in a marsh seven or eight miles long.
+The mouth is known as Porto Torre, from a little place on the Parenzo
+side of the river. The city was a Roman<span class="pagenum"><a name="Page_105" id="Page_105">[Pg 105]</a></span> colony with the name �monia,
+and the seat of an early Istrian bishop. A few years ago some seventy
+carved slabs of the eighth or ninth century were discovered face
+downwards in the pavement of the crypt of the basilica, which appear to
+have belonged to the font and choir enclosure. Among them are several
+archivolt pieces, very much like those of the font of Calixtus at
+Cividale, which show by a mutilated inscription that they were due to
+Bishop Maurizio, apparently a bishop suspected of being on the side of
+the Franks, and therefore blinded by the Byzantines in 781. The slabs
+are all of Istrian stone, except one, which is of marble, and the
+carvings therefore may possibly to some extent be of local workmanship,
+though we know that Comacines from Cividale were employed in Croatia.
+They have the characteristic Lombard furrows and interweavings, and
+other details met with in different parts of Italy. There are no
+mouldings, but a slight bead and reel along the interior edge of the
+arches. One slab shows two birds drinking from a vase in the upper part,
+and, below, two others apparently going to divide a fish&mdash;at each side
+vine scrolls springing from vases; another is carved with figures of
+griffins. There are two window-slabs with pierced patterns: one has
+simple rhomboidal forms; the other a central stem, with curling branches
+terminating in trefoils of much more advanced type, suggesting the
+panels in the later tomb of the Dogaressa Michieli in the atrium of S.
+Mark's, Venice. The basilica was restored in 1409-1414, and in the
+sixteenth century, with the assistance of Venice, at which time the
+baldacchino was destroyed. The church stands on the edge of the land,
+and has a small round-arched arcade on the fa�ade divided by the
+doorway, which is covered with a pointed hood on brackets. In the gable
+is an oculus. The campanile resembles S. Mark's, Venice, as is usual.
+Within, a Venetian Ma<span class="pagenum"><a name="Page_106" id="Page_106">[Pg 106]</a></span>donna and Child is preserved, Mantegnesque in
+style, and therefore ascribed to Mantegna or John Bellini. In the
+eighteenth century a picture by the latter was sent to Venice to be
+restored, and, if this is the picture, the restoration was very
+thorough. The baptistery, destroyed in 1780, had a vestibule like that
+at Concordia. It was octagonal, with four little round-headed windows,
+and the hexagonal font was built up from the floor, the rim being level
+with the top-most of the three steps which surrounded the building.
+Three steps also descended into it.</p>
+
+<p>The city swore fealty to Venice in 1270. It still retains a portion of
+its ancient battlemented walls, which have a curious feature&mdash;a
+projecting spur, which runs out into the sea a long way, and was
+probably intended to make the sea-front secure at low water. The commune
+was very zealous in its preparations for war, and, according to the
+statute, a citizen who wounded or killed a spectator during military
+evolutions or practice was able to secure immunity from punishment!</p>
+
+<p>In 1466 the see was divided from the patriarchate of Venice by Paul II.,
+Francesco Contarini being made bishop, and was enriched by the gift of
+the property of the suppressed bishopric of Equilium. Fifty years before
+leave was granted to the then bishop to sell wine grown in his vineyards
+outside the territory.<span class="pagenum"><a name="Page_107" id="Page_107">[Pg 107]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="IX" id="IX"></a>IX</h2>
+
+<h3>PARENZO</h3>
+
+
+<p>The next town along the coast, Parenzo, is celebrated for its fine
+sixth-century cathedral, the pride of the whole of Istria "the land of
+basilicas," and is the headquarters of the Istrian Arch�ological
+Society, several of whose members have devoted much time and money to
+the elucidation of the history, construction, and decoration of the
+building.</p>
+
+<p>The excavations undertaken by the late Monsignore P. Deperis, Parroco
+Decano, showed that there have been four main epochs of construction, as
+well as restorations and embellishments: (1) Roman, or Early Christian,
+(2) Byzantine, (3) Gothic, and (4) Modern. There was a primitive
+Christian basilica to the north of the present one; and Euphrasius, in
+the sixth century, built his church upon the foundations of a second,
+which had succeeded it. The site of the first was used as a cemetery
+till the end of the eighteenth century, and was then made into the
+garden of the bishop's palace. It was oblong in shape, like the most
+ancient Christian churches, and had no apse, being 75 ft. 6 in. long and
+55 ft. 9 in. wide. It had one main door of entrance, and the altar was
+at the eastern end of the northern portion. The pavement is 5 ft. 9 in.
+below the level of the basilica of Euphrasius. In the south wall of the
+portion first discovered (one half of the total area) a door, the cill
+of which is still preserved, led to an oratory. On the<span class="pagenum"><a name="Page_108" id="Page_108">[Pg 108]</a></span> mosaic pavement
+is this inscription in black letters on a white ground:</p>
+
+<p>
+<span style="margin-left: 4.5em;">[Lu]<span class="smcap">picinvs</span></span><br />
+<span style="margin-left: 4em;">[et Pa]<span class="smcap">scasia</span></span><br />
+<span style="margin-left: 1em;">[cum r]<span class="smcap">everentia pa</span>[mula]</span><br />
+<span style="margin-left: 1.5em;"><span class="smcap">Fe</span>[cerunt pedes] <span class="smcap">c</span>[entum].</span><br />
+</p>
+
+<p>The remains of this pavement are good in design and execution, and the
+colours are well distributed. The nave was surrounded by a broad white
+band, within which was another still broader, sown with starred crosses.
+The panels with subjects were also surrounded by a similar band. In the
+first panel from the door is a crown formed of a triple row of leaves
+within a double circle; the outer one has an octagon formed of meanders,
+and the inner a circular treatment of the same kind. Outside are lilies
+and other flowers within geometrical forms, and the whole is bordered
+with interlaced lines. In the small circle is a portion of an
+inscription, the right part of which has been destroyed by a tomb:</p>
+
+<p>
+<span style="margin-left: 2.5em;"><span class="smcap">INFAN</span>[tius]</span><br />
+<span style="margin-left: 1.5em;"><span class="smcap">ET INNOC</span>[entia]</span><br />
+<span style="margin-left: 1em;"><span class="smcap">EX SVO P</span>[alatio]</span><br />
+<span style="margin-left: 1.5em;"><span class="smcap">BASI</span>[licam et]</span><br />
+<span style="margin-left: 2em;"><span class="smcap">TES</span>[sellati]</span><br />
+<span style="margin-left: 3em;"><span class="smcap">P</span>[edes].</span><br />
+</p>
+
+<p>The middle panel is square; within it is a handled <i>crater</i> with a high
+foot. Two branches spring from it, which are bursting into flowers and
+leaves; they fill the whole space with their convolutions. At the top is
+an inscription:</p>
+
+<p>[Lu]<span class="smcap">PICINVS ET PASCASIA P</span>[edes] <span class="smcap">CCCC F</span>[ecerunt]; and at the bottom
+another:</p>
+
+<p>
+<span style="margin-left: 1em;"><span class="smcap">CLAMOSVS MAG PVER ET SVCCESSA P</span>[edes] <span class="smcap">C</span>[entum]</span><br />
+<span style="margin-left: 1em;"><span class="smcap">FELICISSIMVS CVM SVIS P</span>[edes] <span class="smcap">C</span>[entum].</span><br />
+<span class="pagenum"><a name="Page_109" id="Page_109">[Pg 109]</a></span></p>
+
+<div class="figcenter" style="width: 559px;">
+<img src="images/p149.jpg" width="559" height="650" alt="PLAN OF THE THREE BASILICAS, PARENZO" title="" />
+<span class="caption">PLAN OF THE THREE BASILICAS, PARENZO</span>
+</div>
+
+<p>This inscription is interesting as showing that there was a school
+attached to the basilica before the fourth century. The third panel
+surrounded the altar, the<span class="pagenum"><a name="Page_110" id="Page_110">[Pg 110]</a></span> rectangle of which is marked by the sunken
+places in the marble slab where the columns stood. A piece of marble of
+the same size as the sinkings was found not far away. At the right is a
+square of about 3 ft. 3 in., with a framing of white bands and triangles
+of colour 10 in. broad, reducing the internal square to 19 in. In the
+centre is a portion of a cross based on the swastika, and a fish. On the
+left a cross, formed by the intersection of two oval rings, appears
+above the fish. These symbolic crosses point to a very early date. The
+doorstep of the oratory shows signs of considerable wear, and the mosaic
+has been roughly repaired near the word <span class="smcap">picinvs</span>. The fishes are
+apparently insertions, later in date than the original mosaic (which has
+the structural characteristics of the second century). This suggests
+that the first basilica may have been a portion of the house of a
+Christian of position, of which examples occur in Rome. It was probably
+burnt when Diocletian ordered the destruction of all Christian churches
+in 303 <span class="smcap">A.D</span>., since charcoal was found amongst the masonry. The pavement,
+much broken up by tombs and by the old cistern constructed in the
+garden, extended under the north aisle of the present building; and the
+site of the altar is shown by lifting a trap-door in the chapel in the
+north arm of the cross, for the present basilica was made cruciform in
+plan in 1846-1847, by the erection of two chapels. The mosaics found in
+the garden have been completely excavated; they are covered over with
+glazed outhouses, and can be easily seen. Later excavations made in 1900
+have proved that this first basilica had two equal naves, and remains of
+a marble chancel recalled the phrase in the S. Maurus inscription found
+beneath the high-altar in 1846: "ideo in honorem duplicatus est locus."</p>
+
+<p>The second basilica was probably Constantinian. The present one
+coincides with it, except that the apse<span class="pagenum"><a name="Page_111" id="Page_111">[Pg 111]</a></span> is polygonal and projects
+towards the east, and that the lines of the walls bend a little to the
+left from a line drawn across between the modern chapels. The floor of
+this basilica is about 2 ft. 9 in. below that of the present one. The
+mosaic pavement is well preserved nearly all over the surface; and the
+sacristan opens numerous trap-doors, and puts down tapers, to show the
+most interesting portions. The cills of two of the doors still remain 9
+in. higher and much worn by traffic; the third was destroyed to place a
+sarcophagus against the wall of the church. Between the two pavement
+levels several unfinished caps and columns of limestone were found, and
+also two pedestals and one base among the foundations of the present
+nave arcade.</p>
+
+<p>Beneath the presbytery is a choir and presbytery of the form used in the
+most ancient Constantinian basilicas. A sloping platform led up to the
+step upon which the bishop's seat stood at the centre of the semicircle,
+flanked by seats on each side for presbyters, the places being marked by
+red lines painted upon the fine plaster which covers the low wall,
+rising about 8 in. above the floor, itself 2 ft. 3� in. above the level
+of that of the nave. The diameter of the semicircle is about 18 ft., and
+it is floored with mosaic. Outside runs a white band 6 in. wide, within
+which is a band of ornament with two black lines at each side; one of
+them dentilled. This feature is 20 in. wide, with a waving stem with
+volutes and leaves of ivy occupying the central 12 in., black and grey
+on white. In the centre of all are other black leaves and scrolls in
+red, damaged by a medi�val tomb. Three steps led down to the choir, for
+the singers, sub-deacons, and deacons. It has a plaster floor of a
+porphyry purple colour, and reaches as far as the third column of the
+present nave, counting from the east. It was afterwards extended on a
+lower level, reached by steps on each side, one of<span class="pagenum"><a name="Page_112" id="Page_112">[Pg 112]</a></span> which is still in
+place. The mosaic pavement of this lower nave continues as far as a line
+which cuts across the central apse, appearing outside the ends of the
+aisles, as well as outside the semicircle of the presbytery just
+described, as at S. Maria, Grado. The presbytery wall is rough masonry,
+as if it had been external, and there are no signs of its having been
+decorated in any way; but the oblong plan with the apse some way within
+is found also at Salona, and in Syria and North Africa. Traces of a wall
+parallel to that of the north aisle, and beyond it, suggest the
+existence of rooms to the north.</p>
+
+<p>An excavation in front of the door of the sacristy discovered a square
+mosaic on this level with inscription&mdash;</p>
+
+<p>
+<span style="margin-left: 1em;">THEOFRASTVS [et]</span><br />
+<span style="margin-left: 1.5em;">IANVARIVS DIAC</span><br />
+<span style="margin-left: 1.5em;">FEC � P � CCC</span><br />
+</p>
+
+<p>&mdash;which commenced beneath the chord of the existing apse and terminated
+in a line with the end of the wall of the earlier presbytery. West of
+it, and separated by a smooth and even division, as if a wall or screen
+had been there, mosaics previously discovered stretched to the west
+door. On the south side a similar division of the mosaic was found, a
+bit of a colonnette and a few fragments as of a balustrade or
+<i>cancellum</i>. The spaces thus marked off were probably <i>prothesis</i> and
+<i>diaconicon</i>, the latter being to the left, where the two deacons gave
+the pavement. In the left aisle were five different designs given by as
+many donors. The right aisle was simpler. In the nave an inscription was
+found mentioning the Clamosus who was named on the earlier pavement, but
+in conjunction with Victorina, either his daughter or a second wife.
+This proves that no great time intervened between the<span class="pagenum"><a name="Page_113" id="Page_113">[Pg 113]</a></span> erection of the
+second and the regular use of the first basilica. The inscription found
+beneath the high-altar, already referred to, mentions two churches, and
+states that the first was repaired by the prayers of S. Maurus, and that
+his body was transferred to that place; and calls him bishop and
+confessor. Till 1354 his relics remained there, when the Genoese
+admiral, Pagano Doria, took them to Genoa as booty when he had sacked
+the city, placing them in the abbey church belonging to his family. The
+Marquis Doria soon returned them. In medi�val documents the district of
+the city of Parenzo is called "territorio, terra di S. Mauro."</p>
+
+<div class="figcenter" style="width: 408px;">
+<img src="images/p154.jpg" width="408" height="500" alt="MARBLE CAPITAL OF THE SIXTH CENTURY, PARENZO
+
+" title="" />
+<span class="caption">MARBLE CAPITAL OF THE SIXTH CENTURY, PARENZO
+
+</span>
+</div>
+
+<p>The present cathedral was erected by Euphrasius between 531 and 542.
+This is proved by his mosaic inscription, which states that "in the
+eleventh year of his episcopate" (543) he had endowed it; for the
+endowment would naturally come after the building. He found the second
+basilica likely to fall, with the roof only kept up by chains. The
+columns are of Greek cipollino, like those at S. Vitale, Spirito Santo,
+S. Francesco, SS. Apollinare Nuovo and in Classe, Ravenna, and in S.
+Maria, Pomposa, and were worked by the same workmen in the Proconesos
+workshops: for on columns at S. Vitale and Parenzo, and also at Pomposa,
+are found the same mason's marks, monograms uniting the letters
+&#928;&#932;&#917; for Petrus and &#921;&#969; for Joannes. The bases are Attic, as at Ravenna
+and SS. Sergius and Bacchus, Constantinople; and, of the eighteen caps
+in the nave, six are exactly similar to those of the lower arcade of S.
+Vitale, several are like others at Grado, two are like a damaged one at
+Pomposa, and others are much like some at Otranto and Rome. At Venice,
+too, capitals of the same types occur in considerable number. The
+super-abaci are of Greek marble, with a circular plaque bearing the<span class="pagenum"><a name="Page_114" id="Page_114">[Pg 114]</a></span>
+monogram of Euphrasius. On the north the soffits of the arches retain
+the original stucco ornaments, all different; on the south they have
+disappeared.</p>
+
+<div class="figcenter" style="width: 531px;">
+<img src="images/p157.jpg" width="531" height="600" alt="OPUS SECTILE IN THE APSE, CATHEDRAL, PARENZO
+
+" title="" />
+<span class="caption">OPUS SECTILE IN THE APSE, CATHEDRAL, PARENZO
+
+</span>
+</div>
+
+
+<p>The mosaics in the apse closely resemble those of the Arian baptistery
+at Ravenna in style. The figure of S. Maurus might almost have been
+worked from the cartoon of one of the Apostles there. In the centre of
+the semi-dome is a figure of the Virgin with the Infant Saviour, clothed
+in white and gold. Above, a hand holding a crown emerges from clouds. On
+each side are an angel and three large figures; on the left are
+Archbishop Claudius, Euphrasius the bishop, with a small figure of his
+son, and S. Maurus, holding a jewelled urn; Euphrasius holds his church.
+The three figures on the other side are unnamed; one bears a book, and
+the other two crowns. The ground is gold, and below, at the springing of
+the dome, is the long dedicatory inscription in gold letters on a blue
+ground. On the wall below are mosaics between the windows. An angel
+occupies the central pier, and on the piers on either side is a saint,
+probably SS. Maurus and John the Baptist. On the wide wall spaces beyond
+the windows are the Annunciation on the north, and the Salutation on the
+south. The soffit of the triumphal arch has medallions of female saints
+within wreaths, and at the summit an Agnus Dei. The lower part of the
+wall is separated from the mosaics by an ornamental plaster moulding,
+and is decorated with a remarkably fine series of panels in <i>opus
+sectile</i>, eight designs in couples answering to each other on either
+side, with a single design above the bishop's seat in the centre, on
+which the monogram of Euphrasius again occurs. The colours and materials
+used are green and red porphyry, two blues, a green vitreous paste, a
+dull-red marble, and a bluish-green marble which has perished a good
+deal and is now preserved<span class="pagenum"><a name="Page_115" id="Page_115">[Pg 115]</a></span> under glass plates cut to fit the shapes,
+occasional spots of a beautiful orange colour, like a marble used in
+inlays at S. Vitale, a very dark blue, almost black, a pale
+yellow-green, and a pale purple like chocolate powder. The white is
+generally mother-of-pearl, or marble, veined with a pale grey, and a
+good deal of Oriental alabaster is used. The panel above the simple
+bishop's throne has a hill, with a golden cross on a green ground
+diapered with mother-of-pearl, and with tall panels at the sides with
+the seven golden candlesticks. On a lower level than the throne a marble
+seat runs round the apse, terminated by two slabs carved with dolphins.</p>
+
+
+<p>The architect, Signor Tommaso Natale, discovered a mosaic above the
+triumphal arch a few years ago, which had been hidden by the late
+Renaissance "improvements." It consisted of a long strip of gold, on
+which the Apostles stood, clothed in white robes gemmed with crosses,
+six on each side of a central figure of Christ, robed in purple and
+seated on the globe. He has a cruciferous nimbus, and is blessing with
+the right hand, whilst with the left He holds an open book inscribed
+"<span class="smcap">Ego svm lvx vera</span>." On the right are S. Peter with the keys, S. Andrew
+with a book, S. James with a crown, SS. Bartholomew and Thomas with
+books, and S. Simon with a crown; on the left S. Paul with two scrolls,
+S. John with a crown, SS. Philip and Matthew with books, S. James
+Alpheus with a crown, and S. Jude with a book. The names are inscribed
+above the figures, and a band of dark red with golden gems surrounds the
+whole. The heads of Christ and SS. Bartholomew and Matthew were damaged
+by brackets belonging to the roof. The whole of these mosaics have been
+restored by a Roman mosaicist, Signor Bornia.</p>
+
+<p>The altar of Euphrasius was retained till the time of Bishop Folcherius
+(1208-1220), who substituted a larger one to contain more relics. A few
+years after, Bishop Adalpert raised the level of the choir about eight
+inches, and the altar to correspond, reconsecrating it May 8, 1233. The
+present ciborium was put up in 1277 by Bishop Otho, using the old
+columns and caps. It has slightly pointed arches, with Venetian dentil
+borderings, and mosaics in the spandrils. On the west side is the
+Annunciation, and on the other three sides heads of saints in circles;
+the vault is also covered with mosaic. A long inscription in Lombardic
+letters gives the date and the name of the donor.<span class="pagenum"><a name="Page_116" id="Page_116">[Pg 116]</a></span></p>
+
+<p>The pala was made in 1452, and cost 600 ducats of gold, half of which
+the commune contributed by selling useless church objects, while half
+was paid by Bishop Giovanni, a Parentine by birth. It is a fine work in
+the style of the early Renaissance, with a Virgin and Child in the
+centre, S. Mark to the right, and S. Peter to the left, and outside of
+them a bishop with an elaborate crozier, and a deacon holding a model of
+the town&mdash;SS. Maurus and Eleutherius. The figures are within classical
+niches, the sides of which vanish in perspective towards the central
+point. Along the cornice runs a series of small medallions with busts of
+the Apostles. In the chapel of the Sacrament are some stalls to which
+the same date (1452) is given. They are quite Gothic as to the ornament
+and structure, and even the figures present considerable contrast with
+those of the pala. There are five seats with backs, canopy, and ends at
+each side of the altar. At each end are well-executed figures among
+foliage scrolls, which are out of scale&mdash;on one side, a Virgin and Child
+and a bishop; on the other, two saints, one of whom is an ecclesiastic.
+The uprights between the seats are faced with twisted colonnettes, and
+the backs have a quatrefoil pattern made by cutting the bars of a
+rectangular framing ornamentally.</p>
+
+<div class="figcenter" style="width: 424px;">
+<img src="images/p161.jpg" width="424" height="600" alt="HIGH-ALTAR, PARENZO, FROM THE SOUTH AISLE
+
+" title="" />
+<span class="caption">HIGH-ALTAR, PARENZO, FROM THE SOUTH AISLE
+</span>
+</div>
+
+<p><span class="pagenum"><a name="Page_117" id="Page_117">[Pg 117]</a></span></p>
+
+<div class="figleft" style="width: 196px;">
+<img src="images/p163.jpg" width="196" height="400" alt="GREEK BENEDICTIONAL CROSS, PARENZO" title="" />
+<span class="caption">GREEK BENEDICTIONAL CROSS, PARENZO</span>
+</div>
+
+<p>In the sacristy is a picture by Antonio da Murano in the original frame.
+Both frame and picture are in a bad state, the gesso having scaled off
+in places. In the centre is the Madonna and Child, flanked by two
+full-length saints on each side, SS. Francis and Nicholas, S. Simeon,
+and another male saint; above the Virgin is a half-length of the dead
+Christ; and, above the other saints, half-lengths of SS. Mary Magdalene
+and Christopher, Catherine and Anthony. It is signed "Antonius de
+Muriano, 1448." In the treasury is a Greek Benedictional cross, with
+subjects carved in wood, and a silver-gilt enamelled case. There are
+five subjects on each face, well carved and traditional in their design.
+On one side is the Annunciation at the top; in the centre,<span class="pagenum"><a name="Page_118" id="Page_118">[Pg 118]</a></span> the Baptism,
+with angels assisting; at each end, an Evangelist seated; below, Christ
+as Judge between two saints, and at His feet men in the abyss. On the
+other side is the Presentation in the Temple at the top; in the centre,
+the Crucifixion, with the thieves, the Virgin, and holy women. Two
+Evangelists are seated in the arms, and below is either the
+Resurrection, or the Harrowing of Hell. The case has jewels and pearls
+inserted plentifully, and is decorated with floral enamelled ornament in
+green, blue, and red enamel. It is made to take to pieces. The handle
+bears the name of the maker, "Ezechiel, monk of the monastery of Laura."
+It is ascribed to the thirteenth century, but is very like those at
+Kloster Savina in the Bocche, which are seventeenth-century, the
+character of the floral design agreeing well with that period.</p>
+
+<p>In 1847 Bishop Peteani made considerable alterations, which included the
+re-arrangement of the high-altar to face the east; and at that time the
+relics of SS. Julian and Demetrius were found in a square chest of white
+marble inscribed with the date of consecration and the name of the
+maker, Adalpert. The ambo in the right aisle, made up of columns and
+carved slabs of the sixth century, is due to him, as are the chapels to
+right and left of the nave. The present pavement was laid down in 1880,
+when some inscriptions of the Euphrasian period were removed to the
+baptistery. The triapsidal chapel, entered through an elliptical
+ante-room, beyond the sacristy, was probably a relic chapel, and is of
+the sixth century&mdash;a mosaic of that date was found here five feet below
+the surface; but the vaulted passage by which it is approached is of the
+thirteenth century, while the superstructure of the chapel is Venetian,
+added to assist in the defence of the place from this side, for the sea
+is quite close. To the east of the city towards Torre Nuova a Christian
+cemetery was<span class="pagenum"><a name="Page_119" id="Page_119">[Pg 119]</a></span> discovered in 1893 close to the road, consisting of
+three little apsed buildings close together, a larger one with a small
+one contiguous, with buildings belonging to the original villa which
+occupied that site at the end of the first or beginning of the second
+century. A coin of Vespasian was found at the time, and a ring with a
+palm engraved on it. There are several tombs of the kind in Rome
+belonging to the fourth century. The mosaics found in the fifth building
+are now in the baptistery. It is believed that these buildings were
+memorial chapels erected over the tombs of the Parentine martyrs, and
+that the greater part of the materials was used in the erection of the
+church of S. Eleutherius near, after the translation of the relics to
+the cathedral.</p>
+
+<div class="figcenter" style="width: 429px;">
+<img src="images/p166.jpg" width="429" height="600" alt="THE ATRIUM AND WESTERN FA�ADE, CATHEDRAL, PARENZO
+" title="" />
+<span class="caption">THE ATRIUM AND WESTERN FA�ADE, CATHEDRAL, PARENZO
+
+</span>
+</div>
+
+<p>The plan of the atrium of the cathedral is Roman, not Byzantine like
+those at Grado, Ravenna, and Constantinople, which have a portico and
+the baptistery at the side, separate from the basilica. In this case the
+pavement of the atrium was seven or eight inches above that of the
+narthex. Along the fa�ade a herring-bone pattern pavement of white and
+red tesser� was found which continued farther to the north. The gable of
+the church was decorated with mosaic; between the windows the seven
+Apocalyptic candlesticks were represented, and there were figures at the
+sides, all within a containing border. This has been restored. Above, in
+the centre, the feet of a figure of Christ seated on the globe may be
+traced, and folds of the draperies of figures at the sides. Scarcely any
+of the tesser� remain, but the lights of the drawing appear in relief. A
+certain test of the age of the different parts of the building is
+afforded by the quality of the mortar used. By this it is proved that
+the eastern apse is due purely to Euphrasius, the foundations being set
+in mortar of the kind used by him; and also that he kept the atrium
+pretty much as it was, only adding<span class="pagenum"><a name="Page_120" id="Page_120">[Pg 120]</a></span> the columns with Byzantine caps. The
+baptistery on the other side also was very little altered. It had a
+floor of stucco, and was circular internally; enough was found between
+the campanile and the door from the piazza into the atrium to develop
+the whole curve. Euphrasius made it octagonal, and surrounded the font
+with marble slabs, the marks of which still remain; a few fragments were
+found, together with some gilded and coloured tesser�, showing that it
+had mosaic enrichments. It is now used to store discarded portions of
+the early buildings. Here is the Euphrasian altar, standing on a slab of
+marble with sunk squares in the corners for the bases of the ciborium
+columns, and enough panels and colonnettes to make a restoration of the
+chancel of the choir, though it is equally likely that they belonged to
+a baldacchino above the font, similar to that which still exists at
+Cividale, and once existed at Pola and at Cittanova. Here are also two
+caps from the fourth-century church, fragments of mosaic pavement found
+in medi�val tombs, and a good many pieces of eighth and ninth-century
+carving.</p>
+
+
+<p>The survival of the Constantinian plan is explained by the slight
+alterations made by Euphrasius. The walled-up doors in the baptistery
+show that it was not an isolated building. They probably gave entrance
+to dressing-rooms for the two sexes attached to it, waiting-rooms for
+the baptized and their relations, &amp;c.; and an arch of the fourth
+century, near to which the herring-bone pavement runs, was probably the
+entrance to a portico joining the basilica with the baptistery, or the
+<i>consignatorium</i>, where the bishop anointed the neophytes directly after
+baptism, before they made their solemn entry into the church. This
+latter building still exists as the "cantina" of the bishop's palace&mdash;a
+true basilica, with a nave almost square, and with a double-walled apse
+on the north, and corridors east and west,<span class="pagenum"><a name="Page_121" id="Page_121">[Pg 121]</a></span> approached on the south
+side by a portico. In front was an oblong court. The walls are all of
+Roman work, and the outer apse has an arcade on pilasters, with large
+arched windows. A few years ago repairs to the roof led to the discovery
+of windows in the inner apse. The work round the doors is Euphrasian.
+The corridors were spanned by arches, which are now built up, and thus
+make small rooms. There was a second story, which was the bishop's
+palace; but the second floor of the west wing is medi�val, and it is
+probable that the great hall was made at that period by dividing the
+basilica horizontally on the level of the second story. After the custom
+of anointing the newly baptized in the <i>consignatorium</i> was abandoned,
+it became the chapel of S. Nicol�, then of S. Mary Magdalene, and the
+original use was quite forgotten. The campanile is of the fifteenth
+century and uninteresting.</p>
+
+<div class="figcenter" style="width: 650px;">
+<img src="images/p170.jpg" width="650" height="489" alt="VIEW ACROSS THE NAVE, CATHEDRAL, PARENZO
+
+" title="" />
+<span class="caption">VIEW ACROSS THE NAVE, CATHEDRAL, PARENZO
+</span>
+</div>
+
+<p>It was Easter Eve on the occasion of our first visit to Parenzo, and
+while we were studying the architecture women were constantly bringing
+their Easter cakes and other food to be blessed at the altar of S.
+Maurus in the north aisle. Later there was a Resurrection service with a
+fine procession, with many men and boys robed in scarlet carrying long
+candles. A crucifer in purple bore the capitular cross, followed by
+canons in violet and other officials, the bishop's coachman in a long
+blue buttoned coat, two little acolytes in surplices, with cloths
+embroidered with crosses on their shoulders and censers, deacons in
+dalmatics of cloth of gold, a suffragan bishop in cope of cloth of gold
+and a white mitre, and the bishop similarly robed. A large painted flag
+of red silk was carried in the procession, and two small painted figures
+of our Lord, one on the cross, and the other, a half-length, emergent
+from the tomb. The bishop, fully robed, went first into the capitular
+chapel and then to the chapel of the Holy<span class="pagenum"><a name="Page_122" id="Page_122">[Pg 122]</a></span> Sacrament, where the dead
+Christ was laid out in a tomb, took the Host and brought it out, being
+then bareheaded beneath a canopy. The procession then filed out into the
+atrium, leaving it by the bishop's door at the side of the baptistery,
+and, passing through the street, regained the atrium by the usual
+entrance. The Host was then placed on the high-altar, and a kind of
+benediction service held, in which a fine bass sang several solos. The
+church was thronged by a devout crowd of both sexes and all classes.</p>
+
+<p>The city was called "Julia Parentium" under the Romans, from the colony
+of legionaries sent by Augustus. The tribute to Rome was as much as that
+paid by Pola, the capital of the province. There were temples to Mars
+and Neptune, of which there are some remains, drums of a few of the
+columns and a portion of the podium and steps, now used as the lower
+courses of poor houses. The buildings were destroyed in the fifteenth
+century, the materials being used to construct the quay. The main street
+leading from this part of the town to the Porta a Terra may be the Via
+Decumana of a Roman camp. The site of the amphitheatre is indicated by
+the curved line of the houses built on its foundations, but there are no
+remains of Roman work visible. Reliefs of the tenth century are
+encrusted in the wall of a house on the site of the ancient church of S.
+Peter; and the Casa dei Santi in the Via Predol, which probably occupies
+part of the area of the convent and church of S. Cassiano, has two
+figures on brackets between the windows of the first floor, apparently
+late eleventh-century work. The Canonica, built in 1251, a fine piece of
+Romanesque domestic architecture, has six two-light windows on the first
+floor, and shell-headed niches round the door, with a cross and
+inscriptions. It was burnt in 1488, and in the eighteenth century was
+converted by the<span class="pagenum"><a name="Page_123" id="Page_123">[Pg 123]</a></span> chapter into a store for the tithes of wine, corn,
+oil, and fruit, but has been restored, together with the adjoining
+entrance to the atrium. There are several Venetian palaces in the main
+street. One, of the fourteenth century, is especially fine. It has big
+cable string-courses and brackets of lions' heads and necks, and a large
+and imposing window on the first floor.</p>
+
+<p>There have been three enceintes: (<i>a</i>) Roman; (<i>b</i>) that completed about
+1250 under Patriarch Warner of Gillach; (<i>c</i>) a third commenced in the
+fifteenth century on the same lines, but a little larger. In the
+eighteenth century the circuit of the walls was about a mile. There were
+two principal gates&mdash;the Porta a Mare and the Porta a Terra&mdash;and two
+posterns made for the convenience of the inhabitants. The city was
+divided into four <i>Rioni</i>&mdash;Pusterla, Porta Nuova, Marafor, and Predol.
+The existing square tower flanking the Porta a Terra was erected in 1447
+under Nicol� Lion; he signs it with initials, and there is a coat of
+arms beneath the panel of the lion of S. Mark. At the bottom of the
+frame are the date and an inscription giving the name of the architect,
+"Mag. Johannes de Pari Tergestinus," and of his son Lazarus, the
+sculptor. His name occurs on the architrave of the rebuilt church of S.
+John the Baptist of Volciana on the Carso, with the date 1429. The round
+tower dates from after the incursion of the Turks into the Carso in
+1470, built under Pietro da Mula, 1474. On the Porta della Campana the
+length of the dagger which was allowed is marked, and the town still
+preserves one of the "Bocche de' leoni" which were used for secret
+denunciations. The communal palace was built in 1270, one year before
+Parenzo gave herself to Venice. Games of cards and dice were allowed
+under its portico and in the loggia, where the players were under the
+eyes of the guards.</p>
+
+<p>During the latter half of the thirteenth century<span class="pagenum"><a name="Page_124" id="Page_124">[Pg 124]</a></span> Parenzo was in
+constant contest with her bishop, resisting the financial demands of the
+ecclesiastical authority with threats and violence. A podest�, at the
+head of the people, broke into the cathedral, burst open the treasury,
+and seized the precious objects. In 1270 Marco Michiel, in the name of
+the commune, forbad the citizens to pay tithe, proclaimed liberty of
+fishing and pasturage, and took possession of several of the church
+properties, saying that they had returned to those to whom they properly
+belonged. In 1278 Bishop Otho excommunicated them for refusing to pay
+tithe, and because of a rising, in which the palace was invaded and all
+the authentic privileges and documents thrown into the sea; but the
+citizens were the stronger, and bishop and canons were driven away from
+the city. In 1280 there was a delimitation of the land belonging to
+church and commune. The next bishop, Boniface, renewed the episcopal
+pretensions denying freehold to both commune and individual citizens.
+The podest�, Jacopo Soranzo, the commune, and citizens were so enraged
+that the bishop, in fear of his life, fled to Rovigno, and from thence
+to Venice. The podest� lodged soldiers in his palace during the war; and
+in 1284 Boniface fulminated a comprehensive excommunication from Venice
+against podest� and city. Matters were arranged and he returned to
+Parenzo, but only to renew his claims. In 1293 the podest�, Jacopo
+Querini, was disputing with him over a feud at Cervera which he claimed,
+though it had been in the possession of others for eighty years, and
+both lost their tempers. The podest� turned to the bishop and said: "I
+promise you that when my term of office is over I will do you all the
+harm I can, both publicly and privately; and I pray God and His saints
+to let me live long enough to see with my own eyes the prophecies
+fulfilled of the destruction of the Church of Rome, for one may well<span class="pagenum"><a name="Page_125" id="Page_125">[Pg 125]</a></span>
+see that the time is near." On September 14, 1296, the podest�, Giovanni
+Soranzo, attacked the bishop's palace at the head of the armed populace,
+intending, as the bishop asserted, to kill him. The prelate took refuge
+in the Franciscan convent, and escaped by ship to Pirano. Thence he went
+again to Venice, and excommunicated the whole of his opponents. The
+podest� threatened to cut off hand and foot from whoever published or
+executed the ban; and Boniface ordered the <i>prepositum</i> of Pisino to
+send it to the clergy, which was done next year, but without the desired
+effect. He acted in the same way with other podest�s, and was often
+absent from his seat in consequence, thus incurring reproofs from the
+patriarchs Raimondo and Pietro Gerra. The latter went so far as to
+attack and destroy the castle of Orsera, where the bishop took refuge.</p>
+
+<p>The people of Parenzo now are more concerned with developing their
+commerce than with insisting upon their rights, and the quay presents a
+busy scene when the wine-boats are lading. The casks are so large that
+two are a load for a yoke of oxen. The cart has sloping sides, and a bed
+of fresh-cut boughs and hay acts as springs. One of the sides of the
+cart (of wicker or staves) is removed at the quay, and the casks are
+rolled down an inclined plane. There were much excitement and some
+danger as the lumbering weight was turned at right angles to its former
+course, which was towards the water. The fishermen were busy too; they
+catch spider-crabs with long spears ending in five prongs, at right
+angles to the shaft, and forming a kind of cage, which the crabs find it
+difficult to negotiate when they are raked out of the crannies of the
+rocks. There was a semi-lunar implement in the boats also, with four
+internal prongs, at the end of a long shaft, used for catching
+cuttle-fish.<span class="pagenum"><a name="Page_126" id="Page_126">[Pg 126]</a></span></p>
+
+<p>At the hotel in which we stayed on our first visit there was a
+green-and-yellow parrot which was very tame. His accomplishments
+included the saying "Marietta, padrona, and hello" quite clearly,
+singing and laughing. Its mistress made it flirt with a highly coloured
+young lady on a poster in a very diverting fashion. At Fiume we saw two
+parrots of the same kind on perches outside a shop; and my friend,
+recollecting the friendly bird at Parenzo, made overtures to them, which
+were not received in the proper spirit, and I am sorry to say that his
+finger was sore for days after.</p>
+
+<p>There is record of a joust held at Parenzo as late as February 14, 1745.
+There must have been diverting incidents on that occasion, since the
+combatants contended with unfamiliar weapons which had been long out of
+use!</p>
+
+<p>Parenzo is poor in records of craftsmen, and its only artist of repute
+is Bernardo of Parenzo, who was much employed in his day; pictures by
+him are preserved in the Accademia at Venice, the Doria Gallery, Rome,
+in the Louvre, and at Modena. He studied at Padua with Mantegna, under
+Squarcione, and executed frescoes and chiaroscuro arabesques in the
+cloister of S. Giustina in that city. When the Austrians converted the
+convent to military uses the paintings were plastered over, and,
+although again uncovered in 1895, they were found to be in a much
+damaged condition. Bernardo died in 1531.<span class="pagenum"><a name="Page_127" id="Page_127">[Pg 127]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="X" id="X"></a>X</h2>
+
+<h3>TO POLA BY SEA</h3>
+
+
+<p>From Parenzo Pola may be reached either by land or sea, the latter being
+the more convenient way. The only place of importance passed is Rovigno,
+though the Canal di Leme, an arm of the sea 7-� miles long, from 70 to
+100 ft. deep, and some 500 yds. broad, which affords accommodation for
+much more shipping than ever makes use of it, leads up towards Due
+Castelli, now ruinous, but at one time a thriving and important town. On
+the way, near Orsera, the little island of "Scoglio Orlandino" is
+passed, rocky and divided into two portions by a chasm or crack. Legend
+says that Orlando, passing that way, made a slash at it and left it as
+it now is.</p>
+
+<p>Rovigno is thought to be the ancient Arupenum or Rubinum, but is first
+mentioned by the anonymous Ravennese chronicler, and was probably
+founded in the third or fourth century. In the walls of the principal
+church are fragments of sixth-century work. There is a tradition that it
+was founded when Cissa sank into the sea in the seventh century. The
+site of this city was near the modern lighthouse, and remains of its
+buildings are believed to be recognisable beneath the water at the point
+called Barbariga, on the further side of the Bay of S. Pelagio. The
+large beds of murex shells in certain places are an indication that
+there were purple dye-works here, an industry for which<span class="pagenum"><a name="Page_128" id="Page_128">[Pg 128]</a></span> Cissa was
+celebrated. Rovigno is situated upon a rock, and was surrounded with
+walls. Within their area the houses, as seen from the sea or from the
+railway station behind the town, seem to be piled one over the other,
+and culminate very picturesquely in the campanile at the top. Beyond the
+railway station on the Bay of S. Pelagio are the Berlin aquarium for the
+study of the marine fauna of the Adriatic, and a sanatorium for
+scrofulous children, opened in 1888. The neighbourhood being
+fever-stricken the peasants live in the city, going and returning to
+their work morning and evening. Their Sunday costume consists of
+ornamented leather shoes, tight white hose of wool, a broad-sleeved
+white shirt with a frill in front, dark waistcoat, and flat black cap.
+They have the curious custom of wearing one large earring in the left
+ear. Rovigno is a good market for wine&mdash;considered the best in
+Istria&mdash;olives, sardines, and hazel-nuts which are reputed the finest in
+the world. Consequently, amongst the inhabitants are many merchants, and
+the fishers' guild is very numerous; but the steep streets are narrow
+and, in wet weather, noisome, and the children do not look as healthy as
+in many other places. During our stay we saw two funerals in the
+<i>Colleggiata</i> within a few hours, both attended by a red-robed
+confraternity which included boys and men. The spectacle in the
+darkening nave (for it was late afternoon) of the two rows of red-robed
+figures holding lighted tapers, with two or three ensigns or symbols in
+the background, was impressive, but marred by atrocious singing. The
+officiating priest was a fine man; and, as the cort�ge departed to the
+cemetery just below the church on the seaward side, there was an
+impression of solemnity which is often lacking in English funerals. A
+few late Venetian palaces, with fine loggias at the top to catch the
+sea-breezes, show above the other houses, and the<span class="pagenum"><a name="Page_129" id="Page_129">[Pg 129]</a></span> arch between the
+fish-market and the Piazza S. Damiano, erected in 1680 under Daniele
+Balbi, still stands, with the Venetian lion holding a book proudly
+inscribed: "Victoria tibi Marce Evangelista meus"; but the walls have
+entirely disappeared, with the exception of one ruinous tower, the
+"Torre del Boraso," which has been in that state since the sixteenth
+century. At the beginning of the fourteenth century it belonged to the
+bishop of Pola; the Colleggio dei Cinque Savi acquired it in 1332, and
+ordered its occupation by the captain of the Pasenatico and the podest�
+of Rovigno, asking whether it was best to preserve or destroy it, the
+former course being determined on.</p>
+
+<div class="figright" style="width: 400px;">
+<a name="p130" id="p130"></a>
+<img src="images/p180.jpg" width="400" height="345" alt="SARCOPHAGUS OF S. EUFEMIA, ROVIGNO" title="" />
+<span class="caption">SARCOPHAGUS OF S. EUFEMIA, ROVIGNO</span>
+</div>
+
+<p>A curious heptagonal building, the Oratory of the Trinity, which stands
+some distance outside the ancient walls, appears to be rather early in
+date. It has a polygonal drum rising from the roof of the lower portion,
+and two curious little pierced and carved windows about three feet high;
+one of them is too much broken to make out the design. The other has a
+crucifix with half-length figures, and consecration cross among the
+piercings, very roughly cut. The head is slightly pointed. The
+<i>Colleggiata</i> has been rebuilt in late Renaissance style; and the
+campanile, crowned by a figure of S. Eufemia, the patron saint of the
+town, is a copy of that of S. Mark's, Venice. The chapel to the right of
+the high-altar contains the shrine of the saint, a large unfinished
+sarcophagus of Greek marble. It has two arches on the side with figures
+scarcely begun, and an octagonal tablet with curved sides in the middle.
+The legend is that the body of the saint floated over the waves in the
+great sarcophagus, and was driven by a storm into a little inlet called
+the "Armo di S. Eufemia," a short way from the pier, where a square
+pillar with an inscription of 1720 and the communal arms marks the place
+where it grounded.<span class="pagenum"><a name="Page_130" id="Page_130">[Pg 130]</a></span> Some fishers who went out at dawn were attracted by
+the miraculous light which shone around it. Several days passed before
+the heavy sarcophagus could be moved. A certain pious widow, with the
+suggestive name of "Astuta," had a dream, as a consequence of which a
+pair of bullocks was yoked to it by her little son, and so it went up
+the hill to the summit at such a rate as to run over one of the
+bystanders, who was nearly killed, and fainted. When he revived he
+revealed the name of the saint, and her bones were found within the
+sarcophagus together with the history of her martyrdom. From that time
+the hill has had the name of S. Eufemia. The relics were taken by the
+Genoese in 1380 and carried to Chioggia. The Vene<span class="pagenum"><a name="Page_131" id="Page_131">[Pg 131]</a></span>tians rescued them,
+but carried them to S. Canciano, Venice, where they stayed for thirty
+years. On their return to Rovigno in 1410 a storm drove the ship to the
+salt-works in the Canal di Leme, where certain cattle-boats were
+sheltering. The cattle jumped into the water and danced round the ship!
+So, at least, a manuscript in the capitular archives relates. Scenes
+from this legend are painted on the walls of the chapel. In the sacristy
+is a fourteenth or fifteenth-century picture on a gold ground&mdash;a figure
+of S. John the Baptist, with incidents from his life. It came from a
+church dedicated to him which was destroyed in 1839.</p>
+
+
+
+<p>Rovigno and the neighbourhood have suffered much from piracy. In 965 the
+Slavs sacked the city. Into the harbour the Uscocs entered one night at
+the beginning of 1597, and sacked a galley and ten ships laden with rich
+merchandise belonging to Venice. In the port of Vestre (the birthplace
+of Maximian of Ravenna), about three miles from Rovigno, an Uscoc ship,
+with 150 men, attacked a ship of Cattaro which carried letters from the
+doge of Venice, 6,000 ducats of public money and 4,000 of private, with
+valuable merchandise. They took everything and also stripped the other
+Venetian ships in the harbour, leaving the sailors nothing but their
+shirts!</p>
+
+<p>The Canal of Fasana, between the Brioni Islands and the mainland, a
+little to the south, was the scene of the crushing defeat of the
+Venetians by the Genoese in 1379. The quarries in these islands,
+together with those of Rovigno, provided stone for the ducal and other
+palaces, the Procuratie at Venice, the <i>murazzi</i> at Chioggia, and the
+mole at Malamocco. It is but a short distance hence to the entrance to
+the magnificent harbour of Pola.</p>
+
+<p>Craftsmen of Rovigno have made the name of the town celebrated, such as
+the sculptors Lorenzo and<span class="pagenum"><a name="Page_132" id="Page_132">[Pg 132]</a></span> Antonio del Vescovo, who worked in 1468 at
+the Camaldulan church of Murano, and Taddeo da Rovigno, who did much
+decorative carving in Venetian palaces. A more distinguished man was Fra
+Sebastiano da Rovigno, the lame Slavonian (il Zoppo Schiavone), the
+teacher of the still more celebrated <i>intarsiatore</i>, Fra Damiano of
+Bergamo. Some of his works are in the choir and sacristy of S. Mark's,
+Venice. The name of Donato of Parenzo is also coupled with these
+Rovignese craftsmen.</p>
+
+<p><span class="pagenum"><a name="Page_133" id="Page_133">[Pg 133]</a></span></p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/p184.jpg" width="600" height="509" alt="AN ISTRIAN FARM-HOUSE
+
+" title="" />
+<span class="caption">AN ISTRIAN FARM-HOUSE
+
+</span>
+</div>
+
+
+<hr style="width: 65%;" />
+<h2><a name="XI" id="XI"></a>XI</h2>
+
+<h3>TO POLA BY LAND</h3>
+
+
+<p>One Easter Sunday we drove in lovely weather from Parenzo to S. Lorenzo
+in Pasenatico, and on to Canfanaro. By the road we passed every now and
+then farmers' houses, such as the one illustrated, and met groups of
+peasants going into Parenzo to the <i>festa</i>. As we got further from the
+city the men were collected in groups, talking, smoking, or playing
+bowls; whilst the women also by themselves, in knots of as many as
+twenty, were seated together enjoying a gossip. The landscape was
+pleasant, but rather featureless, except for the bulk of Monte Maggiore
+blue to the south-east. We reached S. Lorenzo at the moment of the
+elevation of the Host, and found the ancient basilica crowded with
+worshippers, while several men knelt with rosary in clasped hands
+outside the open doors, their eyes fixed intently upon the altar. After
+a time the congregation poured out, dressed in most picturesque
+costumes, and evidently found our appearance quite as interesting and
+strange as we found theirs. The men had one big earring (as at Rovigno),
+and wore white shirts with full sleeves, sometimes embroidered, hose of
+woven wool, a jacket hung loosely over the shoulders, and a little black
+cap on the head. The women had full skirts of beautiful tertiary
+colours, rows of coral round their necks, and large silver-gilt
+brooches, and rosette ornaments on their breasts with<span class="pagenum"><a name="Page_134" id="Page_134">[Pg 134]</a></span> chains attached.
+On their heads, tied round the base of the skull, they had white
+handkerchiefs, sometimes with ornamented borders. Over the bodice a kind
+of loose waistcoat was worn.</p>
+
+<div class="figcenter" style="width: 650px;">
+<img src="images/p187.jpg" width="650" height="492" alt="INTERIOR OF THE BASILICA, SAN LORENZO IN PASENATICO
+" title="" />
+<span class="caption">INTERIOR OF THE BASILICA, SAN LORENZO IN PASENATICO
+</span>
+</div>
+
+<p>The church is a basilica with nave and aisles, all terminated by
+semicircular apses, with an arcade of nine arches of unequal width,
+owing perhaps partly to the obliquity of the west wall, itself caused by
+the close proximity of the palace of the Count, which was still in
+existence till 1833. The three easternmost bays are enclosed as
+presbytery, and this and other alterations are the work of the
+seventeenth century; but two of the original pierced window-slabs are
+still in position in the side apses, traces of the small clerestory
+windows are visible, and in a wall to the left of the fa�ade are
+encrusted several fragments of carving which apparently formed part of
+the original chancel of the ninth or early tenth century. The style of
+the caps of the nave arcade, the irregularity in their size, and in that
+of the plain super-abaci above them, also point to the same period. The
+apses have shallow arcading outside; the campanile is an addition built
+on to the tower of one of the town gates, the exterior arch of which is
+stopped; about the height of the nave cornice two great brackets
+project. Another of the wall-towers near at hand still retains the
+staircase by which it was ascended. Along the south wall of the church
+runs a loggia supported on slender columns, and in the piazza in front
+is the base of the flagstaff which once supported the standard of S.
+Mark. A gateway with a very pointed arch at the bottom of this piazza
+forms the entrance to the town. The walls are all of the early Venetian
+period, and a well-head ordered to be carved in 1331 by Giovanni
+Contarini has a rampant winged lion half-length, crowned and nimbed, and
+with a closed book.</p>
+
+<p><span class="pagenum"><a name="Page_135" id="Page_135">[Pg 135]</a></span></p>
+
+<p>The city swore fealty to Venice in 1271, and became in 1304 the seat of
+the captain of the Pasenatico, an officer who had charge of the
+fortresses and town walls throughout Istria, and the duty of enlisting
+foot soldiers, sailors, and oarsmen. Marco Soranzo was the first
+captain. Fifty-two years after his time a second captaincy was created
+in Umago, afterwards transferred to Grisignana. At some time between
+1312 and 1328 Marino Faliero was governor here. In 1394 the captaincy
+was removed to Raspo, and subsequently to Pinguente. In 1595 it was
+given to the podest� and captain of Capodistria, except as regarded
+Pirano.</p>
+
+<p>The church is said to contain the bodies of SS. Victor and Corona, taken
+from Due Castelli during the war of Chioggia. The "Chronicle" relates
+that a Genoese squadron was in the Canal di Leme, and the people of S.
+Lorenzo sent a deputation suggesting co-operation in an attack on Due
+Castelli, between which town and itself there were rivalry and hatred.
+The enterprise was successful, and Due Castelli was sacked and burnt.
+Tommasini records that the marks of fire were visible in his time. The
+bodies of the saints were carried off as spoil; but it seems probable
+that it was a Venetian and not a Genoese fleet which co-operated with
+the men of S. Lorenzo, since Due Castelli belonged to the patriarch, who
+was allied to the Genoese.</p>
+
+<p>The road from S. Lorenzo to Canfanaro crosses the Draga valley (which is
+600 or 700 ft. deep) by long zigzags, from which the ruins of Due
+Castelli are seen towards the west. They can be visited from Canfanaro.
+Where the valley narrows upon two projecting spurs, nearly opposite to
+each other, were Monte Castello, or Moncastello, and Castello Parentino,
+given to the church of Parenzo by Otho II., but entirely destroyed long
+ago. These were the "Due Castelli" (two castles). The sea is five
+kilometres away. The walls<span class="pagenum"><a name="Page_136" id="Page_136">[Pg 136]</a></span> and towers (which were built about 1616 by
+the <i>provveditore</i>, Marco Loredan) from a distance appear well
+preserved, but the only buildings remaining within are two churches and
+the castle.</p>
+
+<p>The double girdle of walls of the castle, with well-preserved
+battlemented towers, is the principal factor in the effect. The gateways
+are pointed: outside the walls, towards Castel Parentino, is the
+pedestal for the municipal standard; on the other side is an illegible
+inscription in which the date 1475 may be deciphered. The more important
+church, S. Sofia, still has its outside walls, the three apses, with
+traces of frescoes in the central one, and the walls of the sacristy. At
+the beginning of the fourteenth century it appears to have belonged to
+the Castropola, and then to the Count of Gorizia; but in 1420 the
+Venetians appointed a podest�. In 1616 the Uscocs sacked the place, and
+the plague of 1630-1631 slew many of the remaining inhabitants. The
+district grew malarious; and at the beginning of the next century the
+rector, the ministers, the chapter, and the few people who remained took
+the precious things which the church still retained and moved to S.
+Silvestro, Canfanaro. S. Sofia was abandoned on June 7, 1714. The
+fourteenth-century pulpit, brought with them, is hexagonal, with
+subjects in the panels, and supported on six columns. In one panel a
+female figure holds two triple-towered castles of the same shape as
+those in the arms of Muggia. Malaria still keeps the district clear of
+houses, though the land is cultivated.<span class="pagenum"><a name="Page_137" id="Page_137">[Pg 137]</a></span></p>
+
+<div class="figcenter" style="width: 650px;">
+<img src="images/p192.jpg" width="650" height="370" alt="ENTRANCE TO THE CASTLE, PISINO
+
+" title="" />
+<span class="caption">ENTRANCE TO THE CASTLE, PISINO
+</span>
+</div>
+
+<p>A few miles from Canfanaro to the north-west is Pisino, the capital of
+Istria, situated upon and about the rock beneath which the river Foiba
+disappears. The railway winds round the sides of green and wooded hills,
+rising with each curve till it is some height above the city. The
+landscape is more striking than is usual in Istria, hills of some
+size appearing on the horizon, while in the middle distance the Foiba
+meanders through a fruitful valley, occasionally broken by a low
+waterfall. The copses which clothe the hillsides here and there are
+vocal with the song of birds, and nightingales may be heard in plenty in
+the spring. The situation is magnificent. The town stands upon the
+summit of a promontory spreading out like the fingers of a hand, and at
+its base the river foams and rushes, entering a deep winding ravine and
+plunging beneath a rocky precipice several hundred feet high, on the top
+of which a few houses appear. The steep sides are green with trees to a
+certain height, and then the grey rock appears scantily covered with
+grass in places; above the abyss swallows dart and hawks hover. On all
+sides the rushing of water is heard, and fountains in the streets
+betoken an unusual supply, for Istria is generally a thirsty land. The
+castle is so close to the chasm that from one of the windows a stone can
+be tossed into the water. The dwarf wall shown in the illustration runs
+along the top of the precipice. Upon the door the date of 1785 is cut,
+but the greater part of the walls with their machicolations belongs to a
+reconstruction of the ancient castle in the fifteenth century. It is
+still inhabited, and part of it is used for district offices, but there
+is little of arch�ological interest in city or castle. In the courtyard
+is a well on a platform ornamented with stone balls to which twelve
+steps ascend, a rather curious arrangement. The place for the bar which
+fastened the doors is still there, but in these peaceful times they
+appear to stand open day and night; at all events they were open when we
+reached the place about 7 a.m., having left Pola soon after 5. In the
+cathedral are a silver processional cross with figures of saints, and a
+tabernacle of 1543, rich of its kind, also a picture by Girolamo da S.
+Croce.<span class="pagenum"><a name="Page_138" id="Page_138">[Pg 138]</a></span></p>
+
+<p>There was a cattle-fair on the day we were in the town; the place was
+full of <i>contadini</i>, and the roads were thronged with cattle being
+driven in for sale. The lambs were slung on donkeys' backs in couples,
+confined in sacks with their heads out of the mouths, and one lively
+little black fellow escaped and caused much excitement before he was
+caught and reimprisoned. The type of the peasants is quite different
+from that of those lower down the coast; the head is long, the nose
+aquiline, and the countenance seamed with many deep wrinkles. The older
+men wore one large earring in the right ear, hose of a thick whitish
+woollen material, or brown or blue trousers which sometimes reached but
+a little below the knee, a white shirt, and a brown jacket hung over the
+shoulder. The daughter of the house, who served us at a rough restaurant
+where we had <i>d�jeuner</i> together with some of the country folk, was
+anxious to know whether the language we were speaking together was
+Russian. I fancy English travellers are very rare in that part of the
+country.</p>
+
+<p>A few miles south of Canfanaro is the little town of San Vincenti, in
+which is one of the best preserved of the Istrian castles, showing
+indeed little sign of ruin externally. It occupies one side of the main
+piazza. At right angles to it is the church, with a fa�ade recalling the
+work of the Lombardi, and there is a loggia and a public cistern, made
+in 1808 to ensure a good supply of drinking-water. In this piazza a
+joust was held as late as June 24, 1713. There Maria Radoslavich was
+hung and then burnt as a witch on February 25, 1632.<span class="pagenum"><a name="Page_139" id="Page_139">[Pg 139]</a></span></p>
+
+<div class="figright" style="width: 341px;">
+<img src="images/p196.jpg" width="341" height="450" alt="AN ANGLE OF THE CASTLE, SAN VINCENTI
+" title="" />
+<span class="caption">AN ANGLE OF THE CASTLE, SAN VINCENTI
+</span>
+</div>
+
+<p>The castle is quadrilateral with a round and an octagonal tower at the
+angles of the northern face. The opposite side has a square tower at the
+angle to the right, and to the left the house of the governor just
+beyond the entrance-gate; the walls splay out widely to the bottom of
+the ditch. The slits for the chains of the drawbridge are on each side
+of a little grated window, and above the door are the date 1485 and the
+arms of Marino Grimani, with an inscription recording a restoration in
+1589 after a fire in 1586. On a small door inside is the date 1728,
+showing that the castle underwent restorations and rebuildings. In the
+middle of the cornice is an arch for the castle-bell. The town was part
+of the feud of S. Apollinare, and was destroyed in 1330 by the soldiers
+of the Patriarch Pagano della Torre. The castle belonged first to the
+Castropola, then to the Morosini, and finally to the Grimani. It was
+dismantled by Bernardo Tiepolo after the war of Gradisca (during which
+Loredano used it as his quarters general), with the object of freeing
+the people from forced service of various kinds. Low buildings used as
+harness and store-rooms, &amp;c., still remain against the walls inside, but
+the stair to the suite of principal rooms is ruinous. It is external,
+and led to a terrace beneath which were prisons, and from which another
+flight rose to a door of entrance, walled up but still traceable, at a
+considerable height. Other prisons were in the towers, which were bound
+together by the gallery which ran round the interior. The ground floor
+of the seventeenth-century house which occupies the ancient keep was
+arranged as guard-rooms and soldiers' lodgings; an internal stair
+conducts to a few rooms which look into the courtyard; the floors of the
+rest have been destroyed. Externally there is no opening for half the
+height; then there are two pointed windows with a considerable space
+between; above these in the middle is a large loggia with two pointed
+doors, at the sides quadrangular windows, and higher up, beneath the
+eaves, four more small window-openings. Some of the towers are
+ivy-grown.<span class="pagenum"><a name="Page_140" id="Page_140">[Pg 140]</a></span></p>
+
+<div class="figleft" style="width: 450px;">
+<img src="images/p198.jpg" width="450" height="312" alt="WAYSIDE CHAPEL OUTSIDE SAN VINCENTI" title="" />
+<span class="caption">WAYSIDE CHAPEL OUTSIDE SAN VINCENTI</span>
+</div>
+
+<p>In the church in the piazza is a S. Sebastian ascribed to Schiavone. The
+most ancient church is, however, in the cemetery to the north, a simple
+nave with pointed windows. The little chapel illustrated, at a crossing
+of the ways, is characteristic of this part of Istria. The people still
+speak Venetian Italian, though there are a good many Slav <i>contadini</i>,
+brought from Dalmatia by the Grimani in 1628. The type has regular and
+marked features, with dark eyes and hair. The costume is not quite that
+of the Morlacchi, being all black except the shoes, which are of natural
+leather. The women have short skirts, black stockings, and shiny shoes,
+many chains round the neck, and earrings, and on festas have a coronal
+of pins in their carefully arranged hair, like the women of the Brianza.
+Their weddings are celebrated amid great gatherings of friends; two
+pipers, with instruments timed in thirds, march first, playing a kind of
+tarantella; then follows a company of <i>con<span class="pagenum"><a name="Page_141" id="Page_141">[Pg 141]</a></span>tadini</i> two and two, not
+arm-in-arm, but with a coloured handkerchief from one head to the other.
+The bride has a kind of turban of brilliant colours on her head, from
+which masses of vari-coloured silken ribbons hang, covering her to the
+shoulders and breast except for her eyes, nose, and mouth. Her chemise
+is finely pierced and embroidered on neck, bosom, and cuffs, and her
+stockings are of open work, while her shoes are almost like sandals.
+Rows of coral deck her neck, and her fingers have as many gold rings on
+them as possible. The bridegroom's hat bears a crown of artificial
+flowers, as does that of the best man; all the friends have a similar
+bunch in their hands or caps. After the marriage the pipers play, and
+the whole of the company form up in a straight line outside the church.
+Then the best man comes forward with a kind of cake, which, after
+various feints, he throws among the crowd of children which quickly
+collects, and they scramble for it. Then the husband and wife, with the
+best man, go to the goldsmith's to buy the marriage present. Later there
+is a dance. The men and women face each other in line. They pace rapidly
+back and forth without moving forward. Then the couples advance, the man
+raises his right arm and opens the hand to the woman, who grasps it, and
+turns herself under the arch of the two arms. Then the man passes his
+arm round his partner's waist and they go round in measured walk.</p>
+
+<p>Between San Vincenti and Pola are Valle and Dignano. At the former the
+fortifications are earlier than the fourteenth century, heavy and
+imposing, with five lofty towers (two of which are embattled), so that
+projectiles were dangerous rather from the force of gravity than from
+the impulse given. A portion of them is ruined, and one of the towers is
+now the communal cistern. In the crypt of the church are fragments of
+ninth-century carving, cut up disgracefully<span class="pagenum"><a name="Page_142" id="Page_142">[Pg 142]</a></span> and made into a modern
+altar, and there is a sarcophagus of the same period in the cemetery.
+The campanile is considered to be the oldest in Istria. In the treasury
+are a silver-gilt monstrance with many pinnacles and Renaissance scrolls
+on the foot, a cross and a chalice of silver-gilt with medallions on the
+foot, which once had an enamel ground. The most interesting thing,
+however, is a chasuble of the fifteenth century, with embroidered
+figures of silver-gilt thread in high relief upon the cross. At the
+back, on the upright part, is a half-length of our Lord in a chalice,
+and two saints, all three beneath canopies, and on the arms SS. Peter
+and Paul. On the front are two figures and an Annunciation on the arms;
+the Virgin on one side, and the angel on the other. The flesh is
+painted.<span class="pagenum"><a name="Page_143" id="Page_143">[Pg 143]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="XII" id="XII"></a>XII</h2>
+
+<h3>POLA</h3>
+
+
+<p>The town and arsenal of Pola lie at the head of one of those convenient
+inlets which provide the Austrian coast so plentifully with fine
+harbours. As the steamer passes between Cape Compare and Monte Grosso
+the naval port appears to the right with many powerful ships-of-war
+anchored in the bay: beyond and above the island of Olivi, occupied by
+part of the arsenal, rises the town, its buildings climbing the hill
+towards the castle which crowns the summit. To the left is the ample
+commercial port with its long quays stretching towards the railway
+station, the imposing mass of the amphitheatre dominating the whole of
+that side of the picture. These two structures, the amphitheatre and the
+arsenal, show the chief interests of Pola&mdash;the glory of antiquity, and
+modern utility devoted to defence; for the monuments of medi�val times
+are few in the city, and the destruction wrought alternately by Venice
+and Genoa left it poor, and in many parts ruinous, till the modern
+revival, with the transference of the headquarters of the Austrian navy
+from Venice in 1861. The mouth of the harbour is less than half a mile
+across and is over 100 ft. deep. The eastern portion has a depth of 20
+ft. against the quays, which are all constructed on made ground. The
+quarries on the Brioni Islands have afforded excellent material close at
+hand for the buildings and fortifications both in antiquity and in
+modern times.<span class="pagenum"><a name="Page_144" id="Page_144">[Pg 144]</a></span></p>
+
+<p>The castle hill was the capitol of the Roman city, and the streets ran
+round it, with others diverging like the ladders of a spider's web. A
+canal isolating the city from the land existed to the east. Of the land
+gates two still remain&mdash;the Porta Gemina (anciently the Porta Jovia) and
+the Porta Ercole; the arch of the Sergii formed the interior face of a
+third (of which a portion of the lower courses remain), the Porta Aurea,
+so called probably from its having had grilles of gilded bronze. There
+were also seven gates in the walls towards the sea. The forum was twice
+the size of the present piazza, which occupies part of its site, and had
+twin temples at one end, with the comitium between them, of which one
+remains in good preservation, and a portion of the back part of the
+other. There was a temple of Jupiter Conservatorius, upon the site of
+which the cathedral stands; and one to Minerva, afterwards the site of
+the destroyed basilica of S. Maria in Canneto. The theatre was near the
+Porta Aurea, and is now marked only by the excavation of its curve in
+the hillside and a few ruined arches in a private garden. The
+destruction of ancient Pola is largely due to Venice, who appeared to
+think that when the communes gave themselves to her she acquired the
+right of removing any of the monuments to beautify herself; and it even
+went so far as for a patrician to seriously propose to bear the cost of
+transporting the amphitheatre to Venice, and re-erecting it on the site
+of the present public gardens!<span class="pagenum"><a name="Page_145" id="Page_145">[Pg 145]</a></span></p>
+
+<div class="figcenter" style="width: 438px;">
+<img src="images/p204.jpg" width="438" height="550" alt="ARCH OF SERGII, POLA
+" title="" />
+<span class="caption">ARCH OF SERGII, POLA
+</span>
+</div>
+
+<p>The Porta Gemina consists of twin arches, beneath a simple frieze and
+more elaborate cornice supported by modillions, which rest upon three
+engaged composite columns raised upon pedestal blocks. The key-stones
+are flat, and the piercing of some holes in them suggests that metal
+enrichments were affixed. It was an important gate, being the direct way
+to the amphitheatre from the Capitol, and also the starting-point of
+the military road towards the Arsa and Albona. By it also the aqueduct
+passed into the city. The Porta Ercole is simpler, and probably older;
+it bears the names of two duumvirs, Lucius Cassius Longinus and Lucius
+Calphurnius Piso, and some rough carving. Of the Porta Aurea itself,
+which had a central gate for chariots and two side gates for
+pedestrians, little remains. Beneath the arch of the Sergii the ancient
+pavement has been uncovered, bearing wheelmarks made many centuries ago,
+and the lower courses of the gateway adjacent, but all the part above
+the present street-level has disappeared. The carving on the arch of the
+Sergii shows a curious economy. Since the gate was so close to it only a
+portion of the coupled Corinthian columns could be seen; the fluting,
+therefore, was carried only a third of the way round, and the capitals
+were left merely roughed out, as were also the mouldings of the attic
+which would be hidden by the cornice, except in the portions visible
+from the external sides. The soffit of the arch is carved, and the face
+of the pilaster below has a very rich and graceful vine arabesque upon
+it. The other side is fully decorated with victories in the spandrils,
+festoons and chariot-races on the frieze, and the attic develops three
+pedestals for statues, inscribed to members of the family of Salvia
+Postumia, who erected it in honour of her husband, Lucius Sergius, his
+father of the same name, and his uncle Cn�us Sergius. Lucius Sergius was
+tribune of the 29th Legion. The work is probably of the time of
+Augustus.</p>
+
+<p>The finely proportioned temple was erected at a later period during his
+lifetime by the grateful Polese; such adulation could be tolerated only
+in Asia, and Augustus declined to allow the dedication without the
+addition of "Rome." The fa�ade has four Corinthian<span class="pagenum"><a name="Page_146" id="Page_146">[Pg 146]</a></span> columns, and at the
+angles of the cella are four channelled pilasters; between these and the
+four columns of the fa�ade is a similar column on each side. The roof is
+modern. Within it and around are collected numerous sculptured
+fragments, antique and of the early medi�val period for the most part,
+which would be the better for spacing and arranging. The other temple is
+of a later date. They both stood upon a platform twelve steps above the
+forum, themselves raised further by seven steps and a stylobate. The
+rostra were on the forum side of the comitium.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/p207.jpg" width="600" height="302" alt="THE AMPHITHEATRE, POLA
+" title="" />
+<span class="caption">THE AMPHITHEATRE, POLA
+</span>
+</div>
+
+<p>Till 1875 the amphitheatre&mdash;which was built in 198-211 in honour of
+Septimius Severus (who had been governor of Illyria) and of
+Caracalla&mdash;lay open to the street. It was then railed round, and since
+that time systematic excavations have disclosed the plan of the
+sub-structures. The circuit, which is nearly perfect, consists of
+seventy-two arches, and the elevation has a basement and a principal
+story, with an attic of square windows to light the promenade, and a
+finishing cornice through which the masts for the Velarium passed,
+resting upon stone blocks above the cornice of the main story. The
+arches at the extremities of the long diameter are wider than the rest,
+and therefore cut into the frieze above, an unusual licence. There are
+four towers, two towards the sea and two towards the hill, which
+probably contained double staircases, but no sign of them remains,
+though the doorways and grilles of pierced stone testify to their
+usefulness. Excavations have brought to light forty or fifty pieces of
+the steps of the auditorium, upon some of which the seats are marked by
+dividing lines and by letters. The podium of the arena shows by its
+lowness that fights with wild beasts did not take place in it. Until the
+fourteenth century the interior remained nearly complete, the patriarch
+having forbidden the removal of<span class="pagenum"><a name="Page_147" id="Page_147">[Pg 147]</a></span> stones. At that time the seats were
+taken to repair the town walls, and a great deal of the material was
+subsequently sold to Venice. The stone of which the amphitheatre is
+built has taken on a beautiful warm colour from the suns of centuries,
+and glows in the sunset light as if it were the marble which makes so
+many Italian buildings lovely in colour.</p>
+
+
+
+<p>The most important church in Pola was S. Maria Formosa, or del Canneto
+(of the marsh), built on the foundations of the temple of Minerva. It
+was founded by Maximian, archbishop of Ravenna, the friend of Justinian,
+who was born at Vistro, now Porto Vestre, a village to the south of
+Rovigno. He came to Pola to consecrate it in 546. He also founded a
+Benedictine monastery near, which soon became the richest in Istria by
+its connection with Ravenna, endowed the convent of S. Andrea, and built
+a house for the rector of the basilica. The site of the abbey is now
+occupied by the buildings of the Hotel Central and other houses in the
+parallel streets Via Minerva and Via Abbazia. It was a basilican church
+with nave, and aisles raised two steps above it. There were ten columns
+on each side, with varied capitals. The aisles were vaulted, and the
+semi-dome of the apse was decorated with mosaics on a gold ground. The
+high-altar was under a baldacchino; there was a throne for the abbot,
+and seats in the choir for the monks. The windows were small and
+round-headed, filled with pierced slabs. The ancient door of entrance is
+between Nos. 27 and 33, Via Abbazia&mdash;a round arch simply moulded, with a
+dentil round the tympanum and a lintel below. The nave stretched along
+the space now occupied by the stable-yard of the hotel, and the wall of
+the north aisle forms part of the stables. It has external pilaster
+strips opposite to the places where the columns of the nave arcade
+stood. The apse, with triumphal arch, still exists, and two round
+chapels which flanked it and were entered from the aisles; one of them
+was dedicated to the Madonna del Carmelo, and the other to S. Andrew.</p>
+<p><span class="pagenum"><a name="Page_148" id="Page_148">[Pg 148]</a></span><br /><span class="pagenum"><a name="Page_149" id="Page_149">[Pg 149]</a></span>
+</p>
+<div class="figcenter" style="width: 650px;">
+<img src="images/p210.jpg" width="650" height="489" alt="PLAN OF S. MARIA FORMOSA, POLA" title="" />
+<span class="caption">PLAN OF S. MARIA FORMOSA, POLA</span>
+</div>
+
+<p>The S. Maria del Canneto of to-day is a cruciform chapel which lay to
+the right, and has an apsidal eastern end. The entrance is past the
+kitchen of the hotel; and from a window of an upstairs corridor one can
+"assist" at Mass when it is performed, for the church is entirely
+enclosed in the hotel buildings. The arms of the cross have wagon
+vaults; at the crossing is a quadripartite vault with ribs and central
+oculus on a higher level; rough projections along the ribs suggest the
+copying of leaf ribs of early mosaics. It is about 22 ft. 6 in. high,
+and there is a window in each wall. The roof shows ancient material and
+in some parts the ancient manner of using tiles. On the face of the
+bell-turret a piece of eighth-century carving is fixed. The walls are
+now whitewashed, and the floor covered with red tiles. The round chapel
+to the left of the apse has a cupola with an oculus and a lantern at the
+top. There are still remains of the mosaic pavement of the apse in No.
+20, Via Minerva: in 1898, when building the stables, some fragments were
+found near to the aisle wall, which, with others unearthed in 1902, are
+now in the municipal museum. The patterns are a guilloche border with
+fishes, enclosing a field of plant sprigs, and a lotus border with a
+more conventional pattern within. The colours used are two reds, two
+greens, black and white, and pale blue occasionally. The cloister lay
+between the church and Via Abbazia; the houses 39, 37, and 35, stand on
+its site. The last notices of the church occur in the middle of the
+thirteenth century; later mention refers only to the ruins. The
+destruction appears to have taken place when Pola was sacked by the
+Venetians under Giacomo Tiepolo and Leonardo Querini in 1243, though
+some<span class="pagenum"><a name="Page_150" id="Page_150">[Pg 150]</a></span> think that it was in one of the later sackings by the Genoese, of
+which there were three in the fourteenth century&mdash;1354, 1376, and 1380.
+In 1600 a number of the pillars were still upright, and mosaics and
+sculptures were visible; at that time they tried to raise a chapel
+within its walls. It is certain that the Venetians gradually despoiled
+it of everything of value, with the consent of the Polese. Much of the
+material was used in the seventeenth century for the restoration and
+rebuilding of the communal palace, and two at least of the pillars of
+the ciborium of S. Mark's, Venice, as well as the four of Oriental
+alabaster, which the tourist is told came from the Temple of Solomon,
+were spoils from this splendid church, the latter annexed in 1605, and
+the former by Giacomo Tiepolo in 1243.</p>
+
+<p>In 1545 Sansovino was sent by the Senate to bring away the marble
+columns to Venice. The African marble on the landings of the Libreria
+Vecchia also came from Pola, and the shaft of the holy-water basin in S.
+Mark's, with dolphins and tridents, once belonged to a temple of Neptune
+there. The Polese presented the four central columns to S. Maria della
+Salute, from the theatre on Monte Zaro. In 1632 the Venetian Senate
+ordered the <i>provveditore</i> of the castle, Pola, to inform himself as to
+the number and quantity of the columns of "noble architecture" which
+were in one of the ruinous churches, and on August 21, 1638, praised the
+diligence of Bragadin in sending marbles for S. Maria della Salute. He
+had sent fourteen columns in April, and information of others at
+Parenzo.</p>
+
+<p>Several other early churches in and around Pola were destroyed while
+constructing the fortifications. On the island of S. Caterina was a
+cemetery church, the plan of which indicated early Byzantine origin; on
+that of S. Andrea were a cloister and church of the sixth century; and
+on the hill whence the Tegethoff<span class="pagenum"><a name="Page_151" id="Page_151">[Pg 151]</a></span> monument now looks over the harbour
+the double basilica of S. Michele in Monte, partly dating from the
+seventh century and partly from the eleventh. The grave of Salomon, king
+of Hungary, who died here in 1087 and was canonised shortly after, whose
+body had been venerated in the cathedral from the fifteenth century, was
+then found. The sarcophagus is now in the museum.</p>
+
+<p>The original cathedral appears to have been contemporary with that of
+Parenzo, but it was restored in the ninth century. In 1884 the floor of
+the presbytery was lowered, and near the high-altar, at a depth of two
+feet, Roman fragments and ninth-century carvings were found, with an
+inscription of the fifteenth century; lower still were Roman
+inscriptions and sculptures, and then a semicircular mosaic floor of 13
+ft. radius, with a lily border on a black and red ground (grey, yellow,
+and white tessera? also being used), with an inscription mentioning
+Donatian, and small medallions with cross and square. Under the first
+step of the demolished stairs was a second much damaged mosaic
+resembling the early one at Parenzo. It may be seen by lifting a
+trap-door, A bronze medal of Agrippina was found at the same time. Three
+rectangular windows were also discovered, a large one in the centre and
+two smaller towards the sides, the former filled with a pierced slab now
+preserved in the presbytery. The triumphal arch is round, with early
+caps and impost mouldings; other early caps and columns are visible in
+the walls of the choir in hollows made to expose them. The theory is
+that there was a confessional behind the apse instead of below it, of
+which these fragments are the remains. Encrusted in the outer wall of
+the south aisle is an inscription which runs thus: "In the year 857,
+fifth indiction, under Ludovicus, Emperor of Italy, Handegis was
+elected<span class="pagenum"><a name="Page_152" id="Page_152">[Pg 152]</a></span> and consecrated bishop on Whit Sunday, and occupied the seat
+for five years." It is thought that he was the restorer of the building.
+Some of the ninth-century carvings are in the museum. Several small
+windows high in the nave walls still retain the slabs pierced with
+ninth-century patterns, and two unbroken ciborium or baptistery
+archivolts still exist, one in the courtyard of the Beata Vergine della
+Miscricordia, and the other in the Piazza S. Giovanni, where it is made
+up into a little shrine with two fourteenth-century caps, and a
+Renaissance pediment with two uprights of a chancel of Lombard work,
+with three furrowed scrolls and crosses of the usual Syrian derivation.</p>
+
+<p>The church was subsequently much altered, the transepts and apse have
+vanished, and stones found which bear the marks of fire suggest that it
+was burnt, either by the Venetians in 1243 or by the Genoese in 1379,
+when they took the bronze doors away and burnt the archives. An
+inscription on the front of the reliquary tomb, which is to the right of
+the high-altar, and claims to contain the bodies of SS. Basil,
+Demetrius, George, and Theodore, and of Salomon, king of Hungary, states
+that Bishop Biagio Molin rebuilt the church in 1417. To this building
+the retable of the high-altar, dedicated in 1469 and now in the north
+aisle, belongs, still called La Madonna del Coro. It has figures of
+saints in the upper row, half length, and full length in the lower row,
+in high relief; the Madonna in the centre, and above her Christ over His
+tomb, showing His wounds, and attended by the Virgin and S. John, with
+fine tabernacle work and pierced pinnacles, all gilded except the flesh,
+which is painted, and the ground behind the pinnacles, which is blue. It
+is rather over-restored and looks quite new. The ciborium has cipollino
+columns, antique caps, pointed arches, and Venetian dentil enrichments
+with marble<span class="pagenum"><a name="Page_153" id="Page_153">[Pg 153]</a></span> inlays. The nave arcade, of nine columns, has slightly
+pointed arches, unmoulded except for a simple hood-mould and a kind of
+engrailed crown above the abacus. The caps are for the most part late
+fourteenth century in character, but some are antique. The columns have
+been made up to the same size with plaster, and painted to imitate
+granite, only a few having escaped. The last one on the south has a ring
+round the centre; one base looks antique, many of them have spurs. The
+restorations of 1640 and 1712 have obliterated all appearance of
+antiquity. Bishop Giuseppe Maria Bottari, the last restorer, used so
+many inscribed slabs in repairing the interior and building the
+campanile that he was nicknamed "the sexton of inscriptions." There was
+a cruciform baptistery to the west, the remains of which were destroyed
+in 1850 in connection with the harbour works. To the north of the
+cathedral is the communal cistern, which covers a great part of the site
+of the early church of S. Thomas. In 1860 some reliquaries were found
+here between the cistern and the cathedral sacristy, where the centre of
+the apse probably was, and further investigations disclosed the steps to
+the presbytery, remains of the apse, and stones carved with ornament. In
+1332 this church was used for service in place of the ruined cathedral,
+and as late as 1812 some remains of the walls were visible. The
+reliquaries were contained in a stone chest some three feet below the
+ground level. Within it was another smaller chest of Greek marble, with
+Byzantine ornament, and a gable roof with an inlaid cross of green
+stone. This was preserved in the cathedral for some time, but has now
+disappeared. Within it the workmen found a flat rectangular casket,
+described as being divided into sixteen compartments, which held silver
+reliquaries, and in the middle a small golden box, in which were two
+little finger-bones. In another was a<span class="pagenum"><a name="Page_154" id="Page_154">[Pg 154]</a></span> small yellow piece of silk with
+blood-spots on it. The sacristan asserted that there were also twelve
+golden statuettes a span high, and some smaller silver vases; but all
+the reliquaries have disappeared except two, which have been preserved
+at Vienna since 1888. The more important of the two is an hexagonal box
+with an ogee-shaped lid and a little rosette on the apex; on the sides
+are <i>repouss�</i> figures, the upper parts of which are repeated with some
+modifications on the lid. These figures are: Christ, between SS. Peter
+and Paul, and three single figures, two of which hold symbols, a roll,
+and a tau-cross. The Christ is youthful, without a nimbus, and holds an
+open book in the left hand. The draperies are all antique in style, and
+the work is believed to be of the first or second century. A hasp is
+attached to the lid, but there is no sign of hinge or corresponding
+button. The smaller casket is rectangular, resembling that found at
+Grado. On the lid is a cross in dark-blue enamel with surroundings of
+filigree.</p>
+
+<div class="figcenter" style="width: 413px;">
+<img src="images/p217.jpg" width="413" height="500" alt="WEST DOORWAY, S. FRANCESCO, POLA
+" title="" />
+<span class="caption">WEST DOORWAY, S. FRANCESCO, POLA
+</span>
+</div>
+
+<p>The church of S. Francesco is halfway up the hill to the castle, and is
+now used as a military magazine. Towards the road the wall terminates in
+a gable, with two pointed openings for bells; below is a red cross
+inlaid within an enclosing moulding. A ramping cornice of shallow arches
+with dentils above it finishes the wall, the centre portion of which is
+pierced with a two-light trefoiled window blocked up below, while a
+chapel to the north is lighted by simple-pointed windows. The fine
+entrance door, with its rich mouldings, twisted columns, and round arch,
+looks rather older than 1314, which is the date of the first certain
+mention of the church; but in Istria and Dalmatia styles lingered late.
+It is said to have been built by the Castropola in 1285, and a
+half-obliterated inscription by the door records the date of 1406, when
+a provincial<span class="pagenum"><a name="Page_155" id="Page_155">[Pg 155]</a></span> Franciscan council was held in the church. On each side
+of the door is a window of two trefoiled lights with slender shafts, and
+above it a rose with Gothic tracery. The interior has a simple unvaulted
+nave, a choir of one bay with cross vaulting, and a small chapel,
+probably the sepulchral chapel of the Castropola, since their arms are
+on the windows. The only remaining piece of the cloister serves as
+entrance portico. The little garden outside the principal door has a
+bowling-alley beneath a vine pergola, from which there is a beautiful
+view over the bay; and in it grow trees of euonymus and oleander with
+thick trunks, and an aloe, besides the usual roses, peaches, and
+mulberries.</p>
+
+
+
+<p>The communal palace was built in 1296; the back portion is part of the
+second temple. Some portions of the ancient building remain on the right
+flank. It was the palace of the Margrave of Istria, and later of the
+Venetian rectors or counts of Pola. According to Kandler, the figure of
+a knight upon it represents Albert II., Count of Istria. The Genoese
+damaged the palace in 1390, but it was restored the next year. After the
+fa�ade fell in 1651, it was rebuilt in its present form, with material
+from S. Maria Formosa, but it was not finished till 1703. During the
+last years of the Republic the count lived in the back portion, had his
+stables in the temple of Augustus and his kitchen in the other temple.</p>
+
+<p>The castle was built on the ruins of the Capitol, probably about 1200.
+Within was the habitation of the count, a three-naved chapel, arsenal,
+lodging for two hundred soldiers, &amp;c. The Sergii seized it in 1271 and
+became known as Castropol�. Here the captains of the people lived, who
+ruled Pola for the sixty-three years before 1328. The count was a civil
+governor, and after 1331, when the Polese gave themselves to Venice, had
+authority in the lower city; but<span class="pagenum"><a name="Page_156" id="Page_156">[Pg 156]</a></span> a <i>provveditore</i> was appointed for the
+castle, who had a captain, a sergeant, two lieutenants, and eighty
+soldiers under his command. In 1638 the two offices were united. The new
+castle was commenced after the plague of 1632 from the designs of the
+Frenchman Deville, who used the material of the theatre. Kandler says
+that he remembered this castle, which had double walls with four towers
+to each, and one larger tower towards Monte Maggiore. The present castle
+is quite modern, and one is warned off when approaching it. The medi�val
+walls were demolished in 1848. They appear to have been generally in a
+bad state of repair, and records of their restoration are frequent. The
+sea-walls were thrown down by the Venetians, who did not like the cities
+under their sway to have defences on the water-side, though they were
+sometimes obliged to permit something of the sort. For instance, in
+1351, the Polese were allowed to build a wall 10 ft. high towards the
+sea, which was a sufficient defence against a sudden raid, but of little
+use in the case of a strong attack. As a matter of fact, the Genoese
+broke it down in 1380, sacked the city, and put all opponents to the
+sword.</p>
+
+<p>At the beginning of the fifteenth century Pola was surrounded by a
+number of carefully built polygonal towers. There were eight gates with
+machicolated defences above them, and the arms of fifteen rectors in
+different places showed that the walls had been long in building. In
+1610 the Uscocs sacked the city, entering through certain holes in the
+walls, which, as Fra Paolo Sarpi relates, rendered the closing of the
+great gates useless. The neglect of the Venetians in the matters of pay
+and provision of war material in the seventeenth century reduced the
+defences to a farce.</p>
+
+<p>The laws of many of the cities prescribed penalties for crossing the
+wall. Pola, 1442: "No person shall<span class="pagenum"><a name="Page_157" id="Page_157">[Pg 157]</a></span> dare to pass over the walls of the
+city of Pola in any manner, neither going nor returning, neither with
+nor without a ladder, and neither shall they enter nor leave the gates
+of the city, neither below nor above, under penalty of 50 lire di
+piccoli and three months in prison." The inhabitants of walled places
+had little liberty. Besides the duty of guarding the gates, a citizen
+could neither enter nor leave except between certain fixed hours; if he
+reached the opposite side of the ditch after the evening bell he found
+the drawbridge raised, and had to seek a bed outside, or climb the wall,
+in which case he ran the risk of being surprised and punished.</p>
+
+<p>The communal museum contains many very interesting things belonging to
+different periods of Polese history. Here are some very ancient stones
+with Mycenean whorls cut upon Istrian material, perhaps by some prisoner
+taken by Istrian pirates; also stones with these whorls half
+obliterated, and hollows sunk here and there, which, it is thought, were
+a kind of star map made by shepherds when Istria was wooded, to direct
+them in driving their flocks. Here are two inscriptions mentioning an
+entirely unknown god and goddess, and the inscription of Gordian in
+which the name of Nesactium occurs, the discovery of which fixed the
+site of the most important of the Istrian cities, the scene of the
+massacre of the women and children by the hands of their husbands and
+fathers, to prevent them from being taken by the Romans.</p>
+
+<p>Many things found there are also in the museum&mdash;skulls, an ivory
+spindle, fragments of pottery and glass, and two curious statues, very
+archaic in style, from a tomb-building. One is a nude rider upon a
+horse, the other an unclothed woman suckling a child, thought to be the
+indigenous god Melescos and one of the goddess mothers. There are also a
+prehistoric oven, bronze<span class="pagenum"><a name="Page_158" id="Page_158">[Pg 158]</a></span> vases found in the well at Tivoli, near Pola,
+fragments from S. Maria in Canneto and other destroyed churches; and
+here also the chapter of the cathedral has deposited portions of the
+cathedral ciborium and other architectural fragments.</p>
+
+<p>Pola was founded as a Roman colony in 129 <span class="smcap">B.C</span>., at the same time as
+Trieste. It fought for Pompey, and was punished by destruction, but was
+restored in 33 <span class="smcap">B.C</span>. as "Pietas Julia"; and in 27 <span class="smcap">B.C</span>. Augustus raised
+the Istrian cities to the rank of <i>municipia</i> by adding the province to
+Italy. The Polese were inscribed in the tribe Valeria. Pola was also
+called Polentia in honour of the mother of Vespasian, and Herculanea in
+honour of Commodus. It had been the judicial capital under the Republic,
+and was prosperous under the Empire, being the place where two lines of
+traffic crossed, that from Rome through Ancona and so to the Danube, and
+that from Britain to Constantinople, and also had agricultural riches
+and manufactures of its own. It was the base of operations during the
+reconquest of Italy from the Goths, both for Belisarius and for Narses,
+and was made the principal city and harbour on the east coast of the
+Adriatic. It was also the granary of the Exarchate, owing to the Lombard
+destruction in Italy, and had a population of some 25,000. During the
+plague of 1348, which lasted for several months, a fifth of the
+population died, fifty patrician families became entirely extinct, and
+privileges were offered to foreigners to induce them to re-people the
+city. At the downfall of the Venetian Republic the population barely
+amounted to 600 souls.</p>
+
+<p>The popular tradition of the destruction of the Castropola (who had made
+themselves lords of Pola) runs thus: Andrea di Tonata, the head of the
+popular faction, arranged a conspiracy to free the city. The<span class="pagenum"><a name="Page_159" id="Page_159">[Pg 159]</a></span> moment
+chosen was the evening of Good Friday, during the annual procession
+called "of the wood of the Holy Cross," which went round the city,
+starting from the cathedral. Near the church of S. Stefano (which was
+within the walls at the foot of the castle hill) the conspirators,
+disguised in the dress of members of the Confraternity of S. Stephen,
+drawing their daggers at a given signal, threw themselves upon the
+Castropola, who were in a separate group in the procession, not thinking
+of danger, and killed them. Then, calling on the people to rise, the
+conspirators led them to the assault of the neighbouring castle, which
+they took by surprise, killing any of the family or their adherents whom
+they met. Only one child escaped, owing his life to the devotion of a
+servant who hid him when the crowd had actually entered the castle, and
+let him down by a cord into the Franciscan convent just below, from
+which a monk took him secretly out of the city to one of the country
+places belonging to the family. This tradition is not historical, for
+the family continued in Pola till the fall of the Signory, and
+flourished afterwards in Venice and Treviso; but there was certainly a
+rising then in which the houses of certain of their adherents were
+sacked. Two members of the aristocracy were appointed captains of the
+people, but after a month they decided to give themselves to Venice; by
+the Act of Dedition the Castropola were banished from Pola, Istria,
+Friuli, and Schiavonia, though they were allowed to retain their
+property. Their principal adherents were also banished. In 1334 an
+attempt to regain the Signory caused the Polese to ask the Senate to
+dismantle the castle, which was done, and the houses of the two heads of
+the family were also destroyed. So Pola became a mere appanage of
+Venice.<span class="pagenum"><a name="Page_160" id="Page_160">[Pg 160]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="XIII" id="XIII"></a>XIII</h2>
+
+<h3>CHARACTERISTICS OF THE ISTRIAN COAST</h3>
+
+
+<p>Istria is in great part a dry and stony land, but there are valleys with
+streams and woods. It slopes to the west and south with a tolerably
+continuous declivity, so that the base of the triangular peninsula is on
+the whole the highest part. Much of the vegetation is greyish, and the
+rocks also are generally a pale grey. It is divided into three
+districts, named, from, the prevailing colour of the ground, white,
+yellow, and red. The first is the stony portion, the grey limestone of
+the Karst; next the yellow sandstone formation which begins at Trieste
+and extends through middle Istria; and then the southern portion where
+the white limestone is underneath, and clay of a red ochreous colour
+occurs in streaks. Round Pisino and Pinguente and between them are
+fields, meadows, and even woods, with plenty of streams which burst from
+the sandstone, while limestone hills jut out here and there. Pisino lies
+on the edge of "yellow" Istria, and hills rise around it; on the south
+side is a hill of the red land; and the houses are on an outcrop of the
+white limestone. The Foiba runs along the junction of the two
+formations. Middle Istria undulates from about 1,200 ft. to 900 ft.
+above the sea, while Lower Istria is but 500 ft. The hills are lower and
+less steep, there is more cultivation, and the villages and towns look
+more prosperous.<span class="pagenum"><a name="Page_161" id="Page_161">[Pg 161]</a></span></p>
+
+
+
+<h3>COAST TOWNS</h3>
+
+<p>The shore (except for the deltas of a few streams) has no flat portions,
+and the banks (scarcely cliffs), though generally perpendicular and
+difficult to climb, are not at all lofty. The coast is broken into bays
+by projecting tongues of land, making harbours of differing degrees of
+safety, with an enormous number of small islands, many of which are mere
+rocks, obliging the steamers to keep some considerable distance from the
+land. The first navigable passage between them and the coast is the
+Canal of Fasana, within the Brioni Islands. The view from the sea shows
+rough steep stretches of bank with picturesque harbour towns; the stone
+walls and towers, the tall campanile, generally reminiscent of that of
+S. Marco, Venice, the white houses, the grey of the bare shores and the
+varied greens of the surrounding country, with its woods, fields and
+gardens, harmonise pleasantly, especially in the afternoon and evening
+light. Nearly every town has an upper or more ancient portion built for
+security on a hill which was once an island, and a newer part close to
+the water. From the outer harbour the "mandracchio," the inner harbour,
+opens with the fish-market close by. The "piazza," in and near which are
+the <i>municipio</i>, the <i>loggia</i>, and the patricians' palaces, is generally
+approached by one of the steep streets, many of which are on the natural
+rock and impassable for wheeled vehicles. Above the coastline the hills
+of the interior rise in bluer distance, with here and there a town
+crowning a lesser elevation. Montona appears, cresting its isolated hill
+above the Quieto, and Buie, the look-out of Istria, while to the
+south-east the blue mass of Monte Maggiore is hidden or disclosed as the
+clouds gather and disperse.</p>
+
+<p>Beyond the harbour of Pola is the low point of Promontore, where the
+coastline turns and runs north-east. All around the harbour forts are
+seated on points<span class="pagenum"><a name="Page_162" id="Page_162">[Pg 162]</a></span> of vantage, some older, some very modern; and little
+villages occupy those elevations left vacant by the military
+authorities. To the south are the large islands of Cherso and Veglia. At
+the mouth of the Bado valley lies the little port of that name, around
+which are many tiny islands. From Caorano, near the mouth of the canal
+of the Arsa, the land begins to rise, and with Punta Nera, an outlying
+spur of the chain of Monte Maggiore, the coast becomes rocky and
+precipitous, from 950 ft. to 3,200 ft. high, furrowed by valleys running
+down to the sea. The villages are high above the water, and there is
+little green except in the lower parts, the grey of the rock being
+varied only with brushwood. Albona may be taken as a typical example of
+the situation of these villages, being high above its harbour, Rabaz. As
+the boat approaches nearer the shore the range of cliffs plunging down
+into the green water is impressive. Towards Abbazia the red soil becomes
+more abundant, the hills are terraced, and vegetation is more luxuriant,
+great chestnuts and bay-trees appear, and cypresses when Lovrana is
+reached. This north shore of the Quarnero, stretching to Fiume, is the
+Riviera of Austria. The Dinaric Alps surround it from Monte Maggiore,
+and the Liburnian Karst to the Velebits. In this district hedges of bay
+flourish, and in the Villa Angiolina park may be seen many varieties of
+trees in blossom or fruit, which luxuriate in the sheltered situation.
+The view from the harbour at Fiume in the afternoon is delightful, the
+mass of Monte Syss on Cherso guarding the entrance to the Quarnero on
+one side, while the many spurs of the Monte Maggiore range on the other
+troop to the sea, blue in the shadow, and paling and lowering with
+greater distance.</p>
+
+<p><span class="pagenum"><a name="Page_163" id="Page_163">[Pg 163]</a></span></p>
+
+<div class="figcenter" style="width: 392px;">
+<img src="images/p228.jpg" width="392" height="550" alt="WINE-BOATS IN THE FIUMARA CANAL, FIUME
+" title="" />
+<span class="caption">WINE-BOATS IN THE FIUMARA CANAL, FIUME
+</span>
+</div>
+
+<hr style="width: 65%;" />
+<h2><a name="XIV" id="XIV"></a>XIV</h2>
+
+<h3>FIUME AND VEGLIA</h3>
+
+
+<p>Fiume is one of the few towns along the coast in which the Italians are
+in the majority. It lies at the north-eastern end of the Bay of the
+Quarnero, and is the chief seaport of Hungary, to which it has belonged
+in the main since the beginning of the twelfth century; and permanently
+since 1870. Though it was a thriving town in the Middle Ages, and
+existed in Roman times, there is very little to be seen older than the
+period of the late Renaissance. It is a busy modern town, and for the
+arch�ologist is merely a convenient place of departure for other more
+interesting sites, though there is some picturesqueness of costume and
+situation about it; and the Englishman is pleased to see many ships with
+the national flag, and to know that one of the great industries of the
+place is the Whitehead torpedo factory. The Tarsia, as the Rjeka was
+called, gave the name of Tarsatica to the ancient Liburnian city. The
+Romans built a castle on the bank of the stream to rein in the ferocious
+Gepids. Round this castle the ancient Tarsatica grew up. The only Roman
+remains existing are: a triumphal arch said to have been erected in
+honour of the Emperor Claudius II., Gothicus (268-270), which resembles
+the Arco di Riccardo, Trieste, in its situation on the side of the hill
+in the old city, but is much less ornamented and more dilapidated; some
+remains of Roman construction in the Castle of the<span class="pagenum"><a name="Page_164" id="Page_164">[Pg 164]</a></span> Frangipani; and at
+the top of the hill above the Porto di Martinschizza (called "Solin"),
+the remains of another Roman fortress, which protected the city to the
+east, commanding the ravine of La Draga, a mile and a half from
+Tarsatto. Tarsatica was destroyed in 799 by Charlemagne.</p>
+
+<div class="figleft" style="width: 400px;">
+<img src="images/p230.jpg" width="400" height="340" alt="STALL ON THE WINE-QUAY, FIUME" title="" />
+<span class="caption">STALL ON THE WINE-QUAY, FIUME</span>
+</div>
+
+<p>The wine-quay, by the Porto Canale, Fiumara, is shaded pleasantly with
+trees, and always busy with its own particular trade, supplemented by
+stalls at which various goods are offered for sale. Close by is a
+street, which in the spring is bright with Judas-trees in flower. The
+ravine down which the stream flows has always been the boundary of the
+Croatian kingdom. On the further side is the ascent of 410 steps to the
+pilgrimage<span class="pagenum"><a name="Page_165" id="Page_165">[Pg 165]</a></span> church of the Madonna del Tarsatto, on one of the spurs of
+the hills which surround the city; an ascent which devout pilgrims are
+said to have negotiated on their knees. A chronogram over the church
+door gives the date 1730, but it was founded in 1453 by one of the
+Frangipani counts on the site once occupied by the Nazareth House now at
+Loreto, the tradition being that this rested here for three years and
+seven months, from 1291 to 1294; and in a dark passage behind the
+high-altar a room is still shown said to be a part of it.</p>
+
+<p>The church contains a picture of the Madonna and Child, ascribed as
+usual to S. Luke, of which a little copy hangs by the choir arch in the
+aisle; the two heads and hands are painted. The rest is covered with
+silver-gilt plates modelled in low relief to represent the drapery,
+nimbi, &amp;c. Near the high-altar are frescoes with Latin inscriptions, of
+no great interest, also two great silver candlesticks and portions of
+Turkish harness, gifts of the Emperor Leopold I. The pillars are hung
+with the votive offerings of rescued mariners. The church has only one
+aisle, to the north. At the west end is an organ gallery on slight
+columns with fifteenth-century carving. The choir has a fine
+seventeenth-century wrought-iron grille with two amorini, a crown and
+heart, &amp;c., interwoven with scrolls, gilded and painted. The beaten work
+is mixed with scrolls of flat thin material between strong uprights and
+cross pieces. At the height of the face of a kneeling figure is a row of
+small balusters. The upper portion is painted white.</p>
+
+<p>In front of the church is an avenue of horse-chestnuts, and on a spur of
+hill to the left is the Castle of Tarsatto, once belonging to the
+Frangipani, now in the possession of Count Nugent, and completely
+restored. In the castle is a collection of statues from Minturnum,<span class="pagenum"><a name="Page_166" id="Page_166">[Pg 166]</a></span> a
+gift of Ferdinand I. of Naples to Field-Marshal Nugent. From it a flight
+of steps conducts to a pleasant field-path which rounds the shoulder of
+the next hill and brings one back to the steps by which the church is
+reached. The view from the plateau is very extensive, the islands of
+Veglia and Cherso, in conjunction with the spurs of Monte Maggiore,
+seeming almost to enclose the sea, while to the south the Velebit range
+towers, generally cloud-capped.</p>
+
+<p>The church of SS. Vito and Modesto was built in 1631 after the pattern
+of S. Maria della Salute. In the wall by the entrance is a cannon-ball,
+a memento of the English bombardment of 1813. On the quays there is to
+be seen much the same mixture of types and costumes as at Trieste. The
+country people wear a black loose coat with sleeves, over a kind of
+sweater which hangs below it; the trousers resemble broad breeches with
+a bit of loose stocking showing above the shoe. The rawhide shoes are of
+the same kind as those worn at Grado, at Monte S. Angelo across the
+water, and all over the country further south, pointed in shape and
+turned up at the toes, generally brown, with the upper part covered with
+lacing. On the men's heads are little caps, black, brown, or red.</p>
+
+<p>While we were having dinner in the Piazza Adamich a military band came
+and played two <i>morceaux</i>; after which they marched off to the
+accompaniment of music, looking very picturesque, with the light from
+candles in lanterns hanging from staves flashing from the brazen
+instruments and lighting up the coloured uniforms against the dim
+background of garden and distant house.</p>
+
+<p>The islands of Cherso and Veglia divide the Quarrero into three
+channels: that between Istria and Cherso, the Canale di Farasina;
+between Cherso and Veglia,<span class="pagenum"><a name="Page_167" id="Page_167">[Pg 167]</a></span> the Canale di Mezzo (becoming the Quarnerolo
+further south); and between Veglia and the Croatian mainland, the Canale
+di Maltempo or della Morlacca, in front of which the little island of S.
+Marco lies. The scenery of the last-named channel is much finer than the
+Quarnerolo, and its interest is enhanced because the steamer passes
+Segna or Zengg, the rocky nest of the Uscocs, the pirates who were so
+troublesome in the sixteenth and seventeenth centuries; but its first
+name, the Canal of Evil Weather, is an accurate description of what may
+be expected, since here the "Bora" blows with the greatest fury, making
+it the most dangerous part of the whole coast. There is scarcely enough
+of interest in the town itself to make it worthy of a visit, since the
+picturesque and horrible exploits of its savage inhabitants (which are
+its chief title to fame) may be read in the histories of the Uscocs.
+They were refugees from Bosnia and Herzegovina, driven out by the Turks;
+the word "Scochi" in Slav meaning exiles or fugitives. Their first
+establishment was at Clissa, near Spalato, under Pietro Crussich, lord
+of Lupoglavo in Istria. From this place they made raids on the Turks,
+who at last collected an army and besieged the place for a year. The
+castellan was killed in a sortie, and the castle surrendered in 1537.
+They then retired to Segna, where they were received and paid by the
+Emperor. The original band numbered only five or six hundred, but they
+had with them many assistants, Dalmatians banished by the Venetians or
+escaped from the galleys, and brigands of other nations, as well as
+indigenous camp-followers. At first they only attacked the Turks, more
+or less straightforwardly, but gradually became mere pirates. The
+Venetians fought fruitlessly against them for some time, and finally
+became embroiled with Austria over the question. They were most daring
+in their enterprises. On<span class="pagenum"><a name="Page_168" id="Page_168">[Pg 168]</a></span> January 19, 1599, eight hundred of them
+disembarked at Portolungo and assaulted Albona. They had entered the
+suburb, when the citizens rushed to arms, led by the valiant parish
+priest Don Priamo Luciani Cristoforo Negri, and succeeded in beating
+them off. They then retired on Fianona, which they took by surprise,
+established themselves there, hoisted the Austrian flag, and obliged the
+inhabitants to swear fealty to Austria. One man who refused, Gaspare
+Calovanich, they flayed alive! Many other outrages were committed,
+shipping was attacked, and sailors robbed. The war which followed only
+ended with the peace of Madrid, September 26, 1617, by the provisions of
+which the Uscocs were to be interned and scattered over the Austrian
+provinces, and their ships destroyed; whilst the Venetians were to
+restore conquered places to Austria. A few of the Uscocs who were left
+at Segna went on in their evil ways, and in February, 1619, took a
+Venetian ship with 4,000 zecchins-worth of cargo. The Republic made a
+claim, and Austria punished them with death and restored the booty. This
+was the last of their raids. Sir Gardner Wilkinson says that out of a
+number hanged in 1618 nine were Englishmen, of whom six were gentlemen.</p>
+
+<p>They are described as being without discipline, but ready to follow
+their captains blindly. They feared no fatigue, climbed the rocks like
+cats, slept in the open air, preferred tactics of surprise, and cared
+for nothing but the satisfaction of their cupidity. Some were dressed
+gipsy-fashion, with arms and breast bare. The bulk, however, wore a
+dress resembling that of the Morlacchi&mdash;tight hose, shoes of cord or
+rawhide, a red-brown waistcoat without sleeves, and a red felt cap on
+the head. They wore their hair in long locks, with wild-looking
+moustaches, had earrings of iron or silver, and their weapons were
+semicircular axes, and knives<span class="pagenum"><a name="Page_169" id="Page_169">[Pg 169]</a></span> which they carried in their girdles.
+Altogether a fearsome crew to have to do with!</p>
+
+<p>Segna belonged to the Counts Frangipani, whose eyrie was fixed at Castel
+Muschio on the island of Veglia. It is near the northern end above a
+wide bay on the sea side of a broken plateau, partly crowned with
+fortress-walls, in front of which a few houses sparkle white in the sun.
+Only one tower remains, with doors on first and second-floor level and a
+S. Mark's lion in relief. The island was the ancient Curicta, near which
+there was a sea-fight between the ships of C�sar and Pompey in 49 <span class="smcap">B.C.</span>,
+when the Istrians took the part of the latter. The C�sarian fleet under
+Dolabella was destroyed, and Caius Antonius, C�sar's general, was shut
+up in Veglia, where he was encamped with two legions. The soldiers
+constructed three rafts made of two rows of boats fastened together with
+chains, and with a platform of beams upon them, and a great tower at one
+end, by means of which the rowers were to be protected and the enemy
+attacked. Octavian, Pompey's admiral, retired behind Cherso, but left
+the channel fouled with ropes and chains fastened to the rocks. In the
+afternoon the rafts which had been launched reached the narrow part of
+the strait. The two smaller ones got through, but the largest stuck.
+Octavian then attacked. On the big raft were one thousand Opitergian
+colonists, under the captaincy of the tribune Vulteius. They fought till
+night, when, seeing that their case was hopeless, they determined to die
+rather than surrender. At dawn the struggle recommenced, the Istrians
+joining in the attack. The end was the suicide of Vulteius and his
+followers, and the surrender of the cohorts on the island.</p>
+
+<p>From 1126 the islands of the Quarnero belonged to Venice, but the peace
+of Zara in 1358 ceded Dalmatia<span class="pagenum"><a name="Page_170" id="Page_170">[Pg 170]</a></span> to Hungary and Veglia with it; and, when
+Ladislas sold Dalmatia to Venice in 1409, Veglia was excluded, being
+formally ceded by the last Count Giovanni in 1480. Nicholas Frangipani,
+who was count in 1409, had nine sons, and left his property equally
+divided among them, so that there were nine counts of Veglia at the same
+time. Giovanni, the eldest, to make himself secure against his brothers,
+put himself under the protection of Venice in 1452, married a daughter
+of Paolo Morosini, and published his will in 1453, by which he left the
+island to the Republic if he died without issue, thus making it clear to
+his brothers that he was determined that they should never have the
+island, and that if they tried to take it by force he would be protected
+by Venice. At the same time he swore to the inhabitants to preserve
+their ancient laws and customs. He had no intention of keeping his word
+in any particular, and played off Matthias Corvinus, king of Hungary,
+against Venice in the most unblushing manner, making traitorous
+suggestions to both sides alike, and attacking the towns of either party
+alternately. His subjects, being much oppressed, invited the Hungarian
+general, Magiar Blas, to invade the island in 1480, saying that he would
+be received as a Messiah. He came and attacked Castel Muschio; but the
+count invoked the protection of Venice. A few days later Veglia was
+bombarded by the Hungarians, the Venetian galleys not being able to
+render much assistance. The people refused to fight, saying that they
+preferred to have even Turks as rulers rather than their count. After
+consultation with the Venetian officers they were summoned to the
+Palazzo Pubblico; and the count told them that he was the servant of
+Venice, and that they must swear fealty to the Republic and would be
+protected. Accordingly the oath was taken by all, and the Hungarians
+were obliged to make terms. They<span class="pagenum"><a name="Page_171" id="Page_171">[Pg 171]</a></span> were allowed to return safely to the
+mainland. The count then began to threaten those of his subjects who had
+been in favour of the Hungarians, and many fled in fear. The
+captain-general of the Venetians, as corrective, published an order
+authorising the inhabitants to kill any of the count's people who
+molested them. Count Giovanni bit his lips, determining to be revenged
+when the captain-general had gone, but never had the chance, as he was
+carried off to Venice, at which the Veglians rang the bells for joy. The
+Venetians set matters in order; but the count wrote letters saying that
+he would soon return to Veglia and punish all traitors; in consequence
+of which the Veglians assured the governor that, should he do so, they
+would either call in the Turks or leave the island waste and
+uninhabited. To solve the difficulty the Venetians pensioned him off. He
+became, however, soon dissatisfied with the amount and fled from Venice,
+his disappearance being regretted by no one. He was an abominable
+character, and among the evil deeds of which he was guilty was the
+making of false seals to enable him to forge documents.</p>
+
+<div class="figcenter" style="width: 650px;">
+<img src="images/p238.jpg" width="650" height="399" alt="INTERIOR OF THE CATHEDRAL, VEGLIA
+" title="" />
+<span class="caption">INTERIOR OF THE CATHEDRAL, VEGLIA
+</span>
+</div>
+
+
+
+<p>A considerable portion of the walls built by the Venetians round the
+town still remains, overgrown with ivy, and the city is still entered by
+the old gate-openings, the Porta di Su and the Porta Pisani, though the
+actual gateways have disappeared. On one of the towers guarding the
+latter is a rather fine relief of the Venetian lion. Close to the
+cathedral is the castle of the Frangipani, two of the towers being
+within the bishop's garden. The sea washes the rocks on which they are
+built, and in time of storm the spray flies over the curtain wall.</p>
+
+<p>Our prowlings around the walls attracted the attention of two guards,
+who, after following us for some time, stopped us to question our
+proceedings.<span class="pagenum"><a name="Page_172" id="Page_172">[Pg 172]</a></span> The production of the Statthalter's letter which I carried
+with me satisfied them that we had no nefarious designs, and it was
+returned to me with the remark (made rather regretfully, I thought) that
+it was all "in order." Travellers will find it advantageous to obtain
+some kind of "permit" if their tastes are likely to lead to the
+exhibition of unusual curiosity in relation to buildings and their
+surroundings.</p>
+
+
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/p240.jpg" width="500" height="185" alt="VEGLIA, SHOWING THE CASTLE TOWERS" title="" />
+<span class="caption">VEGLIA, SHOWING THE CASTLE TOWERS</span>
+</div>
+
+<p>The cathedral, erected in 1133 in thanksgiving for a great victory over
+Corsairs gained with the assistance of Venice, was therefore dedicated
+to S. Mark. It consists of nave and aisles with an apse of five sides of
+an octagon, which bears the date of 1688. The nave arcade is
+semicircular, the arches varying in height, some being stilted, and
+rests upon sixteen columns of granite, Istrian stone, red marble of the
+island, and pavonazzetto. Several are in more than one piece, one or two
+are made up to the requisite height with another stone, and two are
+octagonal. Most of them have but the slightest projection for base, the
+level of the pavement having apparently been raised. Most of the caps
+have Byzantine thistly acanthus worked with great use of the drill, one
+has quaint gambolling beasts and birds within arched forms in place of
+foliage, which show imitation of Oriental ornamental forms,<span class="pagenum"><a name="Page_173" id="Page_173">[Pg 173]</a></span> and one,
+which has hollows for inlays of squares and diamonds, bounded by the
+leaf shapes, is exactly like one in the pergola of the director's house
+at Salona, which came from the campanile, Spalato. There is a fine early
+Renaissance choir-screen with an ambo at each side, made of the red
+variegated marble of the island; an angel of white marble supports the
+book-rest. To the north of this screen is a rather late Gothic chapel
+with apse of three sides and lierne vaulting. It has octagonal wall
+shafts and shields as bosses, with devices upon them, and the arms of
+the Frangipani. The place of the altar still shows on the pavement, and
+it has been suggested that the silver pala belonged to this chapel. Two
+more chapels open from the south aisle through Venetian slightly ogee
+arches, with saints at the top emergent from leaves, and a cable
+moulding within and dentils without. In one, the columns have been
+replaced by Renaissance half-columns; in the other, the
+fourteenth-century shafts still remain. In the choir are two fine Gothic
+tomb slabs, commemorating a fourteenth-century bishop and an arch-priest
+(1494), and other slabs with coats of arms in high relief.</p>
+
+<div class="figcenter" style="width: 356px;">
+<img src="images/p242.jpg" width="356" height="500" alt="SOUTH PORTION OF CHOIR-SCREEN, CATHEDRAL, VEGLIA
+" title="" />
+<span class="caption">SOUTH PORTION OF CHOIR-SCREEN, CATHEDRAL, VEGLIA
+</span>
+</div>
+
+<p>The silver pala is preserved just within the west door upon the south
+wall, behind glass in tolerably large sheets, so that it can be easily
+studied. The present <i>parroco</i> replaced the old heavy wooden framing by
+one of lighter construction. It is thought to have been a triptych
+originally. Each of the wings has ten figures in two rows of five, one
+above the other&mdash;twenty in all. On the right S. Peter occupies the
+middle of the top row with S. John the Baptist below; on the left are S.
+Paul and S. Nicholas in the corresponding places. All the figures stand
+on brackets. The upper centre is occupied by the Madonna and Child
+standing on the crescent moon; below is the Coronation of the Virgin;<span class="pagenum"><a name="Page_174" id="Page_174">[Pg 174]</a></span>
+the other four niches have figures of angels, three half-lengths in
+each, one above the other. SS. Jerome and George are recognisable among
+the other saints. The heads are much too large, and the figure-work is
+coarse. The niches are trefoiled and ogee-headed, with crockets and
+finials and octagonal colonnettes between, springing from corbels, and
+crowned with imbricated pinnacles; they have piercings resembling window
+tracery, with rosettes between each repetition. The bar which divides
+the two ranges of figures, and the frame have very beautiful triple rows
+of vine-scrolling in exceedingly low relief, which is quite lost at a
+little distance. An inscription gives the name of Peter Grimani and the
+date of 1742; but this must refer to a restoration, as the style
+suggests the fifteenth century, and would agree quite well with the date
+1405, when one of the Frangipani is recorded to have established the
+chapel of S. Vito in the cathedral. The treasury now contains nothing of
+importance&mdash;at least, inquiries only produced a showy processional cross
+of the seventeenth century.</p>
+
+<p>The cathedral is entered from an archway beneath the campanile; on the
+other side of the arch is the church of S. Quirinus, a Romanesque
+building in two stories. The lower portion is now a wine-store; the
+upper, reached by steps, is vaulted like a crypt, nine spans resting on
+four low columns. It has been modernised, but the three apses are
+untouched externally, crowned with a corbelled arcuated cornice, the
+centre one being the largest. The cathedral has a doorway on the south
+side not now used; the round arch has a torus moulding, pilaster strips,
+and caps beneath a gabled hood, made of the local marble and bleached by
+the sun to a delightful varied yellow.<span class="pagenum"><a name="Page_175" id="Page_175">[Pg 175]</a></span></p>
+
+<div class="figcenter" style="width: 650px;">
+<img src="images/p246.jpg" width="650" height="349" alt="IN THE HARBOUR, BESCA NOVA
+" title="" />
+<span class="caption">IN THE HARBOUR, BESCA NOVA
+</span>
+</div>
+
+<p>Close to the Porta di Su is another Romanesque church&mdash;S. Maria. The
+interior has been modernised, though a few caps resembling those in
+the cathedral remain; but the tower (at the west end) has two stories,
+with two circular-headed windows with buttress between unspoilt. At the
+other side of the road is S. Francesco, which has a tower of five
+stories near the east end, and long trefoil-headed windows. The
+high-altar-piece in this church (a Madonna with saints) is ascribed to
+Pordenone (1531), and there is an interesting pulpit with five marquetry
+panels, S. Francis receiving the stigmata in the centre, and
+personifications of four Christian graces in the others, good work of
+the seventeenth century.</p>
+
+<p>The Venetian clock-tower, now a caf�, bears the date 1493 on a panel of
+the winged lion above the pointed arch, but must be earlier than that
+date, as it also bears the Frangipani escutcheon. The loggia was behind
+it. In this piazza are carved panels from a Venetian well or fountain,
+with an inscription of 1558 ascribing its erection to Antonio Gradenigo,
+swags of flowers and fruit, a S. Mark's lion with a tower by the sea,
+&amp;c.; and in the walls here and there are encrusted a few antique
+inscriptions.</p>
+
+<p>A walk of about forty minutes brings one to the shore of Val Cassione, a
+nearly semicircular bay with only a narrow entrance from the Quarnerolo.
+The water is generally smooth like a pond, the mountain of Treskavac,
+which rises to the north-east, sheltering it. The island of Zoccolante,
+girdled with ilex and maples, lies opposite the village of Ponte, and on
+it is the Franciscan monastery of Cassione. A pergola shelters the path
+from the boat-house to the porch, and the cloister is full of flowers
+and bushes. The church has an altar-piece by Girolamo da S. Croce,
+signed and dated 1535, and a Raffaellesque Virgin and sleeping Child.
+The library contains a few early printed books. Throughout the island,
+except in this convent and in<span class="pagenum"><a name="Page_176" id="Page_176">[Pg 176]</a></span> the town of Veglia, the Slav liturgy,
+granted by Pope John VIII. (872-882), is in use.</p>
+
+<div class="figcenter" style="width: 550px;">
+<img src="images/p249.jpg" width="550" height="392" alt="THE HARBOUR OF BESCA NOVA
+" title="" />
+<span class="caption">THE HARBOUR OF BESCA NOVA
+</span>
+</div>
+
+<p>The usual route to Castel Muschio and Veglia is from Fiume, but one of
+our visits was made from Arbe to Besca Nova, a most picturesque and
+equally evil-smelling port, sheltered by widely stretching rocky points
+(one of which bears the appropriate name of Punta Scoglia), which rise
+to mountainous masses behind the little town, with a modern cemetery
+chapel on one of the lower spurs. The houses straggle round the curve of
+the shore, with groups of trees here and there, and little creeks
+running up into the land, crossed by narrow bridges; the streets, mere
+alleys often, scarcely permitting two persons to pass each other, rise
+to a church round which they cluster more thickly. At this end of the
+town the houses cling to the side of the hill above and below the
+street, and are approached by steps which descend to the front, though
+there are also doors on the street level convenient for elopements, and
+wonderful great chimneys of great originality and variety. There were a
+good many boats in the harbour, and we had an excellent opportunity of
+seeing it from all points of view, for the pier at which the steamer
+stops is at one horn of the bay, and it is a walk of a quarter of an
+hour to the indifferent inn. We asked a couple of gentlemen who were
+coming out if we could get anything to eat there, and they replied: "Oh
+yes, if you go at once." We found, however, that we must order what we
+wanted and wait until it was cooked, so we left the civil <i>padrona</i> to
+her labours, and immediately were mobbed by a crowd of children to whom
+strangers were a godsend. A gendarme approached and asked for our
+credentials, but, being satisfied that we were not dangerous, offered to
+assist us in any way he could, and we found that the children
+disappeared for a time. I made inquiries of him as to a couple of
+pictures<span class="pagenum"><a name="Page_177" id="Page_177">[Pg 177]</a></span> ascribed to Vivarini and Basaiti, which I understood were
+in the town, but he knew nothing about them. The Vivarini is a Madonna
+enthroned with two child angels at her feet, with three saints on either
+side of her and angels holding the baldacchino.</p>
+
+<div class="figcenter" style="width: 458px;">
+<img src="images/p252.jpg" width="458" height="500" alt="THE MAIN STREET, BESCA NOVA
+" title="" />
+<span class="caption">THE MAIN STREET, BESCA NOVA
+</span>
+</div>
+
+<p>On our return to the inn the question of a carriage to Veglia engaged
+our attention. There was an officer of some kind in the room, who had
+taken one of the three carriages which appear to compose the transport
+of Besca Nova and declined to share it. The second was under repair, one
+of its wheels being in the hands of the wheelwright on the ground in
+front of the inn. The third had been engaged by two Italian gentlemen,
+father and son, and its appearance suggested doubts as to whether it
+would take five persons and our luggage over the backbone of the island.
+There was a diligence, but it started at 2 a.m., and the drivers tried
+to persuade us to sleep at Besca, saying they could take us on at 6 a.m.
+The <i>d�jeuner</i> we had had, however, inspired so little confidence that
+we determined to get on to Veglia that night, sharing the third carriage
+with the Italians, though in the end we did not benefit very much by the
+arrangement. As the shadows began to lengthen, the horses were put to,
+the harness being supplemented with bits of rope in some places, and we
+packed ourselves and our belongings into the carriage, finding our
+fellow-travellers very pleasant companions. The narrow road runs up a
+rocky valley, at first with a considerable space of cultivated land on
+each side, vineyards and grain occupying the greater part; and before
+long Besca Valle came in sight, a barbarous-looking village, with
+curious reed-thatched huts for styes and cart-hovels, and with
+whitewashed walls to the houses which stood upon unparapeted terraces
+supported on great arches used for storage of different kinds. In the
+church of<span class="pagenum"><a name="Page_178" id="Page_178">[Pg 178]</a></span> S. Lucia, some distance away, is the earliest Glagolitic
+inscription known. Our driver appeared to be on familiar terms with most
+of the population, and was continually calling out greetings to people
+some distance from the road.</p>
+
+<div class="figcenter" style="width: 388px;">
+<img src="images/p255.jpg" width="388" height="550" alt="CHIMNEYS AT BESCA NOVA
+" title="" />
+<span class="caption">CHIMNEYS AT BESCA NOVA
+</span>
+</div>
+
+<p>The valley narrowed and the rocks rose higher, the clear bright green
+Fiumera foamed and tumbled in its rocky bed, and we passed a picturesque
+mill astride of it, backed up with trees. Soon the driver called our
+attention to a great rock hanging from the cliff which seemed as if its
+fall from the height was merely a matter of moments, but which had
+looked so, he said, for years. The continuous climb was interrupted by a
+wooded depression through which the road wound; it then crossed the
+stream and commenced a long ascent continuing for more than a mile,
+which we negotiated on foot. As we rose higher the view expanded, and we
+found it pleasant to turn and gaze at it, warm in the sunset-glow. The
+Velebit Mountains, with their summits hidden in the clouds, blushed a
+beautiful warm rose colour, while Arbe and the nearer island of
+Pervicchio which shelters the harbour, rather more orange in colour,
+contrasted with the pale sapphire of the sea, each increasing the
+brilliancy of the other. The shadowed valley at our feet, with mill,
+stream, and dark trees, enhanced the brightness of the distance and of
+the final glow upon Besca Nova, where the curve of its houses embraced
+the bay with chains of orange and cream colour.</p>
+
+<p>A solitary horseman passed us while we were surmounting the stony waste
+through which the higher portion of the road winds, a greyish and
+reddish variegated marble used in buildings in the island, and just at
+the summit we met the diligence on its way to Besca. The sunset was
+superb, the glow of the sky reflected in the sea, with Cherso dark
+against it<span class="pagenum"><a name="Page_179" id="Page_179">[Pg 179]</a></span> and the shores of Veglia laid out below us, showing Ponte
+and the Convent of Cassione, and Veglia beyond almost hidden in trees.
+As we descended the long slope the colour faded from the sky, and long
+before we reached the town of Veglia nothing could be discerned but the
+silhouettes of branch and leaf against the sky.</p>
+
+<p><span class="pagenum"><a name="Page_180" id="Page_180">[Pg 180]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="XV" id="XV"></a>XV</h2>
+
+<h3>OSSERO AND CHERSO</h3>
+
+
+<p>On one of our journeys we went by boat from Trieste to Lussin Piccolo,
+stopping only at Pola. It was just before Easter, and many sailors from
+the fleet were going home for a holiday. The quay was crowded with
+passengers, and a queerly shaped engine, belching forth thick smoke,
+with train attached, was drawn up behind them. This we thought a fair
+subject for a snap-shot, but the production of the camera attracted the
+attention of a policeman who would not be satisfied until it was put
+away, though the arsenal was behind us. The sailors swarmed on board and
+filled the whole fore part of the boat&mdash;fine-looking fellows for the
+most part, and very good-humoured. Their kits were done up in
+handkerchiefs with the map of Europe printed on them in red, blue, or
+buff. They were full of jokes, and were, in fact, just like a lot of big
+schoolboys. Some of them gathered in a ring and sang in parts for some
+time; the music sounded better a little way off than near. There were
+also Montenegrins on board who had been working on some railway in
+course of construction. One of them had two pairs of corduroy trousers
+on, the upper whitish, the under the usual brown-green.</p>
+
+
+
+<p>Lussin Piccolo lies at the head of a deep bay, and climbs the ridge
+along which the road runs to Lussin Grande, a place which is now much
+smaller than its neighbour, but more picturesque and pleasant. The<span class="pagenum"><a name="Page_181" id="Page_181">[Pg 181]</a></span>
+bigger hotels are at Lussin Piccolo, where the larger harbour allows the
+steamers to call. It has become a winter residence for Russians and
+Austrians; and the keeper of the largest caf� told us that many of the
+former came, instancing an officer of the guards who stayed six months,
+and told him he was better off there than in St. Petersburg, or indeed
+Manchuria, where he expected to be sent if he returned! The harbour is
+called Val d'Augusto, because the fleet of the Emperor Augustus is said
+to have remained at anchor there for a whole winter. It may be true, for
+at the battle of Actium his fleet was principally manned by Dalmatians.
+From above the town the view looking towards Ossero is rather fine, the
+summits of the hills along the spine of the island rising one beyond the
+other, culminating in Monte Ossero, paling and getting bluer with
+greater distance. The sea, of a blue quite different in its quality,
+runs into the land in many little inlets, while beyond are Veglia and
+the mainland mountains often capped with clouds.</p>
+
+<div class="figcenter" style="width: 650px;">
+<img src="images/p260.jpg" width="650" height="419" alt="LUSSIN GRANDE
+" title="" />
+<span class="caption">LUSSIN GRANDE
+
+</span>
+</div>
+
+<p>The road to Lussin Grande runs along the slope of the hills, rounding
+tree-clad spurs and diving into hollows, with frequent peeps down into
+little coves where boats are drawn up. In one of these a little fellow
+was paddling himself about in a tub. On seeing us looking at him, he
+raised the usual boatman's cry, "Barca, barca, Signori, per Lussin
+Grande," and burst into a peal of laughter, in which we joined. The port
+is delightfully picturesque; at the entrance is a church approached by a
+flight of steps, with a terrace and cypresses, towards which nuns were
+wending their way for "benediction"; the sun glowed upon white walls,
+dark trees, and tiled roofs; while the harbour in shadow, full of boats
+rich with the colour of nets and sails, and the reflections of the blue
+sky upon its rippled surface, afforded an attractive contrast. One round
+tower of<span class="pagenum"><a name="Page_182" id="Page_182">[Pg 182]</a></span> the walls remains, built of stone, with machicolations and
+Ghibelline battlements added in brick and plastered; a modern slab over
+the door gives the date 1455. A kind of public garden called the Piazza
+del Pozzo, from an old rope-worn well within it, contains many different
+kinds of flowering and shady trees with seats beneath them, and aloes
+grow on the rocks above the entrance to the harbour on both sides. The
+town contains several fine houses, and in the churches are a few
+interesting pictures, though architecturally they are not very
+noticeable. One of them has a curious tiled ogee-shaped dome over the
+sanctuary. The pictures are: in S. Nicol�, a Byzantine Madonna and Child
+with S. Joseph; in S. Maria degli Angeli, a Bartolommeo Vivarini&mdash;God
+the Father above, surrounded by angels; below, an enthroned Madonna with
+SS. Augustine, Catherine, and Cicely on one side; on the other, SS.
+Agnes, Jerome, and Lucy: the picture is dated 1475. There are also a
+Pietro della Vacchia called a Titian, and a few others.</p>
+
+<p>The women wear a curious head-dress something like a turban with a long
+end hanging down the back; they generally have a loose sleeveless jacket
+over a white full-sleeved blouse and a skirt in many pleats and often of
+many colours, and an apron; sometimes a handkerchief is thrown over the
+head instead of the head-dress. They also wear elaborate earrings, a
+number of rings fastened together with a drop below, all of metal.</p>
+
+<div class="figleft" style="width: 322px;">
+<img src="images/p264.jpg" width="322" height="550" alt="WEST DOOR OF THE COLLEGGIATA, OSSERO
+" title="" />
+<span class="caption">WEST DOOR OF THE COLLEGGIATA, OSSERO
+</span>
+</div>
+
+<p>From Lussin Piccolo we drove in the opposite direction to Ossero, the
+ancient Apsoros or Auxerrum, following a narrow road through
+olive-yards, along the shore or some way up the hill among a bewildering
+variety and luxuriance of vegetation. On the island, which is about
+eighteen miles long, though nowhere more than two in breadth and seldom
+more than one,<span class="pagenum"><a name="Page_183" id="Page_183">[Pg 183]</a></span> there are three villages besides the two Lussins. They
+are Neresine, Chiunschi, and S. Giacomo. At Neresine we were told that
+there was an English-speaking landlady. So we looked her up at the
+"Gasthaus Amicorum." We found that she and her husband had been in
+America, and were told several strange stories of curious occurrences
+which she had known of while there, especially with regard to the
+drugging of drinks, which made one think she must find her life rather
+lacking in excitement in this little out-of-the-way place where she was
+apparently going to end her days. There is a Franciscan convent here
+with a handsome campanile looking much more ancient than its date
+(1590-1604), with double lights and a balustrade round the top. In the
+church are pictures attributed to Girolamo da Santa Croce and the
+younger Palma. The ascent of Monte Ossero may be made from here (1,900
+ft.). The top is a bare, stony wilderness like the backbone of Veglia.</p>
+
+
+
+<p>The weather was lovely, and we constantly came upon subjects which would
+tempt the artist to stop and sketch&mdash;a monk seated under an olive-tree
+in the shade; cattle and sheep tethered to the grey trunks, grouping
+themselves as they clustered for company; a boat under sail seen through
+the branches of the trees against a headland on the more distant hills
+of Arbe and the mainland; and so on. The hillside was clothed with
+bushes and plants in flower, among which we recognised the oleander,
+white rose, juniper, laurustinus, fig-trees, ilex, cypress, strawberry
+arbutus, a small-leaved myrtle, grape hyacinths thick on the ground,
+giant and quite small spurges, a euphorbia with thorny trailing stems
+and heart-shaped leaves, great ericas as high as a man, in some places
+cyclamen in clumps by the wayside like daisies, a bush trifolium
+something like cytisus but scentless, thyme, and a kind<span class="pagenum"><a name="Page_184" id="Page_184">[Pg 184]</a></span> of sage, while
+the bay-trees were so fully in bloom that they looked a pale yellowish
+green instead of their usual colour. Just before we reached the bridge
+connecting the islands of Ossero and Cherso, which has to be crossed
+before the town of Ossero is reached, great banks of spurge made the
+roadside as yellow as fields full of charlock in England.</p>
+
+<p>In a wall at the entrance of the town the S. Mark's lion still watches,
+though the two fortresses which report says were here are no longer
+traceable. The cathedral is Lombardesque in style, built by Bishop
+Antonio Palci&#263; (1465-1474), and has a rather pretty doorway ascribed to
+George of Sebenico, who was certainly employed by him upon other works,
+and a massive campanile of 1675, which dominates the place. The nave is
+five bays long, the arcade is round-arched with pretty caps and
+ornamented archivolts, and the floor is paved with red and white marble
+in chequers. The holy-water basins are simple, and the columns of the
+ciborium rest on two red marble caps of the fourteenth century upside
+down, one base of the same and one of the Lombardi period, showing the
+use of older material. The church still retains a line monstrance, one
+or two other pieces of silver-work, and some embroidered vestments,
+though no longer the seat of a bishop, and over the high-altar is a
+picture of the school of Titian. The monstrance is late Gothic, with a
+foot added in the seventeenth century. It is decorated with many niches
+and figures, and a fine cresting round the domical top. The curved
+surfaces above and below the glass tube have scroll-work upon a blue
+enamel ground, part of which has come away. In these places there is no
+sign of pattern upon the silver, but only a general cross-patching
+showing that the arabesques and other patterns were not soldered to the
+ground beneath, but only arranged with the enamel flux before<span class="pagenum"><a name="Page_185" id="Page_185">[Pg 185]</a></span> firing.
+The architectural details are gilded, the rest is silver.</p>
+
+<p><a name="p184" id="p184"></a></p>
+<div class="figright" style="width: 242px;">
+<img src="images/p267.jpg" width="242" height="400" alt="MONSTRANCE IN COLLEGGIATA, OSSERO
+" title="" />
+<span class="caption">MONSTRANCE IN COLLEGGIATA, OSSERO
+</span>
+</div>
+
+<p>There are some remains of Roman walls still traceable, between which and
+the medi�val walls is the site of a large seven-aisled church, perhaps a
+pair of twin basilicas. Upon the ruins of the seventh aisle the present
+church of S. Maria was erected, and within it the ancient bishop's
+throne, constructed of fragments of ninth-century carved slabs, was
+still preserved till a few years ago. It was only after persistent
+inquiries that we found it in a store-shed with other fragments of
+ninth-century carving and some Roman antiquities thought of little
+importance, though the inscriptions and other marble fragments and the
+stone funerary urns are in their company. In the show museum are Roman
+fragments, lamps, Pansiana pottery stamps, bronze vessels and utensils,
+iron fragments, glass phials, &amp;c. On the hill, not far off, prehistoric
+tombs with interesting objects have been found; but the greater part of
+the finds have been sent to more important museums.</p>
+
+<p>The sea-passage, which is crossed by a swing bridge, is called the
+"Cavanella di Ossero"; through it a strong current runs. The island of
+Cherso, the ancient Apsirtide, is a miniature of Monte Maggiore, with
+some fine mountain scenery in it, and a curious fresh-water lake, the
+surface of which is only 50 ft. above sea-level, though it is 225 ft.
+deep in some parts. The finest mountain scenery is near Smergo, where
+the rock rises sheer from the water to the height of 1,000 ft. Here is
+the "Dirupo di Smergo," a cave with a domed top. At one time the sea
+broke into it, laying bare the interior, which is like a giant
+amphitheatre with ribbed roof and sides. The fragments then detached lie
+at the foot of the rock, making a wall between the sea and the cave. The
+city of Cherso is best reached from Pola or Fiume. It lies at the head
+of a winding inlet, protected by a round tower at the point, a relic of
+the fortifications of an earlier period. It belonged to Venice from 1126
+or 1130 till 1358, becoming finally Venetian in 1409, and was granted in
+feud to various patrician families, so that all the objects of art in
+the city show distinct traces of Venetian influence. The piazza by the
+harbour is triangular in shape, the narrow streets, with many
+picturesque houses in them, climb the hillside from the water,<span class="pagenum"><a name="Page_186" id="Page_186">[Pg 186]</a></span> and the
+ancient walls remain on the land side. The loggia is a simple
+seventeenth-century building supported on six stone piers; in the back
+wall are encrusted two inscriptions&mdash;one Roman, one medi�val. The
+cathedral was burnt in 1827, but the west door still remains, very
+closely resembling that of Ossero. A picture by Alvise Vivarini is
+preserved in the priest's house&mdash;a Madonna with SS. Sebastian and
+Catherine, and SS. Christopher and Cosmas.</p>
+
+<div class="figcenter" style="width: 321px;">
+<img src="images/p271.jpg" width="321" height="500" alt="SMERGO FISHERMEN
+" title="" />
+<span class="caption">SMERGO FISHERMEN
+</span>
+</div>
+
+<p>In the chapel of the Mother of God is a Byzantine Madonna and Child on a
+gold ground. The carnations are brownish; there is a cross on the breast
+and on both sides of the head, with the Greek monogram &#924;&#919; &#920;&#978;. There are
+also some fine stalls in the church of the Franciscan monastery; but
+there is not very much of interest in the town except the numerous
+Venetian houses.</p>
+
+<p><span class="pagenum"><a name="Page_187" id="Page_187">[Pg 187]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="XVI" id="XVI"></a>XVI</h2>
+
+<h3>HISTORICAL SKETCH OF DALMATIA</h3>
+
+
+<p>The history of Dalmatia is obscure and confused for a great part of its
+course. That there were Greek and Ph&#339;nician colonies along the coast and
+on the islands is certain; the earliest of the former was that founded
+by the Syracusans in Issa (Lissa) in 390 <span class="smcap">B.C.</span> A Cyclopean building, the
+so-called Gradina Gate at Gelsa, is attributable either to this colony
+or to that of 385 <span class="smcap">B.C.</span> in the ancient Pharia (Lesina). Tragurium (Tra�)
+and Epetium (Stobre&#263;) were daughter colonies of Issa. The largest number
+of inscriptions and coins have been found on Lesina and Lissa. Celts
+were in the country from about the same period. The Roman conquest was
+brought about by the appeal of the people of Issa for help against the
+powerful native queen Teuta. Illyria, south of the Narenta, became a
+Roman province in 168 <span class="smcap">B.C.</span>, though war with the inland tribes continued
+till 34 <span class="smcap">B.C.</span>, when Augustus took the ships of the pirates of Curzola and
+Meleda and the Liburnians, and conquered the inland tribes at
+Promona&mdash;eight long and disastrous campaigns in all. There was, however,
+another revolt in 6 <span class="smcap">A.D.</span>, when the danger to Rome was so great (800,000
+men being in rebellion) that Augustus sent seven legions under such
+generals as Tiberius, Germanicus, and Postumius, who took several years
+to overcome their resistance, so that it was not till 12 <span class="smcap">A.D.</span> that
+Tiberius enjoyed his triumph. Some of<span class="pagenum"><a name="Page_188" id="Page_188">[Pg 188]</a></span> the cities were made <i>municipia</i>,
+and some colonies, and from this time Dalmatia was loyal to Rome. The
+Antonines erected important buildings in Jadera and Burnum, and they
+also fortified Salona.</p>
+
+<p>Roman Dalmatia included the whole coast from Istria to the Drina, part
+of Albania, all Montenegro, Herzegovina, Croatia, Servia, almost all
+Bosnia, and some of the islands of the Quarnero. The legions for the
+most part remained near the coast, which gradually increased in
+commercial prosperity and civilisation; broad and safe roads were made
+to the interior uniting the Save and the Danube on one side, and the
+Drina on the other. From Burnum a road by way of Petrovac reached the
+basin of the Save; from Salona a fan of carriage-roads spread out&mdash;one
+across the Dinaric Alps by �quum and the hill of Prolog to the Danube,
+another by the same hill to Livno and Kupres, a third between Delminum
+and Serajevo. From Narona (Vid) the great Roman Road of the Narenta
+started, and in Albania was the Via Ignatia from Durazzo and Vallona to
+Salonica. The great coast-road from Zara went past Scardona and Salona
+to Narona and Scodra; the inner land route commenced at Tarsatico
+(Fiume) and went by Zengg over the Velebits to Clambeta (near Obrovazzo)
+and Zara, then by Nadinum, Asseria (Podgradje), Burnum, Promona,
+Municipium Magnum, and Andetrium to Salona.</p>
+
+<p>Illyricum was divided into Liburnia, from Istria to the river Kerka, the
+people belonging to the juridical Convent of Scardona, which settled the
+business of eighty-nine cities; from the Kerka to the Narenta they sent
+their representatives to Salona; and Illyris Gr�ca, from the Narenta to
+Drilone in Epirus, which belonged to the juridical Convent of Narona.
+With the successive Eastern invasions and the consequent race
+differentiations, maritime and inland Dalmatia<span class="pagenum"><a name="Page_189" id="Page_189">[Pg 189]</a></span> were separated, and the
+Turkish conquest made the Dinaric Alps into a bulwark not to be crossed.</p>
+
+<p>The Illyrians furnished the Romans with many distinguished soldiers, of
+whom Claudius Gothicus, Aurelian, Septimius, Probus, and Carus of Narona
+were soldier emperors. Diocletian was the most celebrated. More than
+sixty Roman settlements are known. For about seventy years the country
+was ruled by the Goths. After the recovery of Italy by Belisarius and
+Narses it belonged to Byzantium from 537, and was ruled from Ravenna by
+a <i>catapan</i> at Salona. The war with Chosroes in 600-614 strained the
+Byzantine resources and thus denuded the coast of soldiers, so that the
+Avar and Slav inroads met with little resistance under Heraclius
+(610-640), who had called in the latter to drive out the Avars; Narona,
+Salona, Epidaurus, Burnum, and Rhizinium were destroyed. In 641 Pope
+John IV., a Dalmatian by birth, sent Abbot John to Istria and Dalmatia
+to ransom prisoners and collect relics.</p>
+
+<p>The Croats and Serbs exterminated the Avars in the middle of the seventh
+century and delivered the province, the Croats occupying the west to the
+river Cetina, the Serbs the east from the Cetina to Albania. Under the
+Serbs the southern portion was divided into four <i>zupanje</i>, of which the
+only name which has survived is Trebinia, which reached from Cattaro to
+Ragusa and included the mountain regions. The Croat dukes recognised the
+sovereignty of the Carlovingians, as is proved by the oldest inscription
+extant, that of Tripimir (852), being dated by the rule of the Emperor
+Lothair. The title of king was assumed by Muncimir in 914. Two or three
+of the kings resided at Nona in the eleventh century&mdash;Stepan ([symbol:
+dagger] 1052), Peter Cresimir and Svinimir ([symbol: dagger] 1089). The
+widow of the last invited her brother Ladislas of Hungary to take<span class="pagenum"><a name="Page_190" id="Page_190">[Pg 190]</a></span> the
+kingdom. In 1097 Coloman I. of Hungary married the daughter of Roger of
+Sicily. Under Coloman II. (1102-1113) the coast towns from Zara to
+Spalato were Hungarian, while Ragusa and Cattaro remained under the
+protection of Byzantium.</p>
+
+<p>The government of the Dalmatian cities was democratic to a considerable
+extent, the oligarchy embracing a large proportion of the inhabitants,
+and the monasteries were expected to contribute to the common needs and
+share in the defence of the town. The supreme official was called prior;
+judges and tribunes also are mentioned in contemporary documents. A
+certain dependence upon the Greek Empire was recognised, for in Zara the
+<i>strategos</i>, the <i>catapan</i>, and the proconsul of Dalmatia appear even
+after the time of the Croatian kings. The Venetian doge had the title of
+King of Dalmatia given him by the Emperor of Constantinople about the
+end of the eleventh century in return for the help given by the fleet
+against the Normans.</p>
+
+<p>During the whole of the twelfth century Venice and Hungary contested the
+possession of Dalmatia, victory inclining to Venice, who, by policing
+the Adriatic, made her protection valuable to the coast cities. The
+pirate raids from which the coasts suffered were of varied
+nationality&mdash;Saracen and Turk, Uscoc and bands of native pirates. Of
+these latter the Narentans were the most powerful. They remained pagan
+till near the end of the ninth century, and beat off an attack by Doge
+Pietro Candiano in 887, killing him. He was buried in the atrium at
+Grado. For one hundred and sixty-eight years they carried on the contest
+with Venice, being most powerful during the tenth century, when Otho I.
+sought their alliance. They had then become Christian, and assisted in
+driving the Saracens from Monte Gargano. In 992 the confederate
+Dal<span class="pagenum"><a name="Page_191" id="Page_191">[Pg 191]</a></span>matian cities asked for the protection of Venice, in response to
+which the expedition under Orseolo II. was fitted out, and broke their
+power. The population of the Narenta valley is now but 12,000, in spite
+of the facts that Metkovi&#269;, near the mouth, is the terminus of the
+railway from Serajevo and Mostar, and that the government has spent much
+money in dredging and embankment works at the mouth of the river. The
+boundary of Herzegovina is but a mile from Metkovi&#269;, for which it serves
+as port. Vid, a few miles away, is the ancient Narona. A good many
+inscriptions and antique fragments have been found there, and are now
+encrusted in the wall of a house. For many years Vid was a bulwark of
+Christianity against the Turks, and the minarets of a little Turkish
+village, Liubuski, in which half the population, male and female, wear
+Turkish costume may be seen not far away.</p>
+
+<p>By the middle of the fourteenth century Lewis of Hungary had acquired
+the whole of Dalmatia from Zara to Cattaro. In 1409-1420 Venice bought
+the territory from Hungary, with the exception of Ragusa, which for some
+fifty years remained under Hungarian protection, but after 1467 was
+protected by Turkey. In the sixteenth century the Cross and the Crescent
+were bitterly opposed; Austria became the Christian champion in place of
+Venice towards the end of the seventeenth century, and at the fall of
+the Republic Istria and Dalmatia were given to her in 1797 by the treaty
+of Passerino. From 1806 till 1814 they were French; but the peace of
+Vienna settled their destiny as forming part of the Austrian dominions,
+in which they have remained till the present day.<span class="pagenum"><a name="Page_192" id="Page_192">[Pg 192]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="XVII" id="XVII"></a>XVII</h2>
+
+<h3>ARBE</h3>
+
+
+<p>It was very early in the morning when we arrived at Arbe the first time;
+so early, in fact, that the innkeeper was still in bed and had to be
+interviewed from his chamber-window, and we had to deposit our
+belongings at the door before commencing our explorations breakfastless.
+On this occasion we were unfortunate. The skull of S. Christopher was
+exposed on the altar, but the shrine was locked up, and the <i>parroco</i>
+had gone into the country to visit a sick man, with the key in his
+pocket, while the ciborium was swathed in festival draperies. We
+therefore determined to satisfy ourselves with a cursory inspection, and
+arranged to return the next year; for the steamboats are not like
+suburban trains, missing one of which merely means a slight delay. Many
+of the islands have but one or two services in the week; and staying for
+the next boat may derange the plan of a whole tour.</p>
+
+<p>The city looks most attractive from the sea as one approaches. It
+occupies a long tongue of land midway along the western coast, and the
+walls drop into the water both towards the harbour and the open sea.
+They are nearly complete in their circuit, but have lost their
+battlements and some portions of their substance. There is a good deal
+of ruin within them, which makes the foregrounds uninteresting and
+squalid. To the west is a public garden planted with fir-trees, and
+with<span class="pagenum"><a name="Page_193" id="Page_193">[Pg 193]</a></span> seats here and there. Aloes grow plentifully on the rocks to the
+south-west.</p>
+
+<div class="figcenter" style="width: 650px;">
+<img src="images/p280.jpg" width="650" height="443" alt="THE LANDING-PLACE, ARBE
+" title="" />
+<span class="caption">THE LANDING-PLACE, ARBE
+</span>
+</div>
+
+<p>In the early Middle Ages Arbe was prosperous owing to its trade and its
+position on the high-road between Venice and the East. The plague of
+1456 depopulated it, and all the richer people fled except the bishop,
+Johannes Scaffa, and five canons. In 1463 Bosniaks flying from the Turks
+came to increase the population and were well received, but the town
+never recovered its prosperity. The empty streets and ruined houses and
+churches near the cathedral testify to the desolation. The style of the
+houses is Venetian for the most part, as might be expected, since it was
+the port of call for those going to Greece or the Holy Land. Some of
+them are very interesting and beautiful. The quay has several fronting
+on to it, specially a lofty tower-like building of the fourteenth
+century with later windows and balconies inserted. Many marble coats of
+arms may be seen here and there, and the windows and door-jambs often
+have charming carved ornaments. The Palazzo Nemira shows a pleasing
+combination of late Gothic and Renaissance detail in pierced panels and
+balustrading; and the <i>parroco</i> lives in a house which has a good
+doorway of the usual Venetian-Gothic type. The house in which Archbishop
+De Dominis was born (for some time Dean of Windsor, and celebrated for
+his scientific attainments), a palace of somewhat later date, is now a
+kind of club and reading-room, in which the innkeeper apparently has the
+right of serving his patrons with meals. The families of De Dominis and
+De Hermolais gave many bishops to the see between the twelfth and
+fifteenth centuries. The loggia is well preserved or has been well
+restored. Overlooking it is a window from which a parrot screams
+insulting remarks to passers-by.</p>
+
+<p>Arbe was known to the ancients as part of Liburnia.<span class="pagenum"><a name="Page_194" id="Page_194">[Pg 194]</a></span> Pliny mentions it,
+and so does Porphyrogenitus. There was a second city in the island in
+antiquity called Colento, of which every trace has disappeared. The
+island belonged sometimes to the Croats, sometimes to Byzantium, and
+sometimes to Hungary, but from 1115 was mainly under the influence of
+Venice. The history of the Church goes back to the tenth century, but
+the first bishops' names are uncertain. A Zaraitan record of 986
+mentions a Bishop Petrus. In 1062 a Bishop Dragus is named as being at
+the consecration of S. Pietro in Valle, the oldest Benedictine convent
+in Arbe. In the communal archives are preserved the oldest MSS. of the
+kings of Dalmatia and Croatia of the tenth century.</p>
+
+<p>The cathedral is a basilica with nave and aisles. The main apse is
+octagonal outside and semicircular within; the apse to the north aisle
+also exists; that of the south aisle has been replaced by a square
+chapel. The nave arcade consists of six bays of round arches, resting on
+five pairs of columns which, though they are made up with plaster and
+painted, are probably antique, since the caps differ enormously in
+height and column and cap frequently do not fit. Some of the capitals
+might be late Roman, but most of them are very rude imitations.
+Super-abaci are used. The ciborium is hexagonal and rests on six columns
+of Greek cipollino, with the top and bottom mouldings worked on them;
+the caps are Byzantine of the sixth or seventh century, but without
+super-abaci. The front arches have huge Renaissance swags in the
+spandrils and a moulded cornice with classic enrichments; at the back
+are three ninth-century panels with arch and spandril in one piece,
+carved with ornament similar to that on the baptistery of Calixtus at
+Cividale; the pyramidal roof terminates in a carved finial. The greater
+part of the building is of the thirteenth century.<span class="pagenum"><a name="Page_195" id="Page_195">[Pg 195]</a></span> The church, having
+become ruinous in 1237, was restored in 1287, and again in 1438 and
+1490. It is now the chief parish church of the diocese of Veglia. The
+west door belongs to the last restoration; in the tympanum is a poorly
+carved Piet�. It is flanked by some remains of a flat arcading. The
+wheel-window above, though Romanesque in design, bears the date 1439. A
+pink marble is used in this fa�ade with very good effect. In the north
+wall is a square marble panel with an enthroned Christ, of Byzantine
+type, like the ciborium and the nave columns a relic of an earlier
+building. The stalls are fine of their kind, and we were told that an
+offer of 50,000 florins and a new set had been made for them and
+refused. They are dated 1445, and are elaborately carved with figures
+and the usual nerveless foliage of the period, of which other good
+examples occur at Zara and Parenzo. In a chapel in the north aisle is a
+polygonal Renaissance font of rather pleasing design, with S. John the
+Baptist in the central panel and fruit, &amp;c., hanging in the others. In
+the apse of the north aisle is an early Madonna with the Child, robed in
+red and blue with golden diaper patterns; and over an altar in the south
+aisle is an interesting tempera picture in a frame of the fourteenth
+century, painted on a gold ground, with Greek inscriptions and
+technique. In the central panel is a Crucifixion, on the left is S.
+Matthew, and on the right S. Christopher.</p>
+
+
+
+<div class="figright" style="width: 350px;">
+<img src="images/p284.jpg" width="350" height="263" alt="RELIQUARY OF THE HEAD OF S. CHRISTOPHER" title="" />
+<span class="caption">RELIQUARY OF THE HEAD OF S. CHRISTOPHER
+</span>
+</div>
+
+<p>S. Christopher was patron of the town and diocese, and the greatest
+relic is his head, now that those of Shadrach, Meshech, and Abednego<span class="pagenum"><a name="Page_196" id="Page_196">[Pg 196]</a></span>
+have disappeared. The first mention of it occurs in the eleventh
+century, when Bishop Dabrana or Domana (1080-1086) brought it forth with
+prayers and hymns to deliver Arbe from an attacking horde which had
+besieged the city for a month. A great stone fell from heaven into the
+camp of the besiegers on that occasion, and the missiles which they
+shot recoiled upon them. In Arbe, S. Christopher's Day is kept on May 9,
+the day of this discomfiture, instead of July 25 as elsewhere. Other
+deliverances took place in 1097 from Coloman of Hungary, and in 1105
+from a Hungarian Count Sergius, according to tradition. The shrine
+appears to be work of the twelfth century, and is based on the antique,
+but betrays Byzantine influence also. It is decorated with gilded
+reliefs upon a ground of silver. It is a rectangular wooden box with a
+pyramidal lid, to which the silver plates are nailed. The subjects upon
+the four sides are: 1. A seated king and an archer shooting at S.
+Christopher, who is bound to a stake; the arrows fall deflected and
+broken by the hand of God, which appears by the saint's head. Above is a
+canopy supported on<span class="pagenum"><a name="Page_197" id="Page_197">[Pg 197]</a></span> twisted columns. 2. The saint is beheaded beneath a
+canopy; the hand of God again appears by the headless trunk. Two
+soldiers in Roman costume stand by, one with lance, and the other with
+raised sword. 3. Three holy men holding scrolls, barefoot and robed in
+tunic and toga. 4. Three holy women, two holding a cross; the heads have
+been restored. All these figures have large heads, especially those
+standing under the round-arched arcade, with alternate twisted and
+ringed colonnettes. The lid has <i>repouss�</i> subjects upon all four
+surfaces: 1. Christ enthroned, blessing and holding a book, with the
+monograms IC and XC; in the corners the lion and eagle with books. 2. S.
+John with the eagle and monogram IONS. 3. S. Christopher, beardless, as
+a standard-bearer, and with a royal</p>
+
+<p>
+<span style="margin-left: 1em;">S.XPO</span><br />
+</p>
+
+<p>mantle, with inscription FOR; at his feet a male</p>
+
+<p>
+<span style="margin-left: 1em;">VS</span><br />
+</p>
+
+<p>and a female figure&mdash;donors probably. 4. The Virgin standing with
+monograms &#924;&#919; &#920;&#978;. An angel with a book stands near. The skull is
+surrounded by a double crown, the outer of gold set with precious
+stones, the inner of silver ornamented with lilies. The tradition is
+that the reliquary was the gift of Queen Elizabeth of Hungary.</p>
+
+<p>In the sacristy are also three strips of champlev� enamel from a
+destroyed reliquary, with figures of eight of the Apostles&mdash;Matthew,
+James, Bartholomew, Andrew, Thomas, Philip, Thaddeus, and Svhon
+(Simon)&mdash;seated and holding symbols in one hand and churches in the
+other (which have central domes sometimes, and pediments over the doors,
+while the roofs and towers look much later than the thirteenth century,
+to which they are generally ascribed). The colours used are blue, green,
+yellow, white, and red, and the style resembles that of the Maestricht
+school. Eitelberger<span class="pagenum"><a name="Page_198" id="Page_198">[Pg 198]</a></span> describes another plaque on which SS. Peter, John,
+Mark, and three others were represented. This seems to have disappeared
+since his time, as it was not shown me with the others.</p>
+
+<p>The campanile of the cathedral is one of the finest in Dalmatia, and is
+older than the year 1212, in which year there is mention of it. It is 20
+ft. square and more than 100 ft. high, with four stories separated by
+ornamented string courses, a base and a pyramidal top. The base has a
+door and eight windows, two on each side, on a higher level. The lowest
+story has also two windows on each side, but beneath three corbelled
+arches. In the next the windows are each coupled, with a central
+colonnette and an arch above springing from the central and angle
+pilaster strips. In the third the windows have three lights and coupled
+colonnettes beneath a similar arch, but the story is loftier. In the top
+story (which is as deep as two of those below) there are four lights
+with coupled colonnettes and a square framing round them; a cornice
+slightly projecting and a balustrade complete the perpendicular part.
+All the arches are round and the window shafts have neither cap nor
+base. The leaf ornament of the strings imitates the antique. The
+pyramidal top is octagonal, and bears an inscription recording its
+restoration after damage by lightning; the lower portion seems to be
+original.</p>
+
+<p>Four of five other churches have campaniles, of which S. Andrea is the
+best, apparently twelfth-century work, as are the three apses at the
+eastern end. S. Giustina has a curious bulbous top, plastered and
+painted red. The churches generally have a semicircular apse and flat
+wooden ceilings; those without campanili have bell-turrets on the west
+wall, many of them no longer in use. S. Andrea was rebuilt in the middle
+of the fifteenth century, and has a good Venetian Renaissance doorway.
+In S. Antonio, just beyond the<span class="pagenum"><a name="Page_199" id="Page_199">[Pg 199]</a></span> cathedral is a fifteenth-century
+altar-piece with carved and painted figures. In S. Andrea is a woefully
+repainted Bart. Vivarini, signed and dated 1485, and in the Franciscan
+convent of S. Eufemia, some way outside the walls, there are said to be
+two pictures by the same artist.</p>
+
+<p>Of S. Giovanni Battista, which was so interesting for the construction
+of its apse and ambulatory, scarcely anything remains&mdash;just the exterior
+wall of the apse and north wall of the nave, with remains of one door
+with an inscription. The obliging owner or renter of the ground showed
+us a piece of the mosaic pavement in rather bad repair, which he said
+the Duke of S. Stefano wished to buy, but it was impossible to get it up
+from the grass which had grown round it, apart from the difficulty of
+the three <i>permessi</i> required from the bishop, the authorities, and the
+proprietor. He had the earth swept off the piece which we saw, and there
+was no grass growing just there. The patterns are interweavings rather
+Roman in design, the colours used being black, red, rose-pink, and
+white. The church is said to have been the first cathedral; later it
+belonged to a Franciscan convent which was used as the palace of the
+bishop some seventy years ago. Round the cloister were two stories of
+rooms, with a curious chapter-house in the corner. The site is now laid
+out as a garden, with pergolas and a terrace-walk looking over the sea;
+amid these are still a good many architectural fragments lying about,
+some of which appear to go back to the tenth century. Four boxes full of
+such fragments were sent to the Museum of S. Donato at Zara without any
+claim being made for expenses, but were refused.</p>
+
+<p>One ought not to omit mentioning the chapel of the Campo Santo, which
+has a strange fa�ade with three great conventional shell forms above a
+rose-window, and a carved architrave with Renaissance <i>motifs</i> above
+the<span class="pagenum"><a name="Page_200" id="Page_200">[Pg 200]</a></span> door. It was restored in 1867; the adjoining ruinous building has
+1657 over its door.</p>
+
+<p>S. Pietro in Valle is some six miles from Arbe, and is as yet
+undescribed. Signor Rismondo, whose kindness I have just referred to,
+offered to drive us out to it, an attractive offer which I was
+exceedingly sorry to have to decline; but the times of sailing of the
+boats are not elastic, and it would have meant spending four days more
+on the island, an amount of time which I could not spare. He also wanted
+to take us to below Loparo, where he said the geological formations are
+strange and impressive. The cliffs facing the mainland are riven into
+detached pinnacles estimated to be as high as the campanile of the
+cathedral, and the scenery is savage in the extreme.</p>
+
+<p>Our second visit to Arbe was made from Zara, which we left in rather
+stormy weather, the waves outside the harbour flashing with little white
+caps, while flaws of rain constantly hid the island of Ugljan on the
+other side of the channel. The boat was rather a small one, belonging to
+the Zaratina company, with a crew which consisted of a captain, who also
+acted as supercargo, an engineer, a stoker, a cook, one deck-hand, and a
+cock. The cock's name was Nero, and he had voyaged with the boat for two
+months (as the engineer testified) without suffering even from the most
+tempestuous weather. There was an awning over the central portion of the
+boat and flapping pieces of sailcloth, apparently intended to shield the
+very varied merchandise which was being brought on board, and we found
+that it was possible to shelter beneath it by observing the direction of
+the wind and keeping to leeward. The crew comforted some women who
+feared the roughness of the waves (one of whom carried a new hat in a
+large paper-bag, which became rather dilapidated under the attentions of
+the wind and the frequent showers) by<span class="pagenum"><a name="Page_201" id="Page_201">[Pg 201]</a></span> saying it would be all right when
+we got round the point behind which Nona lies; and as the boat was very
+buoyant and seaworthy we found it possible to enjoy the passage
+notwithstanding the doubtful weather. As we turned down the bay to Val
+Cassione, however, the wind shifted a point and blew dead against us,
+and we began to think that the boat was very small for such a sea. The
+women and a child had to disembark here, and were almost in tears, and
+the length of time that the boatmen took to make up their minds to come
+out from the harbour and face the choppy sea did not reassure them. Nero
+marched bravely up and down the deck, giving vent every now and then to
+a rather cracked crow, and we wondered how he escaped being blown
+overboard! Fortunately he carried very little sail, only two feathers
+remaining in his dilapidated tail; but his spirit was high, and he was
+always ready to respond to the challenges of the engineer.</p>
+
+<p>As we rounded the point after leaving Val Cassione the wind shifted
+again and the weather improved as if by magic. The clouds gradually
+melted away, and the blue of the sky palpitated through the grey; the
+sun shone warm upon the barren, featureless coast, adding colour to the
+dispiriting grey of the limestone spotted with the dark green of shrubs,
+a characteristic of most of the Dalmatian islands, and the Velebit
+Mountains became clear, in some places to the summits, though the
+greater part of the chain was still cloud-capped and barred with heavy
+purple shadows.</p>
+
+<p>The party at lunch consisted of the captain, the engineer, and a priest
+who was now the one passenger beside ourselves. We comfortably filled
+the table in the little cabin. The captain said that since the
+phylloxera damaged the vines two-thirds of the Dalmatians (the country
+people) had emigrated. He<span class="pagenum"><a name="Page_202" id="Page_202">[Pg 202]</a></span> seemed to hold them in slight estimation,
+perhaps because he was a sailor, which he said none of them are in that
+part of the country (a statement we had an opportunity of verifying, for
+we noticed that a very slight motion of the boat makes them sick), and
+so ignorant "that it would require 2,000 years of teaching to civilise
+them!" The captain himself belonged to one of the outlying islands,
+where his wife and family lived and where he spent two nights in each
+week; and he took a gloomy view of the prospects of the "Dalmati," as
+the Italian-speaking Dalmatians call themselves. He said when he was a
+boy the language used in the schools generally was Italian, then it was
+changed to German for a time, but Croat is now universal, so that in
+twenty years Italian will no longer be understood along the eastern
+littoral; which will be bad for the culture of the country, almost the
+whole of which is Italian, and has been so for centuries.</p>
+
+<p>Our priest left us at a little convent with a chapel and two houses
+standing close to the water's edge; and at Novaglia we took on board a
+party of emigrants, some of whom were quite boys, while one was
+grey-headed. Most of them wore the picturesque costume of the Morlacchi;
+but the next day we saw them again, clad in the characterless, sack-like
+slop-suit which seems to be thought a mark of civilisation, having lost
+much of their individuality without gaining anything in exchange. A
+number of friends lingered on the shore to see them off; but there was
+no such singing as we heard next day at Loparo beyond Arbe, the
+birthplace of the founder of the Republic of S. Marino, where some
+twenty or more were waiting for us on a barge in the pretty bay, singing
+a farewell song which wailed over the water as we approached. As they
+boarded the steamboat they kissed their friends on both cheeks, and
+crowded to the side as we got under way again,<span class="pagenum"><a name="Page_203" id="Page_203">[Pg 203]</a></span> repeating their
+melancholy song and waving adieus; while all along the tops of the hills
+which flank both sides of the harbour figures silhouetted against the
+sky, waved in response, and stood watching the boat as long as we could
+distinguish them.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/p291.jpg" width="400" height="400" alt="ARBE FROM THE SHORE" title="" />
+<span class="caption">ARBE FROM THE SHORE</span>
+</div>
+
+<p>When we reached Arbe, cresting its rocky point with a picturesque
+confusion of walls, campanili, and house-roofs that seemed to grow out
+of the rocks, so well do they harmonise with them, the afternoon was
+sunny and delightful, though the roads showed signs of the rain which
+had recently fallen. At sunset we<span class="pagenum"><a name="Page_204" id="Page_204">[Pg 204]</a></span> climbed again to the public garden
+and enjoyed the well-remembered view of towers and walls grey against
+the glowing sky, the most beautiful grouping of one of the most
+picturesque places that I know, intensified by the charm of the changing
+colours as the glow gradually faded, and the opalescent sea by slow
+degrees took its place in the quiet harmonies of twilight.</p>
+
+<p><span class="pagenum"><a name="Page_205" id="Page_205">[Pg 205]</a></span></p>
+
+<div class="figcenter" style="width: 394px;">
+<img src="images/p294.jpg" width="394" height="550" alt="ASCENT TO THE RAMPARTS, ZARA
+
+" title="" />
+<span class="caption">ASCENT TO THE RAMPARTS, ZARA
+
+</span>
+</div>
+
+
+<hr style="width: 65%;" />
+<h2><a name="XVIII" id="XVIII"></a>XVIII</h2>
+
+<h3>ZARA</h3>
+
+
+<p>The continuation of the Canale della Morlacca, which washes the
+mainland, is the Canale della Montagna, on the west side of which is the
+island of Pago, the Gissa of the ancients. The city of the same name was
+founded by the Venetians, and was originally a defensive military post
+against the Uscocs. The bay upon which it is situated lies open to the
+"Bora," and therefore cannot always be entered in winter. For this
+reason Val Cassione, on the west side of the narrow island, is the usual
+port. A road over a slight hill conducts to the south end of the bay and
+the city, in front of which the water is so narrow that it is bridged
+over. On the near side are the celebrated salt-works, the richest in
+Dalmatia. There are a few Roman remains, including those of a camp; and
+near Novaglia is a tunnel 300 yards long, lighted by pierced apertures,
+said to have belonged to a Roman aqueduct. The scenery outside the
+island of Pago is uninteresting; the islands have little elevation,
+beauty of form or colour, nor is there sufficient vegetation to disguise
+the dull grey of the rocks, though, as the boat turns to the west to
+gain the mouth of the Canal of Zara, the Velebit Mountains behind may
+become imposing under certain circumstances. The first time we went to
+Zara the sun was setting at this part of the voyage, and the sky effect
+was fine, while the Velebits flushed a pinkish purple with blue-<span class="pagenum"><a name="Page_206" id="Page_206">[Pg 206]</a></span>purple
+shadows, the silhouette only showing in places beneath heavy masses of
+cloud, in which some of the summits were hidden. Falling showers here
+and there softened and veiled the strong light and shade, relieved by
+the prismatic hues of a rainbow. As the sun sank lower the mountains and
+clouds gradually became a pallid grey, while the sky to westward passed
+through many gradations of colour and tone as the clouds slowly
+dispersed and night fell. Far away over the darkening water the electric
+lights of Zara flashed and glittered, reflected in chains of sparkles
+which grew longer as we approached.</p>
+
+<p>The boat turned to the left into the old port, and thus we escaped the
+ordeal of the dogana to which passengers landing at the new quay are
+subjected, and entered the town through the Porta Marina, the entrance
+for all travellers arriving by water until, in 1868, the walls towards
+the sea were thrown down, and the Riva Nuova constructed. It is proposed
+to extend this fine promenade to Borgo Erizzo eventually. In making it
+some remains of Roman walls were found. The city was declared "open,"
+and the cannon were transported to the arsenal. On the other side of the
+water is the island of Ugljan, with its conspicuous Venetian castle of
+S. Michele, to which the peasants make a pilgrimage on Michaelmas Day.
+From the height which it crowns, the second Canal of Zara may be seen,
+and the islands of Incoronata, Isole Grosse, and the open sea beyond. It
+is said that the coast of Italy can be seen with a telescope on a fine
+day. The remaining portions of the fortifications have been planted with
+trees, or turned into gardens, and form pleasant promenades both during
+the day, when the shade of the trees is acceptable, and at evening, when
+the sea breeze blows cool from off the water. Among the trees are found
+palms and Paul<span class="pagenum"><a name="Page_207" id="Page_207">[Pg 207]</a></span>ownia in flower. Outside the Porta Terra Ferma a large
+bastion has been made into a public park, named after General
+Blazekovic, who created it in 1888-1890. The fortifications, commenced
+by Sanmichele in 1533, were finished ten years later by his nephew
+Giovanni Girolamo: a drawing for the Porta Terra Ferma exists in the
+Uffizj at Florence, showing the whole depth to the bottom of the ditch,
+which much improves the proportion. It was approached diagonally across
+a wooden bridge; the road is now direct, and the ditch filled up. The
+isthmus joining the peninsula to the land had been cut through to
+strengthen the older fortifications, of which one tower, the pentagonal
+Bo d'Antona, alone remains. When the new works were carried out, as a
+stronger defence against the Turks, the suburbs were destroyed, and the
+ditch was subsequently turned into the cisterns below the Cinque Pozzi.
+This great reservoir, made in 1574, was provided with an elaborate
+system of filtering-beds, the water being collected from the roofs until
+the aqueduct was opened in 1838. The sand was renewed once in a hundred
+years.</p>
+
+<div class="figleft" style="width: 244px;">
+<img src="images/p298.jpg" width="244" height="400" alt="THE PORTA MARINA, ZARA
+" title="" />
+<span class="caption">THE PORTA MARINA, ZARA
+</span>
+</div>
+
+<p>The inner portion of the other gate, the Porta Marina, was, according to
+local tradition, brought from �nona. It is part of a triumphal arch
+erected by a Roman lady, Melia Anniana, to her husband, L�picius Bassus,
+with additions of the period of the Renaissance. It bears a long Latin
+inscription referring to the battle of Lepanto, October 5, 1571, and on
+the water side has a pretty, early Renaissance upper part, with the lion
+of S. Mark and <i>amorini</i> supporting a shield within an architectural
+framing.</p>
+
+<p>Zara (anciently Jadera) is traditionally the capital of the Liburnians.
+It became a Roman colony in 78 <span class="smcap">B.C.</span>, and many Roman fragments have been
+found which attest its splendour and prosperity under the<span class="pagenum"><a name="Page_208" id="Page_208">[Pg 208]</a></span> Empire.
+Trajan built an aqueduct, of which traces have been found through Borgo
+Erizzo to and beyond Makarska. Stone pipes of the same kind were found
+on the shore at Zara Vecchia, in the ruins of the Templars' castle on
+the hill Kastel; above the lake of Vrana, and in the marshes through
+which the road from Vrana to Benkovac passes. It is believed that the
+source was a spring at Biba on this hill. Salona, during the time of its
+prosperity, was of more importance than Zara; but after its destruction
+by the Avars in 639 the latter again became of first importance in
+Dalmatia, the Byzantine fleet being stationed there when Ravenna was
+taken by the Lombards in 752, and the town becoming the dwelling of the
+"strategos." In 804 Donatus, bishop of Zara, acted as envoy with the
+doge of Venice in concluding peace between Charlemagne and the Byzantine
+Emperor Nicephorus. In the tenth century it was known as Diadora. In 991
+it became Venetian for the first time, but without severing its
+relations with Byzantium; and Orso Orseolo fortified it in 1018.
+Somewhat later, the Venetians made it their principal city, putting the
+bishoprics of Arbe, Veglia, and Ossero under the metropolitan in 1154,
+and making Domenico Morosini, son of the doge, Count of Zara. The
+inscription on the nuns' church of S. Maria records the fact that
+Coloman entered Zara in 1105; from that date the Hungarian period
+commences, though apparently the Venetians still had rule over maritime
+Dalmatia. The sacking of the city by the French in 1202 appears to have
+been due to the greed of the Venetians, and to their desire to get even
+with the Hungarians also. Between 1169 and 1201 a Pisan fleet, probably
+allied with Hungary, took Pola from the Venetians; but it was retaken
+before long, and the discords between Henry or Emeric, son of Bela of
+Hungary, and his brother Andrew facilitated<span class="pagenum"><a name="Page_209" id="Page_209">[Pg 209]</a></span> the taking of Zara. It is
+recorded that Andrew had most of the magnates on his side; but Emeric
+went alone and unarmed to the malcontents, saying: "Now I wish to see
+who of you will dare to raise his hand against his king"; and all
+quietly and in silence let him pass. He then took his brother, led him
+out, and imprisoned him in a certain castle. The magnates fell at his
+feet asking pardon. Truly in those days divinity did hedge the king!</p>
+
+<p>The French Crusaders had engaged the Venetians to take them to the Holy
+Land, but did not assemble at Venice at the time appointed, nor had they
+the money ready to pay for their transport. The Venetians, being men of
+business, demanded cash down; and so the favourable time for reaching
+Syria was allowed to pass without the expedition setting forth.
+Provisions and ships had been prepared, and the Venetians, wishing to
+use them, with the consent of Doge Enrico Dandolo, proposed to the
+French an attack on Zara, part of the booty to be used to pay for their
+passage. The attack took place on November 10, 1202, and the French
+stayed till April 7, 1203. The Venetians took all the booty, and threw
+down the wall on the seaward side, but it was restored shortly after.
+They also sent colonists to Zara after a rebellion and a reconquest in
+1243.</p>
+
+<p>The Venetian counts were generally citizens of Venice, and had no
+defined term of rule. In 1311 the city again returned to the Hungarians,
+and the result was the siege of 1312-1313, which ended in the
+condottiere Dalmasio, who was besieging, being offered the countship by
+the ban of Dalmatia and Croatia. To prevent this the Venetians offered
+to leave the Zaratines free to choose their own count, only reserving
+the right of confirmation. In 1345 Zara rebelled for the seventh time,
+when Andrea Dandolo was doge, and in consequence a long siege commenced
+on August 12. The<span class="pagenum"><a name="Page_210" id="Page_210">[Pg 210]</a></span> Venetians had at Nona 20,000 men, horse and foot, who
+devastated the fields for three days and set fire to the villages; the
+countrymen fled to the city, so that there were more than 20,000 within
+the walls, of whom 6,000 only were armed. On August 30 they closed the
+port with a chain made of thirteen beams, and on September 1 sent an
+envoy to Andrew, king of Naples, to ask for aid. On the 8th they
+received letters from the King of Hungary promising help, and raised the
+Hungarian flag. The king sent the bani of Bosnia and Croatia to help
+them, but the Venetian senate bought the rescuers off! In January, 1346,
+the Venetians took the Castle of S. Damian and broke the chain of the
+port. The Venetian trenches consisted of a bastion 200 yards long and
+100 yards broad built of wood on three sides. On the east it had ten
+towers, as many on the west, and fourteen on the north, being open on
+the south towards the fleet. They now controlled 25,000 men. On June 2,
+Ladislas of Hungary came to help the besieged, and encamped at Zemonico,
+seven miles away, with 100,000 cavalry. On July 10 he advanced close to
+the city with 2,000 of his best men. The citizens welcomed him with much
+joy, and the next day sent legates with great solemnity to offer him the
+keys of the city. On the 16th he attacked the bastion. On the 20th,
+Bernardo, patriarch of Aquileia, entered the city; but the king held
+aloof. The Venetians tried in vain to make terms, and the Zaratines
+attacked the bastion with good heart, burning one of the towers; but the
+Hungarians only looked on while the Venetians repelled the assault. The
+king's behaviour is mysterious. On July 30 he returned to Vrana, and so
+to Hungary; and, although his promised envoys went to Venice, they went
+for other purposes. He appears to have been using Zara as a pawn in some
+great game. Famine obliged the<span class="pagenum"><a name="Page_211" id="Page_211">[Pg 211]</a></span> Zaratines to surrender, and the
+Venetians entered the city on December 21, 1347, the war having lasted
+two years and six months, and having cost the Republic from 40,000 to
+60,000 ducats a month for soldiers' pay alone, without counting the
+shipping. Eleven years later Zara again became Hungarian, but was
+finally ceded to Venice in 1413 by the peace of Trieste.</p>
+
+<p><a name="p212" id="p212"></a></p>
+<div class="figright" style="width: 213px;">
+<img src="images/p304.jpg" width="213" height="400" alt="MORLACCA GIRL, ZARA" title="" />
+<span class="caption">MORLACCA GIRL, ZARA</span>
+</div>
+<p>The dialect spoken in the city is pure Venetian, and the municipality is
+the only Italian one in Dalmatia. Zara is still the capital, and the
+diet meets in the city. Here, too, are the only Italian schools in the
+province, the Slav majority in most places exercising its power to veto
+everything Italian. The only flourishing industry is the manufacture of
+maraschino, of which 300,000 bottles are exported annually. The
+cherries, which are the raw material, are imported from Sebenico,
+Almissa, and Poljica, near Spalato. The streets are narrow and
+impossible for carriage traffic; merchandise is put upon long narrow
+carts, with long poles projecting in front and cross-pieces at the end;
+the cart is then pushed and pulled by several men. The population is
+13,000, and is increased by many country people in the mornings, who
+come to market, so that the streets and piazzas are crowded with a most
+distracting variety of costumes. Both men and girls from the country
+wear little red caps. The men have great light-coloured woollen coats
+which they throw over their shoulders without putting their arms in,
+light shirts, sometimes with an embroidered jacket, trousers with
+embroidery round the pocket-holes (which are in front of the thigh) and
+a split at the lower part of the side which is buttoned up. They
+sometimes have a sash round the waist with a knife. The women wear
+leggings woven roughly in patterns like the wrong side of a tapestry
+curtain, and shoes somewhat the shape of gondolas, thick skirts with
+patterned aprons, and small waistcoat-like jackets.<span class="pagenum"><a name="Page_212" id="Page_212">[Pg 212]</a></span> Their hair is
+plaited round the head. The dress of the townspeople is less individual;
+the head is covered with a white or coloured kerchief, the dress is
+frequently black, and the modern blouse is sometimes seen. It is
+interesting to watch the boatloads of country-folk arriving either by
+the Porta Terra Ferma, close to which are steps and a small harbour, or
+on the quay by the Porta Marina. Lambs and kids are brought alive and
+killed and skinned on the quay, the women holding pots or jugs to catch
+the blood, which they seem to think valuable. The wall of the quay was
+being rebuilt when we were there the second time, and a diver was
+working at it. It looked odd to see the stones and buckets of cement
+lowered into the water with ropes.</p>
+
+
+<p>There are two antique columns still erect: one, fluted, is in the Piazza
+S. Simeone, set up in 1729, and the other is in the Piazza dell' Erbe;
+it was used as a pillory, and the chains with the iron collars still
+hang to it, having, by centuries of friction, cut deep-curved grooves in
+the marble with swinging to and fro. This column also has sockets for
+the insertion of flagstaffs, and attached to it is a much-worn piece of
+eighth-century<span class="pagenum"><a name="Page_213" id="Page_213">[Pg 213]</a></span> sculpture, with the motif of an ornamented cross beneath
+an arch fastened with clamps. The chroniclers of the seventeenth century
+record that near this place several drums of columns projected from the
+earth, and that two entire pillars were erect and united by a piece of
+the architrave. One was moved to S. Simeone, near to which Mr. T.G.
+Jackson saw in 1884 the base of a Roman arch excavated beneath the level
+of the piazza. Other similar fragments have been used in the foundations
+of S. Donato.</p>
+
+<div class="figcenter" style="width: 450px;">
+<img src="images/p305.jpg" width="450" height="304" alt="GOING TO MARKET, ZARA" title="" />
+<span class="caption">GOING TO MARKET, ZARA</span>
+</div>
+
+<div class="figcenter" style="width: 678px;">
+<a name="p214" id="p214"></a>
+<img src="images/p306.jpg" width="678" height="425" alt="PLANS OF S. DONATO, ZARA" title="" />
+<span class="caption">PLANS OF S. DONATO, ZARA</span>
+</div>
+
+<p>In the year 380 a bishop of Zara (Felix) is mentioned for the first
+time. S. Donatus is reckoned the fourth bishop, Andrew and Sabinianus
+(who are shown on a reliquary with Felix) traditionally preceding him.
+As his episcopate lasted into the ninth century it is evident that the
+list is not complete. His diplomatic mission took him either to
+Diedenhofen or Aachen and then to Constantinople, where he had the
+relics of<span class="pagenum"><a name="Page_214" id="Page_214">[Pg 214]</a></span> S. Anastasia given him. It is probable that the sight of the
+great churches which he saw during his journeys suggested the plan of S.
+Donato, which was originally dedicated to the Holy Trinity.
+Porphyrogenitus compares it to S. Sophia, Constantinople, which seems
+strange in a Byzantine. It is circular in plan, about 60 ft. in
+diameter. Six gigantic piers, wider than the arches which rest upon
+them, placed ten feet from the wall, sustain a barrel vault, about 28
+ft. high, over the ambulatory, which has strengthening arches. The piers
+of the upper story sustained the drum of a cupola which no longer
+exists. Opposite the entrance are three vaulted apses, the central one
+larger and deeper than the others and with four windows, the others
+having but one each; and these apses are repeated above, without the
+windows. In front of them are two smooth columns of Oriental yellow
+marble 7 ft. round, in place of<span class="pagenum"><a name="Page_215" id="Page_215">[Pg 215]</a></span> piers, and thinner columns cut short
+occupy the same relative place above. The caps are antique and a good
+deal damaged. Three are composite like the arch of Septimius Severus,
+and one is Corinthian. The roof is now tiled. A Roman inscription on the
+fourth pilaster seems to indicate that there was a great temple to
+Augusta Livia, wife of Augustus, here; and when the floor level was
+lowered in 1888 a number of inscriptions were found, and portions of
+carved friezes and pillars used as foundation material and simply laid
+on the pavement of the Roman forum. Among these were portions of columns
+resembling both of the two still upright. Part of a flight of steps was
+also found, which may have been part of the sub-structure of the temple.
+Fragments of four different buildings have been recognised. Two stairs
+have served the upper story of the church&mdash;an early one with carved hood
+mould of the ninth century to the external door, now blocked up, and a
+second from the interior, which lands in a vestibule where some early
+medi�val carvings are arranged. The upper portion is a double flight,
+arranged, perhaps, to use when this stair was a "Scala Santa" ascended
+by the faithful on their knees, whereby they gained the same indulgences
+as were attached to the Scala Santa at Rome. The building was a military
+magazine in 1649, again from 1798 to 1877, and then a wine-store till,
+in 1888, the museum was founded. In 1890-1891 the ancient entrance-door
+was found behind the eighteenth-century additions. It is a simple
+square-headed door with semicircular opening above, made of Roman
+uncarved material, with consecration-crosses sunk in the lintel and base
+of the right-hand jamb; to the right and left of the lintel a little
+above it are two simple brackets with crosses on them. The lintel itself
+is double, and treated as if it were wood. The cill was two feet below
+the ground level.</p>
+
+<p><span class="pagenum"><a name="Page_216" id="Page_216">[Pg 216]</a></span></p>
+
+<p>The museum contains Roman and pre-Roman antiquities, inscriptions,
+lamps, carved fragments, coins, bronze and glass vessels, pottery, &amp;c.;
+medi�val fragments, carved and gilded panels, lanterns and ensigns from
+Venetian galleys, a crozier of Limoges work of the thirteenth century
+found under the pavement of S. Crisogono, arms and carvings of the
+Renaissance period, &amp;c. But perhaps the most interesting things are the
+plans of the early churches which have either been destroyed or very
+much altered, and the early medi�val carvings; among these are two very
+curious slabs with figures under arches, one of which was found under
+the pavement of S. Crisogono, while the other, closely resembling it in
+style, came from S. Domenico. The former shows the Flight into Egypt and
+the Massacre of the Innocents; the latter the Nativity and Adoration of
+the Kings. They probably formed part of a chancel enclosure. There are
+also fragments of ciboria, altar frontals, or sarcophagi, while a column
+sawn in two has furnished decorated jambs to the door of the upper
+church. On a lintel of the early church of S. Lorenzo is a Christ in a
+mandorla, supported by angels with a sacred tree on each side and a
+griffin beyond; a rough astragal moulding surrounds the subject. The
+jambs have a rough arabesque scroll, terminating in a two-headed bird.
+These carvings are all of the ninth century.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/p310.jpg" width="600" height="456" alt="SECTION OF S. LORENZO, ZARA
+" title="" />
+<span class="caption">SECTION OF S. LORENZO, ZARA
+</span>
+</div>
+
+<div class="figcenter" style="width: 365px;">
+<img src="images/p311.jpg" width="365" height="550" alt="S. LORENZO, ZARA" title="" />
+<span class="caption">S. LORENZO, ZARA&mdash;TOP STORY</span>
+</div>
+
+
+
+<p>The church of S. Lorenzo is in the courtyard of the military command
+building on the Piazza dei Signori. The sides are in courts entered from
+the Calle Larga and Via del Teatro Vecchio. It has a nave and aisles
+about 21 ft. long and about 14 ft. broad, with four pillars, springing
+from which are three unmoulded arches. The arches are stilted, and at
+the height of the real springing an impost projects in profile. The
+central compartment has a wagon vault, the other two quadri<span class="pagenum"><a name="Page_217" id="Page_217">[Pg 217]</a></span>partite
+vaults. The aisles have semi-domes running north and south, resting on
+cross arches, with squinches in the corners. The choir has two stories,
+the lower with three square-ended apses, and entered by a door flanked
+by pillars. The walls which separate the apses ran up to a tower. The
+vault is a transverse wagon pierced by wagon vaults at right angles. The
+architecture is very simple, and shows Byzantine influence, but the
+construction is hidden by plastering. The nave caps are debased
+Corinthian, with ornamented volutes and one row of flat acanthus-leaves,
+the abacus being square. The front leaf in each shows a half-length of a
+male figure with nimbus, his arms raised as if in prayer, the body
+hidden by a shorter loaf. The columns are of different sizes, but the
+caps are all the same. The entrance door towards the Calle Larga has a
+simply moulded round arch; the other has been mentioned as being in S.
+Donato. The upper story of the choir has pillars with carved caps
+supporting an arch of two orders, now built up, formerly no doubt an
+oratory. The church is mentioned in a document of 919.</p>
+
+<p><span class="pagenum"><a name="Page_218" id="Page_218">[Pg 218]</a></span></p>
+
+<div class="figcenter" style="width: 495px;">
+<img src="images/p314.jpg" width="495" height="650" alt="PLAN OF FOUNDATIONS DISCOVERED ON THE RIVA NUOVA, ZARA" title="" />
+<span class="caption">PLAN OF FOUNDATIONS DISCOVERED ON THE RIVA NUOVA, ZARA</span>
+</div>
+
+<p>S. Domenico (which no longer exists) was of somewhat the same character;
+but the choir was without dividing walls, and thus became an upper
+church. It was only 21 ft. square and had three columns on each side,
+the last close to the wall. The vaults were domically quadripartite,
+springing from pilasters which rested on the caps. The arcade was
+round-arched, the central and right-hand apses were square-ended, and
+the left had a semicircular niche. The under church was wagon-vaulted
+without architectural features. The foundation of a chapel was found on
+the Riva Nuova with five niches of a six-niched circle and an entrance
+passage in the sixth, which turned at right angles to the north to reach
+the street. In the angle thus formed between the entrance and the main
+building a sar<span class="pagenum"><a name="Page_219" id="Page_219">[Pg 219]</a></span>cophagus stood. This circular-niched plan occurs
+elsewhere in Dalmatia, as in the baptistery here, and SS. Trinita at
+Spalato, and the dimensions are generally so nearly the same as to
+suggest some common original design. S. Pietro Vecchio is considered to
+be the oldest church in Zara. It is now desecrated, but was used as a
+sacristy to the fourteenth-century church of S. Andrea, belonging to the
+Fishers' Confraternity, the sixteenth-century apse of which projected
+into the nave as far as the first pillar. It was cleared out by order of
+the Central Commission in 1886. It is about 38 ft. long by 19 ft. broad,
+and is built of ancient fragments with very little architectural
+character. One of the two columns bears a Roman inscription, and both
+have crosses cut in them. One of the caps is a damaged antique; the
+other is an antique base upside down; neither column has any base. The
+church is an irregular rectangle in plan, divided into two naves which
+end in apses by two pillars and a pier. The pilasters are not upright,
+the arches are deformed, and the two altar niches have half-cupola
+vaults on a rectangular plan, with arches thrown across the corners.
+There are two original doors, both built up. The pier between the two
+apses has a round-arched niche in it. The church is mentioned in 918 in
+the will of Prior Andrea.</p>
+
+<p>There was a cathedral here in very early times, referred to in a will of
+908 as S. Anastasia. It was originally S. Pietro, and the dedication was
+changed when the relics of S. Anastasia which S. Donato brought from
+Constantinople and placed in the church of the Holy Trinity were
+transferred to the cathedral. This church was destroyed by the Venetians
+in 1202, but probably portions of it were worked up in the new building
+which the Crusaders are said to have erected as a votive church after
+the pope had excommunicated<span class="pagenum"><a name="Page_220" id="Page_220">[Pg 220]</a></span> them all for the sack of Zara. This seems,
+however, a legend, since the new building was not consecrated till May
+27, 1285, the Archbishop Lorenzo Periandro officiating, assisted by the
+Metropolitan of Spalato and the suffragan bishops of both dioceses. On
+the vault of the ciborium and on the jamb of the main door are
+inscriptions, dated respectively 1332 and 1324, recording their erection
+by "Joannis de Bvtvane, archiep: Jadren." Certain portions show by their
+style that additions and alterations were made, still later. The length
+is 170 ft. and the width 65 ft.</p>
+
+<div class="figcenter" style="width: 424px;">
+<img src="images/p317.jpg" width="424" height="550" alt="NORTH DOOR OF WESTERN FA�ADE, CATHEDRAL, ZARA
+" title="" />
+<span class="caption">NORTH DOOR OF WESTERN FA�ADE, CATHEDRAL, ZARA
+</span>
+</div>
+
+<p>The fa�ade has three doors, and is divided by pilaster strips which
+emphasise the width of the nave; at either side of the central door is a
+shallow recess filling the space between it and the pilaster strips. The
+door itself has spiral and simple colonnettes in the jambs, with
+corresponding arch moulds of four orders. In the tympanum is a later
+relief of the Virgin and Child enthroned, with two saints, beneath a
+pointed trefoil arcade; and on brackets at the sides are four figures of
+Apostles. On the side doors the tympana have the Agnus Dei, and that to
+the left has the Annunciation on brackets, one figure on each side of
+the door. The colonnettes and arch moulds are both twisted in this door;
+in that to the right they are plain; the figures on brackets are
+similar. The lintels and jambs have elaborate arabesque scrolls, which
+remind one of Proven�al Romanesque ornament. The lower part of the wall
+has courses of pinkish marble among the white, and bands of inlaid
+ornament decorate both the wall and the campanile. Above the string
+course over the doorways is a Romanesque-looking arcade with another
+which fills the slope of the aisle walls, with animals standing at the
+ends. The central portion has a restored wheel-window with radiating
+colonnettes and round arches, and above it in the gable is another with
+cusped tracery of a later date;<span class="pagenum"><a name="Page_221" id="Page_221">[Pg 221]</a></span> round this an arcading ramps as at
+the end of the aisles, and the lower rose is flanked by arcading in two
+stages arched only in the upper one. Both of these arcadings have
+coupled colonnettes, and are manifestly much later than the lower part
+of the fa�ade. The walls of the north aisle have an arcading separated
+into groups by pilasters, echoing the internal divisions, with a gallery
+above, like S. Nicola, Bari, and others of the Apulian churches. A
+cornice of corbelled arches crowns the nave wall. The campanile was
+commenced in 1449 by Archbishop Lorenzo Venier, and carried up by
+Archbishop Matteo Valaresso in 1460 to the height from which Mr. T.G.
+Jackson completed it. It has five stories and an octagonal pyramidal
+termination. The three upper stories have two window openings in each,
+the lowest being single lights, while the upper two have a central
+colonnette and two stilted round arches beneath a containing arch. A
+string with corbelled arches below divides the stories, and the square
+portion terminates with a balustrade in the usual manner.</p>
+
+<p>The inside was altered in the eighteenth century and the beginning of
+the nineteenth. The nave arcade, which continues to the apse, consists
+of ten round arches on each side resting alternately on columns and
+piers with columns attached which have cushion caps. Some of the columns
+are spirally fluted and have decadent antique caps. Some are cipollino,
+and two are apparently cut from antique columns, one having four shafts
+attached to the central cylindrical mass, and the corresponding one on
+the other side being panelled, with octagonal colonnettes attached. The
+pier at the choir steps has two small columns instead of one. Two bays
+of the aisles equal one bay of the nave, and pilasters run up from the
+piers, dividing the triforium arches into groups of six, on the tops of
+which figures stand. The triforium arcade has round arches with coupled<span class="pagenum"><a name="Page_222" id="Page_222">[Pg 222]</a></span>
+colonnettes of red marble on the face and varied caps; the voussoirs are
+alternately red and grey; and a string with carved leaf pattern, much
+like that at Tra�, runs along the triforium, between the nave arcade and
+the balustrade. The nave arcade terminates at each end with a single
+arch. The apse has a marble seat running round it, with the bishop's
+seat in the centre raised on several steps. It has exactly the same
+ornament on its sides as is on the font in the baptistery. The wall is
+sheeted with red marble. The ciborium has pointed arches resting upon
+Corinthianising caps and columns of cipollino carved in coffered
+patterns or spiral and zigzag channelling; a cornice of acanthus-leaves
+runs above the arches. It was erected by Archbishop Butuane, consecrated
+in 1332, and restored in 1901-1902. The presbytery pavement is of 1336.
+The stalls, once painted and gilt, are very fine examples of
+Venetian-Gothic wood carving, and were partly made for Archbishop Biagio
+Molin in 1420-1427, whose arms are carved on them; but those of his
+predecessor and successor, and those of Valaresso, under whom the work
+was probably completed, also appear. Between the stalls, elaborately
+pierced and carved scroll-work runs up to the canopy level, where little
+figures stand in niches. Above the canopies, which are slightly pointed
+fluted shells, and separated from them by curious ogee-shaped gables,
+are thirty-six half-length figures of prophets, emergent from scrolls
+and holding labels. Above one of the side altars are six small
+Carpaccios on panel much repainted&mdash;the one with the figure of S. Martin
+bears his signature; also a Palma Giovine and an Andrea Schiavone.<span class="pagenum"><a name="Page_223" id="Page_223">[Pg 223]</a></span></p>
+
+
+
+<div class="figcenter" style="width: 420px;">
+<img src="images/p321.jpg" width="420" height="650" alt="PLAN OF THE CATHEDRAL, ZARA" title="" />
+<span class="caption">PLAN OF THE CATHEDRAL, ZARA</span>
+</div>
+
+<p>Beneath the step of the high-altar is the sarcophagus of Oriental
+marble, with porphyry cover, of the three saints, Agape, Chionia, and
+Irene, whose remains are interred in the crypt. The crypt is entered by
+two<span class="pagenum"><a name="Page_224" id="Page_224">[Pg 224]</a></span> flights of stairs from the sides of the choir. It is of an
+irregular shape, about 70 ft. long, 23 ft. broad, and 15 ft. high.
+Eastwards it suddenly broadens out to a width of 33 ft. and terminates
+in a semicircle. In this apse there are three windows. Two rows of nine
+columns extend to just above the point where the change in width begins,
+and four more follow the external curve of the wall. These support
+quadripartite vaulting. The columns have heavy square caps and square
+bases. In one is a grated aperture as if for relics. The sarcophagus
+altar has a much worn representation of the Martyrdom of Sant'
+Anastasia, with her name inscribed in Lombardic letters between two
+foliage scrolls. Fragments of early work are visible here and there,
+pointing to the reconstruction of the crypt. It is very dark, and is now
+used as a store, having become too damp for ritual purposes.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/p322.jpg" width="500" height="312" alt="PLAN OF CATHEDRAL CRYPT, ZARA" title="" />
+<span class="caption">PLAN OF CATHEDRAL CRYPT, ZARA</span>
+</div>
+
+<p>The treasury contains some exceedingly interesting objects, and is rich
+in reliquaries. It is kept in the wall<span class="pagenum"><a name="Page_225" id="Page_225">[Pg 225]</a></span> between the body of the
+cathedral and the baptistery in a rather evil-smelling vault, which
+opens into the latter building. The most ancient reliquary, once
+belonging to the cathedral at Grado, is that of Sant' Orontius; it
+contains a portion of his head, and is work of the eleventh century,
+material of an earlier date having been used in its construction. Upon
+the sides and front is an arcade with alternate twisted and fluted
+columns, beneath which are figures of saints robed in the Greek manner,
+and holding Benedictional crosses. The names of the saints, inscribed in
+mixed Latin and Greek letters, are Sabinianus, Felix, Vitalis, Satorus,
+Repositus, Septimus, Januarius, Arotatius, Onoratus, and Fortunatianus.
+On the back is a plate inscribed in Roman letters: "&#10016; Sergivs F. Mai Nepos zallae fecit hanc capsam sco capiti Arontii
+Martins."<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a></p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/p323.jpg" width="400" height="201" alt="ALTAR OF SANT&#39; ANASTASIA, ZARA" title="" />
+<span class="caption">ALTAR OF SANT&#39; ANASTASIA, ZARA</span>
+</div>
+
+<div class="figright" style="width: 380px;">
+<img src="images/p324.jpg" width="380" height="197" alt="RELIQUARY OF SANT&#39; ORONTIUS, ZARA" title="" />
+<span class="caption">RELIQUARY OF SANT&#39; ORONTIUS, ZARA</span>
+</div>
+<p>On the top are the escutcheon of Archbishop Pesaro (1505-1530) and two
+quatrefoils. The casket has been mended with strips of stamped silver of
+various periods. Two reliquaries of the twelfth century described by
+Eitelberger and Mr. T.G. Jackson were not shown to us, though<span class="pagenum"><a name="Page_226" id="Page_226">[Pg 226]</a></span> we were
+assured that we had seen everything of interest. One contains the head
+of S. Giacomo Interciso, a martyr of the fifth century. It has a domed
+top, and round the ring is an inscription: "&#x2720;
+Ego Bosna ivssi fieri anch capsam ad onorem scs iacobi martiris
+ob remedivm anime chasei viri mei et anime mee." On the lid in round
+medallions are six figures&mdash;Christ with the monograms IC and XC,
+"Jachbus, martyr," Judas, Simon, Johannes, and Maria. Round the drum is
+an arcade supported on twisted, fluted, or diapered columns, under which
+are the figures of nine Apostles, named SS. Petrus, Paulus, Andreas,
+Jacobus, Tomas, Jacobus again, Filippus, Bartolomeus, and Mateus. The
+ground is plain silver; the figures are gilded. On the summit is a
+classic head with flying hair, a relief which did not form part of the
+original work. The letters are like those of the monument to Vekenega,
+who died in IIII; and Bianchi says there was a prior named Chaseus or
+Chaseo in 1096. An arm reliquary bears the inscription in raised
+Lombardic letters: "Ego Chacia usor Dimitrii feci fieri hoc opus." It is
+of plain metal enriched with filigree, and set with<span class="pagenum"><a name="Page_227" id="Page_227">[Pg 227]</a></span> stones and
+patterned cloisonn� enamels, and stands upon a triangular cast base with
+three feet; on each side is a winged figure with sceptre and orb amid
+twelfth-century scroll-work. Bianchi says Demetrius, husband of Chacia,
+was prior in 1162. An interesting reliquary inscribed "Hic est spongia
+dni quo potat fuit in patibulo crucis" is supported by four dragons
+without wings, but with raised tails. It is a tube of crystal,
+surmounted by a crucifix, below which is a band of natural leaves with
+birds. Between this and the foot is a cube of crystal surrounded by cast
+and pierced metal&mdash;a figure of a man in civilian dress blowing a horn,
+alternately with a knight tilting and carrying a falcon through a wood,
+typified by a tree behind him.</p>
+
+
+
+<p>The treasury contains many interesting things of a later date, of which
+the reliquary of S. Crisogono is perhaps the most attractive, showing
+earlier enamels in a good fourteenth-century setting. On the front are
+two square enamels of SS. Zoilus and Anastasia, with little chapels at
+their sides supported on slender twisted columns. Upon the lid are three
+similar vesica-shaped medallions&mdash;S. Crisogono in the middle, S. John
+the Baptist on the left, and S. John the Evangelist on the right.
+Cypress-trees are on each side of the figures, enamelled dark green. S.
+Crisogono is robed as a king, crowned, and holding a cross before his
+breast; angels at each side of his head hold tapers. The material is
+silver. The figures are delicately drawn, and the ground is filled in
+with deep blue enamel, red and green also appearing. The borders show
+good vine-leaf scrolls. The ends have a rough sexfoil rose, which is
+repeated on the back between modern scrolls imitating the old. The
+inscription is round the lid in Lombardic letters of silver on a ground
+of red enamel: "Hoc op fvit fact tvr nobiliv viror viti cadvl vvlcin
+martinvsii et Pavli de Galcign ann D. MCCCXXVI." An ugly head reliquary<span class="pagenum"><a name="Page_228" id="Page_228">[Pg 228]</a></span>
+of S. Mary Magdalene, dated 1332, is inscribed with the same name,
+Volcine de Martinusio, who was one of the three rectors or judges of
+Zara. It has flowing hair down to the shoulders. Several arm reliquaries
+of late fourteenth century are up to the usual standard. One is of S.
+Crisogono; one of S. Donate, with many jewels and a pierced band of
+quatrefoils with some of a larger number representing the opening of the
+sleeve; one with plaques of translucent enamel and vine scrolls said to
+contain a finger of S. John the Baptist, &amp;c. An hexagonal pyx on a stem
+has on the knop and foot a half-length of our Lord erect in the tomb. A
+foot of S. Crisogono in a shoe-shaped reliquary with jewelled bands has
+a pretty flowing scroll pattern of the early Renaissance in low relief.
+A casket reliquary of S. Daniel (which, according to Bianchi, also
+encloses relics of SS. Peter and Paul and Martin) is rather coarser work
+of the Renaissance (1496) upon the same lines as the early reliquaries.
+It has figures of a Risen Christ and SS. Anatasia, Donato, and Daniel.
+On the sides and top are double-headed eagles with "&#924;" on the breast.
+Bishop Valaresso's pastoral staff is also preserved here&mdash;a fine work of
+1460, 6 ft. 6 in. high. It is hexagonal, divided into eight sections by
+bands, of which every other one is broader and more decorated. These
+bear a pierced pattern and projecting triangles, serving as spandrils to
+the trefoiled arches, which are incised on the spaces between. The knop
+is an elaborately niched and pinnacled architectural feature of two
+stories with figures in the niches and beneath the canopies. It
+terminates in a foliated form (a later addition), from which the crook
+springs. Round the outside of this are half-lengths of prophets emerging
+from foliage, facing in two directions, with a statuette of Christ on
+the summit. Within are two figures, a crowned woman holding a book, and
+a mitred male<span class="pagenum"><a name="Page_229" id="Page_229">[Pg 229]</a></span> figure, probably intended for the Virgin and Valaresso
+himself.</p>
+
+<p>The baptistery is an hexagonal building with niches in each side within,
+vaulted without ribs in wagon divisions, and with four windows above the
+niches. Altars stand in two niches, a confessional-box in another, and
+through the remaining three there are doors. In the centre is the
+octagonal font raised on three circular steps. It is 6 ft. 6 in. broad
+and 3 ft. 3 in. high, and has an enclosure in the centre. It is panelled
+on the sides, sometimes with two panels, each of which has round-headed
+sinkings like windows, sometimes with one panel containing three such
+sinkings, separated by coupled colonnettes; the cornice and base are
+moulded. The material is red Veronese marble like that used at Grado. A
+white marble basin, quatrefoil in shape, upon a fourteenth-century cap,
+holds the baptismal water, very green and slimy, and there is water at
+the bottom of the font itself.</p>
+
+<div class="figcenter" style="width: 469px;">
+<a name="p230" id="p230"></a>
+<img src="images/p329.jpg" width="469" height="550" alt="APSE OF S. CRISOGNO, ZARA
+" title="" />
+<span class="caption">APSE OF S. CRISOGNO, ZARA
+</span>
+</div>
+
+<p>The sacristy, a Gothic building with two bays of cross vaults, was the
+ancient church of S. Barbara, in which the Zaratines swore fealty to the
+Hungarian crown on the arm of S. Crisogono on July 8, 1384. In 1794 a
+mosaic pavement was found beneath the existing pavement. Between it and
+the apse is a little wagon-vaulted room, perhaps the ancient sacristy.</p>
+
+<p>S. Crisogono belongs to the most ancient Benedictine convent in
+Dalmatia. The church was originally S. Antonio Abate; but when the body
+of S. Crisogono was brought from Aquileia it was deposited here, and the
+dedication was changed. In 906 the church and monastery were recorded
+under the name of S. Crisogono, and as being ruined by barbarian
+invasion. In 986 Majo, rector of Zara and proconsul of Dalmatia, rebuilt
+both, and made Madius, a monk from Monte Cassino, abbot. The standard of
+the city then bore S. Crisogono on<span class="pagenum"><a name="Page_230" id="Page_230">[Pg 230]</a></span> horseback, added to the earlier
+white cross on a red ground. Destroyed by the Venetians, the church was
+rebuilt in 1032, and in 1056 the buried relics were re-discovered. The
+final rebuilding was in the twelfth century, and it was consecrated on
+May 4, 1175, by the first archbishop, Lampridius, though additions were
+made at a later date. The central portion of the west front, though
+Romanesque in style, is nothing like as fine as the eastern apses, and
+may be work of the end of the fourteenth century, since a consecration
+is recorded in 1407, though Bianchi states that the inscription in his
+time gave the date 1298. It has a central door with three unmoulded
+orders and a sunk tympanum beneath a gable. Above this is a heavy string
+course from which two pilaster strips spring, a window flanked by four
+arches on slender coupled columns, with semicircular niches, filling the
+space between them; above, a space from which it is cut by a second
+string forms the next stage; over it is another string and two small
+windows beneath a gable cornice of corbelled arches, the same cornice
+raking over the aisles. Beasts project at the gable angles, and the
+summit it crowned by a finial. All the arches are round, and the little
+arcade has red and grey voussoirs. To the left is a large squat
+campanile which was built in 1546-1562, and was then higher. A fire
+damaged it in 1645. The north aisle wall has an arcade of twelve arches
+with twisted columns, and the cast end has three apses, the central one
+larger and with a fine open arcade beneath the cornice; above its roof
+in the gable is a cross which had <i>scodelle</i> in the arms and centre. The
+interior has an arcade of seven arches, arranged three, two, and two,
+between piers, with a flat pilaster running up to what was once the wall
+plate. The columns are antique, as are some of the caps. The horizontal
+moulding above the nave arcade is the same<span class="pagenum"><a name="Page_231" id="Page_231">[Pg 231]</a></span> as that above the apse
+arcade, and is ornamented with beasts' heads, &amp;c. A twelfth-century
+mosaic in the apse was destroyed in 1791. The pavement of the presbytery
+is of coloured marbles, and on the aisle wall hangs a great painted
+crucifix which was once in S. Domenico, and recalls the work of the
+early Tuscans. The church was the burial-place of many distinguished
+Zaratines, and the body of Elizabeth of Hungary, who was killed in the
+castle of Novigrad by Giovanni Palisna, prior of Vrana, in 1386, was
+buried here for some years. When the church was restored, nineteen
+historic gravestones were set in the outer wall. At the same time a
+relief of S. Crisogono, remains of an early ciborium or chancel, and
+traces of a crypt were found, also the Limoges pastoral staff now in the
+museum. The cloister has been pulled down, and a school erected on the
+site.</p>
+
+
+
+<p>S. Maria is first mentioned in 906. It was given in 1066 by the
+Benedictine monks of S. Crisogono to nuns of their order. It is called
+in the deed "Ecclesiola S. Mari� minoris ante portam Beltatam." The
+street opposite the lesser door led to the ancient city gate, Porta
+Bellata or Belluata, by which animals were brought into the city. The
+convent was rebuilt and enlarged by Cicca the abbess, who took the veil
+after the murder of her husband, and who was sister to Cresimir the
+younger, king of Dalmatia; and it was consecrated on October 28, 1072,
+by Andrea, bishop of Zara, five other bishops and four abbots being
+present, when Andrea and the President Drago gave the island of Selve to
+it. The fine tower was built in 1105 by order of Coloman, to commemorate
+his entry into Zara as king of Dalmatia, as an inscription states. Of
+this period is the chapter-house containing the tomb of Vekenega, the
+repudiated wife of the monarch, and daughter of Cicca, who died in IIII.
+A window in the north aisle of<span class="pagenum"><a name="Page_232" id="Page_232">[Pg 232]</a></span> the church communicates with it, but is
+only opened when a nun professes, or when one dies. The nuns' choir is
+above the main door on the level of the side galleries, shut off by a
+gilded grating inscribed: "Placida abbatissa fieri fecit anno MCCCVI."
+Within are the stalls made or altered by Giovanni da Curzola in 1495.
+The fa�ade of the church, which faces on to a small courtyard, is of the
+period of the Lombardi. At the side of the high-altar towards the
+sacristy Bishop Andrea was buried, and here are also the remains of
+Coloman, brought in 1117 from Zara Vecchia, where he died. Cicca died in
+1096. Just within the door to the right is a Christ crowned with thorns,
+and the Virgin lamenting&mdash;a good picture of the school of Titian, if not
+by the master. There is also a SS. Peter and Paul by Palma Vecchio.</p>
+
+<p>The treasury is above an altar at the end of the north aisle. The
+sacristan, who told us that he had filled that position for fifty years,
+lighted candles before opening the doors, kissed each reliquary before
+returning it to its place, and insisted upon the authenticity of each
+relic. The objects are scarcely so interesting as those at the
+cathedral, but include several fine fourteenth-century reliquaries as
+well as one or two which were made, or remade, in Renaissance times. The
+reliquary of S. Gregory has on the front Christ enthroned between
+standing figures of SS. Mark and John beneath a round-arched arcade on
+twisted columns. Three more saints are at the back, and at the ends are
+the subjects of the Annunciation and the Visitation. Upon the sloping
+parts of the lid are medallions of angels writing between scroll-work,
+and at the top is a figure of S. Gregory. It was a votive offering of
+Catherine, wife of Sandalius, Voivode of Bosnia, who died between 1433
+and 1436. A reliquary of an unknown saint (which Bianchi speaks of as<span class="pagenum"><a name="Page_233" id="Page_233">[Pg 233]</a></span>
+S. Zoilus) has on the front a fine equestrian figure of a knight with
+lance in rest, said to be S. Crisogono, between two figures of
+ecclesiastics (SS. Zoilus and Donato), all three in high relief. Upon
+the pyramidal cover are medallions of the symbols of the Evangelists in
+lower relief, with bands of running ornament along all the angles. At
+the back are figures of Christ and two saints, and at each end three
+saints. The reliquary of S. Quirinus, another work of much the same
+period, has saints under a pointed trefoiled arcade on twisted and
+horizontally ringed columns, with foliage in the spandrils. In the
+centre at the back is a figure of our Lord; on the lid are an angel,
+Gethsemane, S. Peter sleeping, and the winged lion, between scrolls. A
+panel of S. Gregory, with low mitre, and inscription in Lombardic
+letters, holding a dragon-headed crozier, and with his bird at the other
+side, has a stamped border of thirteenth-century character; and a fine
+relief of the Madonna and Child, with decorated nimbi upon a ground
+which has once been blue enamel, has a gabled top with a border of
+relics in roundels with jewels in the interstices. It must once have
+been used as a door, as the hinges, still attached to the wood, testify.</p>
+
+<p>The reliquary of the clothes of Our Lord is of good early Renaissance
+design, but some of the figures appear to be of an earlier date. In the
+centre is an oblong panel with the Madonna "del Parto" in the centre,
+and S. John the Baptist and S. Paul in high relief. Outside, on
+brackets, are the Angel Gabriel and the Virgin; at the back are S.
+Anthony and another saint. Above is a medallion containing three relics
+from the manger at Bethlehem, from the house at Nazareth, and from the
+clothes of Our Lord, crowned by a crucifix and flanked by figures of the
+Virgin and S. John on brackets. On the foot are four medallions in
+niello amid arabesques.<span class="pagenum"><a name="Page_234" id="Page_234">[Pg 234]</a></span> There are also six arm reliquaries of the usual
+pattern, two of which have little doors of niello, two or three heads,
+and an ostensory, at the top of which is a thorn from the crown of
+thorns.</p>
+
+<div class="figcenter" style="width: 224px;">
+<img src="images/p334.jpg" width="224" height="500" alt="RELIQUARY OF THE CLOTHES OF OUR LORD, S. MARIA NUOVA,
+ZARA" title="" />
+<span class="caption">RELIQUARY OF THE CLOTHES OF OUR LORD, S. MARIA NUOVA,
+ZARA</span>
+</div>
+
+<p>The church of S. Simeone was a "Colleggiata," instituted in 1150 by
+Archbishop Lampridius, and dedicated to S. Stephen. It was subsequently
+called the Madonna della Pace, because the Madonna so called was
+deposited in it in 1567 from the suburban church of S. Matteo. The body
+of S. Simeon was brought here in 1632, having been in Zara since 1280,
+when it was brought from Jerusalem by Bishop Periandro. The celebrated
+"arca" was in the collegiate church of S. Maria to the north, destroyed
+in the middle of the sixteenth century to make room for the
+fortifications, a small chapel only being left standing, in which the
+wooden arca was kept, the silver one being consigned to the<span class="pagenum"><a name="Page_235" id="Page_235">[Pg 235]</a></span> care of the
+nuns. In 1632 a new chancel was added to the church now S. Simeone; the
+arca was repaired and placed in its present position. The campanile was
+built in 1707. In the nave on one side are antique fluted columns with
+Corinthian caps, which belonged to S. Stefano. The area is of cypress
+wood, covered with silver plates, which are fastened with silver screws.
+It cost 28,000 ducats, and was supported on four angels of silver. These
+were melted down at the time of the war between Venice and Cyprus, and
+have been replaced by two of stone and two of bronze made from cannon
+taken from the Turks and given to Zara by Venice in 1647. On the lid a
+figure of the saint nearly life-size lies, and on the sides and ends are
+subjects referring to the history of the relics, and an inscription
+giving the date of 1380, and the names of the Queen of Hungary as the
+donor, and the goldsmith Franciscus of Milan as the artist. On the roof
+is a panel showing the artist at work on it. There is a reproduction in
+the Victoria and Albert Museum. In the treasury is a chalice also given
+by Queen Elizabeth the younger, late Gothic in style, with Renaissance
+additions, made of silver, parcel gilt, with niello and a little enamel;
+it has an octagonal knop with coats of arms reversed on quatrefoil ends
+and on the sexfoil foot. Upon the base of the cup are subjects in
+outline, the Crucifixion and figures of saints in petal-like forms. The
+treasury also contains some curious rococo painted vestments, apparently
+in water-colour on silk. To the right of the choir, in a chapel just
+outside the sacristy, is a reredos of <i>repouss�</i> silver&mdash;two big angels
+kneeling below, and God the Father above a Madonna and Child with
+painted faces, the rest of the figures being in relief. The frame is
+flanked by S. Michael and a saint, with a little angel flying below and
+holding a book, also with the heads only painted. These figures and the
+Virgin and Child have a good deal of gilding about<span class="pagenum"><a name="Page_236" id="Page_236">[Pg 236]</a></span> them, and may be of
+the fifteenth century, since they look earlier than the rest, which is
+late sixteenth or early seventeenth. In the chapel to the left is a
+Byzantine-looking relief gilded all over except the hands and faces,
+which are painted pink, mounted on a polished slab of black marble. The
+subject is the Virgin and Child standing, the Child draped. A
+half-finished building not far off is all that was completed of a
+magnificent church designed to house the arca of S. Simeon. It was
+commenced in 1572, but abandoned in 1600.</p>
+
+<p>Beyond the cathedral, and not far from the walls, is the church and
+convent of S. Francesco, consecrated in 1282 by Archbishop Lorenzo
+Periandro, according to an inscription on a pilaster in the choir. The
+choir contains a very fine set of stalls, made in 1394 by "Maestro
+Giovanni quondam Giacomo da Borgo San Sepolcro in Venezia," at a cost of
+456 ducats of gold. They used to be in front of the altar, but were
+moved in 1808 when the new altar was put up. In the Cappella del
+Crocifisso is a large Carpaccio, an allegory of the militant and
+triumphant Church, with a row of portrait figures. It is in rather a bad
+state, painted in tempera on panel. In the sky is a pretty Madonna and
+Child in a vesica surrounded by angels. The rest of the sky has rows of
+angels in it, and below, on the earth, kneeling bishops, potentates, and
+others, with some nice little children in front. Between the two
+divisions is a landscape with a shrine in the centre, and the whole
+composition is contained in an upright oval, the corners being filled up
+with later painting. The usual white dog appears with a red
+collar-ribbon. The frame is well carved, but not architectural. In a
+side chapel is a S. Francis by Palma Giovane. The chapel of S. Carlo,
+once called degli Innocenti, can be entered either from the cloister or
+the church. In it is an enormous painted crucifix of wood<span class="pagenum"><a name="Page_237" id="Page_237">[Pg 237]</a></span> in relief,
+with the Virgin and S. John half-length painted at the ends of the
+cross, and an angel above. It bears inscriptions in Greek and Latin,
+"ICTAVP&#969;CIC" and "Rex Ivdeorvm," and, below the arms of Christ, "In me
+credentes ad me concvrrite gentes." It is believed to be of the tenth
+century, or even earlier. In the sacristy is a picture of 1430 on a gold
+ground in the original frame, restored at the emperor's expense. In the
+centre is the Madonna with the Child and little angels; on one side are
+SS. Jerome, Simeon, and James; on the other, SS. Peter Martyr, Nicholas,
+and Francis. A predella shows the twelve Apostles, with Christ in the
+centre. Above, in the centre, is Christ half-length, flanked by smaller
+nearly full-lengths of the Virgin and S. John; at each side three
+half-lengths of saints&mdash;left, SS, Martin, Stephen, and John the Baptist;
+right, a warrior, a bishop, and a man with green robe, and hat turned up
+in four pieces. The frame is fine, a blue ground and gilded arabesques.
+The church possesses four chalices of silver-gilt of the fourteenth or
+early fifteenth century. Two of them have elaborate knops with crocketed
+niches with figures, and one has the symbols of the Evangelists in high
+relief on the foot, with leaf-scrolls and big stars, the plan being
+octofoil. The finest has a sexfoil foot, and there are angular
+projections in both between the foils, and a pierced perpendicular band
+below. Upon the foot are six roundels, with Christ and saints in low
+relief, as if for <i>basse-taille</i> enamel. The third has a knop with
+window tracery, pinnacles, and flying buttresses; on the foot, of a
+later date, are graceful leaf-arabesques, rather like the work of
+Aldegrever. The fourth is smaller and less elaborate. There are also
+some fifteenth-century psalters and antiphonaries. One of the three
+bells in the modern campanile is the oldest in Zara, dated 1328, and
+signed "Magister Beloa Viccentius." The tradition<span class="pagenum"><a name="Page_238" id="Page_238">[Pg 238]</a></span> runs that S. Francis,
+going to or returning from the Holy Land in 1212, visited Dalmatia, and
+founded this monastery among others.</p>
+
+<p>The church of S. Domenico (anciently S. Michele) has a pointed Venetian
+door, with a relief in the tympanum of S. Michael weighing souls, with
+the Devil pulling the scale down, an armed angel at one side, and a
+woman with a lighted taper at the other. On the lintel are a Virgin and
+Child, and several saints in little panels also spreading beyond on to
+the wall.</p>
+
+<p>The Greek church, S. Elia, which the Servian orthodox Christians have
+had since the French invasion, is nearly opposite the cathedral. One
+year we were at Zara at the time when they were preparing to keep
+Easter. In front of the iconostasis was an "Entombment," surrounded with
+young grass amid which little lamps shone. The whole was covered with a
+canopy similar to that carried over the Host. It was delicate and
+pretty, and a great contrast to "Tombe," which we had seen in years gone
+by in Italy, and a few days before at Capodistria.</p>
+
+<p>There were thirty churches in Zara, fifteen of which have been destroyed
+or given to different bodies. Seven are now Catholic, and four preserve
+their outward shape, but are secularised.</p>
+
+<p>The Loggia, the open hall of justice, ascribed to Sanmichele in its
+original form, was restored shortly before the end of the Venetian rule.
+It is now the Paravia library. It has three arches between coupled Doric
+columns, and is still quite well preserved. The Palace of the Priors,
+the former rulers of the town, was enlarged by the addition of private
+houses for the residencas of the Venetian Count and the <i>provveditore</i>;
+while the commune had to be content with the corn-magazine, near S.
+Simeone, which is still the communal palace. When the Austrian governor
+followed<span class="pagenum"><a name="Page_239" id="Page_239">[Pg 239]</a></span> the Venetian <i>provveditore</i> the palace was restored and
+modernised. It is a Venetian building of 1562, with a clock-tower which
+was restored in 1798; the clock itself was put up in 1807.</p>
+
+<div class="figcenter" style="width: 550px;">
+<img src="images/p340.jpg" width="550" height="377" alt="ENTRANCE TO THE TOWN OF NONA
+" title="" />
+<span class="caption">ENTRANCE TO THE TOWN OF NONA
+</span>
+</div>
+
+<p>Nona is some hour-and-a-half's drive from Zara, for the greater part of
+the way over stony uplands with very little vegetation, but with
+extensive views over land and sea when the weather is fine. We were
+troubled by showers and a bitter wind, against which our overcoats were
+an insufficient protection; and we looked with some wonder at the herd
+boys and girls and other peasants whom we met, many of them barefoot and
+with no additional clothing to what they had found sufficient in the
+market the day before when the sun shone strongly. The town is now a
+mere village of some 500 inhabitants, and, though a few antique
+fragments may be seen, and the ruins of several churches of different
+periods, it is difficult to realise that it was once one of the most
+important towns in Dalmatia. It appears to have been a Roman port, and
+the head of one of the roads to Byzantium across Dalmatia&mdash;an ancient
+Liburnian city, the great prosperity of which, at the end of the first
+century <span class="smcap">A.D.</span>, is attested by the coins found here. It was called �nona
+and �nonium by Pliny and Ptolemy, Nona by Porphyrogenitus. Destroyed by
+the Slavs in the seventh century, re-occupied and restored by another
+branch, the dukes and kings of Croatia made it one of the thirteen
+Dalmatian "zupanje." Later it belonged at intervals to the King of
+Hungary and to Venice, and after 1409 remained in the power of the
+latter. In 1357 Count Giustiniani valiantly but vainly defended it
+against the Hungarians, when the garrison was reduced to such straits by
+famine that they had to eat their horses. It was twice burnt to prevent
+it from falling into Turkish hands and being utilised as an outpost, in
+1571 and 1646. The harbour has silted<span class="pagenum"><a name="Page_240" id="Page_240">[Pg 240]</a></span> up, and only a small piece of the
+walls is traceable. Of the Venetian dominion the only remains are the
+entrance gateway, with the lion of S. Mark above it, and the
+"Stabilimento," founded in 1786 by Girolamo Manfrin for the cultivation
+of tobacco, but ruined by a fire, and no longer used for that purpose.</p>
+
+<p>The Christian Church in Nona is said to have been founded by S. Anselm
+in 117 <span class="smcap">A.D.</span> Under the Croats it had a bishop and a chapter. The ancient
+church of S. Croce was the cathedral, a small cruciform church with
+three apses in the eastward wall, and a dome over the crossing. It is 30
+ft. long, and each arm of the cross is 10 ft. wide. The dome has a
+flat-pointed vault and windows, while the nave and transepts have wagon
+vaults terminating in half-cupolas. To the west is a lintelled door,
+with consecration crosses on the jambs and carving of the ninth century
+on the lintel. A Slavonic inscription upon it (inside) has been read
+"Godeslav Juppano Ch[risto] Domo Co[nservat]." The breaking of the upper
+angles of the carved portion, and the difference in the character of the
+crosses on lintel and jambs indicate the use of early material in a
+later rebuilding; but the church is considered one of the oldest in
+Dalmatia. From 1697 it served as an oratory to the Count of Nona, being
+near his palace. Its bell (hung in the gable above the west door) served
+to call the people together for public meetings, &amp;c. The eastern apse
+has a blank arcading on its exterior, which is square, and the same kind
+of ornament occurs on the drum which conceals the dome. There are three
+windows in the west wall, and others in the transept walls and gable.
+The church was restored some seven or eight years ago, as well as the
+somewhat similar church of S. Nicol� outside the town.</p>
+
+<p>The parish church of S. Anselmo was the medi�val cathedral, rebuilt
+during the eighteenth century. Close<span class="pagenum"><a name="Page_241" id="Page_241">[Pg 241]</a></span> to it is another church, once
+dedicated to S. Ambrogio, and now to the Madonna. In the treasury are
+various interesting pieces of goldsmith's work kept in a marble chest
+with glazed front and gilded metal door. When we were there the priest
+was enjoying his siesta, and, though we were in charge of an official
+from the town-hall, we were unsuccessful in rousing him from his
+slumbers. I therefore take the description of them from Bianchi, as I
+was not able to examine them critically. There are two caskets of
+silver-gilt with the heads of S. Anselm and his sister, S. Marcella,
+made by the same goldsmith. On the front are Christ, the Virgin, and S.
+John in relief, with a frieze of a hunting subject, the figures beneath
+trefoiled arches on twisted columns; on the back, SS. Anselm, Ambrose,
+and Marcella; on the ends, SS. Peter and Paul, and a king and queen.
+Bianchi says these are thirteenth century; Mr. T.G. Jackson says
+fifteenth, which is more likely. On the lids are the symbols of the
+Evangelists. Two other reliquaries contain the shoulder-blades of S.
+Anselm. On the front are figures of the three protectors full-length. An
+arm reliquary has pagan subjects in relief, and is set with precious
+stones. An inscription gives the name of Simeon the goldsmith, and the
+Bano Paolo (Lord of Bosnia also at the end of the thirteenth and
+beginning of the fourteenth centuries). Two reliquaries of the feet of
+S. Anselm, given by Radoslav Utusano, chancellor of the Bano Paolo, and
+<i>zupan</i> of the church of Nona, are dated 1309. There are two other
+reliquaries: one of SS. Giacomo and Orontius, with three medallions of
+saints; and the other with the Evangelists' symbols. Mr. T.G. Jackson
+also saw two crosses and a sixteenth-century chalice. I particularly
+regretted being unable to see the wooden area of S. Marcella, which is a
+very remarkable example of early Christian art. Bianchi says that it is
+varnished, and has eleven compartments,<span class="pagenum"><a name="Page_242" id="Page_242">[Pg 242]</a></span> with figures in high relief.
+One is entitled S. Barbara&mdash;the first on the left. Then come a king with
+a double cross, S. Luke's ox, S. Marcella, S. Matthew's angel, the
+Virgin and Child, S. Mark's lion, S. Ambrose, S. John's eagle, and a
+queen with a lily in her hand. The eleventh compartment is not
+recognisable.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/p344.jpg" width="500" height="379" alt="PLAN OF S. NICOL�, NONA" title="" />
+<span class="caption">PLAN OF S. NICOL�, NONA</span>
+</div>
+
+<p>North of the parish church are remains of a Roman temple, and an antique
+cap or two may be seen. In a private house are remains of a bath and a
+mosaic pavement. The ruined church of S. Michele stands on the site of
+the Roman arena. Antique fragments are also recognisable in the walls of
+S. Nicol�. There are several ruined churches which appear to be of the
+thirteenth or<span class="pagenum"><a name="Page_243" id="Page_243">[Pg 243]</a></span> fourteenth centuries. Some of them have been altered at a
+later period, but they contain nothing of first-rate interest. Nona had
+sixteen in the Middle Ages. We walked out to S. Nicol�, an early church,
+which crowns a hillock thickly sown with asphodels in blossom, some
+little distance from the road and a mile or so from Nona. It is
+cruciform in plan, with apsidal terminations to three arms, the west
+being square, and having a door with a semicircular tympanum above it
+internally. Squinches in the angles serve as transition to the semi-dome
+which covers each arm. From the pilasters between the apses cross arches
+spring beneath a domical vault with a pendant at their intersection; in
+the left pilaster by the apse is a recess. The central tower is
+octagonal and turreted; beneath the apse eaves are rough corbels, the
+door has a semicircular tympanum externally, little brackets supporting
+nothing, and the jambs and lintel are put together rather as if the
+material were wood. The church is probably of the eleventh century.</p>
+
+<p>Borgo Erizzo, an Albanian village, lies but a short distance from Zara.
+In the eighteenth century the atrocities of Mehmed Begovich, pasha of
+Albania, perpetrated on the Catholics, being very great, some of them
+emigrated, seeking the protection of Vincenzo Zmajevich, bishop of
+Antivari, who was living at his native city of Perasto. A little later
+(1726) he became archbishop of Zara, and brought twenty-seven families
+of Albanians with him, recommending them to the protection of Count
+Erizzo, commandant of the fortress, who assigned them land near the
+city, where they flourished and increased. There are now about 3,000 of
+them. The church, which appears to be in a dangerous condition, was
+built for them by Zmajevich. The girls work in the factories till they
+marry, after which they remain at home. The men are agriculturists, and
+some own fields and vineyards seven or eight<span class="pagenum"><a name="Page_244" id="Page_244">[Pg 244]</a></span> miles away, to which they
+walk or go in carts. The village is dirty and not very picturesque. They
+get their drinking-water from the Kaiser Brunnen, a spring covered with
+a dome close to the sea, said to be a Roman erection. Sailors also water
+there. Before the aqueduct was restored, in years of drought Zara had to
+import water, and in 1828, 1834, and 1835 it was brought from the Kerka
+by Scardona.</p>
+
+<p>Zara Vecchia, formerly Alba or Belgrad, is some eighteen miles down the
+coast. Here Coloman of Hungary, nephew of S. Ladislas, was crowned in
+1102. The "porto d'oro" is all that remains of a palace built by Bishop
+Valaresso, with its foundations in the sea. Mention of the place is
+infrequent. Towards the middle of the eleventh century Crescimeno
+Pietro, third king of Croatia, assigned a prebend to the Benedictines of
+Zara Vecchia. In 1092 Busita, daughter of Roger I., Count of Sicily and
+Durazzo, and wife of Coloman, king of Hungary, came here accompanied by
+Geoffrey Malaterra. In 1114 Ordelaffo Faliero took it, and in 1115 it
+was destroyed to the foundations by Domenico Michieli. Some of the
+inhabitants, with the bishop and clergy, fled to Scardona; the rest,
+with the notables, to Sebenico. The nuns escaped to Zara, and the
+Benedictines crossed to Tkon in the island of Pasman, where they still
+are.<span class="pagenum"><a name="Page_245" id="Page_245">[Pg 245]</a></span></p>
+
+<div class="footnotes"><h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> Mgr. Bianchi has found the names of Madius and Zella in
+documents of 1067 and 1096, and that of "Sergius tribunus" in one of
+1091.</p></div>
+</div>
+
+
+<hr style="width: 65%;" />
+<h2><a name="XIX" id="XIX"></a>XIX</h2>
+
+<h3>SEBENICO</h3>
+
+
+<p>Sebenico lies within a fine harbour at the mouth of the Kerka, some six
+hours from Zara. The entrance to the bay is defended by the strong fort
+S. Nicol�, which bears the lion of S. Mark upon the landward side,
+showing that Venice ruled when it was built in 1540 (according to
+tradition, from Sanmichele's designs), though the actual sculpture is a
+replacement of 1824 of the original thrown into the sea by the French in
+1813. During the Italian struggle for freedom and unity many patriots
+were shut up in the damp dungeons of this fort by the Austrians. Within
+the strait, the Canale di S. Antonio, there is shelter for a large
+fleet; and it is reported that the Austrian Government intends to make
+it into a naval arsenal (of which the commencement may be seen in some
+very ugly buildings to the left of the town). Sebenico is commanded by
+three castles, from the highest of which, that of S. Giovanni,
+constructed in 1646, a splendid view over town, bay, and islands rewards
+the labour of the climb. The next is Fort Barone, so named after Baron
+Degenfeldt, the gallant defender of the city against 20,000 Turks in
+1647. It is now abandoned and in ruins. The third is Fort S. Anna, which
+crowns the hill just above the houses. This is thought to occupy the
+site of a king's castle mentioned in 1066. Fort S. Giovanni and the
+walls, of which a great portion of the circuit still re<span class="pagenum"><a name="Page_246" id="Page_246">[Pg 246]</a></span>mains, were
+restored in 1837. These walls are for the most part the work of kings of
+Hungary, though the Venetians added to them. The sea suburb the Borgo di
+Mare is probably the oldest portion of the place; that on the land side,
+the Borgo di Terra, grew up with the need for the shelter of the
+fortress during the Turkish wars.</p>
+
+<p>In 1117 the town was taken and destroyed by Ordelaffo Faliero; but in
+1127, when Zara Vecchia was razed to the ground by Domenico Michieli,
+and the bishop and clergy were removed to Scardona, the bulk of the
+population took refuge at Sebenico. It was a pirate city, and there was
+continual strife between it and Tra�. Until 1167 it was only a small
+place, but in that year Stephen III. of Hungary gave it the title of
+"city." Lago, however, says that it was only a "castello" till 1298,
+when the bishopric was established by Boniface VIII. in consequence of
+the representations of the archbishops of Zara and Spalato, and of Queen
+Maria of Hungary. The first bishop was Martin of Arbe. When he was
+consecrated, the ceremony took place in the piazza, because the church
+was not large enough. In 1412 the chapter was allowed to choose its own
+bishop; and the town and church authorities became responsible for law
+and order throughout certain defined territories. The city seals bear
+either an angel with nimbus standing on a dragon, and holding in his
+right hand an upright sword, and in his left an orb, or a half-length of
+a similar angel, holding an orb in his left hand and a sloping sceptre
+in his right, with the sun on one side, and a crescent moon on the
+other; above a city with a central gate and two side towers, with
+windows on each side.</p>
+
+<p>Sebenico owes its chief celebrity perhaps to its cathedral, the <i>chef
+d'&#339;uvre</i> of Giorgio Orsini, known as George of Sebenico, an architect of
+exceptional genius,<span class="pagenum"><a name="Page_247" id="Page_247">[Pg 247]</a></span> whose work may also be seen at Spalato, Ragusa,
+probably at Ossero, and at Ancona on the other side of the Adriatic. His
+father was known as Matteo of Zara, and was also a stonemason, as George
+proudly announced himself to be when he carved upon the door of his
+house a mallet and chisels hung with garlands which are supported in the
+centre of the lintel by the bear, the cognizance of the noble house
+which acknowledged his grandson as a relation.</p>
+
+<p>When it was determined to rebuild the cathedral on a larger scale in
+1402, the bishop and council of forty-five nobles made provision in
+various ways for the work. The territory of Vodizze was assigned for the
+purpose, the bishop gave half of the tithes, fines inflicted were to go
+to the fund, notaries were charged to remind testators to leave
+something to the fabric, &amp;c. If the community of Sebenico went back from
+their promises they were to be fined 1,000 golden ducats. When the
+towers protecting the mouth of the port were rebuilt in 1409 the
+Venetians seized the stone prepared for the cathedral, but subsequently
+paid 80 ducats of gold as compensation. The city became Venetian in
+1412. In 1430, after some wavering, it was decided to add the bishop's
+palace and the street between it and the church to the cathedral site.
+The building was commenced in 1431, under Antonio, son of Pietro Paolo
+Massegna, in the Gothic style as understood by the Venetians; but in
+1441 he was superseded by Giorgio Orsini with a six years' engagement,
+on the strength of a design which he had made showing how he proposed to
+complete the building. The west door with its scroll-work of exaggerated
+curvature, its pinnacled canopies supported on twisted columns, and
+figures of various degrees of excellence, shows Antonio's capacity and
+his limitations. The side door, which is rather simpler and in better
+proportion, is in much the<span class="pagenum"><a name="Page_248" id="Page_248">[Pg 248]</a></span> same style, but has foolish-looking lions on
+brackets beneath the columns outside the door, with figures of Adam and
+Eve interposed between the columns and the canopied tabernacles above,
+which bear great resemblance to those in a similar position at Tra�. The
+pointed and cusped cornice of interlacing arches, surmounted by a cable
+moulding, which continues to the end of the transept wall, seems to show
+that the building had advanced as far as this point when Giorgio
+appeared upon the scene in 1441. The arms of the Venetian rectors also
+afford indications of the progress and intermissions of the work.</p>
+
+<div class="figcenter" style="width: 443px;">
+<img src="images/p351.jpg" width="443" height="600" alt="EASTERN END OF CATHEDRAL, SEBENICO
+" title="" />
+<span class="caption">EASTERN END OF CATHEDRAL, SEBENICO
+</span>
+</div>
+
+<p>In the tracery of the windows of the central apse a modification of a
+graceful Gothic pattern has been employed, resembling patterns used in
+the campanile at Tra�, combined with classic pilasters and colonnette
+forms, but the greater part of the rest of the building is early
+Renaissance. The aisles are roofed with a half-wagon vault above the
+quadripartite pointed vaulting, forming a kind of triforium, which is,
+however, inaccessible; the chapels at the sides of the choir have the
+semicircular form of the roof of the nave and choir, perhaps suggested
+by the temple at Spalato, now known as the baptistery; and the east end
+is tri-apsidal, the apses being polygonal, but roofed with a semi-dome.
+All these forms are evident externally, the joints of the roofing slabs
+being covered by an ornamented band answering to the internal supporting
+rib. The external sculpture is in the main restrained and delicate, and
+the general proportions are excellent. The angle pier at the north-east
+of the north transept has the simplicity of its outline destroyed to
+provide place for figure sculpture and the dedicatory inscription, and
+the string dividing the stylobate from the principal stage bears a
+curious decoration of heads in the round; but these are slight blemishes
+amid much beauty. The heads have<span class="pagenum"><a name="Page_249" id="Page_249">[Pg 249]</a></span> a good deal of character, and some
+may be portraits of the architect's assistants. The same <i>motif</i> occurs
+round the square-headed door of S. Francesco alle Scale, Ancona. The
+construction of the semi-domes and of the roofs shows that Giorgio was a
+competent constructor; but the inventive and beautiful treatment of the
+decoration of the choir shows him as something more. The graceful
+singing-galleries at each side, terminating in the curved ambos attached
+to the main piers of the dome, are very delicate and beautiful; the
+lofty proportions of the nave and choir are impressive; and the little
+baptistery, with its curious mingling of Gothic and Renaissance forms,
+is quaint and ingenious, if not very pure in style.</p>
+
+
+
+<p>In 1444 Giorgio went to Spalato to build the chapel of S. Ranier in the
+church of S. Benedetto, which was to have been finished in two years,
+but it was nearly four before the donor was satisfied. The price was 306
+ducats of gold. It no longer exists. After his first contract expired at
+Sebenico, where the work apparently progressed very slowly, he went
+again to Spalato in 1448 to make the chapel of S. Anastasius in the
+cathedral. Here he had to compete with the work of Gaspare Bonino of
+Milan, who had made the corresponding chapel on the other side in 1427.
+They are both rather late Gothic in style. In 1449 he returned to
+Sebenico, his contract with the chapter having been renewed in 1446 for
+ten years at an advance of five ducats. The first contract was for six
+years, at a salary of 115 ducats. In a notice of 1450 from Zara, he is
+thus referred to: "Mistro Zorzi, taglia pietra, proto alia fabbrica
+della chiesa di S. Giacomo di Sebenico." The contract for the sacristy
+is dated March I, 1452. It cost 600 ducats. He was at Ancona in 1451,
+when he undertook the fa�ade of the Loggia de' Mercanti, an ornate work,
+which took eight years to build,<span class="pagenum"><a name="Page_250" id="Page_250">[Pg 250]</a></span> and has several details resembling
+those parts of the cathedral, Sebenico, which are ascribed to Massegna.
+In 1556 it was burnt, and was restored by Tipaldi. Barnabei, a
+contemporary writer, states that Giorgio also built the adjoining
+Palazzo Benincasa. He must have gone backwards and forwards between
+Italy and Dalmatia, for in 1455, while he was under contract with the
+Sebenico authorities, he completed the fine fa�ade of S. Francesco alle
+Scale, Ancona, receiving a bonus of 70 ducats above the price, according
+to Lando Feretti. The church was built in 1323. The monastery is now
+half barracks and half hospital. Between 1455 and 1459, the fa�ade of S.
+Agostino in the same town was built as an addition to a church of 1338,
+which also is now a barrack. The foliage, twisted columns, and canopies
+are a good deal like the earlier work at Sebenico. In 1460, Giorgio
+returned to Sebenico, but in 1464 and 1465 was at Ragusa, where he
+helped in building the Torre Menze, and in restoring the palace of the
+Rectors. The next year he was at Pago, improving and enlarging the
+courtyard of the bishop's palace. It was the Bishop of Ossero, who
+thought he was going to obtain the removal of the see to Pago, but
+failed to do so. The fa�ade of the cathedral at Ossero has been ascribed
+to him, and there is nothing in its design to make his authorship
+impossible. In the next year he undertook work on the fa�ade of the
+Cappella Grande of the parish church at Pago. In 1470 he went to Rome,
+where his compatriot Giovanni Dalmato, the sculptor, of Tra�, was at
+work on the monument of Paul II. He went as representative of the
+procurators to Paul II., in reference to certain charities left by
+Bishop Vignacco, who died at Porto, near Rome. In 1472 it is stated that
+he had let all the houses which he had in the Venetian dominions. In
+this year he commenced the fa�ade of S. Maria, Citta<span class="pagenum"><a name="Page_251" id="Page_251">[Pg 251]</a></span>nova, in the
+Marche. During his frequent absences from home, his Venetian wife
+Elizabeth looked after his affairs, apparently having a power of
+attorney. He had many pupils, some of whom continued to work on the
+cathedral at Sebenico after his death in 1476.</p>
+
+<p>The cost of the building is stated to have been 80,000 Venetian ducats
+of gold. It was thoroughly restored between 1843 and 1860; seven out of
+the fourteen caps of the nave arcade have been replaced, and a good deal
+of the framing of the panelling of red marble above. At each side of the
+west door are monuments to bishops, and also at each side of the choir
+steps. The slabs are sloping, and bear figures in relief. That on the
+right of the door is Bishop Sisgoreo's, made under Giorgio's direction,
+with an inscription added in 1874 by a descendant. The tomb of Lucio
+Stafileo (&#9766;1557). under whom the cathedral was
+reconsecrated, is to the north. Those at the entrance to the choir are
+Luca Spignaroli (&#9766;1589) to the left, and Domenico Calegari
+(&#9766;1722) to the right. The choir is raised six steps above
+the level of the nave, and the sanctuary seven steps higher still.</p>
+
+<p>At the time of Giorgio's death the work had progressed as far as the
+roofing in of the apses, if one may trust the arms of Bishop de
+Tollentis (elected in 1468), placed above the upper arch of the
+transept; while upon the external arch to the north are those of Count
+Captain Piero Canal, who left in 1470; and on the arch of the central
+apse inside, behind the sculptured bust representing God the Father, are
+those of Count Captain Girolamo Pesaro, who began to rule in 1476. At
+that time, therefore, the nave and cupola remained to be completed. Upon
+the cupola there are no arms. Those of Count Nicol� Mulla on the
+clerestory north wall show that it was finished to the cornice in
+1491-1493. Those of Nicol� Navager, who died 1489, fastened with<span class="pagenum"><a name="Page_252" id="Page_252">[Pg 252]</a></span> iron
+clamps in the same place, suggest that it was not completed at his
+death, though it was probably in course of construction. The arms of
+Count Andrea Gritti, captain in 1534-1537, on the summit of the fa�ade,
+show that the western end of the vault was completed by Giovanni
+Masticevich in 1536. The western rose (at which Giacomo, son of Matteo
+da Mestre, capo mastro, 1528-1535, was working in 1531) has Gothic
+cusped arches to the radiating bars, but the mouldings round are
+Renaissance, as are the angle pilasters to the nave wall and the pater�
+decorating the quarter-circles of the aisles. The fluted pilasters of
+the dome are in harmony with the pilasters of the open gallery above the
+nave arcade. The pointed arches, which were certainly finished in 1444,
+are probably Massegna's work, though the leafy cornice above bears great
+resemblance to carving for which Giorgio was responsible at Ancona.</p>
+
+<p>The baptistery is a queer little building at the eastern end of the
+south aisle, and one of the entrances to the cathedral is through it.
+The font has a bowl and base of variegated marble, like that used at
+Veglia, very flat in shape and unmoulded, supported by three <i>amorini</i>,
+carved in Istrian stone, who stand round the supporting stem. The plan
+of the building is cruciform, the arms of the cross being semicircular
+niches which have shell-heads. The wall above them has Gothic tracery,
+on the eastern side pierced to give light. The ribs at the angles are
+supported on engaged columns, above which are Gothic figures beneath
+canopies, of which two, David and Simeon, remain; the other two were
+destroyed or stolen, I understand, by thieves who broke into the
+building. The figures bend forward awkwardly beneath the curve of the
+vault, which becomes domical, with angels and cherubs upon it. The boss
+in the centre bears a head of God the Father and<span class="pagenum"><a name="Page_253" id="Page_253">[Pg 253]</a></span> the Holy Dove, with
+an inscription round the edge: "Hic est filius meus," &amp;c.</p>
+
+<div class="figcenter" style="width: 293px;">
+<img src="images/p358.jpg" width="293" height="500" alt="LATE VENETIAN-GOTHIC DOORWAY, SEBENICO
+" title="" />
+<span class="caption">LATE VENETIAN-GOTHIC DOORWAY, SEBENICO
+</span>
+</div>
+
+<p>The question of the part played by Giorgio in the construction of the
+cathedral is difficult to decide, being complicated by the mixture of
+styles and the possibly later insertion of several of the coats of arms
+of the rectors and bishops. The western piers of the crossing are
+considered to be part of the earlier work, because of the close
+resemblance of the carved foliage to Venetian-Gothic ornament; but it
+must be remembered that Giorgio was trained in Venice, just as Massegna
+was, and would be familiar with such work. Foliage of similar style
+occurs in domestic work at Tra�, and in other places along the coast, so
+that it is scarcely safe to consider it the sign-manual of any one
+sculptor. The time from 1441, when he signed a contract for six years,
+to 1443 was spent in widening the street to allow of the eastward
+extension of the church. On June 16, 1442, the demand for the rebuilding
+of the fa�ade of the count's palace (which was on the other side) was
+formally made for the bishop, procurators, and chapter. This additional
+space was necessitated by the design of the apse, &amp;c., as laid down in
+Giorgio's plan, and still existing.<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a> The Gothic character of the
+domestic doorway illustrated, with the late form of shield in the
+tympanum, shows that such forms lingered late in Dalmatia. The same may
+be said of the design of the rose-window, finished in 1531, and of
+similar details which occur in undoubted work by Giorgio in Ancona.<span class="pagenum"><a name="Page_254" id="Page_254">[Pg 254]</a></span></p>
+
+<div class="figcenter" style="width: 292px;">
+<img src="images/p361.jpg" width="292" height="500" alt="SOUTH-EAST PORTION OF CHOIR, CATHEDRAL, SEBENICO
+" title="" />
+<span class="caption">SOUTH-EAST PORTION OF CHOIR, CATHEDRAL, SEBENICO
+</span>
+</div>
+
+<p>The door of the lions in the north aisle is quite Gothic in character,
+yet the arms above it are those of Leonardo Vernier (1453-1454), Bishop
+George Sisgoreo (&#9766;1453), and of Bishop Vignacco (elected
+1454), apparently fixing its date thirteen years after Massegna had
+received his <i>cong�</i>. If it be contended that these arms are a later
+insertion, which the arrangement of the masonry makes possible, the
+value of all the coats of arms as fixing the dates of the portions of
+the building on which they occur must be discounted. The design of the
+lowest portions of the shafts in the right-hand jamb is different and
+apparently later than the rest of the work, and the foliage on the
+brackets beneath the lions also is very different from the fine caps to
+the west of the crossing, so that one scarcely likes to assume that they
+are by the same hand. Upon the pier, above one of the capitals
+attributed to Giorgio, which has been compared disparagingly with the
+caps last named, is the date 1524. This is below the level of the door
+of the sacristy, which we know Giorgio built, and one would assume that
+the pier must be anterior to the door, as the construction of the
+sacristy would scarcely precede the roofing in of the aisle from which
+it is entered. Moreover, the baptistery is beneath the apse which
+terminates this aisle, and it was certainly completed in 1452, since it
+is mentioned in the contract for the sacristy. The mixture of Gothic and
+Renaissance forms is characteristic of Giorgio's work throughout; and it
+is difficult to agree wholly either with Mgr. Fosco or Mr. T.G. Jackson
+in the different conclusions on this subject which they draw from the
+same data. The fact of Massegna having been dismissed on the definite
+ground of errors made and defects discovered, with the additional
+complaint of the throwing away of money upon ornament, suggests that the
+earlier portion was not left as we now see it by the first architect, of
+whom Mr. Jackson says: "To us there seems no fault in the design of
+Antonio." The design of the western<span class="pagenum"><a name="Page_255" id="Page_255">[Pg 255]</a></span> pair of caps of the piers at the
+crossing is as different from that of the nave caps, which are certainly
+Massegna's, as from that of the two eastern piers. Mr. Jackson says,
+probably quite rightly, that the torus moulding decorated with the
+laurel above the leaf cornice of the nave marks the commencement of
+Giorgio's work in that part; the same moulding occurs in the same
+relative position in the ambos to which he assigns the date of 1547: and
+one does not quite understand why the same detail should not have the
+same origin in both places. The only contract of 1547, quoted by Mgr.
+Fosco, is one with "Checcus" of Padua for 350 squared paving-stones and
+for laying them.</p>
+
+
+
+<p>Whatever part George of Sebenico had in the construction he must be
+classed with the great architectural designers. Leo Battista Alberti
+commenced the recasing of S. Francesco, Rimini, which is generally
+quoted as the earliest Renaissance work in Italy, in 1446, and the stone
+for the work was imported from Istria. In that year Giorgio's first
+contract was renewed for ten years. The Lombardi were then only
+commencing their work. S. Zaccaria at Venice was built by Martino in
+1456, and the Scuola di S. Marco in 1485. Pietro was engaged on the
+Madonna dei Miracoli in 1483. So that Giorgio's work antedates theirs by
+some years. He had numerous pupils, whose names have been recorded; the
+other workmen came from Durazzo, Curzola, and Spalato. The best known of
+them, Andrea Alexis, the Albanian of Durazzo, was much employed in
+Spalato, Arbe, and Tra�.</p>
+
+<p>The votive church of S. Salvatore, just inside the Porta Pile, Ragusa,
+built in 1522 after the earthquake of 1520, and designed by Bartolommeo
+da Mestre, master mason at Sebenico in 1528, bears considerable
+resemblance to the cathedral.</p>
+
+<p>The door of Giorgio's house is beyond that of the<span class="pagenum"><a name="Page_256" id="Page_256">[Pg 256]</a></span> sacristan, in a
+narrow street, the Contrada S. Gregorio. To reach it, one leaves the
+piazza by a slope beyond the Loggia, the ancient palace of the council
+of the Nobles, a building of 1522, now a social club. The slope affords
+a view of the enclosure in which the "vere" of the communal wells still
+remain, four circular well-heads, with the symbols of the Evangelists
+and coats of arms in roundels upon them, surrounded by cable mouldings,
+four on each. Sebenico now has a fine water-supply brought from the
+Kerka, twelve miles away, and they are no longer in use. The
+aqueduct&mdash;the first constructed in Dalmatia in modern times&mdash;is named
+the Lott-Brunnen, in commemoration of the clever engineer who designed
+it.</p>
+
+<p>Near the cathedral is the little church of S. Barbara; the bell-turret
+on the wall is used as its campanile. In the north wall is an
+ogee-headed window, deeply splayed and with pretty tracery; below it a
+little shrine to the Virgin is set most oddly, with an arch projecting
+up into the window space. A little higher up the street is the fine
+Venetian door illustrated a few pages back, with columns and pinnacles,
+and returning wall with elaborately shaped battlements. At the church of
+S. Giovanni Battista is a fine external stair of fourteenth-century
+Venetian type, a double flight returning on itself, with a landing at
+the change of direction. The balustrade is continued round the side of
+the church and the tower, but with square unmoulded shafts in place of
+the colonnettes. The trefoiled heads are cut in the rail with the carved
+spandrils between. There are many pieces of sculpture of the Venetian
+period, windows, balconies, &amp;c., in the walls here and there, and
+wheel-windows occur with quatrefoils filling the heads of the spaces
+next the circumference.<span class="pagenum"><a name="Page_257" id="Page_257">[Pg 257]</a></span></p>
+
+<div class="figleft" style="width: 313px;">
+<img src="images/p366.jpg" width="313" height="400" alt="BELFRY OF GREEK CHURCH, SEBENICO
+" title="" />
+<span class="caption">BELFRY OF GREEK CHURCH, SEBENICO
+</span>
+</div>
+
+<div class="figright" style="width: 179px;">
+<img src="images/p367.jpg" width="179" height="450" alt="COSTUME OF SEBENICO" title="" />
+<span class="caption">COSTUME OF SEBENICO</span>
+</div>
+
+<p>There are also a few pictures to be seen. In the cathedral is an
+Andrea Schiavone (who died here in 1582), "The Adoration of the Three
+Kings." In S. Domenico alla Marina there are said to be fine Renaissance
+altars, and pictures by Lorenzo Lotto, Palma Giovane, and Marco
+Vecellio. We did not see them, as, on the occasion of both our visits to
+Sebenico, the church was being restored or rebuilt. The interior of S.
+Francesco is harmonious. It was in the archives of this convent that
+Mgr. Buli&#263; discovered a gradual written on parchment of the ninth or
+tenth century, which had been brought from S. Maria di Bribir in 1527.</p>
+
+
+<p>The Greek church has a very interesting belfry of late Renaissance style
+in the gable; two arches with projecting semicircular pierced
+balustrades for the ringers, and the bells (which are clappered) hanging
+in the free space beneath the arch above. A third bell is in a higher
+arch without the balustrading. The Greek Christians celebrate the Church
+festivals with processions about the town, treated with great respect by
+their Roman Catholic fellow-citizens, of which one held on the
+Assumption may be described as typical. Boys and girls with garlands led
+the way, followed by women with coloured aprons and voluminous
+draperies. Then came a band in gay uniforms and plumed head-gear, then
+priests in vestments of cloth of gold, swinging silver censers, or
+bearing holy pictures; they were big men of fine ap<span class="pagenum"><a name="Page_258" id="Page_258">[Pg 258]</a></span>pearance, with
+religious earnestness in their faces. In the middle, under a silken
+canopy with gold fringes, a higher ecclesiastic walked, a venerable
+figure, with long silver hair and beard, bearing the most holy object
+and looking like a high-priest, surrounded as he was with clouds of
+incense. After the priests came a long line of men in country costume,
+powerful figures with flashing eyes, and faces full of character. They
+held themselves upright like soldiers, and bore large white tapers
+fastened four together. The sides of the narrow streets were lined with
+Roman Catholics who looked on with sympathetic interest at the religious
+ceremonies of their fellow-citizens of a different creed, an example
+which might be commended to sects nearer home.</p>
+
+<p>The people are hospitable, and very generous, but proud, and, like the
+Spaniards, easily moved both to acts of violence and kindness. There is
+no nobility, the patrician families being either extinct or
+impoverished, partly owing to a severe epidemic of smallpox which smote
+the town in 1872. The men wear a ridiculous small red cap, like that
+worn at Zara, but smaller, often requiring an elastic round the back of
+the head to keep it on, and waistcoats and coats ornamented with large
+silver buttons of filigree work (older examples of which are works of
+art, but the modern mere articles of commerce). The collar is curious,
+with a facing of red or black worsted, apparently intended to imitate
+fur (shown in the drawing of the costume). The trousers are dark blue,
+with a slit towards the ankle, laced up with silver wire, and strong
+shoes are worn with turned-up toes covered with hide lacings. The women
+have a white head-dress, a cloth twisted round and fastened to the hair
+in the manner of that worn at Lussin Piccolo. One of the waiters at the
+restaurant who came from Spalato, but whose side-whiskers stamped him as
+an Austrian, told us he had been in Glasgow and other<span class="pagenum"><a name="Page_259" id="Page_259">[Pg 259]</a></span> British towns&mdash;a
+rather unusual thing with the men of his class, though many of the
+sailors are acquainted with British ports. The dustmen reminded one of
+the days of one's childhood when in England; they went round ringing a
+bell and calling "Dust-ooh!" At the sound all kinds of refuse were
+brought out to the cart, which went slowly along the narrow street.</p>
+
+<p>Sebenico was the birthplace of the celebrated Nicol� Tommaseo, to whom a
+statue has been erected in the public garden below the piazza, where
+Sanmichele's gate stands. He was born in 1802, and was philologist,
+philosopher, historian, poet, novelist, critic, psychologist, statist,
+politician, and orator, leaving behind him, when he died in 1874, some
+two hundred works. In its time of prosperity the city owned several
+islands, of which Zlarin is the most populous and the richest.</p>
+
+<p>Sebenico is the usual starting-point for the excursion to the Kerka
+falls; and, on the arrival of the boat, tourists make arrangements to
+share carriages. It is a drive of about twelve miles, through a barren,
+stony land, till one reaches the park-like country along the banks of
+the river. The falls can also easily be reached from Scardona, to which
+a little steamboat runs in the morning; but there is none back in the
+afternoon, so those who are pressed for time generally drive. Scardona
+is an ancient city mentioned by Pliny as a principal market-town of
+Liburnia. The ruins which remain are late Roman. In the Middle Ages,
+Venice, Hungary, and Turkey all coveted it, and it suffered accordingly.
+In 1411 it became Venetian, in 1522 was sacked by the Turks, and retaken
+by the Venetians in 1537. The fortifications were destroyed, and the
+town abandoned and afterwards burnt; but the Turks held it till 1684,
+when they finally evacuated it. The falls are about three-quarters of an
+hour's walk away up the river, which was the ancient boundary between
+Liburnia and<span class="pagenum"><a name="Page_260" id="Page_260">[Pg 260]</a></span> Dalmatia. They form its final plunge to sea level, for two
+tributaries join it, one on each side of Scardona, where it virtually
+becomes an estuary. The water precipitates itself over five terraces
+some 300 ft. wide, a magnified artificial cascade with a fall of 150 ft.
+The main fall occupies the centre of the stream, and is slightly
+horseshoe in shape; to the right and left are numerous smaller cascades
+with a little island between. Many partly artificial channels conduct
+the water to flour and fulling mills on both sides of the stream, of
+which there are some fifty, the sound of the mill-wheels and the
+fulling-hammers mingling with the rush of the waters. On the Sebenico
+side are a mill for insect-powder made from the pyrethrum, and the
+pumping-house for the water-supply of the city, the power for the
+electric lighting being also generated here. The mills are not so busy
+as they used to be, for the Hungarian and Russian flour is driving the
+home product out of the market. The spray from the falls rises high in
+the air, and bathes the overhanging trees and reeds, keeping the
+neighbouring rocks clothed with ferns.</p>
+
+<p>After dinner we strolled along the quay to the south of Sebenico. There
+was no moon, and the stars were not as brilliant as they sometimes are
+in these southerly latitudes, making it rather difficult to pick one's
+way among the mysterious darknesses, which meant obstacles of one kind
+or another. As we rounded a corner a lamp or two flashed in our eyes
+from the other side of a little cove, and sparkled in broken lights upon
+the uneasy wavelets which splashed and tinkled against the sides of
+several coasting-vessels moored near at hand. The semi-silence of the
+night was broken by musical sounds, scarcely melody, but an uneven kind
+of chant, commencing in unison, and dying away in a prolonged
+melancholy, wailing chord, swelling and falling, almost like the notes
+produced by an �olian<span class="pagenum"><a name="Page_261" id="Page_261">[Pg 261]</a></span> harp as the wind sweeps over its strings. The
+glow of light which showed the door of a wine-shop across the water
+marked where the singers were enjoying their melancholy music, which, in
+its formlessness and dying cadences, was in strange harmony with the
+shapeless undulating dark masses, which by day were rocky islands
+sparsely clad with trees, now only relieved by the glimmer of the paler
+water, whose lapping formed an undertone to the stronger notes of the
+voices.<span class="pagenum"><a name="Page_262" id="Page_262">[Pg 262]</a></span></p>
+
+<div class="footnotes"><h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> Mgr. Fosco states that Giorgio submitted a plan of his
+proposed work, with cupola, apses, and transepts, with the little
+choirs&mdash;possibly a model, such as we know he prepared at the time the
+contract for the sacristy was signed.</p></div>
+</div>
+
+
+<hr style="width: 65%;" />
+<h2><a name="XX" id="XX"></a>XX</h2>
+
+<p>TRA� AND THE RIVIERA DEI SETTE CASTELLI</p>
+
+
+<p>From Sebenico, Spalato can be reached either by boat or by rail. On our
+first visit we chose the train, since it gave us greater choice of times
+for making the journey. The railway stations are generally far away from
+the piers; we had observed this at Pola and Parenzo, and the same thing
+occurs at Sebenico. The hotel porters are not allowed to carry baggage
+to and from the steamers or the station; we were told there was a law
+against it, which a man sitting by said was just enough, for the odd-job
+men must live! The retrospect from the railway is fine. The southern end
+of the inlet is in the foreground, with a training-ship upon it; the
+city on its hill lies to the right, crowned by Fort S. Anna, and higher
+still the Fort S. Giovanni; while to the left is the other portion of
+the inlet which stretches towards Scardona and to the entrance, dotted
+with islands and terminated by low hills. A bright sun illumined the
+whole scene, increasing the lustre of the rocks and buildings, which
+contrasted sharply with the colour of the sea, blue as the luminous
+over-arching sky it reflected.</p>
+
+<p>The line climbs slowly up the slopes of Monte Dinara, towards
+Perkovic-Slivno, the junction for Knin through a rather stony landscape
+above rich and well-cultivated valleys. The hills in the middle-distance
+look barren, but the foreground is interesting on<span class="pagenum"><a name="Page_263" id="Page_263">[Pg 263]</a></span> account of the
+variety of broken forms caused by projecting rocks and stones. It is
+starred with green humps, and there are trees in places. The humps are
+stunted growths of juniper, sloe, bramble, hawthorn, or a trifoliate
+plant, with grass growing in the shadow. The trees are hawthorns, ilex,
+olive, fig, almond, chestnut, mountain ash, hornbeam, or elm, and I
+thought I saw oak, though it is said that it does not grow in Dalmatia.
+Colour was added by many flowers, orchids, iris, yellow daisies,
+asphodel, and fields of pink pyrethrum; while the dresses of groups of
+peasants on their way to or from Mass gave brilliant patches of reds and
+blues. Vines grew in pockets of earth among the rocks from which loose
+stones had been collected to build rough terrace walls.</p>
+
+<p>At Perkovic-Slivno, the song ol nightingales beguiled the tedium of
+waiting, shut within a barrier, for the train from Knin, for one is not
+allowed to stray about until the train arrives. After a little further
+climbing, the summit of the range was pierced, and the lovely Riviera of
+the Castelli lay spread before us far below. The long island of Bua
+stretched towards the strait, by which the ancient port of Salona was
+approached; a land-locked bay, from the other side of which above the
+peninsula of Monte Marjan rose the campanile of the cathedral of
+Spalato, swathed in the scaffolding of its long-continuing restoration;
+beyond was the sea, with the southern islands in the distance, and the
+littoral chain growing pale in aerial perspective. It formed an
+enchanting whole, equalling views which have a world-wide reputation,
+opalescent in the morning sunlight, with pale purples, blues, and greens
+thrown like a veil over the rich soil and the grey limestone of the
+mountains. The line descends rapidly, too rapidly for one's desires, and
+approaches the shore near the fourth of the castelli, rounds the bay in
+which Vranjic<span class="pagenum"><a name="Page_264" id="Page_264">[Pg 264]</a></span> lies, passing beneath Salona, and, crossing the Jader,
+arrives at the Spalato station through cuttings which prevent one from
+seeing anything of the palace wall.</p>
+
+<p>On other occasions we went by boat, reaching Spalato in the evening.
+After the Punta Planka, the ancient Promontorium Syrtis is passed, where
+the water is often rough, since there is no protecting screen of
+islands, the campanili and towers of Tra� come into sight, between which
+and Bua there is a swing bridge across the channel. Beyond this the boat
+passes under the lee of Bua, on the shore of which is a solitary white
+monastery; whilst on the opposite shore the buildings of the Castelli
+throw long tremulous reflections across the water, and boats with sails
+painted in various colours and patterns pass to right and left, flushed
+with the rays of the setting sun, and leaving trails of light or dark
+behind them according as the water reflects the land or the sky. As the
+sun sinks lower, leaving the sea in shadow, the glow upon the hills
+becomes more and more roseate, till at last it fades, as the strait is
+passed and the harbour opens. The smoke from a cement factory hangs in
+the air like evening mists in an English valley; and, as we approach
+still nearer, the long line of buildings upon the quays, dominated by
+the great campanile and the colonnade of Diocletian's palace, gradually
+grows more impressive in the failing light.<span class="pagenum"><a name="Page_265" id="Page_265">[Pg 265]</a></span></p>
+
+<div class="figcenter" style="width: 650px;">
+<img src="images/p376.jpg" width="650" height="313" alt="THE PORTA MARINA AND CUSTOM HOUSE, TRA�
+" title="" />
+<span class="caption">THE PORTA MARINA AND CUSTOM HOUSE, TRA�
+</span>
+</div>
+
+<p>It is distinctly asserted by Strabo that Tra�, the ancient Tragurium,
+was founded in the fourth century <span class="smcap">B.C.</span>. by Greek Sicilians from Lissa.
+At a later date it was certainly a Roman colony. After the fall of the
+Western empire it was subject to the emperors of Byzantium, and for
+forty years or so in the ninth century to the Franks, after which
+Hungarians, Byzantines, Genoese, and Croats struggled for it, till in
+1420 it was taken by Venice. Its first privilege was granted by
+Coloman of Hungary in 1108, renewed and amplified by Stephen in 1124,
+Geysa III. in 1151, and Bela III. in 1182. Bela IV., with his family,
+treasures, and a brilliant following, took refuge here in 1241 from the
+Tartar hordes. He was received with due honours, and conceded in return
+the confirmation of ancient privileges, &amp;c. The city was mainly Slav
+during the Middle Ages, and, on the whole, was happy and peaceful under
+Hungarian rule, though sacked by the Saracens in 1123, and by the
+Venetians in 1194, under the leadership of Vitale Michiele. Between 1322
+and 1358 it belonged to the Venetians.</p>
+
+<p>Under Venetian rule the walls of Dalmatian cities, towards the sea were
+weak, and often formed merely by houses and towers belonging to private
+persons. Those of Tra� are no earlier than the thirteenth century, and
+only small portions of that date remain by the tower of the nuns of S.
+Nicol�. In 1289 a wall was commenced round the suburbs; and Law XX. of
+the first book of the Statutes obliged each count to build ten "canne"
+of wall in the suburb each year, as Lucio states. Notwithstanding this
+regulation, it was not finished till 1404, and one tower even was not
+completed till 1412. The suburb was called Citta Nova, and the dividing
+wall was subsequently demolished. In 1290 Stefano d'Ugerio of Ancona,
+podest�, was freed from the obligation of paving fifty paces of the
+street between the two main gates, which was laid on every podest�, so
+one may suppose that the paving was completed. In Venetian times Tra�
+had seven gates. Of these three remain&mdash;a plain pointed arch near S.
+Nicol�, the Porta Marina, and the Porta a Terra. This latter is also
+known as Porta S. Giovanni from the figure of S. Giovanni Orsino which
+crowns it, and before which a lamp continually burns. The gate is
+Renaissance, with the S. Mark's lion in an oblong panel above the arch.
+From the middle of the base of this panel a little cypress grew, which
+remained the same size for generations. The country people believed that
+its growth was due to the wonder-working power of the saint, and that
+its colour foretold scarcity or a fruitful year. When I was there the
+second time, in 1906, the podest� told me it had died. The sea gate is
+also Renaissance; from the jambs still hang the ancient doors thickly
+studded with iron nails, and behind the door is a S. Mark's lion with
+the book closed, though they say it was open till the fall of the
+Republic. Above the gate is another lion with an inscription of 1642.
+Close by is the custom-house, which groups picturesquely with the
+gateway.</p>
+
+<p>The castle at the end of the quay, the Castel del Camerlengho, was built
+in 1424. It is very well preserved. The three smaller angle towers have
+been altered for cannon. It is now a store-house for sand and such
+things, with a small garden and a few almond-trees. In the corner is a
+little chapel nearly covered by the sand, and I was told there was a
+shallow cistern in the middle. The round tower to the north-west dates
+from 1378, when the Dalmatian towns were allied with Genoa against
+Venice, and Tra� was the <i>rendezvous</i>. The walls are battlemented, the
+octagonal angle towers have had machicolations (tolerably well preserved
+on one of them), and above each of the two entrances is a projecting
+defensive work of the same kind.<span class="pagenum"><a name="Page_266" id="Page_266">[Pg 266]</a></span></p>
+
+<div class="figcenter" style="width: 351px;">
+<img src="images/p379.jpg" width="351" height="550" alt="THE PORTA S. GIOVANNI, TRA�
+" title="" />
+<span class="caption">THE PORTA S. GIOVANNI, TRA�
+</span>
+</div>
+
+<p>A few discoveries have been made of pre-medi�val things. In 1899, some
+half-mile towards Spalato, two terra-cotta urns were found, one of which
+had been mended with straps of lead. It contained seven bits of a
+statuette of Bacchus, which have been put together, and three bits of a
+larger figure. They are now in the museum at Spalato. In 1903, remains
+of an early church were excavated on the mainland, close to the
+wooden<span class="pagenum"><a name="Page_267" id="Page_267">[Pg 267]</a></span> bridge which crosses the isolating arm of the sea, bringing to
+light a mosaic pavement, part of the apse, and one column. It was
+probably part of a cemetery basilica of the fifth or sixth century, just
+outside the ancient wall of Tragurium. Two Christian inscriptions of the
+fifth century have been found near, upon one of which are the words
+"sancta ecclesia"; and close by was discovered the torso of a prisoner
+of war, apparently Roman work. Close to the cistern is the reversed
+cover of an antique sarcophagus, and part of the front of another with a
+sixth-century cross. A curious custom still existing suggests a
+traditional memory of the site of the ancient cemetery. On Holy Thursday
+the Confraternity, after visiting the churches in the town, and that of
+the cemetery (about half a mile away), returns to the cistern, and,
+gathering round it, prays for the dead.</p>
+
+<p>At one time there were twenty-one churches in the city. Those of S.
+Nicol� and S. Barbara are early. S. Nicol� (formerly S. Doimo) was
+founded in 1064 by Giovanni Orsini for ladies of noble descent, but
+little remains to show its age. There is said to be a Greek fragment of
+the third century <span class="smcap">B.C.</span> in the court of the convent. Two early caps in
+the entrance portico appear to belong to the period of foundation.<span class="pagenum"><a name="Page_268" id="Page_268">[Pg 268]</a></span></p>
+
+<div class="figcenter" style="width: 460px;">
+<img src="images/p382.jpg" width="460" height="650" alt="PLAN AND SECTIONS, S. BARBARA, TRA�" title="" />
+<span class="caption">PLAN AND SECTIONS, S. BARBARA, TRA�</span>
+</div>
+
+<p>S. Barbara was originally dedicated to S. Martin, but the name was
+changed when the altar from the church of S. Barbara was brought here
+during the Turkish siege of 1537; it is mentioned in 1194. It is the
+most ancient church in Tra�, and the lintel of the door has an
+inscription upon it with diamond-shaped O's, as used in the eighth
+century. The ornamental carving also is consistent with that period in
+its design, with crosses of interlaced work in the centre and at the
+ends, two griffins with tails entwined in a circle, one on each side of
+a central feature, with a rosette within a cable moulding, and rough
+trefoils filling up gaps. The interior has nave and aisles, with four
+stilted arches resting upon columns on each side, and three apses (of
+which the central one is larger and longer than the others) with two
+niches in the wall, covered by a semi-dome on squinches,<span class="pagenum"><a name="Page_269" id="Page_269">[Pg 269]</a></span> the plan being
+square. The caps and columns appear to be antique for the most part, and
+just outside is a shallow cap of the same pattern as one at Kairouan.
+The aisles are very narrow, and are vaulted with cross-vaulting without
+ribs, but with strengthening arches thrown across to the wall. The nave
+has a barrel vault with pilaster strips running up to the springing of
+the strengthening arches, which are all round and unmoulded. A moulding
+with three projecting corbels runs round the base of the apse vault. It
+is said that there was once a central cupola. The east window still
+retains a lattice-pierced slab. The church is now a store-house for odds
+and ends, with a floor halfway up over the western part, but the podest�
+told me that they hoped to clear it out and make it into a museum.</p>
+
+<p>S. Domenico retains portions of Gothic work. The building was finished
+in 1372. A rough relief in the tympanum shows a Virgin and Child, and on
+the right a local saint, Augustino Cassioti, canonised by Pope John
+XXII. (1313-1334), with mitre and pectoral, and on the left S. Mary
+Magdalene. At the feet of the saint kneels the foundress, his sister
+Bitcula. A Gothic inscription gives her name, and that of the sculptor,
+"Maiste Nicolai de te dito cervo d Venecia fecit hoc opvs." Within are a
+picture of the Circumcision by Palma Giovane, with a pretty Virgin, the
+marble sarcophagus of the family Sobota, a grandiose Renaissance
+production, and six panels of saints on gold ground, rather like the
+Gubbio school in style, arranged in threes on the wall of the choir.<span class="pagenum"><a name="Page_270" id="Page_270">[Pg 270]</a></span></p>
+
+<div class="figcenter" style="width: 445px;">
+<img src="images/p385.jpg" width="445" height="650" alt="PLAN OF THE CATHEDRAL, TRA�" title="" />
+<span class="caption">PLAN OF THE CATHEDRAL, TRA�</span>
+</div>
+
+<p><span class="pagenum"><a name="Page_271" id="Page_271">[Pg 271]</a></span>The cathedral, however, is the glory of Tra�. It replaces an earlier
+building, reported to have dated from the sixth century, but destroyed
+by the Saracens in 1123. At this time the Tra�rines fled to Spalato, and
+apparently did not venture back till 1152. The builder of the main part
+of the cathedral was Bishop Treguanus, a Florentine who came from
+Hungary, and was bishop from 1206 till about 1256. The south door bears
+the date 1213, the great west door 1240, but the west gable has the arms
+of Bishop Casotti (1362-1371) upon it, and the campanile was not
+finished till 1598. The plan shows a nave and aisles five bays in
+length, terminating in three apses, while to the west is a broad and
+lofty porch, above one end of which the tower rises. This porch is
+entered by an arch at the south end, but there is another opposite the
+great west door; and at the further end is the fifteenth-century
+baptistery. Round it runs a low seat with arcaded panelling, which
+serves as base to all the shafts. It is vaulted in three bays, with
+twisted colonnettes in the angles of the piers. The vaulting is
+quadripartite, with ribs and two arches three feet broad repeating the
+divisions of the nave, all the arches being round. The central
+compartment rises like a dome upon the surface of the terrace above. In
+the aisle walls are two pierced circular windows, Romanesque in design.
+In one, two dragons are represented devouring a man; in the other are
+two lions rearing against a twisted pillar on which is a cup. The bodies
+are broken, and the tails, which remain, encroach upon the wall surface.</p>
+
+<div class="figcenter" style="width: 428px;">
+<a name="p272" id="p272"></a>
+<img src="images/p387.jpg" width="428" height="580" alt="CARVING ON RIGHT JAMB OF WEST DOOR, CATHEDRAL, TRA�
+" title="" />
+<span class="caption">CARVING ON RIGHT JAMB OF WEST DOOR, CATHEDRAL, TRA�
+</span>
+</div>
+
+<p>The great west door is the pride of all Dalmatia, and is unsurpassed in
+the elaborate richness of its carving. It is dated in the lintel
+inscription 1240, and signed Raduanus, a Slav name Radovan latinised.
+There are two orders and a tympanum with octagonal shafts in the angles,
+those nearest the door apparently having fragments of highly carved work
+inserted, since the plain octagonal shaft is visible both above and
+below the carving. A flattish gable surmounts it, with a kind of
+tabernacle work at each end above the figures of Adam and Eve, and a
+cresting of crockets shaped like eighth-century crockets in a similar
+situation. In the centre is a<span class="pagenum"><a name="Page_272" id="Page_272">[Pg 272]</a></span> little niche with a later figure of S.
+Laurence, the patron saint. The tympanum is occupied by the subject of
+the Nativity, arranged in two stages. In the centre above is a curtained
+recess, with the Virgin in bed, and the Child in a kind of cradle, above
+which the heads of the ox and ass appear. Over them are two angels, one
+of whom holds a star from which rays stream down on the Child, whilst
+the other speaks to the shepherds. Below are Joseph and two women, one
+of whom pours water into a tub, while the other washes the Child in it.
+Behind Joseph is a shepherd (these two figures are named). On the left
+are the shepherds and their flocks; on the right the three kings ride
+up. "Guasper" and "Balthssar" are also named. The arches above are
+unmoulded, but carved on the face. On the outside order at the top is
+the Crucifixion, with the Virgin and S. John and two kneeling figures.
+Commencing from the bottom on the left the subjects run: the Flight into
+Egypt; the Entry into Jerusalem; the Marriage of Cana, or the Feast at
+Simon's House; the Scourging of our Lord; the Watchers at the Grave, or
+the Resurrection; the Temptation, or Casting out of Devils; and the
+Baptism of Christ. Some of the reliefs are damaged. The inner order has
+at the top the Adoration of the Kings (Joseph stands behind Madonna's
+throne); at the base the Annunciation (the Virgin spinning on one side,
+and Gabriel with a long staff on the other). This and the cupola on the
+building behind the Virgin suggest a Byzantine model, as well as the
+incorrect monogram, which is &#978;&#920;. The rest of the arch is filled with
+censing angels. The jambs bear four-feet figures of Adam and Eve outside
+the orders of the arch, holding fig-leaves in the same manner as the
+figures at Sebenico, which they much resemble. Below Eve is a lioness
+with two cubs under her, and a lamb in her claws; below Adam a lion with
+a dragon in its claws; very decorative in their effect,<span class="pagenum"><a name="Page_273" id="Page_273">[Pg 273]</a></span> and standing
+upon brackets with channelled supports enriched with balls. The
+pilasters are not quite homogeneous, and indeed scarcely agree even with
+their fellows on the opposite side. Next to Adam are three figures of
+Apostles with nimbi, in panels made by the crossing of foliated stems;
+next to Eve are also three figures without nimbi, but smaller, though
+the panels are similar; two have small canopies. On the other face are
+foliage scrolls with animals within them; on Eve's side an ass, horse,
+camel, elephant, hippopotamus, and the Oriental <i>motif</i> of a griffin
+stooping over its prey; on Adam's side a woman riding on a horse, a
+centaur with a dart, a mermaid, a sea-horse, and at the bottom a griffin
+devouring a scroll, with a human head attached. Below the ornament are
+semi-nude caryatid figures on one side; on the other they have turbans
+and shoes, and one has ankle band-ages. In the angle is an octagonal
+shaft of green marble which continues round the arch. The reliefs on
+Eve's side in the next order show details of burgher life and
+agriculture, probably labours of the months or seasons&mdash;pruning leafless
+trees, the preparation of leather, a man seated by a fire on which is a
+cauldron, whilst a woman fills his cup from a skin over her shoulder,
+behind hang sausages. Above is a pig which a man is about to kill. The
+other side is similar. Above are shepherds shearing sheep in a wood;
+then comes a figure holding a scroll upon which there is no inscription;
+below is a warrior with sword, baton, and shield, below him a nude man
+with flying hair, both among twining branches. Upon the other face are
+spirals of leaf ornament with heads of men and beasts, resembling a
+piece of antique carving at Spalato, finished with extraordinary care
+and mastery. Caryatid figures support this order also, turbaned and
+clothed with tunic and cloak. The carved portions of the inner columns
+are of a white limestone, while the<span class="pagenum"><a name="Page_274" id="Page_274">[Pg 274]</a></span> octagonal shafts are of green
+marble; and this gives some support to the legend that they were brought
+from Biha&#263;, a castle of the kings of Croatia and Dalmatia, and later of
+the kings of Hungary, a short distance away, of which scarcely a sign
+now remains.<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a> These shafts have elaborate scrolls of intertwining
+branches and leaves, with animals, including some not found in Dalmatia.
+The hunter has a greyhound. There are a stag, a bear, a sow, hares
+dragged out by peasants, &amp;c.; here there is a female centaur; there a
+girl seated on an ox, a wood-devil with two horns, &amp;c. On the other side
+are lions and bears, figures fighting, a young man with a falcon, loose
+dogs, &amp;C., all most carefully carved. Beneath the lintel two caps with
+<i>amorini</i> of the fifteenth or sixteenth century have been inserted.</p>
+
+
+
+<p>The south door is simpler, but in the same round-arched style. It has
+square orders with rolls laid in the reveals, of which the inner one
+resembles a cable, and the outer chain mail. In the semicircular
+tympanum is a round window enclosing a quatrefoil surrounded by an
+inscription with the date 1213 and the name of Bishop Treguanus. The
+side walls are divided into five spaces by piers; an arched corbelled
+cornice terminating in mouldings runs along them, and returns up the
+slope of the east wall. Above it is a curious little loggia with very
+squat pillars and brackets imitating the wood forms of Venetian
+courtyards, but cut in stone. The alteration in the slope of the east
+end shows that it is a later addition. The same kind of cornice finishes
+the east gable and the nave walls, and also runs round the apses, but
+with richer mouldings above it, especially round the central one. The
+curious Dalmatian square-leaf enrichment, channelled in six radiating
+stri�, and terminating in a small volute at the top corner occurs here.
+There are two shafts to each small apse dividing the wall<span class="pagenum"><a name="Page_275" id="Page_275">[Pg 275]</a></span> space, and
+one window, but the central apse has four twisted shafts and three
+windows, of which the central one is largest. In the gable is a
+rose-window. On the roof of the northern aisle the lines of the plan and
+elevation of parts of the campanile are cut, working drawings for the
+masons. Heads of beasts project beneath the aisle cornice as gargoyles.
+Above the ground story the tower is Gothic, and has two Gothic windows
+of two lights on the south side, with octagonal shafts and traceried
+heads. The other sides have arcading divided into two panels. Here there
+is an inscription giving the date of 1422, and the names of the Masters
+Mateus and Stefanus, probably the Matteo Goykovi&#263; who contracted for the
+repair of church and campanile with the "operarius" of the church in
+1421. The stage above has tall square-headed windows, with reticulated
+tracery in the heads of cusped circles or quatrefoils, and two lights
+below with central colonnette. The angles have shafts, and there is a
+pointed trefoiled cornice with carved mouldings and cornice above. The
+third story is Renaissance, finished in 1598 by Trifon Boccanich. Gothic
+details still appear as in the shafted two-light windows, with the
+pierced quatrefoils above and the twisted shafts at the angles. The
+whole finishes with a pyramidal spire, imitating the Venetian campanile.
+The gable above the portico has an enormous wheel-window of sixteen
+divisions, which had a door beneath it.<span class="pagenum"><a name="Page_276" id="Page_276">[Pg 276]</a></span></p>
+
+<div class="figcenter" style="width: 364px;">
+<img src="images/p393.jpg" width="364" height="500" alt="INTERIOR OF THE CATHEDRAL, TRA�
+" title="" />
+<span class="caption">INTERIOR OF THE CATHEDRAL, TRA�
+</span>
+</div>
+
+<p>The nave is 19 ft. 6 in. broad. Its piers vary in width, and the
+round-arched arcade is irregular in its spacing. The north aisle is
+broader than the south. The piers and arches are unmoulded; the arches
+have two orders, carved imposts, and a very small base. The main arches
+of the vault have mouldings at each side of a fiat surface, and are
+pointed; the lesser ribs are twisted. The central bay only has a rib
+running east and west at the summit of the arch. The aisles are vaulted
+in the same manner, but with semicircular section. All the vaults are
+domical, and those of the nave spring from corbels carved in the style
+of Venetian fifteenth-century work. This agrees with the statement that
+the vaulting dates from 1427-31, and was strengthened by chains and iron
+anchors in 1440. The central bay has the south door on one side of it,
+the chapel of S. Giovanni Orsini to the north; and the pulpit against
+the north-eastern pier marks the commencement of the choir, which is
+raised two steps above the level of the nave. A stone bench runs round
+the apse, but there is no sign of an episcopal seat in the centre. The
+ciborium is somewhat of the type used by the Roman marble-workers in the
+twelfth century, but the proportions resemble those at S. Nicola, Bari,
+more than the other Italian examples. It is of grey marble, and bears
+upon the western angles of the square portion figures of the Virgin and
+the Angel Gabriel, the latter kneeling, for which the change to
+octagonal plan for the upper portion leaves room. The figures are
+fifteenth-century in character, and on the bases are the names of the
+artist and of the overseer&mdash;on that of the Virgin, "Mavrvs me fecit"; on
+the angels', "Bitalis qda Martini oprarii," in Lombardic letters. The
+"operarii" were generally nobles, and had control of the church works. A
+gilded inscription on the front of the architrave gives the angelic
+greeting. The columns are of cipollino; the caps, once gilded, are very
+like those of the pulpit, which seems to be of the same date. It is
+octagonal and surrounded by round-arched arcading, two arches to a side,
+with coupled columns on the sides and three at the angles, above single
+arches resting upon shafts of precious marbles with elaborate caps which
+also at one time were gilded. The design suggests the copying of a metal
+original in the treatment of the foliage scrolls<span class="pagenum"><a name="Page_277" id="Page_277">[Pg 277]</a></span> and the heads of the
+monsters, and contrasts with the pulpit at Spalato, in which a wood
+treatment of the capitals is suggested. The column for the book-rest
+stands on a little lion bracket; of the eagle which once surmounted it
+only the claws remain. Beneath it William, son of Baldwin, emperor of
+Constantinople, was buried in 1242. The choir stalls are of the
+fourteenth-century Gothic type, like those at Arbe and Zara, touched
+with colour and gilding. They cost eighteen ducats of gold each, and
+were restored in 1757 and 1852. The carved portions are added, not cut
+out of the solid. The chapel of S. Jerome at the west end on the north
+was built in 1458. It has a qua trefoil wooden grille, made by cutting
+triangles out of the uprights and cross-pieces equal in size to the
+angles remaining. On the west wall is a little relief of a Virgin and
+Child, S. Jerome, and a saint with halberd, beneath early Renaissance
+niches and channelled pilasters. On the nave piers are paintings, most
+of them of little value. A S. Jerome and S. John the Baptist show
+decorative feeling in the landscape and its combination with the figure;
+and on the second pier on each side is a row of nine saints and angels,
+small figures as if from a predella, which show a combination of
+Peruginesque and Florentine design and colour. Eitelberger says the
+paintings above the side altar are ascribed to the younger Palma. The
+cross of lamps which hangs in the nave recalls S. Mark's, Venice, as do
+the harmonious tone of the interior and the colonnettes of precious
+marbles of the pulpit. The great crucifix was brought from Venice in
+1508. The organ was made by Frater Urbinus in 1485. Its wings, painted
+in 1489 by Giovanni Bellini, are now on the first pier. In 1767 another
+organ replaced it. The sacristy, an irregular building of 1444-1452,
+cost 4,020 zecchins. It has a pointed barrel vault, and contains a very
+fine row of<span class="pagenum"><a name="Page_278" id="Page_278">[Pg 278]</a></span> cupboards worked by Gregorio di Vido in 1452, made of
+walnut, carved and inlaid, and costing 125 ducats. The treasury was once
+the richest in Dalmatia, but now only contains a few objects&mdash;arm
+reliquaries, ostensory, and a silver-gilt ewer, &amp;c. The most interesting
+things are some embroideries and a MS. of the ninth or tenth century,
+with very beautiful script. The embroideries are the centre of a cope,
+with S. Martin dividing his cloak, in high relief (the horse, drapery,
+and crown in seed pearls, the hair in gold, and the canopy ornamented
+with gilded discs and seed pearls) of the beginning of the fifteenth
+century, and a mitre said to have been Bishop Casotti's, with the Virgin
+and Child standing in the centre (at each side Byzantine roundels
+painted on gold, the whole set in jewels and with seed pearls).</p>
+
+
+
+<p>The chapel of S. Giovanni Orsini and the baptistery remain to be
+described. S. Giovanni was the greatest of the bishops who rilled the
+see of Tra�, and was canonised in 1192. He came to the city with the
+legate John of Toledo in the time of the Croatian king Cresimir. The
+papacy desired to unify the ritual of the Church, substituting the Latin
+language and the Roman use for the national liturgies, as it had done in
+Spain, in Milan, and Aquileia. At this time there was no bishop of Tra�.
+The piety and strict life of S. Giovanni were soon noised abroad, and
+the people desired him for their bishop. In this they were supported by
+the legate, and he was consecrated in 1064 by Archbishop Laurentius of
+Spalato. He dismissed his servants, and went through long night-watches,
+lying naked on straw spread on the floor, to mortify the flesh. The fame
+of miraculous occurrences accompanied his austerities. His hand on the
+wine-press produced abundance of juice; he escaped dry-shod from a wreck
+near Sebenico; and destroyed by his words the war-engines of Coloman in
+1105, when he was attacking Zara. A white dove which settled on his<span class="pagenum"><a name="Page_279" id="Page_279">[Pg 279]</a></span>
+head when in conference with the king at Castell, near Sebenico, was
+taken as a spiritual symbol. He prophesied his own death and the
+destruction of Sebenico, and miracles were performed at his grave. The
+body was found in Bua after the Tra�rines returned from Spalato in 1152,
+though another account says that it was discovered within the area of
+the cathedral, near the high-altar where there is now a well. In 1174 he
+is reported to have appeared above the building in the form of a shining
+star; and after that the commune adopted a comet as the arms of the
+city. The chapel stands on the site of the more ancient double chapel of
+SS. Doimus and Anastasius. It was begun under Bishop Turlon in 1468, the
+architects being Masters Nicol� Fiorentino and Andrea Alexci of Durazzo,
+the stipulated price being 3,300 ducats, and the work occupying six
+years. The chapel is rectangular, with a barrel vault. Round the walls a
+seat runs, the front of which is ornamented with diamond forms filled
+with foliage. Above it is a kind of stylobate with pilasters supporting
+the columns of the next stage, the spaces between them decorated with
+reliefs of torch-bearing <i>putti</i>, who are represented as issuing from
+partly open double doors, some of which are very pretty. Each side
+contains six arches, two of which are pierced with windows, the others
+having shell-headed niches divided by channelled pilasters or twisted
+columns, and tenanted by statues nearly life-size. Those which are named
+are "S. Tomas, S. Ioannes Evangelista, S. Pavlvs, and S. Filippo."
+Others recognisable by their attributes are S. John the Evangelist as an
+old man, with the eagle at his feet, S. Mark with his lion, Madonna and
+S. John the Baptist on the end wall, with our Lord in the centre. Vasari
+says that Alessandro Vittoria did four Apostles in the church of Tra�,
+and it is suggested that the named figures are these four. The
+architects carved the first figure, that of S. John the Evangelist,<span class="pagenum"><a name="Page_280" id="Page_280">[Pg 280]</a></span> in
+1482, at a cost of twenty-five ducats. Between the heads of the niches
+little children stand on the capitals, and above the cornice is a space
+pierced by oculi between pilasters. The ceiling is coffered with a
+cherub's head in each panel, except the central one, which is four times
+the area of the others, and contains a half-length of Christ, surrounded
+by a wreath, holding an orb, and blessing. On the lunette is the
+Coronation of the Virgin. Above the altar is the ancient tomb of the
+saint, upon the lid of which is his effigy, with silver-plated mitre,
+and crozier, gloves and shoes. It is of red marble, the front being
+divided into three panels by twisted colonnettes, once gilt, with
+statuettes at the corners, and bears an inscription giving the date
+1348. The angels are modern. On the pier opposite the side door an
+inscription records the gift of the right femur of "B. Jo. Ursinus" to
+Benedict XIII. by the Venetian senate in 1724.</p>
+
+<p>The baptistery is of the same date as the chapel, and was founded by the
+same bishop, who belonged to the Anconitan family of Turglonia. The door
+externally is square-headed, and has an architrave with sculptured della
+Robbia like fruits. Over it is a Baptism of Christ, with God the Father
+and the Dove above. Within is a frieze of <i>putti</i> bearing garlands, with
+shell-head niches and channelled pilasters below. Above this is a band
+of Venetian-Gothic leaves, and in the coffered ceiling are rosettes.
+This ceiling is a pointed wagon vault, cut from two great blocks of
+marble, which meet in the centre. A round window in the west gable
+lights well a life-sized figure of S. Jerome above the altar, the warm
+brown tint of a portion of the stone being cunningly used to give the
+effect of shadow on the upper part of the figure. A seat runs round the
+base of the wall as in the chapel. An inscription gives the name of
+Andreas Alexius of Durazzo, and the date<span class="pagenum"><a name="Page_281" id="Page_281">[Pg 281]</a></span> 1467. The cost was 4,980
+zecchins. The resemblance of this baptistery to portions of the
+cathedral at Sebenico is striking.</p>
+
+<p>The Loggia faces the cathedral at the other side of the <i>piazza</i>. One of
+the shorter ends is open; the other is closed by the clock-tower, and on
+this wall is elaborate carved ornamentation, behind the seat of the
+judges. The floor is three feet above the piazza, and is approached by
+five semicircular steps. Towards the <i>piazza</i>, five marble pillars (in
+several pieces) support moulded brackets, upon which an architrave beam
+rests, and there is one on the shorter side. The caps are of different
+dates, and for the most part come from older buildings, one indeed being
+antique. Between the columns is an early Renaissance balustrade. Stone
+benches run along the walls. Above the judges' seat the wall is
+panelled. In the central top panel is a figure of Justice seated upon a
+winged globe; right and left of her are half-lengths of winged figures
+with inscribed scrolls, laudatory of Justice, emergent from circles.
+Below Justice is a great lion of S. Mark, and below the other figures
+are S. Giovanni Orsini with a model of Tra�, and S. Laurence with his
+gridiron. At each side is a long panel with a candelabrum very like
+those in panels in the chapel in the cathedral, which make it pretty
+certain that the carving is by the same hand, especially as the date
+1471 appears in one of the inscriptions. There are other inscriptions
+with the dates 1513 and 1606, and later coats of arms. On the corner
+shaft are the arms of Pietro Loredano. By the judges' seat is a piece of
+iron which marks the place where the criminal was chained when his crime
+was announced. The restoration was carried out in 1892 by Professor
+Hauser. Right of the steps three standard measures stood till 1843.</p>
+
+<p>It is interesting to note a few of the pains and<span class="pagenum"><a name="Page_282" id="Page_282">[Pg 282]</a></span> penalties inflicted.
+The statute was revised in 1291 and 1303 by the first Venetian Count, M.
+Morosini, who collected the chapters into three volumes. The town
+physician was not allowed to leave the town without permission from the
+count under a fine of twenty-five lire di piccoli. No one could go about
+at night without a light, and a fine of forty soldi was incurred by
+gambling anywhere except in the piazza. Spinning was forbidden to the
+saleswomen on the loggia&mdash;fine, five soldi. A servant who stole from his
+lord had his nose cut off, or lost one or both eyes if the value was ten
+to twenty-five lire. If the value was greater the thief was hung up till
+he died. In Tra� there was neither bridge-playing nor company-promoting.</p>
+
+<div class="figcenter" style="width: 420px;">
+<img src="images/p401.jpg" width="420" height="550" alt="A DECAYED PALACE, TRA�
+" title="" />
+<span class="caption">A DECAYED PALACE, TRA�
+</span>
+</div>
+
+<p>Tra� is tolerably rich in the remains of ancient houses, of which the
+drawing shows an example. The most celebrated is the Casa Cippico facing
+the cathedral, of late Venetian-Gothic verging on Renaissance. The court
+inside was built in 1457. In the entrance hall are preserved two wooden
+prow ensigns taken from the Venetian galleys during war between Tra� and
+Spalato; one is in the form of a cock standing on a clenched hand, the
+other a fragment of a small figure of a man. Also an inscription flanked
+by two shields with rampant lions, which are good. Opposite the Loggia,
+on the other side of the street, is a highly decorative lintel, which
+appears to have belonged to a palace of the Cippico, with two
+contemplative lions and half-length angels in roundels with scrolls. The
+caps have the same kind of foliage as is seen at Curzoia and Sebenico.
+The Austrian-Lloyd office is on the ground floor of a tower of the
+Venetian period, now a nunnery. It has a trefoiled ogee-window and a
+great balcony above it, with trellises behind which the nuns can take
+the air without being seen, recalling those of Sicilian nunneries. All
+the other openings are square-headed.</p>
+
+<p><span class="pagenum"><a name="Page_283" id="Page_283">[Pg 283]</a></span></p>
+
+<div class="figleft" style="width: 400px;">
+<img src="images/p403.jpg" width="400" height="316" alt="LATE GOTHIC LINTEL AT TRA�" title="" />
+<span class="caption">LATE GOTHIC LINTEL AT TRA�</span>
+</div>
+
+<p>The ruined church of S. Giovanni, formerly belonging to a Benedictine
+nunnery, has exactly the same patterns about it as the cathedral, and
+must be of the same date. Along the nave walls, and ramping up the
+gables, is a double-arched corbel cornice with pilasters at the angles,
+and a bell turret consisting of a prolongation of the nave wall, gabled
+and with three pointed arched openings, two below, and one above. In the
+tympanum of the door is a pierced roundel with the Agnus Dei.</p>
+
+
+
+<p>The Palazzo Comunale has been rebuilt, preserving the portions which
+were of special interest, and also pieces of architectural carving from
+other parts of the city. Its interest is therefore rather that of a
+museum now. I was fortunate enough, on one of my visits, to have the
+guidance of the podest�, Commendatore<span class="pagenum"><a name="Page_284" id="Page_284">[Pg 284]</a></span> Madirazza, to whom I had been
+introduced by Professor Buli&#263; at Spalato. I have to thank him for
+showing me several things I should otherwise have missed.</p>
+
+<p>From Bua (Bavo or Boa), an island used by the Romans as a place of
+exile, a comprehensive view of Tra� may be obtained, with towers and
+campanile breaking the line of the houses, with the strait in the
+foreground, and with boats drawn up on the shore. In a private garden is
+a palm-tree said to be the most northerly specimen in Dalmatia, though
+there are several at Lussin Piccolo, which is much farther north.</p>
+
+<p>Our first visit to Tra� was made by carriage from Spalato, and occupied
+the whole of a most delightful day, for we did not get back till long
+after dark. The excellent road is due to the French, but follows the
+line of that made by the Romans or before their time, passing quite near
+the Castelli, some of which we were able to visit. It was spring: the
+vines were making long shoots, and the fields and banks were gemmed with
+flowers; on one side, the sapphire sea; on the other, the mountain
+slopes, with scented breezes to cool the ardour of the sun. For the most
+part the peasants, men and women, were busy in the fields, or washing by
+the stream, and appeared well-to-do, though we passed one man half
+naked, searching his garments upon a heap of stones. But he, we gathered
+from a gendarme near, was considered weak in the head. Long before the
+town is approached, the towers of Tra� are silhouetted against the
+horizon, emphasising the point of land which they terminate, grey walls
+and dark trees running together into a mass, but contrasting with each
+other on a nearer view. We started on our return a little before sunset,
+while the sun's level rays cast long simplifying shadows across the
+landscape, and enjoyed the glow upon flowery hillside and purple crag,
+from which the houses flashed out like jewels, and the water beneath
+changed its colour with<span class="pagenum"><a name="Page_285" id="Page_285">[Pg 285]</a></span> the changing sky. The twilight faded while we
+were passing Salona, and in the long climb to the crest of the rising
+ground above Spalato we had only the light of the carriage lamps,
+finally alighting outside the northern wall of the palace (for carriages
+cannot enter within the town) weary, but filled with delightful
+impressions and recollections. Another time we went by boat, starting at
+6 o'clock, and enjoying the early morning freshness of effect. In this
+trip also we had the opportunity of visiting some of the Castelli, which
+are interesting generally rather for their picturesqueness than for
+arch�ological reasons. In the chapter dealing with Spalato will be found
+some details as to remains of the early Croatian period found along the
+coast and in the environs. At Castel Vecchio we saw on the wall of the
+churchyard a cross with a much damaged antique cap as base, and another
+antique base on a larger scale beneath it. It was 6.40 a.m., and along
+the shore, a little way off, a procession was passing with a tinkling
+bell, two banners, and processional crosses, preceding a figure in a
+cope of white and gold beneath a canopy. It was Low Sunday (called
+Piccola Pasqua in Dalmatia), and the priest was bearing the Host either
+to some sick person or to a neighbouring church. Such sights are
+frequent in the country places, where religious observances are more
+evident than in the towns.</p>
+
+<div class="figright" style="width: 191px;">
+<img src="images/p406.jpg" width="191" height="400" alt="A QUAINT COSTUME, TRA�" title="" />
+<span class="caption">A QUAINT COSTUME, TRA�</span>
+</div>
+
+<p>Whichever way Tra� is visited from Spalato (given pleasant weather) the
+day may be looked forward to as giving a constant succession of
+delightful experiences, of which the central point will be the
+medi�val-looking city with its magnificent cathedral and glorious west
+door, though the quaintness of the costume of the country people, very
+individual and unlike other Morlacchi costumes, will count for
+something.</p>
+
+
+<p>The Castelli were built as defences against Turkish raids. Starting from
+Tra� the first is Castel Papali;<span class="pagenum"><a name="Page_286" id="Page_286">[Pg 286]</a></span> Castelnuovo, Castel Vecchio, Castel
+Vitturi, Castel Cambio, and Castel Abbadessa follow, and Castel Su&#263;urac
+is the nearest to Spalato and Clissa. These are the Sette Castelli, but
+there are several others&mdash;Stafileo, Andreis, Cega, Quarco, and Dragazzo.</p>
+
+
+
+<p>Castel Papali, or Nehaj, is three-quarters of an hour from Tra�, and was
+built in 1548 by Lodovico and Giovanni Celio. It was then called Celio
+or Lodi. In 1680 it passed to the family of Francesco Papali, the Celi
+having failed of heirs male. It now belongs to Count Fanfogna-Garagnin
+of Tra�.</p>
+
+<p>Castel Stafileo was built in 1500 by Stefano Stafileo, of a family
+established in Tra� coming from Candia. He separated it from the
+mainland, and it was entered by a drawbridge; the ditch is now filled
+up. The concession is dated 1484.</p>
+
+<p>Castel Dragazzo, or Dracic, founded by Matteo Dragazzo in 1543, on a
+concession from the Venetian senate, was never finished, in consequence
+of his death. The material of the walls was used to construct the port
+of Castelnuovo. The Dragazzi appear in 1389. They were originally
+butchers, but for about three centuries gave the country men of
+intellect and valour.</p>
+
+<div class="figcenter" style="width: 650px;">
+<a name="p287" id="p287"></a>
+<img src="images/p408.jpg" width="650" height="389" alt="THE QUAY, CASTEL VECCHIO
+" title="" />
+<span class="caption">THE QUAY, CASTEL VECCHIO
+</span>
+</div>
+
+<p>Castel Quarco "in Bile," of which very little is left, was built in 1588
+by Giovanni Quarco with a walled<span class="pagenum"><a name="Page_287" id="Page_287">[Pg 287]</a></span> courtyard. The site was granted to
+Matteo Dragazzo, who ceded it to Quarco.</p>
+
+<p>The church at Castelnuovo inherited with the title of S. Pietro the
+rights of S. Pietro di Klobu&#269;ac, a little inland on the slope of the
+hill (where remains of a monastery or palace of the ninth to the
+eleventh century have been found). It was demolished in 1420. According
+to tradition some of the objects there preserved came from the older
+church. The <i>pala</i> of the high-altar, a panel painting on gesso ground,
+the Virgin and Child seated, on the right S. Peter with the keys, on the
+left S. John the Baptist with scroll "Ecce Agnus Dei," half-length, is
+one thing. The inscriptions are in Roman capitals. Also two
+Romanesque-looking bronze candlesticks. The Castello has a square tower,
+which has lost the balcony which surrounded it at the height of the
+first floor. In the piazza is the Loggia, rebuilt in 1795, as an
+inscription states. It was burnt in 1523 together with most of the
+houses. The <i>provveditore</i> granted materials for rebuilding, but it was
+again burnt in 1575. Until recently this Castello belonged to the
+Cippico. It was the birthplace of the historian Katalini&#263;, born here in
+1779.</p>
+
+<p>Castel Vecchio was founded in 1481 by Coriolanus Cippico, with booty
+gained in the war against Mahomet II. in 1471, as is testified by the
+inscription over the gate, "Triremis ex manubiis Asiaticis hanc villam
+�dificavit," with date 1481. Tradition says that a house on the left of
+the eastern gate with a walled courtyard was also his work. He died here
+in 1493, leaving it to his sons Alvise, bishop of Famagosta, and Zuanne,
+archbishop of Zara. Over a door in the courtyard is the Cippico crest
+with the motto "Omnia exalto." Opposite is a chapel dedicated to S.
+Joseph and the Virgin, built by Coriolanus's son L�lius, according to
+the inscription, with the incredibly late date of 1695. In<span class="pagenum"><a name="Page_288" id="Page_288">[Pg 288]</a></span> 1480 Nicol�
+Pisani, count of Tra�, received a "ducale" from Giovanni Mocenigo, in
+which Cippico was promised munitions of war and men-at-arms to preserve
+the Castello, and, by the assurance of security, to attract cultivators
+to the fertile country "for greater public usefulness." This seems to
+support Karaman's statement that the Castello was founded in 1476. An
+inscription of 1492 above the arch between the court and main street
+records its ruin by fire and restoration by the senate. In 1500 the
+Venetian Government completed Cippico's work at a cost of 500 ducats. It
+was called Castel Vecchio because it was the first of the Castelli
+founded.</p>
+
+<p>Castel Vitturi, built in 1487 by Girolamo and Nicol� Vitturi of Tra�, by
+concession from Count Carlo di Pesaro, is now without drawbridge or
+ditch. The founder of the family, Lampridio, son of Giacomo Vitturi, a
+Venetian noble, came to Tra� in 1213, and married Bona Cega. The
+Castello is square, with two gates, one to the sea, and the other to the
+north, apparently entirely rebuilt in 1563, except the north side, which
+still has two turrets flanking the gate pierced for musketry, and traces
+of the holes through which the chains of the drawbridge passed, also of
+a balcony which was probably for defence.</p>
+
+<p>The next one is Castel Rosani (Ru&#353;inac), built in 1482 by Michele
+Rosani, under a concession from Count Francesco Ferro. The village was
+surrounded with walls; but, fearing that they would not be able to beat
+off the Turks, the inhabitants dismantled them, and sought refuge in
+Castel Vitturi, which was larger and better fortified. It is still in
+good preservation, however, with its little church, which contains the
+tomb of the unfortunate lovers whose story has been told by Marco di
+Casotti.</p>
+
+<p>Castel Cambio (Kambelovac) was built in 1566 by<span class="pagenum"><a name="Page_289" id="Page_289">[Pg 289]</a></span> Francesco Cambi of
+Spalato. It is still partly preserved. At one time it formed one parish
+with the adjacent Castel Abbadessa (Gomilica). It belonged to the
+lordship of Su&#269;urac, which embraced nine villages. The nuns in the
+sixteenth century erected the Castello on an island, and here the
+abbesses were wont to come for the summer; hence the name. The nuns
+built the little church at the entrance of the village on the right of
+the road; it was dedicated to SS. Cosmo and Damian, and consecrated by
+Assalone, archbishop of Spalato, 1159-1160. It is suggested that the
+Slav name Gomilica ("masses of masonry") comes from the fact that the
+newer houses were built with the ruins of the village of Kozice,
+destroyed by the Turks.</p>
+
+<p>Castel Su&#269;urac is the nearest of the Castelli to Spalato, the first to
+which the Turks would come, descending from Clissa. The position and the
+Roman remains found here are held to prove that it was a suburb of
+Salona. It took its name from S. Giorgio, a little chapel upon the hill,
+which in Croat is called Sut Juraj, corrupted into Su&#269;uraj. The church
+was built by the great zupan Miroslav; and the ruined walls which
+surround the present chapel, showing a foot above the soil, are supposed
+to be the remains of that church, since there are amongst them a few
+pieces of carved stone. The most ancient Croat document existing is a
+deed of gift of this place and church to the Archbishop of Spalato,
+Pietro III., by the King Trpimir, in 837, in exchange for �11 given by
+the archbishop for the construction of the church and monastery of S.
+Peter, between the ruins of Salona and the fortress of Klis. In 1076
+King Zvonimir confirmed the gift. One of the finest buildings in the
+village is the palace of the archbishop, dated 1488 by an inscription
+over the door. The Castello and walls round the village were built by
+Andrea Gualdo, archbishop in 1392, by concession of Valchio, ban of<span class="pagenum"><a name="Page_290" id="Page_290">[Pg 290]</a></span>
+Croatia. In 1489 Archbishop Bartolommeo Averoldo of Brescia, built a
+second wall. In 1503 it was further strengthened; but two years later
+the Turks burnt it. In 1646, after being repulsed from Spalato, they
+attacked Su&#269;urac again, but were unsuccessful. The first summer palace
+of the archbishops was in Vranjic; it was destroyed by the Venetian
+fleet in 1204.</p>
+
+<p>Castel Cega was built by Andrea di Celio Cega in 1487, and rebuilt by
+Paolo Andreis. The Celio were an ancient family of Tra�, said to date
+from Roman times, and had many branches, one of which (extinct in 1511)
+was called Celio-Morte, because a member of it had the habit of
+threatening opponents with death, and used a skull for his crest.</p>
+
+<p>The following privileges were enjoyed by the nobles of the Castelli, or
+founders of the towns. The right to special contributions from the
+country people, and the <i>jus patronato</i> of the churches. The sacristan,
+without their assent, could not give the third signal of the Mass, nor
+of Vespers on festival days, a usage which is still observed at Castel
+Cambio and Castel Vitturi. In the church they had their own benches, and
+the space they occupied could not be taken by any one else, not even for
+the erection of new altars. When the <i>provveditore</i> was present at
+solemn functions a bench was placed for him and the "padroni," as well
+as for the authorities of the Castelli and the colonel of the district.
+They were the first to receive incense after the priest at Mass; and
+there were numerous other similar customs. If a child of the "padrone"
+died, all the bells rang; if an adult, they were clappered; and all the
+confraternities had to be present at the funeral, whether in the
+village, at Spalato, or at Tra�. The "padrone" was the medium of
+communication between the higher authorities and the village headman,
+who had to close the gates at night, and take him the key. He received
+the tolls paid for<span class="pagenum"><a name="Page_291" id="Page_291">[Pg 291]</a></span> living in the village; and there was a kind of
+<i>corv�e</i> of forced work. Moreover, he had the right to buy the houses of
+those who sold them, at a third less than their real value, to sell
+again to fresh inhabitants. The oil-mills belonged to him, and a fifth
+of the produce was divided between him and the customs. If the olives
+were taken elsewhere a tenth of the oil was paid to him all the same.
+Wine-presses were also his property; the oven, too, and a proportion of
+the wine made and bread baked went to him. Nothing could be bought or
+sold without his license. He received all the tongues of oxen killed,
+and the heads of pigs. He covered the cistern in time of drought, and
+water could only be drawn when he took the cover off. The streets were
+ordered to be kept clean, and slops taken to the sea, not thrown out of
+the window! At Christmas and Easter the country people still bring
+presents to their lords.</p>
+
+<p>The proverb "Wine of the Castelli, honey of Solta, and milk of Bua" is
+still justified; and agents for wine merchants, especially French,
+bargain for the wines before the grapes are ripe. Enormous hogsheads are
+shipped on the boats, and the transhipping them is often a dangerous
+business, if we may judge from our own experiences. At Castel Vecchio we
+were nearly spectators of a serious accident when a cord slipped, and we
+observed that the men crossed themselves each time one was safely
+lowered into the hold.<span class="pagenum"><a name="Page_292" id="Page_292">[Pg 292]</a></span></p>
+
+<div class="footnotes"><h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> The last king to visit it was Sigismund in 1387.</p></div>
+</div>
+
+
+<hr style="width: 65%;" />
+<h2><a name="XXI" id="XXI"></a>XXI</h2>
+
+<h3>SPALATO</h3>
+
+
+<p>Spalato appears for the first time in the "Tavola Peutingeriana" under
+the name Aspalathos, as a station on the shore road which led from the
+promontory Ad Dianam (at the end of Monte Marjan) to Epetium (Stobre&#263;)
+below Salona, but appears at that time to have been a place of no
+importance. It, however, is thus proved to have existed before the end
+of the third century, which makes the accepted derivation of the name
+from "ad Palatium" plainly erroneous. Its great celebrity is due to the
+palace which Diocletian began to build for himself there shortly before
+300 <span class="smcap">A.D.</span> and to which he retired after his abdication in 305. Within its
+walls fugitives from Salona, who had returned from the islands to which
+they had fled at the time of the destruction of the city in 639, found
+shelter, and so the existing city began its medi�val course. The palace
+faced the sea to the south, and along this side were the imperial
+apartments with the open loggia of fifty arches raised above the water
+upon massive substructures. The plan is not quite square, but imitates a
+Roman camp, with great square towers at the angles, a gate in the centre
+of each of three sides flanked with octagonal towers, and with smaller
+square towers between gates and angles. Towards the sea was a water gate
+on a lower level. The material is marble from Tra� and Brazza
+limestone.<span class="pagenum"><a name="Page_293" id="Page_293">[Pg 293]</a></span> The sea fa�ade is about 550 ft. long, the north about 530
+ft., the east and west some 620 ft. The external walls are double
+throughout, of worked stone filled in with concrete, the thickness being
+6 ft. 6 in., and the height from 60 to 80 ft. On the three land fa�ades
+are double-arched windows 20 ft. from the ground, 6 ft. 6 in. broad, and
+a little over 11 ft. high. Only three of the angle towers remain, the
+fourth having fallen in 1555. The principal gateway is towards Salona,
+and is known as the Porta Aurea. Above the gate itself is an open arch
+flanked by niches on each side; above them are brackets which sustained
+the columns of a higher row of seven niches, the whole forming a
+grandiose architectural composition, of which the illustration shows the
+effect. The passage-way is 13 ft. high by 11 ft. 3 in. wide. The other
+gates are known as the Porta Ferrea and Porta Argentea. The latter has
+practically disappeared; the former is over 14 ft. high, and the same
+width as the Porta Aurea, but without its architectural magnificence.
+These gates gave entrance to streets which divided the palace into
+quarters, that from the Porta Aurea leading to the great peristyle,
+around and beyond which were the public buildings and the imperial
+apartments, while the women's quarter was probably to the west of this
+street, and the officials' rooms to the east, the street at right angles
+separating them from the more important parts of the palace.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/p416.jpg" width="500" height="465" alt="THE PORTA AUREA, SPALATO
+
+" title="" />
+<span class="caption">THE PORTA AUREA, SPALATO
+
+</span>
+</div>
+
+<p><span class="pagenum"><a name="Page_294" id="Page_294">[Pg 294]</a></span></p>
+<div class="figcenter" style="width: 397px;">
+<img src="images/p419.jpg" width="397" height="550" alt="DOOR OF THE &quot;ATRIO ROTONDO,&quot; PALACE OF DIOCLETIAN,
+SPALATO
+" title="" />
+<span class="caption">DOOR OF THE &quot;ATRIO ROTONDO,&quot; PALACE OF DIOCLETIAN,
+SPALATO
+</span>
+</div>
+
+<p><span class="pagenum"><a name="Page_295" id="Page_295">[Pg 295]</a></span>
+</p>
+<div class="figcenter" style="width: 650px;">
+<img src="images/p421.jpg" width="650" height="458" alt="PLAN OF CATHEDRAL AND CAMPANILE, SPALATO " title="" />
+<span class="caption">PLAN OF CATHEDRAL AND CAMPANILE, SPALATO </span>
+
+</div>
+
+<p>The colonnade of the peristyle, which is 114 ft. by 50 ft., consists of
+six free-standing columns of red granite on each side and four at the
+end. Those at the sides support arches beneath an architrave continued
+across the end and rising into an arched form over the central space
+beneath the pediment. This portion is raised several steps above the
+general level. To the left is the cathedral, an octagonal building which
+was the mausoleum of Diocletian, with the campanile standing between it
+and the peristyle, through which a flight of steps leads; these will
+again form the entrance when the restorations are completed. Towards the
+sea steps give entrance to the "atrio rotondo," a circular ante-room,
+once decorated with precious statues, paintings, and other costly
+ornaments, while the lantern of the roof was covered with purple
+hangings. The decoration has vanished, leaving mere construction except
+for the fine door of entry. To the right, at the end of a narrow alley,
+is the baptistery, formerly probably the emperor's private temple or
+chapel, as one may say, which now contains a very interesting font made
+up of fragments of ninth-century carving, and the beautiful doors of the
+cathedral, stored there temporarily. The base blocks of the cathedral
+are nearly 20 ft. high, and there are twenty-two steps in the flight of
+approach. The portico which surrounds it has columns of marble and
+granite 21 ft. high. Only nineteen remain of the original twenty-four.
+The caps are Corinthian, and they sustain the usual architrave, frieze,
+and cornice. The octagon within has alternate semicircular and
+rectangular niches, except on the side which opens into the late
+Renaissance choir; at each angle stands a column of Egyptian granite
+with Corinthian cap, and a highly decorated but rather heavy order runs
+round the interior. Above this is a second smaller row of columns of
+porphyry with a shallower order, reaching to the springing of the dome,
+which is built of Dalmatian tiles, arranged in imbrications. Round the
+upper frieze are <i>putti</i> hunting, bearing garlands, &amp;c. The height to
+the dome is 68 ft., and the internal diameter 42 ft. A couple of niches
+in the upper order are so arranged that a word spoken low in one is well
+heard in that opposite, an arrangement supposed to have been connected
+with oracular responses. Before the<span class="pagenum"><a name="Page_296" id="Page_296">[Pg 296]</a></span> restoration there were galleries
+on the columns, both below and above.</p>
+
+<div class="figcenter" style="width: 368px;">
+<img src="images/p423.jpg" width="368" height="500" alt="INTERIOR OF THE CATHEDRAL, SPALATO" title="" />
+<span class="caption">INTERIOR OF THE CATHEDRAL, SPALATO</span>
+
+</div>
+
+
+<p>The high-altar stands under the niche which has been opened to give
+access to the choir. At each side of it are the altars of S. Ranier and
+S. Anastasius, the latter made by George of Sebenico in 1448 to match
+the former, made in 1427 by the Milanese Gasparo Bonino, and both
+Gothic. To the left is the very beautiful pulpit shown in the
+illustration. It bears considerable resemblance to that at Tra�, but is
+superior to it both in design and execution. The lower capitals are
+worked as if in wood, which makes the tradition all the more probable
+that Guvina (who made the beautiful doors in 1214) had to do with the
+making of it. The very original stalls in the choir, with their curious
+combination of Eastern and Western <i>motifs</i>, have also been ascribed to
+him; brought hither, as is thought, from S. Stefano de Pinis when it was
+destroyed.<span class="pagenum"><a name="Page_297" id="Page_297">[Pg 297]</a></span></p>
+
+
+<div class="figcenter" style="width: 396px;">
+<img src="images/p425.jpg" width="396" height="450" alt="RELIQUARIES AND CHALICE, TREASURY, SPALATO CATHEDRAL" title="" />
+<span class="caption">RELIQUARIES AND CHALICE, TREASURY, SPALATO CATHEDRAL</span>
+</div>
+
+<p><span class="pagenum"><a name="Page_298" id="Page_298">[Pg 298]</a></span>
+</p>
+
+<div class="figright" style="width: 250px;">
+<img src="images/p426.jpg" width="250" height="238" alt="MORSE IN THE TREASURY, SPALATO CATHEDRAL" title="" />
+<span class="caption">MORSE IN THE TREASURY, SPALATO CATHEDRAL</span>
+</div>
+
+<p>The treasury contains a good many interesting things, among which the
+first place should perhaps be given to a fine Gospel book of the eighth
+century, upon which the suffragan bishops used to swear fealty to the
+metropolitan, reciting the commencement of the Gospel of S. John in
+Greek, which portion is therefore translated from the Latin for that
+purpose. Eight formulas used by suffragan bishops from 1059 to 1200 are
+inserted in it. Two other MSS. are interesting on account of their
+bindings, a Gospel book and a missal, both of the thirteenth century,
+reset in the seventeenth. On one is Christ seated on the rainbow in the
+attitude of blessing, within a mandorla, with cruciferous nimbus and the
+monograms "IC XC," the corners being filled with the symbols and names
+of the Evangelists; on the back is the Madonna enthroned with the Child,
+and two angels in circles; above is the inscription "Michael, Mater D�i,
+Gabriel." The other binding, which is rather later in style, shows
+our Lord in Glory, with the monograms "IHS XPC" in an ornamented
+mandorla, and the Evangelists' symbols; and, on the back, the
+Crucifixion, with the feet separate. There are eight chalices, all of
+the fourteenth or fifteenth century, damaged by an inexpert goldsmith
+who had them to repair, with nielli or enamel grounds to the medallions,
+and good foliage in relief; two arms of S. Doimus, richly set with gems
+and precious stones among filigree; a good late fourteenth-century head
+of S. Giovanni Elemosinario; a morse of the same period, with gems and
+nielli; a fifteenth-century pax of gilded brass; and several interesting
+and very early crosses, probably of the eighth or ninth century, some
+even earlier. One of these, bearing a figure of Christ wearing the
+colobium, and resembling Coptic work, bears the inscription "HCA HCA,"
+while another of rock-crystal has Coptic inscriptions. The treasure is
+kept in a cupboard just inside the door of the cathedral; but in the
+upper sacristy some larger objects are preserved. Here are a fine silver
+monstrance of 1532, a chapel supported by two angels, and a chalice of
+silver filigree; also some fine embroidered vestments of the 16th and
+17th centuries upon crimson cut velvet.</p>
+
+
+
+
+
+<div class="figleft" style="width: 350px;">
+<img src="images/p428.jpg" width="350" height="318" alt="PANEL FROM GUVINA&#39;S DOORS OF THE CATHEDRAL, SPALATO
+" title="" />
+<span class="caption">PANEL FROM GUVINA&#39;S DOORS OF THE CATHEDRAL, SPALATO
+</span>
+</div>
+
+<p>The campanile is Romanesque in style, and dates from the early part of
+the thirteenth century; it has five stories divided by strings,<span class="pagenum"><a name="Page_299" id="Page_299">[Pg 299]</a></span> and was
+nearly 170 ft. high before the restoration, which has been going on ever
+since 1882. It was largely built of ancient material, and at the sides
+were two sphinxes, one of which (headless) has been removed into the
+museum, the head being built into a house in the Ulica Ghetto; it bears
+an inscription showing that it is of the epoch of Amenhotep III.; the
+other, of granite of Syene, is still among the scaffolding which
+surrounds the campanile. Lions crouch at each side of the stairs on the
+level of the top step; and on the side towards the church are
+interesting reliefs by Mag. Otto, probably a Benedictine. They represent
+SS. Doimus and Anastasius and S. Peter, and probably formed part of an
+altar; above is the Nativity, in two panels, of a later date. A third
+relief shows the Annunciation, and round the arch of the fa�ade are
+roughly carved struggling figures and animals, and also the Sacrifice of
+Abraham. The building is generally believed to have been commenced by
+Queen Mary of Naples (1270-1323), but an inscription found in the
+cornice of the first story shows that it had reached that height in
+1257. The major part is due to the Spalatine Tvrdoj, who signed a
+contract in 1416 to construct it, and probably took it up to the third
+story. The upper part is much later, and the octagonal pyramid was not
+completed till the eighteenth century.</p>
+
+<p>The baptistery is 32 ft. long and 29 ft. broad, with pilasters at the
+angles. It was probably prostyle, with a pediment in front which has
+gone; under the cornice is a rich frieze with symbols denoting a
+dedication to Jupiter. The door is richly ornamented, and is nearly 20
+ft. high by a little more than 8ft. broad. The building has a wagon
+vault of three courses, carved with cofferings and rosettes above a
+magnificent cornice. Resting against the wall are the fine doors of the
+cathedral, carved with twenty-eight subjects in panels divided by
+scroll-work; amongst the scrolls, animals, birds, and figures appear,
+and traces of colour and gilding may be discovered, the design showing
+by style the influence of Byzantine models. Here are also several early
+sarcophagi&mdash;that of Archbishop Giovanni (&#9766;680), that of
+Archbishop Lorenzo (&#9766;1097), and that of the two daughters
+of Bela IV. of Hungary, which used to be over the door of the
+cathedral.<span class="pagenum"><a name="Page_300" id="Page_300">[Pg 300]</a></span></p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/p431.jpg" width="400" height="243" alt="STALL-BACKS IN CHOIR, CATHEDRAL, SPALATO
+" title="" />
+<span class="caption">STALL-BACKS IN CHOIR, CATHEDRAL, SPALATO
+</span>
+</div>
+
+<p>The panels of the cruciform font were put together in 1527-1533 by
+Archbishop Andrea Cornelio, and probably came from the cathedral. The
+arch�ological society, "Biha&#263;," took it to pieces in March, 1895. It is
+made of fourteen slabs, twelve external and two as walls between the
+shorter arms and the internal space, all of Greek marble with blue
+veins. Six of the external slabs have early medi�val carvings, one has
+Roman ornament, a Roman inscription is on the back of another, the rest
+are smooth back and front, and several have been sawn. They are nearly
+the same height and thickness, but vary in length, and were part of some
+chancel enclosure, altar or sarcophagus. The carvings are probably of
+the eleventh century, and are extremely curious. It is possible that
+they may be work of pupils of Mag. Otto, though the character of the
+patterns points rather to the Comacines, who were certainly working a
+little higher up the coast. In a passage in the Porta Aurea, above the
+gate, is a little chapel made in the eighth or ninth century, and
+dedicated to the Blessed Virgin, S. Martin, and S. Gregory the Pope. It
+is said to have belonged to the tertiaries of S. Dominic till a century
+or so back, and was then used as a store. Mgr. Buli&#263; restored it in
+1899. On the lintel of the door of entry is an inscription mentioning a
+presbyter Dominicus. There is a "Dominicanus presbyter, capellanus" as
+witness in a deed of gift of the ban Trpimir in 852, and the screen of a
+chapel of Trpimir at Ri&#382;inice, near Salona, is like that of this little
+chapel in style. This is the oldest place of worship in Dalmatia, except
+the cathedral. It occupies the space between the two niches above the
+archway, and the pierced window-slabs of the ninth century still remain
+in the little windows. The screen has two octagonal colonnettes with a
+cable necking, and rough caps with volutes, but no foliations support an
+arch beneath a steep gable; a Latin cross with griffins<span class="pagenum"><a name="Page_301" id="Page_301">[Pg 301]</a></span> crouching on
+each side fills the space between. Round the arch and along the frieze
+runs an inscription. All along are the simple crockets called by the
+Italians "caulicoli." The slabs at the bottom are surrounded by a
+running pattern bordered by zigzags. A number of remains of this period
+have been found in Dalmatia, of which a few may here be noted. The most
+ancient inscription of the national dynasty is on the fragments of the
+screen already referred to at Ri&#382;inice, between Clissa and Salona, where
+the ban Trpimir founded a convent of Benedictines in 860, and where the
+foundations of church and castle were excavated in 1895-1899.</p>
+
+
+
+<p>The church of S. Maria de Salona, or de Otok, lies on an island in the
+Jader joined by a bridge to the Clissa road. It was founded by Queen
+Helena, whose sarcophagus was discovered among the foundations in 1898,
+and bears the date 976 and the name of Helena, wife of King Mihael and
+mother of King Stefanus. The church was a small basilica with nave and
+aisles, and an apse in the thickness of the eastern wall, with three
+piers and corresponding pilasters in the side walls. It was about 36 ft.
+long, with a width of ii ft. 6 in. the nave, and 7 ft. 4 in. the aisles.
+There was one west door, a narthex of two bays, and an atrium. Amongst
+fragments of ninth and tenth-century carving a pattern closely
+resembling Syrian ornament was found. At Knin, when the railway was
+being made, stones with ninth-century patterns were also found. This
+city was a royal residence and seat of the courts of justice, and in the
+middle of the eleventh century the bishop of Knin was made primate of
+Croatia and a councillor of the king. All these carvings were probably
+executed by Comacines, documentary evidence of whose presence in the
+country, brought from Cividale by the Croatian ban, has been found by
+Mgr. Buli&#263;. Two sculptors only are known by inscriptions earlier<span class="pagenum"><a name="Page_302" id="Page_302">[Pg 302]</a></span> than
+the Benedictines, who took a leading part in the development of medi�val
+Dalmatian sculpture in the twelfth and thirteenth centuries. These are
+Mag. Andrea, builder of the little church of S. Lucia, near Besca, in
+Veglia, which is earlier than the twelfth century, and Mag. Otto of the
+eleventh century. After them the names of Guvina and Raduanus occur, at
+Spalato and Tra�. There are, however, indications that Mag. Otto may
+have himself been a Benedictine; the Order appears to have been
+established in Dalmatia before the tenth century, and to them S.
+Crisogono, Zara, was due. If so, according to the rule of his Order, he
+would have inherited the manual of art which every Benedictine leaving
+the mother monastery to found a new one carried with him, together with
+the liturgical books.</p>
+
+<p>After the death of Diocletian in 313 Salona inherited the palace. The
+imperial apartments were reserved for illustrious guests, and the rest
+appears to have been used as a cloth-factory. It is thought that it was
+here that the dethroned Emperor Nepos was slain in Odoacer's time.
+Towards the end of the fifth century Marcellinus, first king of
+Dalmatia, lived here for a short time after his proclamation, when the
+province had been taken from the Emperor Leo. The destruction of Salona
+in 639 drove the inhabitants to take refuge in the islands where the
+Avars could not follow them. When the Croats drove these away Severus
+recalled some of them, and they inhabited the palace. The bishopric was
+founded in 649 by John of Ravenna, legate of Pope Martin I. He it was
+who converted the mausoleum into a cathedral, opening the door on the
+south side which has the curious ornament round it, and dedicating it to
+the Assumption, and also bringing the relics of S. Anastasitis and S.
+Doimus from Salona, and placing them beneath the side altars. The
+beginning<span class="pagenum"><a name="Page_303" id="Page_303">[Pg 303]</a></span> of the Venetian dominion was brought about by the appeal
+for help against Cresimir which the Spalatines made to Venice by advice
+of Basil and Constantine, emperors of Byzantium. Pietro Orseolo received
+the homage of the citizens in the cathedral, defeated Cresimir, and made
+peace at Tra� on the understanding that Zara and Spalato were to be
+Venetian thenceforth; but the Croat kings assumed the title of King of
+Dalmatia and obtained the assent of the Pope to their holding the
+dignity till the Hungarian dynasty succeeded them. In 1401 all Dalmatia,
+except the Bocche and Ragusa, became Neapolitan; and Ladislas was
+crowned by a papal emissary king of Hungary and Dalmatia at Zara. His
+viceroy built a palace at Spalato, of which remains exist between the
+Marina and the Piazza dell' Erbe; to which the Venetians added the
+octagonal tower for the defence of the port, so conspicuous from the
+sea. Turkish raids were frequent. In 1570 the garrison of Clissa nearly
+took the city; but twenty-six years later the Spalatines retaliated by
+surprising and massacring the garrison of Clissa in a night attack, led
+by the archdeacon, who, with three canons, was left on the field. Their
+leader dead, they were not able to retain possession of the fortress.
+Under Venice, Spalato was the principal place for trade with Persia and
+the Indies, and many noble Venetian families established themselves
+there.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/p436.jpg" width="600" height="436" alt="ITALIAN FRUIT AND VEGETABLE BOATS, SPALATO
+" title="" />
+<span class="caption">ITALIAN FRUIT AND VEGETABLE BOATS, SPALATO
+</span>
+</div>
+
+<p>The costume of the country people shows the influence of Turkish and
+Oriental relations, and suggests the possibility of many figures in Old
+Italian pictures being painted from Dalmatian models. The men are
+generally blonde, and wear great moustaches. They are fond of bright
+colours, and wear light-blue tight cloth hose, red-and-green stockings,
+the usual shoes, a broad red-leather girdle, which used to have weapons
+in it, a red waistcoat, a short brown jacket embroidered<span class="pagenum"><a name="Page_304" id="Page_304">[Pg 304]</a></span> with red and
+ornamented at the corners with red and white stripes, and on the head a
+turban of a red-brown colour. These costumes may be seen in numbers in
+the morning in the market, on the way to the station. The women have a
+shawl or folded piece of stuff on their heads, and frequently wear
+printed calicoes of a startling pattern in the town, but outside have a
+modification of the usual Morlacca costume.</p>
+
+<p>Along the quays many Italian boats are moored, bringing cargoes of
+fruit, onions, and other kindred produce, which they appear to sell
+retail as well as wholesale; and many picturesque subjects may be noted,
+to which the masts and rigging, awnings and sails, weather-beaten paint,
+baskets of gleaming fruit and other articles, cordage, gangway planks,
+&amp;c., in careless arrangement, lend attractiveness and beauty, whether in
+the full glare of the midday sun, with its strong contrasts of light and
+shade, or in the early morning or late evening, when its level rays tend
+to greater simplicity of effect and greater glow of colour. On Sunday
+evening the long parapet of the Marina is lined with townsfolk taking
+the air, while those who desire to show off their toilettes march up and
+down the Piazza dei Signori (which appears to answer to the "Park") for
+an hour or so, after which it resumes its usual quiet condition. On the
+morning of May 1, the <i>municipio</i> was decorated with flags, and saluted
+by a band which played in front of it for a short time and then marched
+off, still playing.</p>
+
+<p>At the end of the Marina is the Franciscan convent dedicated to S.
+Felice, bishop of Epetium, whose relics are said to be preserved in the
+church. It was built by Archbishop Giovanni IV. of Spalato in 1059, but
+has been modernised, and little of an early date can be seen. In the
+wall towards the cloister are several walled-up windows, with
+semicircular heads cut out of a lintel, and in the cloister itself are a
+few caps which appear to<span class="pagenum"><a name="Page_305" id="Page_305">[Pg 305]</a></span> be eleventh-century, but the bulk of it is
+fourteenth-century in style, and that is the date of the three
+inscriptions inserted in the walls. It is a pleasant little cloister,
+with a school attached to it, and the church is crowded with the poor at
+service time.</p>
+
+<div class="figcenter" style="width: 650px;">
+<img src="images/p440.jpg" width="650" height="404" alt="CLOISTER OF S. FRANCESCO, SPALATO
+" title="" />
+<span class="caption">CLOISTER OF S. FRANCESCO, SPALATO
+</span>
+</div>
+
+<p>The situation of the city is very fine, and the harbour accommodation
+there and in the immediate neighbourhood led the Austrian admiralty at
+one time to think of it as the principal military port. Preference was
+given to Pola on account of its connection with the main railway lines,
+for which the arch�ologist and artist may be thankful. The two ranges of
+Kozjak and Mosor (Mons Aureus) dip down to the pass which is guarded by
+the rock of Clissa. On the slopes of one lie the ruins of Salona; on the
+other, those of Epetium; in front is the sea, always peaceful, being
+sheltered by the islands of Solta and Brazza; and beyond Marjan the
+land-locked Salonitan port.</p>
+
+<p>The museum accommodation is very insufficient, and, though several of
+the larger monuments are in the open air (like the second-century
+monument of Pomponia Vera near the Porta Argentea), the four museums are
+crowded with the objects which excavations have brought to light. There
+are an enormous number of inscriptions, a few sculptures comparatively,
+a great many architectural fragments, and an infinity of small objects.
+Among the sculptures two or three, sarcophagi may be specially noted.
+One with the subject of Hippolytus and Ph�dra, found in the narthex of
+the little basilica at Salona in 1859, in a fifth-century stratum, is a
+late copy of one in the Louvre. Near it was a colossal sarcophagus of
+the first half of the fourth century, with the Good Shepherd upon it,
+which is also in the museum. At one end is a door watched by figures at
+each side; at the other a genius leaning on a reversed torch stands on a
+pedestal beneath the arch of a little<span class="pagenum"><a name="Page_306" id="Page_306">[Pg 306]</a></span> gabled building with twisted
+columns. The columns in front are also twisted; those at the back
+channelled with three flutes. The one with the Hunting of the Caledonian
+Boar, which stood outside the baptistery, where its inscription was
+copied by Cyriacus of Ancona in 1436, is of the period of the Antonines,
+and has been used twice. One of the ends is really fine. A fourth, with
+the Passage of the Red Sea on the front, and three panels on the back,
+was brought from the Franciscan cloister. One end has two standing
+figures with a Latin cross in high relief between them, and a garland
+with waving ribands surrounding the <i>labarum</i> above; the other an
+imbrication with the spaces in relief. The back has an Orante or Virgin
+in the centre, and male figures at the ends, with S-shaped striations
+between.</p>
+
+<p>There is also a very beautiful torso of Venus accompanied by Cupid, and
+in one of the more distant museums two fine fragments of a relief of
+undoubtedly Greek work. There are many striking fragments of
+architectural carving, among which one of the most interesting is a
+balustrade bearing close resemblance to the carving upon an ambo at S.
+Agata, Ravenna, but constructed of many pieces, whereas that is an
+adaptation of a portion of a fluted column. There are also a good many
+pieces of ninth and tenth-century work, and a large collection of
+Christian lamps. The most ancient object in the collection is a
+Corinthian vase with cover of the sixth century <span class="smcap">B.C.</span>, found at Salona,
+and ornamented with animals and rosettes in black and violet on a yellow
+ground. A new museum is to be built near the agricultural college on the
+way to the monastery of the Paludi, which lies on the shore on the
+Salona side of Marjan, with cypresses in its grassy forecourt, and a
+garden beyond the cloister.</p>
+
+<p>This convent is Franciscan, but was founded by<span class="pagenum"><a name="Page_307" id="Page_307">[Pg 307]</a></span> Benedictines in the
+eleventh century, the Franciscans taking their place in the fifteenth
+century. Near the entrance is the inscribed lid of a sarcophagus upside
+down, used as a water-trough. The convent was fortified by the
+Spalatines in 1540, of which fortification the machicolated tower to the
+left of the church remains. The church is early Renaissance in
+appearance, and is dedicated to S. Maria delle Grazie. It was a
+favourite place of burial for distinguished Spalatine families, and the
+floor was covered with fine gravestones in relief, mainly of the
+sixteenth century, worked in a hard white Dalmatian limestone. These
+have now been taken up (in 1900) and arranged along the wall of the
+cloister. Many of them are beautiful in design, with borders of early
+Renaissance ornament. Perhaps the most charming is that of Caterina
+Cvitic, but the historic interest of that of Tommaso de Nigris of
+Scardona and Tra� who died in 1527 in Spalato, is greater. There is a
+half-length portrait of him in the library by Lorenzo Lotto. Behind the
+high-altar in the monks' choir is an important picture by Girolamo da
+Santa Croce (1549). It consists of ten panels. In the upper row the
+centre is occupied by a Madonna and Child surrounded by child angels,
+flanked by SS. Helena and Scolastica, beyond whom are SS. Catherine and
+Mary Magdalene. In the centre of the lower row is S. Francis in ecstasy,
+with SS. Antonio and Bernardino, flanked by S. Doimo (with the city of
+Spalato) and S. Louis of Toulouse, beyond whom are SS. John the Baptist
+and Jerome. In the gable of a much restored frame is a dove. On the
+right side is a curious lintelled door with dull arabesques emphasised
+by lines of drilling and pictures on either side. One is a Carpaccio in
+tempera on canvas, a "Madonna auxilium Christianorum," with the Child in
+a vesica on her breast, and S. Sebastian and a bishop (S. Doimus), one
+on each side. She holds her cloak out to<span class="pagenum"><a name="Page_308" id="Page_308">[Pg 308]</a></span> shelter a crowd of kneeling
+men on one side, and women on the other, from the darts which God the
+Father is showering from above. In the sky are cherub heads; two child
+angels hold a crown above the Virgin's head; in the background are
+Venetian towers and hills. The frame is architectural, with painted
+arabesques. Close by is an inlaid black marble slab, with music, the
+words of a psalm, and flowers in colour. On the other side of the door
+is a Virgin and Child, with SS. John, Peter, and Scolastica in front,
+and two little angels on the steps of the throne, a tempera picture on
+panel, rather grey in colour. A ghastly painted crucifix, with a great
+deal of blood, stands near the door. On one of the wells in the cloister
+is the date 1453; they are decorated with roundels bearing various
+devices. The remarkable thing which brings tourists to the Paludi is,
+however, the antiphonary of Padre Bonaventura Radmilovi&#263;, painted with
+vegetable colours, and finished after ten years' labour in 1675.</p>
+
+<p>Not far away, among the vineyards, is the ninth-century church of SS.
+Trinita, of which the earliest known mention is in the eleventh century.
+It consists of six niches surrounding a circle of the same diameter as
+the similar buildings already described at Zara. At the springing of the
+arches a cornice runs right round the building. The niches terminate in
+semi-domes, and two of them are pierced with doors, one of which is of a
+later date than the rest of the building. The exterior of each niche has
+a rough arcading of three arches. The springing of the dome and
+ornamented rosettes in the semi-domes still remain. The courses are
+horizontal, and the niches terminate outside in a slightly sloped roof.
+The door has been made into a window, and the lintel bears a bit of
+antique egg-and-tongue moulding. Three Latin inscriptions of the ninth
+century have been found, and various pieces of ornament, which are in
+the<span class="pagenum"><a name="Page_309" id="Page_309">[Pg 309]</a></span> museum, also quantities of bones, testifying to its long use as a
+cemetery chapel. On the way back to Spalato the Casa Kati&#263; may be noted,
+in the walls of which many antique fragments are encrusted.</p>
+
+<p>There was another early church, that of S. Eufemia, within the military
+hospital, which was destroyed in 1877. It had a central elliptical dome
+without windows resting on four pillars; two more on each side made the
+nave four bays long. The apse and aisle ends were square, and the nave
+was vaulted with a wagon vault.</p>
+
+<p>The great excursion from Spalato is to Salona, a city large enough to
+quarter the entire army of the Consul L. Cecilius Metellus in 119 <span class="smcap">B.C.</span>,
+and then known as Colonia Martia Julia. The walls extend for a long
+distance upon the roads to Tra� and to Clissa after crossing the Jader,
+and the city also stretched some distance up the mountain slopes, the
+d�bris from which have done so much to hide its remains. Several
+burial-places have been discovered, of greater or less extent, an
+amphitheatre, basilicas, a baptistery with the buildings appertaining,
+city gates, and more than one circuit of walls. Salona may be reached by
+rail or road; in the latter case the aqueduct may be observed,
+originally constructed by Diocletian for his palace, and restored in
+1879 by Dr. Bajamonti for the use of the Spalatines. It is six miles
+long, and taps the source of the Jader. The road descends by long curves
+to the valley, and enters the village, where the Clissa road diverges,
+under the pleasant shade of trees, beyond which is a marshy field, white
+in spring with the giant snowdrop. Half-way down the hill is a fountain
+which muleteers and pedestrians find most refreshing, especially if they
+are pressed for time as we were on one occasion when we had an
+appointment in Spalato, and, missing the train, had to return on foot in
+the middle of the day. The railway customs are rather curious. On one
+visit I asked for<span class="pagenum"><a name="Page_310" id="Page_310">[Pg 310]</a></span> return tickets, and, as they were not taken on
+leaving the station at Salona, supposed I had them. In the train the
+guard told us as we were returning that they were not available, and
+that we must therefore pay a fine of a florin! I, of course, protested,
+detailed the circumstances, and pleaded the ignorance of a foreigner;
+and on arrival at Spalato the matter was referred to a higher official,
+who was graciously pleased to refund the fine, and accept the fare for a
+single journey. The traveller in Austria must not calculate on paying
+his fare on the train, as he would do on the Italian light railways.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/p447.jpg" width="500" height="366" alt="OSTERIA AT SALONA
+" title="" />
+<span class="caption">OSTERIA AT SALONA
+</span>
+</div>
+
+<p>Near the station at Salona is a little <i>osteria</i>, in and about which a
+number of antique fragments are disposed. It was stopping to have some
+wine here that caused us to miss our train. There were some eight or ten
+children playing beneath the pergola, and I found by experience how
+small a sum may suffice to make a human being happy, since the
+distribution of three halfpence in heller, the small copper coin which
+is the basis of calculation, delighted them all! As we left the station
+on arriving we saw a crowd of peasants kneeling at the cross roads, with
+three banners, a big crucifix, a chandelier with three candles, and
+other objects rising above their bent heads. The priest in the centre
+was blessing the fields, sprinkling holy water in all directions, whilst
+prayers and responses went up from the kneeling people, the smoke from
+the censers which the acolytes were slowly swinging hanging round the
+group like a cloud. Afterwards they came down the road in procession.
+The priest held a little silver crucifix on a base; near him were the
+acolytes bearing their various, utensils, and a choir of male singers.
+The men and boys went first, in two rows down the sides of the road,
+just as we had often seen in Italy. The women and girls followed.</p>
+
+<p><span class="pagenum"><a name="Page_311" id="Page_311">[Pg 311]</a></span></p>
+
+<p>The oldest part of the city is towards the Clissa road, for it spread
+westwards. The Basilica Urbana is quite close to the wall, and only a
+little farther south are the Porta Suburbia and the Porta C�sarea. Of
+the latter the arches no longer exist, but the ruts in the stone show
+the carriage-way, flanked by two footways. The Basilica Urbana, with its
+accompanying buildings, has been fully excavated. It was used for
+religious purposes till its restoration in the ninth century, for Salona
+was not entirely abandoned after its destruction in 639. The soil
+removed showed evident traces of its destruction by burning. It
+consisted of nave and aisles with a western narthex, and buildings both
+to the north and to the south. The nave appears to have had twelve
+columns on either side, with projecting piers from the narthex and from
+the eastern wall. There was one apse with an ambulatory surrounding it,
+as in the Lycaonian buildings recently described by Miss Lowthian Bell.
+The foundations of the chancel were found, and of an enclosure which
+reached to the second column on the right. In the north aisle wall were
+two doors, one towards the baptistery, the other to the catechumens'
+room, and all along the wall there was a seat. The <i>prothesis</i> is an
+irregular space to the north of the apse, entered by a door at the end
+of the aisle, with a short column in the middle, probably the central
+column of a table. For ritual reasons this arrangement (the <i>diakonikon</i>
+communicating directly with the presbytery, while the <i>prothesis</i> does
+not) is usual in the Greek Church. The nave appears to have been
+flagged, but the aisles were covered with a mosaic pavement, now more or
+less damaged. Fragments of glass were found, and an inscription of the
+fourth or fifth century discovered in the cemetery, "Pasc[asi]o
+vitriario," shows that glassmaking was a Salonitan industry. Beneath the
+presbytery remains of an earlier building were<span class="pagenum"><a name="Page_312" id="Page_312">[Pg 312]</a></span> discovered with a pagan
+mosaic of the second or third century, representing the poetess Sappho
+and the nine muses. The ambulatory is also floored with mosaic, in which
+is this inscription:</p>
+
+<p class="center">
+NOVA POST VETERA<br />
+COEPIT SYNFERIUS<br />
+ESYCHIUS CJUS NEPOS<br />
+CUM CLERO ET POPULO FECIT<br />
+HAEC MUNERA<br />
+DOMUS <span class="smcap">xpe</span> GRATA<br />
+TENE.
+</p>
+
+<div class="figcenter" style="width: 650px;">
+<img src="images/p451.jpg" width="650" height="415" alt="BASILICA OF THE CHRISTIAN CEMETERY, SALONA
+" title="" />
+<span class="caption">BASILICA OF THE CHRISTIAN CEMETERY, SALONA
+</span>
+</div>
+
+<p>The two names here recorded are those of bishops of the end of the
+fourth and beginning of the fifth centuries, judging from the
+pal�ography of other inscriptions. Esychius was bishop, 406-426. The
+baptistery is accessible by steps both from the basilica and the
+narthex. Attached to it is the <i>consignatorium</i>, as at Parenzo. This
+retains its mosaic pavement, with a design of stags drinking at a vase,
+and the text "Sicut cervus," &amp;c. It is kept covered with pebbles to
+preserve it. The baptistery itself is octagonal externally and circular
+internally, with niches and several doors. It appears to have had six
+columns (fragments of three of cipollino remain) and grey stone bases.
+The font is somewhat cruciform in shape, about 3 ft. deep, and with a
+little step at one end. The slabs at the bottom and the conduit for the
+water still remain. North of this is the house of the Director of the
+Excavations, with a pergola composed of fragments from the campanile,
+&amp;c., among which is a cap the exact counterpart of one in the cathedral
+at Veglia.</p>
+
+
+
+<p>North-west of the house is the Christian cemetery, a bewildering mass of
+sarcophagi and foundations of several epochs, from among which many
+objects have been taken to the museum. All the sarcophagi had<span class="pagenum"><a name="Page_313" id="Page_313">[Pg 313]</a></span> been
+broken into and plundered; with a single exception, that of a little
+Greek girl who still had the earrings in her ears. Apparently apses were
+built round the martyrs' tombs, pointing in all directions, and many
+burials took place close to them. When the Goths destroyed the city they
+plundered the tombs; and when the Christians returned they levelled the
+ground, and built another basilica properly orientated; and here, also,
+burials took place. The Avars descended upon this and destroyed it, and
+the soil washed down from the hills covered much of it to the depth of
+15 ft. Fragments found of the eighth and ninth centuries, however, show
+that the place was not abandoned; the theatre was only demolished at the
+end of the tenth century to build S. Michele, and the amphitheatre
+lasted till the close of the thirteenth. Upon the extinction of the
+Croatian dynasty in 1102, Salona rapidly declined, and when the Turks
+appeared in the sixteenth century it became a neglected ruin.</p>
+
+<p>At Marusinac, some distance to the north of the station and the
+amphitheatre, is another basilica, dedicated to S. Anastasius, and a
+Christian cemetery. The children are on the look-out for chance
+visitors, and ready to point out the road; and sell copper coins and
+tesser� of mosaic at a price which lowers remarkably as the basilica is
+approached. It is to be feared that they come from the great mosaic,
+which is necessarily unguarded. The basilica consists of nave and
+aisles, separated apparently by six columns on each side, with a single
+apse, which seems to have had external buttresses, but there is no trace
+of the usual internal bench. The total length approaches 150 ft., the
+nave is 39 ft. wide, the left aisle about 14 ft., and the right 17 ft. 6
+in. The <i>prothesis</i> and <i>diakonikon</i> are square, and a long <i>schola
+cantorum</i> forms a continuation to the presbytery westward, though it is
+less in width. The<span class="pagenum"><a name="Page_314" id="Page_314">[Pg 314]</a></span> westward angles of the aisles also have rectangular
+rooms walled off. The whole surface was covered with mosaic, of which a
+great deal is still preserved, consisting of geometrical pattern work
+for the most part, without inscriptions, though there is one panel
+showing a vase with scrolls issuing from it. A large drawing to scale
+has been made of it, which is in the communal palace. It took a full
+year's labour to complete. The basilica was built between 425 and 443,
+but there was a villa there previously, of which considerable remains
+were discovered in 1890, at the same time that the first sarcophagi came
+to light.</p>
+
+<div class="figcenter" style="width: 382px;">
+<img src="images/p455.jpg" width="382" height="550" alt="A MORLACCO FAMILY, BETWEEN SALONA AND CLISSA
+" title="" />
+<span class="caption">A MORLACCO FAMILY, BETWEEN SALONA AND CLISSA
+</span>
+</div>
+
+<p>In the modern chapel of S. Caius, pope and martyr, the side of an
+antique sarcophagus serves as altar-frontal. It is sculptured with the
+deeds of Hercules. The subjects are the Killing of the Dragon of the
+Hesperides (which the peasantry mistake for the Garden of Eden),
+Alcestis being brought back from Hades, and the Binding of Cerberus. The
+water which filtered into the sarcophagus believed to be the tomb of S.
+Caius was credited with the same miraculous powers as the "Manna" of S.
+Nicola at Bari.</p>
+
+
+
+<p>A path skirts the wall of Salona to the Porta Andetria upon the Clissa
+road, which climbs the hillside in well-graded curves. To the north the
+ridge of Kozjak rises to the height of 2,000 ft.; across the gap up
+which the Roman Via Gabiniana ran, the course of which the modern road
+follows, beyond Clissa, the still higher crests of Mosor frown. The
+isolated rock on which the fortress stands appears to have been an
+outwork of Salona in Roman times, and some assume that it was Andetrium,
+which others place farther off; the Byzantines called it Clausura. It is
+the key between Sinj and Spalato, its possession effectually closing the
+pass to an enemy. The Avars took it in 640 by stratagem, disguising
+themselves as Romans. It was Turkish from<span class="pagenum"><a name="Page_315" id="Page_315">[Pg 315]</a></span> 1537 till 1669, except for
+a short period, and one of the attempts of the Spalatines to possess
+themselves of it has been referred to. The fort has three terraces, and
+retains a characteristic building, a mosque of Turkish times, now used
+as an ammunition store. Round arches which sustain the dome spring from
+stalactite-shaped brackets. There is also a Venetian wall-fountain, but
+considerable additions have been made to the buildings in modern times
+by the Austrian military authorities, who have held the place since
+1813; and permission from the command at Spalato is necessary to enter
+the fort. To the south-east are the ruins of the Roman camp.<span class="pagenum"><a name="Page_316" id="Page_316">[Pg 316]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="XXII" id="XXII"></a>XXII</h2>
+
+<h3>THE SOUTHERN GROUP OF ISLANDS</h3>
+
+
+<p>The chain of islands which forms a natural breakwater to the coast of
+Dalmatia is broken into two groups by the Punta Planka, the ancient
+Promontorium Syrtis, south of Sebenico. To the northern group belong
+Veglia, Cherso, Ossero, Arbe, Pago, and a number of smaller and less
+important islands, including Ugljan, opposite Zara, and Pasman, a little
+farther south. Of these the first four have been described at length,
+and the others are mentioned briefly in the chapter dealing with Zara
+and its surroundings. The southern group lies south of the harbour of
+Spalato, and includes Solta, Brazza, Lesina, Curzola, Meleda, the more
+distant Lissa, Busi, and Lagosta, and a few small islands which belonged
+to the Republic of Ragusa. The interest of these varies a good deal,
+some containing much to delight the traveller, while others are scarcely
+worth a visit. Most of them have historical memories reaching from the
+dawn of history to times which are within the memory of many now living,
+and some of them are remarkable for their geological formation or
+luxuriant Southern vegetation. The planning of a tour among them
+requires the most careful comparison of the time-tables of the various
+shipping companies, and the scheme, once decided on, must be strictly
+adhered to under pain of the risk of being stranded in some little
+visited place for three or four days without any of the<span class="pagenum"><a name="Page_317" id="Page_317">[Pg 317]</a></span> comforts which
+the average traveller now expects to find everywhere; for the weather
+cannot be relied on for twenty-four hours together in the seasons when
+travellers are most numerous, the sea frequently rising under an
+unfavourable wind so rapidly as to make escape by a fishing-boat a
+doubtful experiment.</p>
+
+<p>The direct boats, on leaving Spalato, steer between Solta and Brazza,
+and round the point of Lesina, proceeding by the Canals of Curzola and
+Meleda towards Gravosa; and we cannot do better than visit the islands
+in much the same order.</p>
+
+<p>Solta is the ancient Olinthia, celebrated for its honey; Olinthian honey
+was held to be superior to all other, except that of Hymettus. The bees
+are of a special kind, which work hard, and go out in wind and slight
+rain; but the excellence of the honey was probably due to the rosemary
+blossoms, on which they feed by preference, only visiting other flowers
+when these have been completely rifled. Of late years the inhabitants
+have cleared a great part of the land in order to cultivate vines or
+chrysanthemum, so the yield of honey is much reduced. Remains of mosaic
+pavements found here and there show the sites of Roman villas.</p>
+
+<p>Brazza is the largest of the Dalmatian islands, the most populous, and
+the richest in wine and oil. The stone for Diocletian's palace came
+mainly from this island; and Professor Buli&#263; has found abandoned
+fragments partially worked in the quarries, as well as inscriptions. The
+greater part of the stone with which Salona was built also came from
+Brazza. Its history commences with the destruction of Salona and Epetium
+in the seventh century, much of the population taking refuge in the
+island, though it is believed that Greeks inhabited it before the
+Romans. The legend that S. Helena, the mother of Constantine, was born
+here<span class="pagenum"><a name="Page_318" id="Page_318">[Pg 318]</a></span> (though most historians regard her as English) probably arose from
+the name of Brettanide, which is said to have been the Greek name for
+the island, though Brattia is also met with. The most ancient document
+preserved is a privilege of 1077, given to the nobles by Demetrius
+Zvonimir; but the island belonged by turns to Byzantium, Venice, the
+Ostrogoth, Frank, Narentan, and Hungarian, becoming finally Venetian in
+1420, except for the disturbed period which closed in 1815; since then
+it has been Austrian. In a convent of Dominicans at Bol, on the south
+coast, is a Gothic church, with a restored altar-piece representing the
+Marriage of S. Catherine, with SS. Mary Magdalene, Paul, and Dominic as
+witnesses. An entry in the convent register attests the authorship&mdash;"to
+Master Jacomo Tintoretto, painter, a further payment of 200 ducats for
+the high-altar piece." In the convent is a collection of coins and a
+Lombard lintel with ninth-century interlacings; and on the Casa Nisiteo
+a knocker resembling that at Curzola&mdash;a female figure with an anchor in
+the middle, a lion on each side with head turned up, a shell below and a
+shield with arms above, charged with a sun and dolphin one above the
+other; a crowned lion and an eagle as supporters.</p>
+
+<p>In a hut at Birce, near Serip, Andrea, son of Salomon the exiled king of
+Hungary, lived as a shepherd and died.</p>
+
+<div class="figright" style="width: 243px;">
+<img src="images/p461.jpg" width="243" height="400" alt="PORTA MAGGIORE, LESINA" title="" />
+<span class="caption">PORTA MAGGIORE, LESINA</span>
+</div>
+<p>Lesina was once a Venetian arsenal and station of the fleet. The
+vegetation is sub-tropical. Rosemary fills the air with its<span class="pagenum"><a name="Page_319" id="Page_319">[Pg 319]</a></span> aromatic
+scent, oleanders, lemons, lofty palms, carob and bay trees are
+continually met with, and aloes are often used for hedges. It was the
+island Pharos of the Greeks, a colony from the �gean Paros, founded in
+385 <span class="smcap">B.C.</span>, and a free republic. Coins which have been found are similar
+to the most ancient ones of Greece and Asia Minor, and the remains of
+walls appear to be Pelasgic. From 221 <span class="smcap">B.C.</span> it belonged to the Roman
+province of Dalmatia, and shared the fate of its neighbour Brazza. The
+Illyrian pirates mastered it, and under their lordship the celebrated
+Demetrios was born, who was like a condottiere of the Middle Ages and
+Renaissance, and whose treachery led to the destruction of the Greek
+city. Many Christian martyrs were buried here, and it became known as
+"the Holy." The population is Slav, and the Greek name "Pharia" is
+preserved to some extent in the Slav name "Hvar." It is the longest of
+the Dalmatian islands, being 70 kilometres long by 10 broad.</p>
+
+
+
+<p>The town of Lesina lies on the south-west coast, and still retains a
+great part of its crenellated walls. It is decayed, and there are many
+ruined palaces of the Venetian period, some of which are fine. The
+piazza is the largest in Dalmatia, and beyond it the houses form a
+semicircle interspersed with gardens. On the east is the cathedral,
+Lombardesque in style; on the south a large building, the so-called
+Venetian arsenal. The present ground floor, with broad-arched door<span class="pagenum"><a name="Page_320" id="Page_320">[Pg 320]</a></span>
+opening on the water, was arranged to house the galleys belonging to the
+Republic, and was used till 1776, when the arsenal was transferred to
+Curzola. The upper floor, divided into two, was the theatre and communal
+hall. The Loggia of Sanmichele is to the north, close to the remains of
+the palace of the count. It has seven rather narrow arches on piers with
+columns, and a whole order attached in front, a balustrade between the
+pedestals and above the frieze, with obelisks supported on balls as
+crowning features. The door is in the centre; above it a panel with the
+lion of S. Mark replaces the balusters. It is now the hall of a
+sanatorium which has been erected behind it, thus destroying two of the
+towers of the palace of the count, and spoiling a very picturesque
+composition. The "Fondachi" are used for military purposes; other Gothic
+palaces remain along the side of the piazza. Above the town is Fort
+Spagnuolo, which probably occupies the site of an older castle besieged
+by the Hungarians and their allies in 1358; an inscription states that
+the present building is due to the Spaniards, and was built in 1551
+under Charles V., when he was allied to Venice against the Turks. Higher
+still to the east is Fort S. Nicol�, constructed after the Russian
+attack in 1807.</p>
+
+<p>The cathedral is not remarkable for its architecture. The fa�ade has a
+semicircular termination, quadrants above the aisles, and an early
+Renaissance doorway. The stalls are carved and pierced like those at
+Arbe and Zara, but have lost the tops and the carved divisions. At each
+side is an ambo of stone supported on four columns, but with an
+octagonal body above, arcaded, with shafts at the angles. The arches are
+all round, but the change in the plan produces a curious pointed
+appearance in perspective in the lower arcade. On the high-altar is a
+picture by the younger Palma,<span class="pagenum"><a name="Page_321" id="Page_321">[Pg 321]</a></span> a Madonna and the Child in the clouds,
+with S. Stephen vested as pope below, and SS. Jerome and Carlo Borromeo.
+There is also a more ancient picture by Antonio Gradinelli, a dead
+Christ supported by angels. Near the west end is a carved reredos of
+Venetian-Gothic style; S. Luke in the centre with his ox, and S. John
+the Baptist are recognisable among the well-carved figures of saints
+beneath pointed arches with shell-heads to the niches. Two Venetian
+lions have closed books with the date 1475. The sacristy contains some
+fine embroidered vestments and several interesting pieces of
+metal-work&mdash;a ciborium of the fifteenth century of silver, with a
+pyramidal roof, a large silver chalice of Venetian late
+fifteenth-century work in <i>repouss�</i>, a monstrance with round upper part
+and an angel with a scroll and the inscription "O Salutaris," &amp;c.,
+decorated with translucent enamel.</p>
+
+<p>There is also a very curious sixteenth-century crozier of gilded copper
+enriched with silver bands and rosettes, which repeats and enlarges on
+the idea of Bishop Valaresso's crozier at Zara. Inside the crook (which
+is a complete circle) is the Coronation of the Virgin, above whose head
+is a dove, and beneath her feet the head of the serpent, which
+terminates it. She is crowned by a half-figure emerging from a flower,
+wearing the kind of high mitre which is frequently given to God the
+Father; behind her is a similar half-figure of Moses bearing a scroll,
+and with his shoes on the ground before him. On the outside are busts of
+Christ and six Apostles, right and left in profile, also springing from
+flowers, all with nimbi; lower down are the twelve prophets, holding
+labels with their names, and set close one above the other. At the top
+of the stem are six figures, four Evangelists, S. John the Baptist, and
+Elijah. Below are twelve little busts of patriarchs named on labels. The
+knop has twisted<span class="pagenum"><a name="Page_322" id="Page_322">[Pg 322]</a></span> colonnettes at the angles, with swags hanging from the
+lower parts, and half-length figures above a canopy with one arch and
+two half-arches on each face; on the flat surfaces between are
+miscellaneous saints; below are three bishops and three other saints,
+and below them are representations of the six days of creation; the
+words "Opvs� Presbyteri� Pavli� Silvii� Tivnio� lavs� Deo" can be
+deciphered. The stem is sheathed with silver plates with stamped
+patterns.</p>
+
+<p>The ruined church of S. Marco, now undergoing restoration, has a fine
+campanile, rather dilapidated, and sepulchral slabs of members of
+patrician families, and the Franciscan convent, S. Maria delle Grazie,
+has a similar campanile, both of which were probably rebuilt after the
+Turkish raid of 1571 under Uluz-Ali, the Calabrian renegade. The door in
+the western fa�ade of this church resembles that of the cathedral at
+Ossero, and appears to belong to the original building of 1471. Within
+it are three interesting altar-pieces by Francesco da Santa Croce; one
+above the high-altar has two rows of panels with figures of the Madonna,
+SS. Helena, Lucy, Clara, Elizabeth, Stephen, Peter, Francis, Anthony,
+Bernardino of Siena, and Bonaventura; another shows seven prophets; and
+a third has the Madonna in the centre, with three little angels below,
+and S. Jerome on the left, and S. John on the right. The church also
+contains a S. Francis by Jacopo Palma, and a S. Diego and S. Francesco
+di Paola by Jacopo Bassano, restored. The principal treasure of the
+convent, however, is the great Last Supper by Matteo Rosselli, a very
+impressive picture, which fills the end wall of the refectory above the
+panelling, and contains his own portrait (1578-1650). The table at which
+the Apostles are seated is in the form of a horseshoe, with Judas on the
+near side. The story goes that Rosselli went to Ragusa to deliver some
+paintings commissioned from<span class="pagenum"><a name="Page_323" id="Page_323">[Pg 323]</a></span> him, and on his way back fell ill, and was
+obliged to land at Lesina, where the Franciscans took care of him and
+nursed him back to health; in gratitude he painted this picture for
+them. The great cypress, which spreads almost like an oak, he may have
+sat under during his convalescence.</p>
+
+<p>The other towns are Cittavecchia, Verbosca, and Gelsa. The first is the
+new Pharos, founded at the end of the third century <span class="smcap">B.C.</span>, and
+flourishing during the Roman period. It lies at the bottom of an inlet
+six miles long, and is a nourishing modern town with little antiquity
+visible. The campanile of S. Stefano, which appears to be of the
+fourteenth century, is on ancient foundations, and there are traces of
+Cyclopean walls here and there. In Verbosca is a fortified church with
+bastions, S. Lorenzo, which contains the fragments of a Titianesque
+painting, ascribed to the master on the strength of an entry in the
+archives of a payment of 1,000 ducats to the Master Titiano Vecelli. It
+is now in three portions, and shows S. Laurence with angels and the
+Virgin above, S. Roch, and S. Augustine. In another church, S. Maria, is
+a Birth of the Virgin, ascribed to Paolo Veronese. At Gelsa the church
+is also fortified, a memorial of the time when protection against
+Turkish raids was necessary.</p>
+
+<p>Curzola lies due south of Lesina, separated from the long peninsula of
+Sabbioncello on the mainland by quite a narrow channel. It is the
+Corcyra Nigra or Melaina of antiquity, so called from its luxuriant pine
+forests, little of which now remain. Various origins are attributed to
+the settlement; one of them is commemorated in the inscription on the
+Porta Marina: "Hic Antenorid� Corcyr� prima Melan� fundamenta locant."
+The early Greek geographers include it in the territory of Narenta or
+Liburnia. From Augustus to Heraclius (642 <span class="smcap">A.D.</span>) it was Roman or
+Byzantine, and<span class="pagenum"><a name="Page_324" id="Page_324">[Pg 324]</a></span> from that date till 998 Narentine. From the victory of
+Orseolo II. till 1100 it was Venetian, when the Genoese possessed it for
+twenty-eight years. In 1128 the Venetians, under Popone Zorzi, took it
+again, and it remained Venetian on the whole till 1357; from that time
+till 1418 it was sometimes Hungarian, sometimes Genoese, Bosnian, or
+Ragusan. Two years later it finally gave itself to Venice, with which it
+was connected till the Napoleonic wars. The English occupied it from
+1813-1815. It has suffered from raids; and the attack by Uluz-Ali after
+he had sacked Lesina is noticeable for the brave conduct of the women.
+The commandant of the island and fortress, Antonio Balbi, and a great
+many of the well-to-do inhabitants fled without fighting. The women and
+boys put on their uniforms and manned the walls, making the Turks think
+that the place was well garrisoned and too strong to be taken quickly
+with the force at their disposal. In one of the naval battles with the
+Genoese off the island, Marco Polo (who has been claimed as a Curzolan)
+and Andrea Dandolo were taken prisoners. Dandolo dashed his brains out
+against the side of the galley; but Marco Polo occupied his four years
+of captivity in writing his travels, and, according to legend, earned
+his freedom by the pleasure which his work gave to the Genoese.</p>
+
+<p>The statute is the oldest in Dalmatia (1214), and is noticeable for its
+provisions against the slave trade, which are among the earliest in
+history. A curious survival of medi�val festivity still exists in the
+"Moresca," a kind of Pyrrhic dance, danced on national festas, which is
+a reminiscence of the days of Algerian piracy. There are twenty-four
+dancers, and the leaders, the standard-bearer, and the "bula," who is
+the spouse of the Moorish king. The performers are divided into two
+bands, one representing Christians (in Spanish<span class="pagenum"><a name="Page_325" id="Page_325">[Pg 325]</a></span> costume), and the other
+Moors, from which the name comes. The whites, led by the king of Spain,
+conquer in the combat, and the "bula" is taken and freed amid general
+rejoicing. At the beginning and end, the Christians declaim a kind of
+prologue or introduction in accordance with the object of the festa, and
+a salutation and thanks to those assisting at the end. The costumes are
+rich, each dancer carries sword and dagger, and the performances (which
+are enthusiastically received) take place in the open air upon a raised
+platform. In one or two places there are also survivals of medi�val
+mystery-plays.</p>
+
+<p>The town is on an oval peninsula on the north-east coast, united to the
+mass of the island by a low isthmus. The main street runs along the
+ridge from the land gate to the cathedral piazza. From the sea the walls
+appear almost perfect, but there is a wide quay all round the town, and
+the houses stretch a long way along the shore. There is not a street
+within the walls through which a vehicle could pass, all the
+thoroughfares (which are mainly alleys and staircases) rising steeply to
+the cathedral. The buildings remain much as when the Morosini and
+Faliero ruled, but comparatively few of the three hundred or so of
+houses within the walls are inhabited; most of the ruined palaces are of
+the period of the Ducal Palace, Venice, and some of them have been
+architecturally remarkable. The walls and towers are in the main of
+1420, but were strengthened by the Venetians. The towers which remain
+are the Merlata Barbarigo of 1485, Merlata Tiepolo of about the same
+date, Merlata dell' Aspello, erected as a defence against the Turks in
+1570, the gate-tower on the Piazzetta of 1649, and the Gothic Torre
+Lombardo of 1448, near the land gate. The walls can be walked round in a
+quarter of an hour, and are dominated by the Fort S. Biagio, erected by
+the English.<span class="pagenum"><a name="Page_326" id="Page_326">[Pg 326]</a></span></p>
+
+<div class="figcenter" style="width: 395px;">
+<img src="images/p468.jpg" width="395" height="500" alt="WEST DOOR OF THE CATHEDRAL, CURZOLA" title="" />
+<span class="caption">WEST DOOR OF THE CATHEDRAL, CURZOLA</span>
+</div>
+
+<p>The cathedral has a fine west doorway with twisted and knotted
+colonnettes and a pointed arch with tracery in the tympanum, and a
+modern figure of a bishop in front of it. Enormous brackets supporting
+couchant lions rest upon the knotted columns, with curious figures of
+Adam and Eve on their lower faces. A<span class="pagenum"><a name="Page_327" id="Page_327">[Pg 327]</a></span> circular hood mould, with ogee
+finial, springs from them. In the gable is a traceried rose, above which
+is an elaborate cornice with beasts' heads projecting at the angles,
+shell niches, and floral finial, and at the meeting-point of the ramps a
+bust of an elderly woman in the costume of the fourteenth century, with
+hair in curls at each side of the face, a jewelled circlet, pleated gown
+with tightly fitting sleeves slashed and embroidered, and a border round
+the neck above a laced under-garment. There are two other doors at the
+ends of the aisles. The tower appears to have been added above the north
+aisle about 1463; it finishes with a shafted parapet and two open
+octagons with domical roofs, one above the other. Along the aisle roof a
+carved cornice runs, and above the trefoiled pointed clerestory windows
+is an arched corbelled cornice. The nave and aisles terminate in
+semicircular apses. The nave and choir together are of five bays, with a
+pointed arcade on monolithic pillars. The aisles are cross-vaulted
+without ribs, but with pointed arches between the bays. The roof of the
+nave is of wood. The triforium is of two round arches to each bay, with
+short coupled columns, now built up, and with wooden figures of the
+Apostles set in each arch. The tower occupies one bay of the north
+aisle, and encroaches on the next arch. Four of the caps have the
+symbols of the Evangelists; those of the columns of the south aisle bear
+flowing late Gothic foliage resembling two at Sebenico, and the doorway
+illustrated at Tra�; those of the north arcade are of the seventeenth
+century. A fourth aisle was added to the north in 1532 as a burial
+chapel. The ciborium has three octagonal stages pierced with
+quatrefoils, above long architrave blocks, the carving of all the lower
+part being Renaissance in style. The interior of the church was sadly
+modernised in 1804, but the curious sacristy door still remains. It<span class="pagenum"><a name="Page_328" id="Page_328">[Pg 328]</a></span> has
+a tympanum with S. Michael weighing souls and trampling on the Devil,
+and, below the lintel, two brackets with musicians, the hood mould
+running up in ogee-shape to a finial. The high-altar-piece is a
+Tintoretto&mdash;S. Mark vested as a bishop and blessing, with a lion at his
+feet between SS. Bartholomew and Jerome, who are nearer the spectator.
+On a side altar is a picture representing the Trinity, by Giacomo da
+Ponte (1510-1592). The treasury possesses some good embroideries and two
+or three chalices, one of which, with a half-figure of Christ in the
+tomb, is set before the baldacchino on Good Friday, to show symbolically
+that the Body of Christ is in the Sacrament.</p>
+
+<p>On the way to the church of Ognissanti the Palazzo Arneri is passed; it
+has a fine knocker in the manner of John of Bologna&mdash;Neptune standing
+and controlling two lions, a design of which there are examples in Padua
+and elsewhere. The church of All Saints was built in 1303. It has been
+modernised, but still retains a ciborium with quatrefoil piercings and
+angle pinnacles, bearing much resemblance to that in the cathedral. A
+stair leads to a Greek church, in which are several painted wood
+crucifixes and Byzantine pictures.</p>
+
+<p>Some forty minutes away, on a small island to the east, is the
+Franciscan convent, La Badia, a building of the fifteenth century for
+the most part, containing a rather pretty cloister of white marble
+erected in 1477. The arches are stilted, pointed, and trefoiled,
+arranged in groups of three, with wider slightly segmental openings with
+cuspings for entrances. The spandrils are filled with Gothic leafage,
+the bases and caps to the columns are early Renaissance, and the frieze
+is quite plain, with a dentilled cornice. The church is not interesting
+architecturally; the western fa�ade is imitated from the cathedral, but
+it contains a crucifix brought from Bosnia by refugees after the battle
+of Kossovo.<span class="pagenum"><a name="Page_329" id="Page_329">[Pg 329]</a></span></p>
+
+<div class="figcenter" style="width: 550px;">
+<img src="images/p472.jpg" width="550" height="389" alt="TRAVELLING AT EASE: AMONG THE ISLANDS
+" title="" />
+<span class="caption">TRAVELLING AT EASE: AMONG THE ISLANDS
+</span>
+</div>
+
+<p>The plague of 1558 smote Curzola very heavily, and as years went by it
+sank lower and lower. The convenience of the neighbouring pine-woods,
+the two ports between which the town lies, and the existence of Porto
+Pedocchio caused the Venetians to move their arsenal hither from Lesina
+in 1776; and during the last century it has recovered to some extent,
+but the population remains poor.</p>
+
+<p>The island of Lissa lies to the north-east of Curzola, much farther away
+from the mainland. The climate is very mild; palms, cactus, aloes, and
+myrtle flourish; and a wine known as Opollo is as much sought after as
+that made from Lissan grape-juice, praised in antiquity by
+Agatharchides. It is cut into by two large bays, to the west the Valle
+di Comisa, and to the north-east the harbour of Lissa. There are some
+small remains of antiquity. The foundations of the Roman theatre are
+partly in the sea, and other Roman ruins are round about the harbour,
+though the ancient Issa occupied the site of Gradina, 300 ft. above the
+sea. One statue at least which was found here has been taken to Vienna.
+Lago says that under the building of the Blessed Virgin "delle
+Graticelle" there are caverns said to contain the graves of Diomede and
+his companions. Apollonius of Rhodes says that the original colonists
+came from Issa in Lesbos, and were Pelasgic Liburnians; but Polybius
+tells of a Greek colonisation in 392 <span class="smcap">B.C.</span> under Dionysios the Elder, of
+Syracuse. It is certain, from gems and inscriptions found, that a free
+state existed here about 340 <span class="smcap">B.C.</span> It was through Issa seeking protection
+from Rome that the commencement of the conquest of Illyria sprang. Their
+being able to help the Romans with twenty ships in their war with Philip
+of Macedon, and their founding such cities as Tragurium and Epetium show
+their importance in antiquity. The Goths of Ravenna destroyed the town<span class="pagenum"><a name="Page_330" id="Page_330">[Pg 330]</a></span>
+in 535 <span class="smcap">A.D.</span>, on their way to Salona. It was destroyed a second time by
+the Narentans, and a third time, in 1483, by the Aragonese. The great
+battle for which Lissa is celebrated took place on March 13, 1811, when
+the French were beaten by the English, who destroyed all their ships but
+three, the commander Dubourdieu being killed, after which Lissa was made
+a kind of Adriatic Malta. The Austrians strengthened the fortifications
+of the English, making it an arsenal, and in 1866 Tegethoff beat the
+Italian fleet here. Some interest attaches to the fortifications,
+monuments, and graveyards of the island, on account of the British
+occupation. The monument recording the English victory is in the English
+cemetery; in the other is a memorial to those who died in the
+Italo-Austrian fight. At Busi, a few miles away, is a blue grotto,
+discovered in 1884, claimed to be even more remarkable than the
+celebrated grotto at Capri.</p>
+
+<p>Lagosta lies due south of Curzola. It belonged to Ragusa, and the
+islanders are still very proud of the connection. Uros I. (the Great)
+gave it to Ragusa in the second half of the thirteenth century. In the
+cathedral is a Titian signed on the back.</p>
+
+<p>Meleda is east of Lagosta, and south of Sabbioncello. It also belonged
+to Ragusa, given to the Republic by a Servian prince in the twelfth
+century. It has historical memories of Julius C�sar, Octavian, Septimius
+Severus, and Caracalla, and was used in antiquity as a place of
+banishment, like Bua opposite Tra�. In the town of Porto Palazzo ruins
+of the palace built by the Cilician Agesilaus of Anazarba, governor of
+Cilicia under Nero, and sent here by Septimius Severus, still exist. In
+the ninth century the island was part of the Narentan dominions. The
+building, formerly a convent, traditionally said to have been founded
+before 1000 on the little island of S. Maria del Lago, is like a<span class="pagenum"><a name="Page_331" id="Page_331">[Pg 331]</a></span>
+medi�val castle with battlemented walls and a tower. The cloister is
+picturesque with ancient date-palms, and there are several monuments in
+the church. The island is prettily situated near the shore of the Lago
+Grande, one of two lagoons reached by a pleasant road from Porto
+Palazzo.</p>
+
+<p>Nearer to Gravosa is Mezzo, the ancient Delaphodia, which also belonged
+to Ragusa. The mother church is away from the town, and is known as S.
+Maria del Biscione, a building of the fifteenth century. It contains an
+altar-piece with gilt arabesques on a blue ground, and large painted and
+gilt wooden figures of Apostles and the subject of the Assumption. A
+predella contains carvings of the Last Supper and the Washing of the
+Disciples' Feet. It was made in the seventeenth century, though the
+style is earlier. There are also two pictures&mdash;a Madonna and Saints, of
+the earlier Venetian school, and an enthroned Madonna and Child with
+four panels of saints at the sides, both restored. In the sacristy are a
+Venetian lavabo, some embroideries, and a fine fifteenth-century
+processional cross. An iron grille round a side altar bears the Visconti
+arms, which are also those of Mezzo. The "biscione" (serpent) in these
+arms gives its name to the bay, and so to the church. The church of the
+deserted Franciscan convent is now used as the parish church. It is a
+building of the latter part of the fifteenth century, and contains some
+fine carved stalls of the usual type, and a fine altar-piece by Nicolaus
+Raguseus, 9 ft. high, and with an arched top. God the Father is
+enthroned above, surrounded by angels with the instruments of the
+Passion. The five panels in the upper row show the Angel of the
+Annunciation, S. Blaise, Christ with the Cross, and half-figures of S.
+Anthony and the Virgin. The centre subject is rather broader. Below it
+is a later painted wood carving of<span class="pagenum"><a name="Page_332" id="Page_332">[Pg 332]</a></span> the Madonna and Child. The panels at
+the sides have figures of SS. Roch and John the Baptist, Francis and
+Catherine. The frame is carved and painted blue, and gilded. There is
+another picture by the same artist in S. Nicholas, which was the
+Dominican church&mdash;an Annunciation, dated March 16, 1513, with a predella
+of five subjects, a praying Dominican, a Nativity of Christ, a galley in
+the harbour of Mezzo, the Adoration of the Magi, and the entrance of the
+Dominicans into the cloister. A good campanile still remains, though the
+cloister is ruined. There are several chapels in the place, also
+roofless and in ruins, and two ruined castles.</p>
+
+<p>A Captain Pra&#263;at, who left 200,000 ducats to the Republic of Ragusa, and
+who was honoured with a half-length figure set up in the court of the
+Rector's Palace in 1638, was a native of Mezzo. A towel given him by the
+Emperor Charles V. is preserved at Mezzo, together with some church
+plate of unusual design. The chalice is a mixture of late Gothic and
+early Renaissance in character, with two little angels, now wingless,
+holding to its edge, and treading with one foot on the knop, thus
+forming handles. It is so large as to recall the ancient ministerial
+chalices. Medallions with the Evangelists' symbols ornament the bowl,
+with scroll-work between; the knop is covered with similar ornament, and
+on the foot is a full-length figure of S. Blaise. An ostensory has the
+same detail of the flying angels, and there is also a large paten with
+Christ as the Man of Sorrows on a blue enamel ground.</p>
+
+<p>The island of Lacroma is beyond Ragusa, and can be easily visited from
+that place. It is the last Austrian island of any importance, and will
+be described in the next chapter.<span class="pagenum"><a name="Page_333" id="Page_333">[Pg 333]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="XXIII" id="XXIII"></a>XXIII</h2>
+
+<h3>RAGUSA</h3>
+
+
+<p>Ragusa is one of the most charming spots in Dalmatia, and one can quite
+understand the action of the inhabitants who refused to leave it
+notwithstanding the ruin wrought by the earthquake of 1667, when it was
+proposed to move the community to a safer situation. The grey town upon
+its rocky seat, lighted by the brilliant sun, contrasts with the blue of
+the sea and the green of the luxuriant vegetation (much of it tropical),
+amidst which villas nestle picturesquely, and from the cliffs on either
+side at morning and evening the glow of the sun's level rays, or the
+characteristic silhouettes of town and rock are equally effective,
+according to the position of the spectator. But the sea, which is
+generally calm and blue, can be lashed to fury when <i>scirocco</i> blows, so
+strongly sometimes that it is difficult to keep one's feet, and, though
+storms do not usually last many days, the spray has been known to fly
+right over Fort S. Lorenzo, situated on an isolated rock 100 ft. above
+the water.<span class="pagenum"><a name="Page_334" id="Page_334">[Pg 334]</a></span></p>
+
+<div class="figright" style="width: 256px;">
+<img src="images/p479.jpg" width="256" height="400" alt="HERZEGOVINIAN CHARCOAL PORTER, GRAVOSA
+" title="" />
+<span class="caption">HERZEGOVINIAN CHARCOAL PORTER, GRAVOSA
+</span>
+</div>
+
+<p>Large steamers cannot enter the little harbour, so Gravosa, on the
+estuary of the Ombla, a mile or so away, serves as the usual port. It is
+sheltered by the rocky island of Daxa, and affords another of those fine
+harbours with which Dalmatia is so well provided. On one of our visits
+to Ragusa we stayed at the Hotel Petka at Gravosa, and in front of the
+windows a flotilla of torpedo-boats lay at anchor with steam up. It was
+interesting to see the men doing everything to word of command. In the
+morning they got up at a signal; drew up water to a signal, washed
+themselves and then the boats, prepared meals, &amp;c., &amp;c., all in public
+view, for there was very little deck and apparently no room below at
+all. In the hotel we were interested by some tame swallows, which flew
+about the hall and came into the restaurant; but a detestable mechanical
+piano, operated by an electrical motor on the penny-in-the-slot plan,
+which was a source of great pleasure to some Slav visitors, interfered a
+good deal with our comfort. I am sorry to say that when I had time to
+look over the account for the rooms (for we were hurried in leaving) I
+found that we had been charged for a day more than we had been there,
+the only instance of such a thing which we experienced in our journeys
+up and down the coast. Some of the houses along the road by the water
+have delightful gardens, and piles of fruit and vegetables made
+fascinating colour compositions by the waterside, whilst the vivid
+colour of some of the strange costumes, such as that of the quaint old
+Herzegovinian charcoal porter, contrasted well with the more ordinary
+clothes of officials and traders. Large numbers of Herzegovinian
+emigrants take boat at Gravosa; and I remember one day, when Ragusa was
+full of them and their friends and every vehicle crowded between that
+place and Gravosa, what a strange sight the pier presented, so thickly
+packed with people that one wondered none were pushed off. The variety
+of colour and picturesqueness of costume and type among the men and
+women was interesting, and it was touching to think of the sundering of
+friends and relations, and the grief at parting which many of them
+showed in their strongly marked countenances. From Gravosa the source of
+the Ombla<span class="pagenum"><a name="Page_335" id="Page_335">[Pg 335]</a></span> is easily visited, a strange river springing full-grown
+from beneath a cliff but a few miles from the sea. The Greeks called it
+Arione, the Latins Umbla, and it is believed to be the same river as the
+Trebisnizza, which becomes subterranean some two and a half hours'
+journey away in the Herzegovina. Its depth is unknown, as the actual
+source at the foot of the Falkenberg cannot be approached, but the weir
+which dams up the river creates a pool some 65 ft. across, in which
+mulberry-trees, fig-trees, reeds, and bushes are reflected, and
+furnishes the power for working two great mills. The river is but three
+miles long before it merges in the estuary, and its banks are sprinkled
+with villas and villages, the railway station and the admiralty stores
+occupying the portion nearest to the harbour.</p>
+
+
+
+<p>From Gravosa the excursion to the plane-trees of Cannosa and to Stagno
+may be made. The great plane-trees are 40 ft. in circumference, and
+their branches spread over a diameter of some 200 ft. The larger one
+takes twelve men with outstretched arms to surround it. The villa of
+Count Gozze, close by, has beautiful gardens. Stagno has historical
+interest. It is twenty-three miles from Ragusa, and is mentioned in the
+"Tavola Peutingeriana" as "Turns Stagni"; the Romans knew it as
+"Stagnum." There are traces of ancient walls right across the isthmus,
+which is only a kilometre wide, Sabbioncello being thus almost an
+island. It was given to Ragusa by Stephen VI. of Servia in 1333, and the
+Republic spent 120,000 ducats in fortifying it during the next
+twenty-four years. Till 1815 it remained tributary to Ragusa, and was
+ruled by a civil and political count. A little way north-west was the
+northern slip of territory which Ragusa gave to Turkey to prevent her
+territories touching those of Venice, the little peninsula of Klek, with
+about two-thirds of a mile of coast and the little port of Neum. On the
+south<span class="pagenum"><a name="Page_336" id="Page_336">[Pg 336]</a></span> the Sutorina valley fulfilled the same function. Both were handed
+over to Turkey in 1699 at the peace of Carlowitz with the assistance of
+Spain, and were only incorporated with Austria in 1878.</p>
+
+<div class="figcenter" style="width: 412px;">
+<img src="images/p483.jpg" width="412" height="550" alt="PORTA PILE, RAGUSA
+" title="" />
+<span class="caption">PORTA PILE, RAGUSA
+</span>
+</div>
+
+<p>The road to Ragusa climbs the neck of the peninsula of Lapad, where the
+Ragusan merchants had their villas in their days of prosperity, passing
+the exercising-ground, up and down which recruits march and man&#339;uvre
+notwithstanding the heat. The high walls have masses of flowers hanging
+over them and little summer-houses perched upon them here and there
+among the verdure. At the bottom of the descent is a tree-planted
+promenade, across which the grey walls of the Porta Pile glimmer,
+pierced with a low arch above which the patron saint, S. Biagio, looks
+forth from an early Renaissance niche, with his hand raised in blessing,
+as he does from above the other gates and from the huge bulk of the
+Torre Menze, the great tower crowning the line of walls which ramps up
+the slope to the left. The situation is magnificent, and from the sea
+the view of the town is unique among Dalmatian cities by reason of the
+strong sea walls, a sign of freedom from the supremacy of Venice, whose
+winged lion only appears in one place, by the convent of S. Maria, on
+the gate to the sea, closed in 1358, where the upper border of the panel
+may also be seen. Within these walls the streets are mere narrow lanes
+in one direction, and in the other mainly flights of steps which climb
+the hill. Fine effects of light are produced in consequence, especially
+when the street dives beneath houses through dark arches. The only broad
+street is the Stradone, which runs from one gate to the other, and was
+once an arm of the sea, though one can scarcely believe that it could
+have been so sufficiently recently to have allowed of the ships lying
+close to the merchants' houses in the time of Ragusan prosperity,<span class="pagenum"><a name="Page_337" id="Page_337">[Pg 337]</a></span>
+as some say. The houses along this street are all of the same character,
+and were, no doubt, built after the great earthquake of 1667. Many of
+them have shops beneath an arch, half of which is filled by the counter,
+while on the wall outside hang draperies of ravishing colours, or
+embroideries or metal-work, sparkling in the sun, or cases containing
+jewellery, brightly coloured leather-work, &amp;c. Above the roof-cornices
+quaint dormers and strangely fashioned chimneys rise, producing a most
+picturesque sky-line.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/p486.jpg" width="600" height="426" alt="TORRE MENZE AND FORT S. LORENZO, RAGUSA
+" title="" />
+<span class="caption">TORRE MENZE AND FORT S. LORENZO, RAGUSA
+</span>
+</div>
+
+<p>The walls are perfect in their whole circuit, and give one a very clear
+idea of the complicated arrangements for the defence of a medi�val town,
+by the many gateways and tortuous roads by which the town is entered,
+while the external appearance remains quite medi�val.</p>
+
+<p>These fortifications date from 1380, when the last Venetian Count had
+gone, but there are later additions. At this time the Castel S. Lorenzo
+was built, displacing an oratory built on the site of a nunnery
+established before the eleventh century. Forte Molo, by the harbour
+(formerly Fort S. Giovanni, and now much altered) and the tower of S.
+Luca still remain of the earlier fortifications. As the town spread it
+was fortified by the addition of the Torre Menze (built in 1464 by
+Michelozzo and George of Sebenico, but altered in 1538), the Torre
+Leverone (built in 1539 to defend the harbour and the road to Breno),
+and Fort S. Margherita (1571). The French built Fort Imperiale on Monte
+Sergio and the battery on Lacroma. The cliff-like masses of stone are
+stern and forbidding, and one thinks the citizens must have been glad to
+escape from them on to the wooded slopes of Monte Sergio (bare and stony
+now), though their apparent impregnability must have been comforting in
+those days; when the strong hand often over-ruled right and justice.<span class="pagenum"><a name="Page_338" id="Page_338">[Pg 338]</a></span></p>
+
+<p>The origin of the city is given thus. Fugitives from Epidaurus (Ragusa
+Vecchia) in 639 took refuge on a rocky hill sheltered by an oak wood
+(<i>dubrava</i> in Slav, from which the Slav name Dubrovnik may be derived),
+and Salonitans joined them. In 690 or 870 they began to enclose the
+place with walls, with the help of the Servian ruler, Paulimir. These
+walls only enclosed the southern part, and the Stradone served as ditch
+and harbour. It is claimed that the Republic was founded in 663. Three
+extensions of the walls are recorded before the twelfth century. There
+was a Slavonic colony on Monte Sergio, on the other side of the ditch,
+and the name of their patron saint, Sergius, has survived in that name.
+The patron saint of the Latin colony on the island was Bacchus, and when
+the two colonies amalgamated, as neither would accept the patron saint
+of the other, they chose a fresh one, S. Blaise. They put themselves
+under Venetian protection in 998, the first count being Ottone Orseolo.
+The earliest recorded commercial treaty is with Pisa, made in 1169. From
+1205 we find Venice supreme, and she remained so for nearly a hundred
+and fifty years, with an interval of Byzantine rule. In 1358 Ragusa was
+under the protection of the king of Hungary: the sneer against it of
+being "sette bandiere" (seven flagged) suggests that it sought
+protection from more than one power at a time. It was the headquarters
+of effort for the conversion of the Slavs, which explains the gifts made
+to its churches by Servian kings and nobles. From 1358 it was
+practically independent, though it paid a tribute of 500 iperperi to
+Hungary, and used the Hungarian standard as well as that of S. Biagio.
+The fifteenth century was the period of greatest prosperity,
+overshadowed by the fear of being eaten up by Venice. To make themselves
+secure the Ragusans paid tribute to Constantinople in 1453 of 1,500
+ducats, increased<span class="pagenum"><a name="Page_339" id="Page_339">[Pg 339]</a></span> afterwards to 10,000; and this tribute appears to
+have been continued till 1718. Sigismond Malatesta came to Ragusa in
+1464, intending to make it a base of attack on Italy in conjunction with
+the Sultan, but stayed there, and became military commander. Ragusa thus
+gained the special benevolence of the Pontifical Court, and permission
+to traffic with the infidel.</p>
+
+<p>The greatest misfortune which befel Ragusa was the earthquake of April
+6, 1667, which is thus described. In the early morning "there came from
+below ground a horrible and dreadful earthquake, which in a few moments
+destroyed the Rector's palace, the Rector himself being killed, and all
+the other palaces, churches, monasteries, and houses in the city,
+everything being overthrown, and there was much loss of life; the havoc
+was increased by the huge rocks which fell from the mountains; thus the
+city became a heap of stones. At the same time, a wind having arisen,
+misfortune was heaped upon misfortune, and, in consequence of the fall
+of timbers upon the kitchen fires, flames burst forth: the fire lasted
+several days, causing much suffering to the few survivors of this
+horrible disaster. Not more than 600, besides 25 nobles, escaped, and it
+was a sad sight to see these people, most of them injured, wandering
+about almost beside themselves with despair, in the ruined streets,
+imploring pity and pardon from the Lord God for their sins. Moreover,
+the Castle rock was seen to burst open and close again twice, and the
+waters of the sea sank back four times. Even the wells dried up
+completely. The land fort remained untouched; the sea fort, the dogana,
+and the lazaretto were partially damaged, but can be repaired in a short
+time. Many, moved by compassion at hearing the lamentable cries of those
+buried among the ruins, struggled to remove the rubbish of stones and
+timber with which they were covered, and found some<span class="pagenum"><a name="Page_340" id="Page_340">[Pg 340]</a></span> still alive,
+although they had been three, four, or even five days in that terrible
+condition" (from a Venetian book of 1667). A good deal of plundering
+went on, the peasants and Morlacchi looking on the catastrophe as a
+godsend. Biagio Caboga and Michele Bosdari armed their retainers, and
+kept watch over the ruined churches and public buildings: the relics and
+remains of the cathedral treasure were removed to a chapel in the
+Dominican monastery, and bricked up, with a barred aperture only left;
+and the State treasure was taken to Fort Leverone, where a provisional
+government was established. The situation appeared so hopeless that it
+was proposed to move the town to Gravosa, but the citizens would not
+leave the place. Apparently some 5,000 people had been killed, but the
+fragments of Venetian architecture on the slopes of Monte Sergio, as
+well as the one house pointed out beyond the cathedral, show that a good
+many houses survived in part.</p>
+
+<p>In 1796, when the French occupied the Ionian Islands, a French
+commissary appeared at Ragusa, and asked for a loan of 1,000,000 francs.
+It was granted, but produced a rebellion which brought about a short
+occupation by Austrian troops. By the peace of Presburg (1805), Austria
+ceded Dalmatia and the Bocche to France. The Bocchesi and Montenegrins
+determined rather to give themselves to Russia, and, with the help of a
+squadron sent from Corfu, took the Bocche from Austria as far as
+Castelnuovo. The French moved towards Ragusa, meaning to occupy Cattaro.
+General Lauriston, with 800 men, crossed the Ombla and entered the city
+under pretext of resting his soldiers. The news reached Cattaro, and the
+Bocchesi, Montenegrins, and Russians invaded the territory of the
+Republic, beating the French near Ragusa Vecchia, and besieging them in
+Ragusa. On July 6, 1806, Gravosa was burnt, with the shipping and
+stores. In 1808 Marmont declared the<span class="pagenum"><a name="Page_341" id="Page_341">[Pg 341]</a></span> Republic dead and buried, and the
+French retained Ragusa till 1814. In January of that year Count Biagio
+Bernardo di Caboga raised the people, and with English and Austrian
+troops, freed his country from the French. The flag of Ragusa flew for
+the last time between those of Austria and England on January 3. On the
+28th the territory was taken possession of by Austria. A short time
+before the French occupation Ragusa had 400 sea-going ships.</p>
+
+<p>There is very little remaining from the early period, though there are
+records of building being done. Resti, who is an authority for the local
+history of Ragusa, says that Stefano, king of Croatia Bianca, vowed to
+restore S. Stefano, Ragusa, and remained there two years while it was
+being done, spending much money upon it. His wife Margherita, a noble
+Roman lady, sent a quantity of silver to ornament the relics of the
+saints, of which the church had many and finally the royal couple
+visited it, the king being accompanied by several barons, and the queen
+by her ladies. The rest of the Court stayed at Breno and Canali, because
+the Ragusans said they could not accommodate them all, the city being
+but small. The king, in return for the distinguished treatment which was
+accorded him, is said to have given to the Republic, Breno, Vergato,
+Ombla, Gravosa, the valley of Malfi, and part of Gionchetto, on the
+condition of churches dedicated to S. Stephen being built in all the
+towns. After his death his queen resolved to retire to Ragusa and become
+a nun. She had a small room built for her by the side of S. Stefano, and
+also built the little church of S. Margherita, removed in 1570 when the
+fort which still bears the same name was constructed, and rebuilt in the
+present military hospital, the old Jesuit convent, where it was used as
+a mortuary. She also brought to Ragusa two pieces of the wood of the
+true Cross, the<span class="pagenum"><a name="Page_342" id="Page_342">[Pg 342]</a></span> larger of which is still in the cathedral The cell
+which was built for her still existed in the fifteenth century. The
+church of S. Stefano was the old cathedral; it was partially destroyed
+by the earthquake of 1667, and never rebuilt. The site is now used as a
+recreation ground for the cathedral clergy. Above an early Renaissance
+door, made when the building was converted into a sacristy for the later
+church, is encrusted a piece of ninth-century sculpture, with the usual
+arches, crosses, and palmettes, and in the adjoining wall is an oculus
+with an ornamented moulding. By the side of the bishop's palace is a
+little chapel with a door apparently of the ninth century. It has a
+scroll pattern up the jambs and across the lintel, with the
+characteristic triple furrowing, and above the lintel a palmette
+cornice; on the reveal is a twisted guilloche treated in the same
+manner. There are two or three early churches of little interest on the
+hill; one at least has been rebuilt. Gelcich says: "Of the Byzantine
+epoch, except the bas-reliefs of S. Stefano, nothing remains save a
+memory in the name of the mountain above the city, and the worship of
+some saint whose name recalls the East."</p>
+
+<div class="figleft" style="width: 350px;">
+<img src="images/p494.jpg" width="350" height="265" alt="RELIQUARY OF THE HEAD OF S. BLAISE, CATHEDRAL TREASURY,
+RAGUSA
+" title="" />
+<span class="caption">RELIQUARY OF THE HEAD OF S. BLAISE, CATHEDRAL TREASURY,
+RAGUSA
+</span>
+</div>
+
+<p>The present cathedral was rebuilt between 1667 and 1713, and is of the
+usual character. It, however, possesses several good pictures and a very
+rich treasury. The most interesting of the pictures is a triptych or<span class="pagenum"><a name="Page_343" id="Page_343">[Pg 343]</a></span>
+portable altar, an old Bruges picture, which the envoys took with them
+when they went to Constantinople every three years to pay the tribute.
+The subject is the Adoration of the Magi. In the centre the Virgin is
+seated with the Child on her lap. He is kneeling, and extending His hand
+to the oldest of the three kings, who has placed sceptre and gifts at
+the Saviour's feet. Behind him is another king; through arches a
+landscape is seen at the back. On the left wing are the third king, a
+Moor, with a group of figures and landscape behind. On the right wing is
+a bald-headed man in a rich robe, and in the background a castle. The
+centre panel is 2 ft. 9 in. high by 1 ft. 9 in. broad. It is in the
+style of Memling. There are also several Padovaninos and pictures
+ascribed to Titian and others, a Palma Vecchio, and a fine head of
+Christ by Pordenone.</p>
+
+
+
+
+<p>The formalities for opening the treasure caused us some trouble. We
+arrived just as the usual weekly exhibition was over, and I was told
+that it was impossible for it to be opened again for seven days. I
+explained that I had a special permission from the Government to see
+such things, but that I preferred asking Monsignore (and the little
+Canon who opened the treasury) to be good enough to give me the
+facilities which I desired. He asked to have the <i>statthalter's</i> letter
+to show the bishop. I knew, of course, that he wanted to take it to the
+<i>municipio</i>, to see if it was authentic, and therefore consented, on his
+engaging to return it; and so we parted. The next day I was allowed to
+enter the treasury, thereby obliging a rich American family, who would
+otherwise have found the doors shut, and had a test of my knowledge
+applied by being asked the period to which a reliquary belonged of which
+the date was known. Having passed my examination satisfactorily, I had
+the pleasure of handling any of the objects which I desired to examine,
+and, further, of being asked to oblige Monsignore by telling him the
+period when certain of the objects were made. Some of the photographs of
+the reliquaries were not quite successful, and the next year we returned
+to make others, taking with us some copies which we had promised to send
+to the bishop. I was rather amused to be greeted effusively as
+"Carissimo"; it was such a contrast to our first reception.<span class="pagenum"><a name="Page_344" id="Page_344">[Pg 344]</a></span></p>
+
+<div class="figright" style="width: 350px;">
+<img src="images/p497.jpg" width="350" height="289" alt="HEAD RELIQUARY IN CATHEDRAL, RAGUSA" title="" />
+<span class="caption">HEAD RELIQUARY IN CATHEDRAL, RAGUSA</span>
+</div>
+
+<p><a name="p346" id="p346"></a></p>
+
+<div class="figleft" style="width: 165px;">
+<img src="images/p498.jpg" width="165" height="400" alt="RELIQUARY OF THE JAW OF S. STEPHEN OF HUNGARY" title="" />
+<span class="caption">RELIQUARY OF THE JAW OF S. STEPHEN OF HUNGARY</span>
+</div>
+
+<p>The treasury is particularly rich in reliquaries, of which the most
+valued contains the head of S. Blaise. It consists of a number of small
+Byzantine enamels reset in an elaborate floral pattern of filigree and
+enamel by a Venetian goldsmith in 1694&mdash;"Franc�� Ferro Venet�," as he
+signs himself on the lower edge. The design resembles the later
+Hungarian enamel-work very closely. The stalks are simply gold wires,
+and the leaves, flowers, &amp;c., are filled in with enamels of different
+colours, very delicately varied, leaving the copper ground showing, each
+plaque being surrounded with a twist of gold and pinned down to the
+capsule of the skull. Legend says that the head was brought to Ragusa in
+1026, but even the Byzantine enamels scarcely look as old as that; and
+the occurrence of two half-lengths of S. Blaise and two of S. Peter
+suggests that it was made up with fragments of several reliquaries, of
+which other portions have been used in the arm reliquary of S. Blaise.
+The names appear to have been added in the thirteenth century; the
+letters are Latin. There are three rows of the enamels. At the top, upon
+the curve, are four figures in roundels&mdash;"SS. Andreas, Blasivs, Petrvs,"
+and the Archangel Michael. The nimbi are blue-green, the figures red.
+The second row has eight enamels, alternately round and square; the
+round ones are unnamed, and represent three saints (one with a stole,
+holding a cross in the right hand) and a badly restored Madonna. The
+others are: an Apostle with a roll, "Santvs Petrvs"; a bishop, "Santvs
+Blasivs"; "Santvs Matevs" with a book in the left hand; "Santvs Jacobvs"
+with a roll. The third row has eight circular enamels, alternately
+figures and ornaments. The figures are: Christ enthroned, blessing with
+the right hand, and with a roll in the left inscribed "IC XC"; S. John
+the Baptist with inscription "S. IO. BAPT."; S. Zeno<span class="pagenum"><a name="Page_345" id="Page_345">[Pg 345]</a></span>bius, with his name
+in full, commencing with a Greek &#950;; and S. John the Evangelist, "S.
+Johes Eb Agelisa." The arm reliquary is inscribed "Tomaso Paleologo
+despota del Peloponeso donato a Giorgio Radovanovich civi Raguseo 1452."
+The saints who appear on the enamels are SS. Laurence, Andrew, Nereus,
+Achilleus, Lucas, Tomas, Simon, Bartholomew, and Paul. Another reliquary
+has remains of enamel plaques of Christ, the Virgin, Simeon, SS. John
+the Evangelist, Blaise, and John the Baptist. A hand of S. Blaise is
+contained in a beautiful filigree reliquary, and is kept under glass. A
+head reliquary has a fine pierced pattern and a punched border of early
+Renaissance character, with niello medallions of the Evangelists'
+symbols. Another, not quite so good, is dated 1349, and has similar
+nielli, with interlacings of oak-sprigs. There are several very curious
+thorax reliquaries, and many arms. Two portable altars with inlaid
+reliquaries in patriarchal crosses were seen by Eitelberger, with fine
+figure subjects; on one the Virgin and S. John in <i>repouss�</i> in
+Romanesque style, and Christ on the Cross on the other, with the
+monograms added in enamel. These I did not see. A cross with reliefs of
+the Virgin and Child, with angels at the top, S. Mary Magdalene<span class="pagenum"><a name="Page_346" id="Page_346">[Pg 346]</a></span> below,
+and SS. Blaise and Vincent on the arms, encloses what the Canon told us
+with pride was the largest piece of the true Cross in existence. A
+processional cross of the fourteenth century, set upon an
+eighteenth-century stem, bears figures in relief of Christ, and the
+Evangelists' symbols, gilt on a silver ground. On the back are the
+Madonna and Child, with God the Father above and a cherub beneath, SS.
+Biagio and Francis. Most of the objects are either of the fourteenth or
+late thirteenth century in style, but may very likely be later, the
+goldsmiths still using the patterns of an earlier period. The curious
+reliquary supporting the jaw of S. Stephen of Hungary, and with a figure
+of the monarch hanging below it, is interesting (as well as unusual) as
+being an example of ancient Hungarian silversmith's work. It was brought
+to Ragusa for safety during the Turkish period. There are also several
+monstrance-like reliquaries, and one fine monstrance of a later period
+with something of German style in its foliated ornament; but the objects
+which are<span class="pagenum"><a name="Page_347" id="Page_347">[Pg 347]</a></span> exhibited with most pride and with evident expectation of the
+stupefaction of the tourist are a ewer and dish of silver-gilt, which
+are covered with representations of sea creatures and weeds, worked with
+the most extraordinary realism and fineness, and proving very
+satisfactorily that the copying of nature and the production of a work
+of art are not necessarily connected. They are kept in leather cases,
+and the tourist generally makes the expected exclamations when they are
+disclosed to view. There is an "N" stamped upon the metal, and it is
+thought that Nuremberg was responsible for them.</p>
+
+
+
+
+<p>The church of S. Biagio is quite near, a late Renaissance building,
+which replaced the votive church erected in 1349-52 after the plague of
+1348, and burnt in 1706. Above the high-altar is the celebrated silver
+statue of S. Blaise which was saved from the fire, and is now preserved
+under glass. It is made of silver plates, gilded, on a basis of wood,
+and shows the front part of an old man with a long beard, in episcopal
+robes, holding a model of the city. The back portion has never been
+completed. The head is too large, the neck too short, and the arms too
+long. The chasuble has an embroidered cross with figures of Christ and
+three saints or Apostles, with two little angels censing below the arms,
+and a quatrefoil in the centre. Two half-length saints are on the
+dalmatic beneath a double arch. The draperies are well treated,
+especially the chasuble, upon which is worked an elaborate Burgundian
+pattern. The details of the town which the saint holds in his hand prove
+that it was made between 1480 and: 1485. It shows the harbour closed by
+a chain. The breakwater was built in 1485. The clock-tower also appears
+(built in 1480). The cast portions of the figure (of which the town is
+one) are of silver of a different colour from that of the beaten parts,
+and there is no-doubt, from the variety of style in certain of the
+details<span class="pagenum"><a name="Page_348" id="Page_348">[Pg 348]</a></span> that it has been restored more than once, probably after the
+fires of 1547 and 1706.</p>
+
+
+<div class="figcenter" style="width: 650px;">
+<img src="images/p500.jpg" width="650" height="529" alt="PLAN OF THE DOMINICAN CONVENT, RAGUSA
+" title="" />
+<span class="caption">PLAN OF THE DOMINICAN CONVENT, RAGUSA
+</span>
+</div>
+
+<p><span class="pagenum"><a name="Page_349" id="Page_349">[Pg 349]</a></span></p>
+
+
+<div class="figcenter" style="width: 550px;">
+<img src="images/p502.jpg" width="550" height="392" alt="CLOISTER OF THE DOMINICAN CONVENT, RAGUSA" title="" />
+<span class="caption">CLOISTER OF THE DOMINICAN CONVENT, RAGUSA
+</span>
+</div>
+
+
+<p>The Dominican convent is just within the Porta Plo&#263;e, and the stair
+which leads to it dates back to Roman times, though it now has
+Venetian-looking balustrades of the fourteenth century. It led to a gate
+of the city. Until the seventeenth century it was the duty of the
+Dominicans to defend Porta Plo&#263;e; the Franciscans defended Porta Pile;
+and the cathedral canons Porta Pescheria. One hundred soldiers were
+selected monthly from the various ranks, and were divided into two bands
+for alternate nightly police; twenty-seven more were told off to defend
+nine selected points against external attack. The lesser towers belonged
+to patrician houses who were responsible for their defence, whilst the
+greater and more exposed were looked after by the State. The Dominicans
+were first established in 1225, in S. Giacomo in Peline, a small,
+roughly constructed church high on the hill, which has a
+fourteenth-century Madonna over the altar. Tradition says that S.
+Dominic himself established the community. The present church was
+building in 1297, and was consecrated in 1306. The portions which
+survived the earthquake of 1667 are the south door with the apse of the
+chapel close to it, the main apse, and the sacristy. This last is the
+ancient church of the Assumption, given to the Dominicans in 1253 by the
+Palmotta. The convent was built in 1348. The church has a long nave with
+a horizontal wooden roof and a polygonal apse. The choir was once
+vaulted. There are two side altars in recesses rather behind the
+high-altar. Above them are restored pictures by Nicolaus Raguseus. To
+the right the centre panel is filled by a figure of S. Nicholas in a
+shell-headed niche; on the right are SS. Mary Magdalene and James; on
+the left, SS. John the Baptist and Stephen. The panels are round-headed,
+and the sky fills the space behind the figures with their gilded nimbi.
+On S. Stephen's dalmatic are patterns in gold; S. Nicholas's chasuble is
+of gold with patterns on it. In the picture to the left the Madonna is
+seated on the crescent moon holding the Child, and surrounded by
+cherubs; on her right are S. Biagio holding the city, and S. Paul; on
+her left, S. Thomas Aquinas holding a church, and S. Augustine. There is
+a good deal of gold used in the draperies, and the ground is gold. Both
+these pictures are very<span class="pagenum"><a name="Page_350" id="Page_350">[Pg 350]</a></span> decorative. The high-altar-piece is a Venetian
+Madonna and Child, with SS. Dominic and Clara. On the north wall is a
+picture ascribed to Titian, parts of which may be from his hand, but it
+has been restored. It represents S. Biagio with a crozier, holding the
+town; S. Mary Magdalene in ecstasy, with long hair 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.</p>
+
+<p>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.<span class="pagenum"><a name="Page_351" id="Page_351">[Pg 351]</a></span> 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.</p>
+
+
+
+<p>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 later additions. The material is silver, parcel-gilt.<span class="pagenum"><a name="Page_352" id="Page_352">[Pg 352]</a></span></p>
+
+<div class="figcenter" style="width: 344px;">
+<img src="images/p506.jpg" width="344" height="400" alt="PLAN AND ELEVATION OF ONE BAY OF CLOISTER, DOMINICAN
+CONVENT, RAGUSA" title="" />
+<span class="caption">PLAN AND ELEVATION OF ONE BAY OF CLOISTER, DOMINICAN
+CONVENT, RAGUSA</span>
+</div>
+
+<p>The treasury contains reliquaries and chalices, and a Gothic monstrance,
+but nothing of great interest. The south door has round arches beneath
+an ogee hood, the jambs are ornamented with damaged scrolled leafage,
+and in the tympanum is a figure of S. Dominic. The apse of the chapel
+close by is Romanesque, and, with the flight of steps to the door and
+the foliage of a tree which overhangs them, makes a picturesque
+background to the groups of Herzegovinians who pass on their way from
+the Porta Plo&#263;e to the Stradone. The cloister is, however, the most
+picturesque part of the convent. Beneath round arches smaller cusped
+round arches with shafts and caps are grouped in threes, the head having
+two circles within it, sometimes pierced as quatrefoils, sometimes with
+an interlacing pattern with Oriental suggestion, and reminding one of
+the patterns in a similar situation in the cloister at Tarragona. The
+same mixture of ornamental <i>motifs</i> may be noticed in the richly carved
+moulding which terminates the wall beneath the parapet. The well in the
+centre is of 1623, but takes its place among the trees, flowers, and
+warm-toned stone quite pleasantly. Above towers the campanile containing
+two old bells, one cast by Battista of Arbe in 1516, and one by
+Bartolommeo of Cremona, in 1363. It was built by a Ragusan, Fra Stefano,
+in 1424, and has three stories of two-light windows, with mid-wall
+shafts under round arches, and a crowning<span class="pagenum"><a name="Page_353" id="Page_353">[Pg 353]</a></span> octagonal stage. The
+enlargement of the church and convent was executed by the architect
+Pasqualis Michaelis, just referred to.</p>
+
+<div class="figcenter" style="width: 418px;">
+<img src="images/p508.jpg" width="418" height="550" alt="LAVABO IN SACRISTY OF FRANCISCAN CONVENT, RAGUSA
+" title="" />
+<span class="caption">LAVABO IN SACRISTY OF FRANCISCAN CONVENT, RAGUSA
+</span>
+</div>
+
+<p>The Franciscan convent is at the other end of the Stradone, just inside
+the Porta Pile. The Order was at first established outside; but the
+convent founded in 1235 was destroyed by the Republic to prevent the
+Servians from using it as shelter, and in 1315 the monks came within the
+walls. It is said that S. Francis himself came to Ragusa in 1220, and
+several of the Franciscan convents in Dalmatia claim to have been
+founded by him. The church has a late Gothic doorway on the south, with
+an ogee tympanum bearing a Piet�, and flanked by pinnacled niches which
+have statues of SS. John the Baptist and Jerome; above is a figure of a
+bearded saint holding a book. The foliage is well carved, and the
+pilasters are panelled in two stages. Behind the church is the first
+cloister, surrounded by an arcade resting on coupled octagonal
+colonnettes with unmoulded round arches, divided into groups of six by
+piers. The wall above is pierced by oculi of different sizes, some of
+which have quatrefoil tracery within, and the caps of the columns show
+an almost Romanesque variety and vivacity. The wall terminates with a
+carved quarter-roll moulding and a balustrade with cusped round arches
+above coupled colonnettes. This balustrade, notwithstanding its style,
+was only completed in 1629, unless this date refers merely to repairs
+done at that time. On the south side is a fifteenth-century fountain,
+with a later statue of S. Francis; in front of it is a paved walk
+flanked by seats, the backs of which form the enclosure of the raised
+garden on each side. It is as pleasant a place as the Dominican
+cloister, though quite unlike it. The architect was Mag. Mycha of
+Antivari, whose signature may be found on a corner pilaster,<span class="pagenum"><a name="Page_354" id="Page_354">[Pg 354]</a></span> with the
+date 1363. Higher up the hill is another cloister, long and narrow, with
+round arches resting on square piers, and a well under a picturesque
+penthouse roof. Here it was that the herbs and simples were grown. By
+the side of the steep stair (which goes up still higher) a little rill
+of water flows, I suppose, to the lower cloister. The convent cost
+28,000 ducats to the public treasury, besides much given by generous
+donors, the Ghent merchants especially contributing largely. The top of
+the campanile was replaced after the earthquake of 1667. In the sacristy
+are some stall-fronts and cupboards ornamented with intarsia of
+arabesques and figures of saints of the Order, the latter rather rough
+in workmanship. Also a pretty, early Renaissance lavabo in Istrian
+stone. The church plate, including a fine monstrance, is kept in a
+Gothic cupboard painted with the arms of the Bona family. In the church
+is a great crucifix which came from Stagno, painted in tempera, with the
+symbols of the Evangelists. The library is rich in literary documents,
+and in the convent, upstairs, is a picture which shows Ragusa as it was
+before the earthquake.</p>
+
+<div class="figcenter" style="width: 396px;">
+<img src="images/p511.jpg" width="396" height="550" alt="LOGGIA OF THE RECTOR&#39;S PALACE, RAGUSA
+" title="" />
+<span class="caption">LOGGIA OF THE RECTOR&#39;S PALACE, RAGUSA
+</span>
+</div>
+
+<p>High on the hill above the Franciscan church is the early nuns' church
+of La Sigurata, hidden away in a court. Like several others of the early
+churches it shows no sign of its great antiquity.</p>
+
+<p>The Rector's Palace was commenced in 1388 and completed in 1424, at a
+cost of 40,000 zecchins. In 1435 it was partially burnt, and was
+restored under "Onofrio Giordani de la Cava," who had been five years in
+the city.</p>
+
+
+
+<div class="figleft" style="width: 312px;">
+<img src="images/p514.jpg" width="312" height="400" alt="CAPITAL FROM THIS LOGGIA, RECTOR&#39;S PALACE, RAGUSA
+" title="" />
+<span class="caption">CAPITAL FROM THIS LOGGIA, RECTOR&#39;S PALACE, RAGUSA
+</span>
+</div>
+
+<p><a name="p356" id="p356"></a></p>
+<div class="figright" style="width: 296px;">
+<img src="images/p517.jpg" width="296" height="400" alt="�SCULAPIUS CAPITAL, RECTOR&#39;S PALACE, RAGUSA
+" title="" />
+<span class="caption">�SCULAPIUS CAPITAL, RECTOR&#39;S PALACE, RAGUSA
+
+</span>
+</div>
+<p>The second story, which existed as a kind of tower above each end of the
+fa�ade, was thrown down by the great earthquake, and never rebuilt. The
+loggia has stone benches against the walls, one to the left, and two,
+one above the other, to the right, which were the<span class="pagenum"><a name="Page_355" id="Page_355">[Pg 355]</a></span> seats for
+senators on great <i>f�te</i> days. In 1462 there was another fire, so that
+only fragments of Onofrio's work remain&mdash;the hall on the ground floor
+with the seventeenth-century wooden ceiling, several of the caps of the
+loggia, and the courtyard within, the great door and the windows of the
+first floor. This is all that appears to have been preserved. The great
+council then called in Michelozzo the Florentine and George of Sebenico.
+The former was at Ragusa in 1463, looking after the building of the
+walls of the city; and on February 11, 1464, it was ordered "that the
+palace be rebuilt" after his designs; but, in the following June, George
+of Sebenico was appointed, working, no doubt, on the general lines laid
+down by Michelozzo. The great hall was burnt during the French siege,
+and very little remains inside worthy of note. There are two tolerable
+pictures, one an early copy of the Paris Bordone in the National
+Gallery, the Venus and Adonis, and the other, a Baptism of Christ, in
+the manner of Paduan work of the fifteenth century. Both have been
+restored. The courtyard has an arcade of round arches, resting on
+cylindrical columns with Renaissance caps, and an upper arcade resting
+on twin columns and piers, two arches to each bay, both stories being
+vaulted with sustaining arches, but without ribs. The loggia in front
+has ribs and bosses at the intersections. A small staircase to the right
+contains other remains of Onofrio's building&mdash;a bracket, on which is
+carved a figure of Justice holding a label, and with a mutilated lion on
+each side of her; opposite to it is a capital, on which is carved the
+Rector administering justice; neither of them in their original place.
+The main doorway is pointed with a richly carved moulding and caps,
+which belong to Onofrio's work; above it is S. Biagio in a Renaissance
+niche, and between the caps and the arch a shallow frieze is interposed,
+on which<span class="pagenum"><a name="Page_356" id="Page_356">[Pg 356]</a></span> are carved little figures engaged in combats, a love scene,
+and Cupids with an organ and trumpets. The corbels from which the vaults
+spring are carved, the subjects being two groups of boys playing, a man
+fighting a dragon or basilisk with club and little target, a struggle
+between a girl and a bear, &amp;c. The doors at the end, the Porta della
+Carit�, where distribution of corn used to be made to the poor at a low
+price, and that opening on a stair to the hall of the Lesser Council
+appear to belong to the earlier building. The ring with the lion's head
+on the door is a fine piece of fourteenth-century bronze-work. The
+knocker is not so good. A knight with raised arm stands on a lion's head
+against a post covered with scales; above and below foliage spreads out.
+The caps of the loggia are very fine, though not of equal value. The
+three central ones are Renaissance work, and marry admirably with their
+heavy, ornamented abaci, which in the others appear over-heavy, and
+plainly an addition. In the earlier work the technique of the carving is
+better, and the foliage has more spring. The most interesting one is the
+�sculapius subject, which De Diversis saw in the carver's hands in 1435,
+planned, as he says, by Nicol� de Lazina, a Cremonese noble, who was
+chancellor at the time. It is interesting both from the point of view of
+the carving and costume, and as showing the apparatus of an alchemist's
+laboratory. Close by it on the wall is the "metrical epitaph," which De
+Diversis says the chancellor composed. The columns, which are of Curzola
+marble, belong to the earlier building, though the entasis shows that
+classical feeling was beginning to affect even architects who worked in
+Gothic. Mr. T.G. Jackson's explanation of the addition of the heavy
+abaci seems quite reasonable&mdash;viz. that the earlier arcade was pointed,
+and that, since a good deal of the building survived the fire, it
+was<span class="pagenum"><a name="Page_357" id="Page_357">[Pg 357]</a></span> necessary to raise the springing of the arches, when they were
+made round to match the levels of the ends which were not destroyed. The
+carved string-course above and the Gothic windows of the <i>piano nobile</i>
+are also remains of the earlier building. There was a castle on the site
+of the palace from the days of the establishment of the Slav colony on
+Monte Sergio, which, together with the marshy inlet which then occupied
+the site of the Stradone, afforded sufficient protection to make sudden
+attack on the part of the Slavs inadvisable; when the two settlements
+were joined together by a common line of defences it became the seat of
+government.</p>
+
+
+
+<div class="figcenter" style="width: 364px;">
+<img src="images/p520.jpg" width="364" height="500" alt="FOUNTAIN OF ONOFRIO DE LA CAVA, RAGUSA
+" title="" />
+<span class="caption">FOUNTAIN OF ONOFRIO DE LA CAVA, RAGUSA
+</span>
+</div>
+
+<p>There are two other pieces of Onofrio's work still in existence in
+Ragusa, the pretty little fountain between the Rector's Palace and the
+Sponza, next door to the Corpo di Guardia, of which an illustration is
+given, showing a certain admixture of Renaissance feeling with Gothic
+foliage, and the much mutilated fountain just within the Porta Pile. It
+had two columns at each angle, of which only the inner one remains, and
+a marble cupola surrounded by statues. The aqueduct which supplies it
+and the other fountains is eight miles long, and brings the water from
+Gionchetto. It was only completed in 1438, after many discouraging
+incidents. Opposite to it is the pretty fa�ade of S. Salvatore, built
+after the earthquake of 1520, and due to Bartolommeo da Mestre,
+"protomagister" of the cathedral of Sebenico, which it resembles a good
+deal in the character of its design and mixture of Gothic and
+Renaissance forms. It has a nave of three bays with an apse; the
+vaulting is Gothic, as are the windows, but the arches rest on classic
+pilasters, used also at the angles of the fa�ade, the horizontal lines
+of which are varied by the semicircular gable and quadrants which flank
+it. A rose-window occupies the<span class="pagenum"><a name="Page_358" id="Page_358">[Pg 358]</a></span> central place, and above the door (which
+is rather later in style) is a long dedicatory inscription in an
+ornamented panel space.</p>
+
+<div class="figcenter" style="width: 291px;">
+<img src="images/p522.jpg" width="291" height="500" alt="PLAN OF LA SPONZA, RAGUSA" title="" />
+<span class="caption">PLAN OF LA SPONZA, RAGUSA</span>
+</div>
+
+<p>At the bottom of the piazza, upon which the Rector's Palace, the
+cathedral, and S. Biagio face, is the Sponza or Dogana, the ancient
+custom-house and mint. The custom-house was on the ground floor, and the
+scales for weighing merchandise hung in the wide arch opposite the
+entrance. The mint was on the second floor, and the first floor was used
+for carnival and social meetings of the nobility. The building is of
+several periods dating from the beginning of the fourteenth century to
+1520, a date given by an inscription on the second story. The courtyard
+has an arcade of round arches, four on each side, and one of a greater
+breadth at each end, resting on octagonal piers, the caps and arches
+moulded simply. The first floor has an arcade of pointed arches, two to
+a bay, with alternate piers and columns, the end having<span class="pagenum"><a name="Page_359" id="Page_359">[Pg 359]</a></span> circular
+arches above the broader arch below. The second story is lighted by four
+little square windows, and above are three quatrefoils to give air to
+the roof timbers. On the end wall are two angels in relief, holding
+"I.H.S." within a garland. The two arcades are vaulted simply, the caps
+on the first floor have good foliage, and the stories are divided by
+moulded string-courses. Names of saints are inscribed over the doors of
+the warehouses opening from the lower cloister.</p>
+
+<div class="figcenter" style="width: 450px;">
+<img src="images/p524.jpg" width="450" height="550" alt="LA SPONZA AND ONOFRIO&#39;S FOUNTAIN, RAGUSA
+" title="" />
+<span class="caption">LA SPONZA AND ONOFRIO&#39;S FOUNTAIN, RAGUSA
+</span>
+</div>
+
+<p>The fa�ade terminates with a fantastic cresting above the roof cornice.
+In the centre of the second story is a niche with a figure of S. Blaise,
+flanked by two rectangular windows on each side. The <i>piano nobile</i> has
+two ogee-headed windows with geometric tracery, flat decorated
+archivolt, and slender shafts on the outer and inner surface of the
+jamb, and a three-light window in the centre, made up to a square head
+with quatrefoils in the fashion of the Ca d'Oro at Venice. On the ground
+floor there is a graceful round-arched portico resting on columns with
+Renaissance caps; beneath it are the windows and entrance door of the
+custom-house. The building is still used for its original purpose, and
+Albanian and Herzegovinian porters lounge about it in strange costumes.
+The clock-tower was built in 1480, and altered in 1781. There is a bell
+in it founded by Battista of Arbe. Opposite is the Roland column.
+Affixed to a pilaster is a symbolic statue typifying freedom of
+jurisdiction and commerce. It was replaced there in 1878 after a
+prolonged sojourn in the Rector's Palace, having been thrown down by a
+storm in 1825, when a brass plate was found with an inscription of the
+beginning of the fifteenth century, stating that here was the place of
+the standard of the Republic. It is not a work of any artistic merit.<span class="pagenum"><a name="Page_360" id="Page_360">[Pg 360]</a></span></p>
+
+<p>A little way outside Porta Pile (thought to be a corruption of the Greek
+word &#966;&#951;&#955;&#7969;&#966;&#951;&#955;&#7969;, a gate) is the cemetery church "alle Danc�,"
+overlooking a bay beneath the Lapad promontory. It was begun in 1457 for
+the poor of the city, and contains a fine picture. The west door is
+elaborately carved with somewhat confused ornament, and in the pointed
+tympanum is a Madonna and Child flanked by two standing angels, which do
+not fit in quite comfortably. By the door is a holy-water niche of still
+stranger design, with a shell-head which quite insufficiently supports
+the three figures forming the crowning feature. The sacristy was in
+possession of several women who were washing clothes on both the
+occasions when I visited the church. The picture is by "Nicholavs
+Rhagvsinvs," who thus signs it, with the date 1517. It is in the
+original frame divided by pillars into three compartments, with a
+predella and a lunette above. In the lunette is a Crucifixion with the
+Virgin and S. John, two female figures and S. Mary Magdalene, and
+cherubs round our Lord; the Virgin's robe is deep blue; the others are
+red or green, on a gold ground. In the centre compartment are the Virgin
+and Child enthroned, with a little S. John kneeling, surrounded by
+little angels. Silver crowns have been added. The Virgin has a red robe
+with a cloak of cloth of gold on which is an elaborate pattern in dark
+blue; the Child holds fruit and corn; the cherubs have scarlet wings and
+gilt nimbi. In the right-hand panel is S. Martin on horseback, dividing
+his cloak; he wears a green tunic, over which is a golden coat with a
+design in red lines upon it. The cloak is bright scarlet. The beggar is
+Christ with cruciferous nimbus, On the left hand is S. Gregory, with his
+dove on his shoulder, carrying a crucifix; he wears a richly-embroidered
+cope of cloth of gold, with red pattern and a border of saints in
+niches. These are<span class="pagenum"><a name="Page_361" id="Page_361">[Pg 361]</a></span> both on gold grounds. The predella has also three
+compartments. In the centre is S. George and the dragon, with a pale
+blue landscape and sea; the princess kneels in the background. On the
+right hand is a saint receiving a mitre from two bishops, surrounded by
+other bishops, monks, choristers, &amp;c. On the left, a pope in a golden
+robe is being crowned by two cardinals, surrounded by cardinals,
+bishops, Dominicans, and Franciscans. There is a landscape background.
+The whole effect is most decorative, due partly, no doubt, to the fine
+frame with golden arabesques on a dark blue ground. Another picture
+above the high-altar looks later, though it is in a very architectural
+frame. It represents the Madonna and Child on a large scale in the
+centre, with God the Father and angels in an oblong panel above. At each
+side of the Madonna are two small saints one above the other, probably
+SS. Francis, George, Blaise, and Nicholas. The Madonna and Child and God
+the Father have crowns of silver or silver-gilt; the Child is nude; the
+Madonna draped in metal, with a pattern on the outer robe. The
+background and the frieze are entirely covered with little votive silver
+plaques.</p>
+
+<p>From the hill which one mounts on the return, the whole of Ragusa lies
+spread at one's feet, from the great fort S. Lorenzo, perched upon its
+rock, to the Torre Menze, the culminating point of the walls, in front
+of which the lower slopes of Monte Sergio are covered with the houses of
+the suburb. On a fine evening the view past the fort towards the Bocche
+is enchanting, but when <i>scirocco</i> blows, and the foam splashes high up
+the rocks, it is not safe to approach the edge. Here a pleasant garden
+has been laid out, and aloes grow, though not so luxuriantly as on the
+other side of the town.</p>
+
+<p>Above the door of the salt-magazine near Porta<span class="pagenum"><a name="Page_362" id="Page_362">[Pg 362]</a></span> Plo&#269;e is the oldest
+relief of S. Blaise, possibly dating from the beginning of the
+thirteenth century. Behind the communal palace is the harbour, Porto
+Casson, which recalls the prosperity of the Republic, when it was one of
+the richest countries in the world, and when the merchants and privateer
+captains who lived in the Via Priko, upon the hill, owned between them
+100,000,000 ducats, according to computation.</p>
+
+<p>From here a little steam-launch plies in the afternoon to the island of
+Lacroma, on which a cloister was founded in the eleventh century, the
+Benedictine rule being transplanted hither in 1023 from the Tremiti
+Islands in the person of Fra Pietro the Ragusan, who, with a priest
+named Leone, laid the foundations of the monastery on land given them
+for that purpose. An inscription mentions the name of Vitalis the
+archbishop, son of Dominus Theodore (1023-1047). It was the Ragusan
+Westminster Abbey till the Franciscan and Dominican churches were built.
+Here it was that Richard C&#339;ur de Lion escaped from shipwreck, and,
+according to local tradition, founded the cathedral of Ragusa in
+gratitude for his escape, though the entries in the Ragusan archives
+prove that it was built by contributions from the nobles. The ill-fated
+Maximilian of Mexico owned the island, and restored the convent as a
+country residence, in which the unfortunate Crown Prince Rudolf also
+lived. We, who had gone there in hopes of seeing something of the
+eleventh-century buildings, were disappointed at being taken through
+corridors and rooms containing objects which were looked upon as relics,
+and finally round some elaborately laid out and luxuriant gardens to one
+or two natural curiosities. The building is now occupied by a school,
+towards the support of which a landing-tax of one corona per person is
+exacted. This did not, however, prevent the man who showed us round
+telling us that he was<span class="pagenum"><a name="Page_363" id="Page_363">[Pg 363]</a></span> dependent on the charity of visitors! All that
+is to be seen in the way of architecture is a cloister of the early
+Renaissance period, pretty enough with its garden within; but I should
+certainly not recommend the English tourist to spend time and money in
+visiting the island.</p>
+
+<p>Beyond the harbour of Ragusa the road leads below the Dominican convent
+to the outer Plo&#269;e gate, passing two chapels&mdash;SS. Annunziata, with a
+group of S. John the Baptist and two other saints in the tympanum of the
+Gothic doorway, and S. Luke, with Renaissance decoration and tympanum.
+Turning sharply beneath two gates, above the outer of which S. Blaise
+stands in his usual place, the road passes over a stone bridge which
+replaces the original drawbridge, and through the outer gates to the
+lazaretto and Turkish bazaar. Here there is a late Renaissance fountain,
+at which country people, most of whom are Herzegovinians, may be seen
+watering their mules, for the road to Trebinje comes down to this gate.
+There is little else to see in the bazaar, the importance of which has
+much declined; but from this side of the town charming views of Ragusa
+may be obtained, with a foreground of rocks, of aloes, often in bloom,
+of rough steps going down to the shore, or a little farther away, where
+the height of Lapad can be seen crowning the city, of olives and stony
+roads; always with the blue sea stretching from below towards and beyond
+the grey town shut so securely within its walls. Beyond is the
+romantically, situated deserted convent of S. Giacomo degli Olivi, and
+from it paths wander farther among olives and cypresses along the edge
+of the cliff, below which, on the level of the water, is the grotto
+Spila Betina.</p>
+
+<p>The Republic was a curious mixture of enlightenment and oriental
+backwardness. In 1335 the whole town was paved, a great sewer was
+constructed, and<span class="pagenum"><a name="Page_364" id="Page_364">[Pg 364]</a></span> there were regulations about tiling and other
+constructional matters. Traffic in slaves was abolished by act of the
+Greater Council on January 26, 1416. In 1432 a foundling hospital was
+established, and in 1435 public schools. All who died of the plague in
+1430 were burnt, by advice of the Ferrarese physician Giacomo Godwaldo,
+who also established the custom of isolating the sick some years before.
+Yet, in the state prisons below the small loggia, prisoners were
+sometimes walled up alive, and dungeons existed flooded at high tide,
+without any precautions being taken to prevent it. The treatment of
+women was quite oriental. In 1462 girls above the age of twelve were not
+allowed outside the house, and were seen only by their relations and by
+ecclesiastics; and, of course, marriages were arranged by the parents.
+In the theatre, only noble women and those of the citizen class were
+admitted. The sumptuary laws were strict. Nobles and public officials
+above eighteen were obliged to wear a large loose robe and black hose.
+It is recorded that a certain Tuberone Cerva came into the Senate one
+day with a robe longer than the prescribed measure, and it was cut short
+then and there, which mortified him so much that he turned monk. At
+funerals they had hired mourners, which again suggests oriental
+influences.</p>
+
+<p>The <i>consiglio maggiore</i> contained all the nobles above twenty years of
+age inscribed in the golden book called "Lo Specchio" (which was
+compiled in 1440). The Senate acted as court of appeal in judicial
+cases, and was formed of forty-five senators, the "Pregati," who were
+over forty years of age. The executive was the Little Council of seven
+members. At the head of public administration was a senator who from
+1358 was called Prior, then Count, and later Rector. The populace called
+him "Knez" (Prince). He was in office for a month only, and, with eleven
+councillors, settled the<span class="pagenum"><a name="Page_365" id="Page_365">[Pg 365]</a></span> most important affairs of state. He lived in
+the palace, and only left it on state business. He wore a red cloak with
+a black band on the left side, and red shoes and stockings (in
+accordance with a Byzantine tradition). He never went out alone, but was
+always accompanied by councillors, secretaries, the chamberlain,
+twenty-four red-clad attendants, and a band of music. Besides the Rector
+there was a town council of ten, which acted as police superintendents.
+The five <i>provveditori</i>, elected annually from among the "Pregati,"
+looked after the rigorous observance of the statute. No law could be
+altered without the vote of seven-eighths of the Greater Council, and no
+new law could be made without a three-quarters majority of the same. The
+treasurers were elected from the oldest senators. At the head of the
+eleven administrative districts were counts or representatives; they
+were the only salaried officials.</p>
+
+<p>Under the Venetian supremacy great precautions were taken to prevent
+usurpation of the rights of the Republic, while the count was received
+with great splendour. On disembarking, he presented himself to the
+people, received from the signory the standard of S. Biagio, and, with
+this in his hand, swore on the gospels to preserve and observe the
+customs and laws of Ragusa. Then he went to the cathedral, receiving at
+the door incense and holy water from the chapter, who gave him the
+gospels to kiss, upon which he renewed his oath in front of the altar.
+After a canon had delivered an oration in praise of him and of the doge,
+he returned to the piazza, still bearing the standard, where he received
+the homage of the people, "who swore the holy pact with the
+Serenissima," the standard of S. Mark being unfurled.</p>
+
+<p>The people were divided into five castes&mdash;clergy, nobles, citizens,
+workmen (sailors, merchants, &amp;c.), and countrymen. There was a gulf
+between nobles and<span class="pagenum"><a name="Page_366" id="Page_366">[Pg 366]</a></span> people. The countrymen were like serfs attached to
+the land, and spoken of as "tilings" belonging to their masters. Among
+the nobles were two orders. Those of ancient lineage were called
+"Salamanchesi," from the University of Salamanca, where they had been
+educated; the "Sorbonnesi" (from the Sorbonne) were nobles of more
+recent date.</p>
+
+<p>After the earthquake of 1667 several citizen families were ennobled. But
+between the two ranks of nobles the antipathy was so great that they
+never intermarried. The plague of 1526 destroyed 20,000 persons, that of
+1348, 11,000, and the earthquake of 1667 some 6,000. It has been
+computed that in the times of her prosperity Ragusa counted 40,000
+inhabitants. In connection with the visitations of the plague it may be
+noted that in 1466 the musicians of the rector were ordered to go every
+Saturday to play before the houses of large donors to the votive church
+of S. Biagio; but by the request of their descendants this custom was in
+1548 replaced by a similar concert in front of the altar of the crucifix
+in that church.</p>
+
+<p>In 1805 the first capital sentence for twenty-five years was pronounced.
+The city went into mourning, and an executioner had to be brought for
+the purpose from Turkey.</p>
+
+<p>The salt monopolies and the customs were the most important parts of the
+revenue, but there were also important manufactures. Ragusa made woollen
+and silk stuffs after the looms for silk were brought from Tuscany in
+1539, and shoes and glass, coral wares and wax, besides salt and other
+things were produced and sent into the interior by caravans. Ships went
+to India and America, France, Spain, England, and Holland. A document
+addressed by Cromwell to the Senate is extant, granting privileges in
+all English harbours to Ragusans, and they were as daring sailors as
+the<span class="pagenum"><a name="Page_367" id="Page_367">[Pg 367]</a></span> Bocchesi, as many as 300 serving as captains in the navies of
+Charles V. and his successors.</p>
+
+<p>The earliest law of Ragusa relating to the coinage is one of 1327
+imposing penalties for falsification of money. This shows that it had a
+mint before that time. At this date the "grosso" is the only silver coin
+of the town known, but the fines are all calculated in "iperperi." The
+word "zecha" occurs for the first time in a law of 1338. A few years
+afterwards all importers of silver had to present themselves at the mint
+within three days of their arrival, the tenth part of their silver being
+liable to purchase at "14 iperp: and 2 grossi" the pound. If they did
+not do so the tenth part was confiscated, half going to the informer. In
+1420 the price was half as much again, and in 1161 it was worth 38
+iperperi the pound. In 1748 the mint had ceased issuing money, but was
+at work again from 1791 till 1806. The iperpero was worth 12 grossi, and
+3 of them went to a scudo. The earliest known is of 1683. In Ralph of
+Coggeshall's time it was worth 3 sous of silver&mdash;that is to say, about
+10s. At Ragusa this coin still passes, according to a writer in the
+<i>Bullettino di Storia Dalmata</i>.</p>
+
+<p>Six miles beyond Ragusa is Ragusa Vecchia, the ancient Epidaurus, which
+became a Roman colony in 10 <span class="smcap">A.D.</span> under the Consul Cornelius Dolabella,
+and was destroyed by the Avars. Near here is the grotto of �sculapius,
+on Mount Snienitza, thought to be the Mons Cadm�us of antiquity, entered
+by a hole 8 ft. across in the living rock. The cave is in the form of a
+cross, 92 ft. long and 164 ft. broad, with stalactites and stalagmites.
+In the middle is a pond called "The Nymph's Bath," with slightly
+acidulated and intensely cold water. A legend, which goes back to the
+tenth century, says that a dragon lived here, going out at night and
+slaughtering men and women. The hermit<span class="pagenum"><a name="Page_368" id="Page_368">[Pg 368]</a></span> S. Hilarion attacked and burnt
+it, calling on the people to thank God, and declaring that it was the
+Devil. According to one tradition �sculapius was born in Epidaurus of a
+beautiful Dalmatian, Jupiter being his father. His statue, in the form
+of a serpent, was erected there, but was taken to Rome in 393 <span class="smcap">B.C.</span>,
+during a visitation of plague, which then ceased.<span class="pagenum"><a name="Page_369" id="Page_369">[Pg 369]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="XXIV" id="XXIV"></a>XXIV</h2>
+
+<h3>THE BOCCHE DI CATTARO</h3>
+
+
+<p>The fine harbour known as the "Bocche di Cattaro" is thirteen miles long
+from the entrance to Cattaro itself, which lies at the extreme south.
+The "bocche," the mouths, lie between the Punta d'Ostro and the Punta
+d'Arza, both fortified, and in the channel is the little rock Rondoni,
+on which is another fort, Mamola. These defensive works were completed
+in 1897. The bay was known to the ancients as "Sinus Rhizonicus,"
+Rhizon, from which it was then named, being the modern Risano at the
+extremity of the northern arm. The "Tavola Peutingeriana" gives the name
+"Resinum." The first mention of the "Rhizinitie" is about <span class="smcap">B.C.</span> 229, at
+the period of the unfortunate wars waged by Teuta, widow of Agron,
+against the Romans. Their origin is variously ascribed to Colchis, Troy,
+and to Sicilian colonies sent by Dionysius of Syracuse. The Bocchesi
+prefer a Sicilian origin; but the Greeks called all this part of the
+continent Illyris Barbara. Livy mentions the Rizuniti among the peoples
+of the kingdom between the fall of Teuta and the ruin of Genzius. Risano
+was Teuta's capital, and there she died in 220 <span class="smcap">B.C.</span> Her husband Agron
+had conquered the country as far as Friuli.</p>
+
+<p>Teuta allowed her subjects to be pirates, with the result that Issa
+(Lissa), the only island which had remained independent, complained to
+Rome, and the Romans sent an embassy to protest; but the youngest<span class="pagenum"><a name="Page_370" id="Page_370">[Pg 370]</a></span>
+ambassador offended her majesty, and was beheaded in consequence. This
+decided the Romans to destroy her power, and treachery made the task
+easy. From 227 <span class="smcap">B.C.</span> Corfu, Lesina, and Lissa were under Roman
+protection; the Illyrians were only allowed two ships, and were not
+permitted to pass the Issus. Subsequent intrigues between Demetrius (who
+had gained the lordship over the Ardiei by treachery) and Philip III. of
+Macedon, wars and revolts, brought about the subjection of Illyria to
+the Romans, and its conversion into a province in 168 <span class="smcap">B.C.</span> The
+far-seeing Rizuniti had already put themselves under Roman protection,
+and were therefore given privileges, exempting them from all public
+burdens.</p>
+
+<p>At Prevlacca, near Punta d'Ostro, are remains of antique walls, thought
+to be those of the ancient Epidaurus, by those who maintain that it was
+at the gates of the "Sinus Rhizonicus." Most authorities, however, agree
+in placing it at Ragusa Vecchia. Objects of the bronze age have been
+excavated at Risano, and sepulchral stones and altars of strange and
+un-Roman form have been found at Lastua Inferiore and Perzagno.</p>
+
+<p>Cattaro appears as a Roman city under the name of Ascrivium or Acrivium,
+and it and Risano are the only two towns known at the fall of the
+Illyrian kingdom. The Romans made a road from Aquileia to Durazzo. It
+passed by Epidaurus and along the Sutorina Valley to Castelnuovo, where
+it turned along the coast to Risano, Perasto, Orohovac, Dobrota, and
+Ascrivium. Thence it went to Castel Trinit�. This road put the Rizuniti
+into communication with the Dalmatians, and with the tribes to the
+south. Rizinum was a Roman colony, and inscriptions show that it
+belonged to the Sergian tribe and was governed by decurions. It was the
+seat of the god Medaurus, of whom all that is<span class="pagenum"><a name="Page_371" id="Page_371">[Pg 371]</a></span> known is contained in an
+inscription found at Lambessa in Mauritania, set up by a Dalmatian
+legate sent to Numidia as consul by Marcus Aurelius (161-180 <span class="smcap">A.D.</span>). It
+records the dedication of a lance to him.</p>
+
+<p>Ascrivium was also a Roman colony. The municipal senate was presided
+over by duumvirs, who held office for a year, and had power over the
+entire administration of the city and of justice. The greater part of
+the ancient Rhizon is now under water, and Cattaro has been many times
+destroyed by invaders, so that there are very few antique remains.</p>
+
+<p>At Risano are the remains of a building vaulted in two compartments,
+like an ancient tomb, and a few stones. Some thirty sarcophagi found
+there in 1870 raised hopes of the discovery of a necropolis, but these
+hopes were disappointed. A colossal foot of an ox in bronze and one of
+white marble were found in 1868, and a few inscriptions, one of which,
+at the entrance to the Greek church, shows that the 7th Legion was
+stationed there. It is to a distinguished soldier, who had twice gained
+a golden garland of honour, neckchain, and bracelets, which he wore in
+the triumph after the Dacian war. At Prevlacca, Cattaro, Scagliari,
+Scoglio S. Giorgio, and Perasto are also inscriptions.</p>
+
+<p>After the death of Theodosius the "Sinus Rhizonicus" became subject to
+the Western Empire (395 <span class="smcap">A.D.</span>), and till the days of Diocletian it was
+the southern limit of Dalmatia. Justinian took it from the Ostrogoths,
+and, considering it as part of Dardania, fortified the castle of
+&#922;&#945;&#964;&#964;&#945;&#961;&#959;&#962; in 532 to defend it from barbarian inroads. Risano, like Salona
+and Epidaurus, was destroyed by an inroad of the Huns in 639, after
+which Heraclius handed Dalmatia over to the Croats and Serbs, who
+divided it between them. He, however, reserved to himself the important
+coast-towns. In 867 the Saracens destroyed Budua, and went with
+thirty-six<span class="pagenum"><a name="Page_372" id="Page_372">[Pg 372]</a></span> ships to attack Porto Rose and Ascrivium, which they burnt.
+The inhabitants took refuge in the fort, and after the Saracens had
+gone, with the help of some nobles from the Bosniak city of Kotor (as is
+said), rebuilt it. The Slav name is still Kotor.</p>
+
+<p>The bishopric of Cattaro is said to date from the fifth or sixth century
+as suffragan to Spalato (that is, to Salona, as Spalato only became
+metropolitan in 650); but the first certain date occurs in 877, in which
+year an act of the Concilium Delmitanum, when the ancient rights of
+Salona were divided with Spalato, enacts that Cattaro and Budua shall be
+suffragan to Dioclea. Bishops of Risano are mentioned in 141 and 591. In
+1033 the metropolitan of Salona called a council, and the bishop of
+Cattaro went with those of Dulcigno, Antivari, and Suacia. They were
+caught in a storm and wrecked at Bacile near Torcole, twelve miles from
+Lesina, and were all drowned. The sailors have never forgotten the
+catastrophe. The Cattarines in consequence sent to the Pope, pointing
+out the difficulties of communication, and obtained transference to the
+arch-diocese of Antivari.</p>
+
+
+
+<p>The "bocche" consist of several expanses of water, separated by narrow
+canals and surrounded by lofty mountains, which often rise so nearly
+directly from the water's edge as greatly to increase their
+impressiveness. The scenery is exceedingly fine, and indeed the view
+from the road to Cettinje is claimed as almost unsurpassed in Europe.
+The first of the narrows is between the Kobila range (1470 ft.) and the
+west point of the peninsula Lustica. It leads into the Bay of Topla, and
+the steamer heads direct for Castelnuovo, leaving on the left the
+Sutorina, the lower part of the Canali valley, a portion of the
+territory of the Republic of Ragusa ceded to Turkey in 1699 to form a
+buffer state between herself and Venice. The Slav name of Castelnuovo is
+Erzeg<span class="pagenum"><a name="Page_373" id="Page_373">[Pg 373]</a></span>novi, and it was founded in 1373 by the Bosniak king Tvarko I.,
+Kotromanovic. In 1483 it was enlarged and raised to the position of
+principal place in the dukedom of Herzegovina, founded by Duke Stephan
+Sandalj (1435-1466). It lies on the slopes of Monti Dobrastica and
+Radostak, piling up most picturesquely above the little harbour, with
+great bastions split with wide cracks and deformed by the loss of pieces
+which have fallen into the sea, but clothed with ivy which hides much of
+the ruin. It has often changed its masters. After the death of Stephen
+Sandalj it became Turkish; in 1538 the Turks were driven out by the
+Spaniards and Venetians. At that time the Spaniards built the fort which
+crowns the hill to the north of the town. It was the only part of
+Dalmatia ever held by the Spaniards. Next year the Sardinian renegade,
+Hassan Barbarossa, put the whole garrison to the sword, and also
+conquered Risano. The Turks retained possession of Castelnuovo till
+1687, when, by the assistance of the Knights of Malta, it again became
+Venetian. Three Turkish inscriptions still remain; one over the door of
+the Spanish fort, which was restored by the Turks, a second of 1660 over
+the Porta Terra Ferma, and a third on the well in the piazza.</p>
+
+<p>Towards the east is Kloster Savina, a monastery said to have been
+founded in 1030, and now the summer residence of the Servian Orthodox
+bishops of Cattaro. There is, however, nothing to be seen authorising so
+early a date; the smaller of the two churches may perhaps date from the
+thirteenth century, since it has a pointed wagon vault and transverse
+ribs without mouldings. In this church the Knights of Malta who died
+some two hundred years ago lie buried. The interest of the place lies in
+the seventeenth-century silver-work, in which the treasure is rich. It
+includes some twenty carved crosses mounted in silver and enamel<span class="pagenum"><a name="Page_374" id="Page_374">[Pg 374]</a></span> from
+Mount Athos; hanging lamps of pierced silver, in which the design is
+much older than the workmanship, with medallions of saints;
+silver-mounted book-covers, one of which is decorated with enamels; a
+most curious "five-bread platter," with a cup in the centre, and two
+little cruets and two little platters on projecting arms, all in pierced
+work of archaic design enriched with blue enamel; and some embroidered
+vestments of the fifteenth century, all of which are said to have been
+brought from Studenitza. Farther on is Meljina, with a lazaretto of the
+seventeenth century.</p>
+
+<div class="figcenter" style="width: 650px;">
+<img src="images/p540.jpg" width="650" height="305" alt="THE RUINED BASTION, CASTELNUOVO, BOCCHE DI CATTARO
+" title="" />
+<span class="caption">THE RUINED BASTION, CASTELNUOVO, BOCCHE DI CATTARO
+</span>
+</div>
+
+<p>The view from the road between these two places is enchanting. Above the
+blue waters of the Bay of Teodo the ground rises to the mountains, which
+divide it from the Gulf of Cattaro, while farther still and bluer, the
+greater heights of Montenegro cut the sky with their serrated edges. To
+reach the Bay of Teodo another of the narrows is passed, the Canal of
+Kombor, by the foot of Mount Dvesite. Here is a naval station. The land
+is the most fertile in the whole district, and here is grown the famous
+Margamino wine. At Bianca, near Teodo, Danilo, Prince of Montenegro,
+used to pass the summer. Farther on is the Strait of Le Catene, so
+called because in 1381 Lewis of Hungary actually put chains across it to
+protect the inner portions. Opposite to the channel is Perasto, to the
+left the Valle di Risano, to the right the Gulf of Cattaro. In front of
+Perasto are two little islands, with picturesque buildings upon
+them&mdash;the Scoglio S. Giorgio, and the Madonna del Scarpello, a little
+church with a green cupola, containing a picture of the Madonna ascribed
+as usual to S. Luke, a Byzantine work decked with gold and silver,
+brought hither from Negropont in 1452. For many years the Bocchesi
+brought shiploads of stone to increase the size of the island, and
+still, on July 22 of each year, a stone-laden<span class="pagenum"><a name="Page_375" id="Page_375">[Pg 375]</a></span> boat goes from Perasto to
+the rock. There are two festivals celebrated here, of which the more
+important is that of the Assumption, August 15. The other, the Birth of
+the Virgin, on September 8, is less so. There is a proverb "Entre le due
+Madonne cade la pioggia," the greatest rainfall occurring between the
+two festivals. On festival days the picture is decked with rings,
+chains, &amp;c., kept locked up at Perasto during the rest of the year. The
+property of the church is over �30,000. For five hundred years it has
+been a centre of interest in the Bocche. According to the legend, a
+luminous figure of the Madonna was seen by a sailor on the rock on July
+22, 1452, and on that spot a chapel was erected. The present church was
+built in 1628. Inside are a good many late seventeenth-century pictures,
+and in two rooms close by are votive pictures of the usual kind. There
+is a caf� on the island for the benefit of pilgrims. The island of S.
+Giorgio is gradually wasting away. The monastery is said to have been
+the most ancient in the district, and a list of the abbots "in
+commendam" from 1166 exists, with notices of the church and monastery,
+going back to the tenth century. There was a long contest for its
+possession between Cattaro and Perasto, ending in the assassination of
+the abbot by the Perastines, who took the property by force. Venice gave
+the commune of Cattaro an annual subvention as <i>solatium</i>. The abbey,
+destroyed in 1571, was rebuilt in 1624, and in 1654 was plundered by the
+Turks, and then almost ruined by earthquake in 1667. The French erected
+a battery upon it, which was abandoned some thirty years ago. The
+church-was restored for service on October 27, 1878.</p>
+
+<p>Near Risano, at Sopoti (the rushing), is an intermittent waterfall 45
+ft. high, which I was told was 100 ft. wide. As soon as it runs dry the
+cave from which it issued can be entered for several hundred yards. The<span class="pagenum"><a name="Page_376" id="Page_376">[Pg 376]</a></span>
+flow commences after heavy rains, and at the same times a well, or
+spring, at Cattaro spirts up with such force as to throw out stones of
+several pounds' weight. Above Risano are two strong fortresses, erected
+after the insurrection of the Crivoscians in 1881. The revolt of 500 men
+against conscription necessitated the mobilisation of a whole <i>corps
+d'arm�e</i> to subjugate them. They lived on the slopes of inaccessible
+mountains, and the troops had to make the mountain paths into roads
+practicable for artillery. The rebels were taken between troops from
+Risano and Orohovac, and others who came from the Herzegovinian
+mountains. Part laid down their arms, and part fled into Montenegro. To
+prevent a recurrence of the trouble, and perhaps also with an eye to
+Montenegro, the forts and a number of blockhouses were built, which one
+may see high up the mountains, sometimes against the sky-line.</p>
+
+<p>A white line about 3,000 ft. high marks the military road between
+Perasto and Cattaro; the way of access to the blockhouses, in each of
+which a detachment of twenty-five men, with two non-commissioned
+officers and one lieutenant, is on duty for a year at a time, bearing
+great heat in summer (for it is said that an egg laid on the rock in the
+sun is hard in eight minutes), while in winter they are often blocked by
+the snow for two or three weeks together.</p>
+
+<p>Perasto is now a little place of some 500 inhabitants, but shows in its
+ruined palaces and unfinished church that it was once populous and
+prosperous. It has had a stormy history, during which the Perastines
+have shown themselves sturdy fighters and loyal supporters of their
+overlords, and is the one city of the Bocche which remained faithful and
+grateful to Venice, even after Campo Formio. When the Austrian troops
+came to take possession, the gonfalon, which had been confided to the
+Perastines by the Republic, as a reward for their<span class="pagenum"><a name="Page_377" id="Page_377">[Pg 377]</a></span> faithful services
+almost four centuries before, was buried beneath the altar of S. Nicol�
+with a solemn requiem, as if for the burial of a father. It was a red
+flag with a yellow border, and the winged lion in the centre, prepared
+to defend the cross planted upon a base rising out of the sea. It was
+only consigned to the army in maritime and land enterprises in the
+Levant. The city was distinguished by Venice with the title of
+"fedelissima gonfaloniera." The guards were selected from the twelve
+"casate" into which the city was divided, the names being those of the
+original feudal families. It is asserted that the Perastines had the
+same honour conferred upon them by the Servian kings, the guard
+consisting of a company of twelve. Some say that it was their valour in
+taking the citadel of Cattaro in 1378 which was the origin of the trust.
+After the contests with Cattaro in 1160 it followed the fortunes of that
+city till 1365, but in that year Perasto put itself under Venice. The
+activity shown in assisting Victor Pisani in 1378 had other results, for
+it was attacked shortly afterwards and sacked by the allies of Lewis of
+Hungary. Till about 1400 it was subject either to Lewis or Tvartko of
+Bosnia. It is now quite a little place, with some 500 inhabitants. The
+palaces, with fine stone balconies now falling into ruins, which were
+inhabited by the noble families, show how it prospered under Venetian
+rule, as do the high campanile and the fragment of a large church on the
+model of La Salute at Venice, commenced some hundred and thirty years
+ago, but never completed. It is entered from the sacristy of the small
+church, the arch and vault of the apse towering above it, and showing
+the whole of the vault and the caps of the pilasters over its roof. In
+the museum are a banner taken from the Turks in 1654, a sword presented
+to the commune by Peter Zrinyi, and the gonfalon already<span class="pagenum"><a name="Page_378" id="Page_378">[Pg 378]</a></span> mentioned,
+which was buried beneath the altar. A fine processional cross, a
+sixteenth-century filigreed chalice, a monstrance, and several
+reliquaries are also preserved in the place; and here is also the
+mausoleum of Bishop Zmajevi&#263; of Antivari, who took the Albanians to
+Borgo Erizzo near Zara, and was a Perastine by birth. It lies at the
+foot of Monte Cassone (about 2,900 ft. high), upon which is Fort S.
+Croce. From its base the Bay of Ljuta stretches away south-eastwards
+towards Dobrota, with Orohovac at its foot. The two Stolivos beneath the
+lofty Vrmac, and Perzagno may be seen on the opposite shore. This
+last-named place stands finely on a promontory, with a large domed
+church (an unfinished shell with gaping window-openings) crowning the
+eminence, whilst many houses, of the same date as those at Perasto, and
+with fine angle balconies, are scattered about the road along the shore,
+from which there are delightful views. A late Renaissance church has a
+rather pretty rose-window with radiating shafts recalling the
+Romanesque.</p>
+
+<div class="figcenter" style="width: 650px;">
+<img src="images/p547.jpg" width="650" height="417" alt="DOBROTA, BOCCHE DI CATTARO
+" title="" />
+<span class="caption">DOBROTA, BOCCHE DI CATTARO
+</span>
+</div>
+
+<p>Nearer to Cattaro is Mula, and on the other side Dobrota; along both
+roads are red and white oleanders, orange and lemon trees, ancient figs
+and chestnuts, locust beans (carob), olives, pomegranates, and main'
+flowers, among which may be specially named beautiful pale mauve irises.
+The torrent Skurda, or Fiumara, separates the mountains Pestingrad and
+Mrajanik from the lofty Lov&#263;en, which towers above Cattaro to the height
+of 5,770 ft. It is the holy mountain of Montenegro; on it the great
+Wladika Pietro, the singer of the Servian redemption, chose to be
+buried, as if from that height his spirit might watch and protect the
+land to which he devoted his life. Every year a pilgrimage climbs to the
+white-walled little chapel which sparkles on the dark mountain side. The
+Servian dream is for the waters of Cattaro to be covered with ships
+under the<span class="pagenum"><a name="Page_379" id="Page_379">[Pg 379]</a></span> eagle of the Nemagna, for the country folk know well the
+story of Uros, the great Stephan Nemagna, and the epic of the wars
+against the Turks.</p>
+
+
+
+<p>In the city of Cattaro, the ancient Ascrivium or Acrivium, some small
+remains of the Roman period are to be seen encrusted in the walls of the
+clock-tower, an altar and a memorial to a girl and her teacher. At the
+beginning of the ninth century it boasted several fine buildings, to
+which a rich man named Andreaccio Saracenis, mentioned as "Certo
+zitadino nobile zintilhomo si de generazion come di richeza,"
+contributed. Towards the end of the eighth century S. Maria Infunara was
+built by him in the rope-makers' district, and here he also founded a
+convent to enable his second daughter Theodora to lead the life of
+contemplation. He also paid for the first cathedral of S. Trifone, which
+Porphyrogenitus says was circular. The body of this martyr of the third
+century was being brought to Venice from Asia Minor by certain
+merchants, when a storm obliged them to shelter in the Bocche. The
+magnates of the city and Andreaccio treated with the pilot for its
+purchase, and paid 200 Roman solidi for the shrine, and 100 for a gemmed
+crown above it. On January 13, 809, clergy and people went by ship to
+Porto Rose to fetch the body. On their return the bishop invited them to
+stop on the spot where the church was to be built, and hymns were sung.
+February 3, the reputed day of his martyrdom, was accepted as the
+festival, and a figure of S. Trifone was put on the standard of the
+city. Certain coins which bore his effigy were named after him. The
+sarcophagus of Andreaccio, in which his wife was also buried, was found
+beneath the street in 1840, between the cathedral and the bishop's
+palace. A portion of the ciborium of his church is encrusted in the wall
+of the sacristy inscribed: "Andree sci ad honorem sociorvmq<span class="pagenum"><a name="Page_380" id="Page_380">[Pg 380]</a></span>
+majorem," and other fragments of the same period have been found during
+the restoration, which is still going on. That these fragments were part
+of an ambo on three columns, to which reference has been found, is
+proved by the inscription from the Ash Wednesday service which runs
+along it, "Memento te homine," &amp;c. The front had two crosses beneath
+semicircular heads, with conventional trees or candlesticks beside them,
+and a great piece of circular interfacings, small and large, like the
+slabs at S. Maria in Trastevere, Rome. The sides had bands of ornament
+dividing the surface into unornamented sunken panels. A capital or two
+of the same period were also found, a relief of peacocks drinking from a
+vase, and some antique fragments, a piece of a frieze, a column of
+cipollino and several of granite, and a few antique caps.</p>
+
+<p>The rock above the town, called Stirovnik, has a chapel upon it, the
+Madonna della Salute, now used as an ossuary, which has a piece of
+Lombard carving inserted in the tympanum above the door. The present
+cathedral was built about the middle of the twelfth century. A great
+effort was made, contributions were invited, and a tax of three per
+cent, on legacies was imposed. Success crowned the effort, and on June
+19, 1166, Bishop Malone consecrated the altars, amid the rejoicings of
+the Bocchesi. The head of S. Trifone, stolen in 968, was brought from
+Constantinople in 1227 by Matteo Bonascio. At first deposited in S.
+Pietro, it was brought to the cathedral on December 20, with great pomp.
+In return, he was given the field of S. Theodore, and his family was
+exempted from communal taxes in perpetuity.<span class="pagenum"><a name="Page_381" id="Page_381">[Pg 381]</a></span></p>
+
+<div class="figcenter" style="width: 405px;">
+<img src="images/p551.jpg" width="405" height="650" alt="PLAN OF THE CATHEDRAL, CATTARO" title="" />
+<span class="caption">PLAN OF THE CATHEDRAL, CATTARO</span>
+</div>
+
+<p>The plan of the cathedral is that of a Roman basilica with nave and
+aisles. The three apses are semicircular, with pilasters externally. The
+nave has three quadripartite bays, and a half-bay to the west. The
+aisles<span class="pagenum"><a name="Page_382" id="Page_382">[Pg 382]</a></span> have seven quadripartite bays, two to each one of the nave,
+with columns between the three pairs of piers upon which the vaults
+rest. The bay before the apse has been a step higher than the rest. What
+the arrangement will eventually be it is difficult to say, judging from
+the state of the interior on the two occasions when I was in Cattaro.
+The columns of the nave are some of them Byzantine-Roman, and some of
+them Corinthian. The aisle windows and the fine east window are Gothic.
+The vaults are most of them of the sixteenth century, the towers of the
+fa�ade seventeenth or eighteenth, and the great rose-window and the
+doorway below, late Gothic with Renaissance details, rebuilt after the
+earthquake of 1667. The nave is about 88 ft. long, the aisles within the
+towers 81 ft., breadth of nave, 19 ft. 6 in., of the aisles 9 ft. 9 in.
+The ciborium is exceedingly interesting. It rests upon four octagonal
+columns of the red marble of Lustizza, a place not far away. The altar
+was rebuilt and beautified in 1362, and it is probable that the
+baldacchino is of that date. On the base on which the pillars rest are
+sinkings showing that the altar had a central octagonal pillar, with
+four smaller circular ones surrounding it. The caps of the ciborium are
+rather richly carved, and the lintel bears on three sides subjects in
+relief from the legend of S. Trifone, the back being carved with
+ornament. The illustration shows the three stages of trefoiled arches,
+the two lower with coupled colonnettes. The lowest has caryatid figures
+of a warrior and a civilian in front of the angles to the west. The next
+stage has twisted colonnettes at the angles, the third squat single
+shafts, and on a little crowning member pierced with four arches stands
+a gilded angel, the rest of the canopy being octagonal. The proportions
+of the figures are squat, and the carving rather rough. The first time I
+saw it I was able to examine it closely, as it was sur<span class="pagenum"><a name="Page_383" id="Page_383">[Pg 383]</a></span>rounded by
+scaffolding, and there were some remains of colour on the figures; but I
+should not like to assert that it was original, since I understand that
+the reliefs were painted to imitate marble, and the figures gilded about
+the middle of the last century. The silver pala is said to be fixed on
+the wall of the apse during the completion of the restoration; it
+certainly was not there when I visited the cathedral, and I have not
+seen it.</p>
+
+<div class="figcenter" style="width: 327px;">
+<img src="images/p554.jpg" width="327" height="550" alt="CIBORIUM OF S. TRIFONE, CATTARO
+" title="" />
+<span class="caption">CIBORIUM OF S. TRIFONE, CATTARO
+</span>
+</div>
+
+<p><a name="p384" id="p384"></a></p>
+<div class="figleft" style="width: 274px;">
+<img src="images/p557.jpg" width="274" height="400" alt="RELIQUARY OF THE HEAD OF S. TRIFONE, CATTARO
+" title="" />
+<span class="caption">RELIQUARY OF THE HEAD OF S. TRIFONE, CATTARO
+</span>
+</div>
+<p>The treasury contains a good many rather uninteresting objects, such as
+arm and leg reliquaries of the fourteenth century, or later rather,
+decorated with nielli and bosses in relief, and a few others shaped like
+vases borne on stems; on some of them the date 1483 can be traced. The
+reliquary of the body of S. Trifone is of silver, and rather rough
+sixteenth-century work, but encloses a wooden coffer, upon which remains
+of ninth-century paintings have been discovered. The head reliquary is
+of gold and enamel, the stem and an arcade round the upper part of
+fourteenth-century work (the upper portion re-made in the seventeenth),
+and the foot apparently of an intermediate period, with early
+Renaissance details upon a Gothic plan, medallions in relief, and rough
+scroll-work. The knop has eight roundels with niello crosses crossleted;
+on the stem are saints in niello in vesicas. The arches of the canopied
+arcade are filled with figures in relief in couples and enamels in
+<i>basse-taille</i>, red and blue alternately. The nielli have had a ground
+of blue enamel. These two reliquaries and a crystal cross in a very
+graceful setting, early Renaissance in style, are kept in a receptacle
+lined with cut velvet, upon which are embroideries of half-figures of
+saints beneath niches raised in gold; above the niches are domes, and
+between them twisted columns, probably originally part of a vestment. A
+globe-shaped ciborium, with cresting and knop of the fourteenth century,
+is interesting. Upon the globe a<span class="pagenum"><a name="Page_384" id="Page_384">[Pg 384]</a></span> pattern with beasts and leaves is
+chased; the foot is conical and sexfoil in plan, with little niello
+medallions and piercings on the perpendicular parts of two steps. The
+knop has pinnacles and pierced gables. A half-length figure of Christ in
+silver, upon a seventeenth-century pierced hemispherical base, is well
+modelled and designed, and a reliquary cross of wood used by the
+Capuchin monk Marcus Avianus, on September 12, 1683, to bless the allied
+hosts on the Leopoldsberg before the relief of Vienna from the Turks,
+deserves mention. In the treasury is also a great Romanesque crucifix of
+painted wood, over life-size, with the feet crossed. According to
+tradition it belonged to the church of the Franciscans outside the
+walls, built in 1288 by Elena, wife of Orosius I. The church was pulled
+down when there was war between Venice and the Turks, and moved within
+the Porta Gordicchio, which was therefore called the Porta S. Francesco.
+Most of the convents are now used by the military authorities.</p>
+
+
+
+<p>La Colleggiata is the ancient church of S. Maria Infunara, which
+Andreacci Saracenis founded, but was rebuilt in 1221, during the Servian
+period. It has a nave two bays in length, the first cross-vaulted, and
+the second with a dome enclosed within an octagonal drum, and with a
+barrel-vaulted presbytery before the apse. An aisle to the north,
+continued to the tower as a sacristy, is later. The apse has shallow
+pilasters dividing the exterior surface into three, in the centre of
+which is a walled-up east window of two lights, with a cross within a
+circle in the tympanum beneath the enclosing arch. The arch of the south
+door is perhaps a fragment of the original building, and the west door
+also looks early. In the aisle is a Virgin and Child, with painted
+faces, and the hands and feet added in relief and painted. The draperies
+are silver and silver-gilt, pat<span class="pagenum"><a name="Page_385" id="Page_385">[Pg 385]</a></span>terned, and each figure has a nimbus
+formed of a gilded patterned roll. The background is of silver, with
+little angels supporting the Virgin's nimbus, and there is a curious
+frame of filigree arabesques of tinsel set in wire and standing free.</p>
+
+<div class="figcenter" style="width: 465px;">
+<img src="images/p560.jpg" width="465" height="600" alt="S. LUKA, CATTARO
+" title="" />
+<span class="caption">S. LUKA, CATTARO
+</span>
+</div>
+
+<p>S. Luka, the Greek church, of nearly the same period and plan as the
+cathedral, was built in 1195 by Marco di Andrea Casa Franci, and Bona,
+daughter of Basilio, prior of Cattaro, The dome is pointed, and rests on
+four pointed Romanesque arches with rough pendentives. The apse is
+divided by pilaster strips into three portions externally, and in the
+central one is a two-light round-headed window with central colonnette.
+The roof is continued over the chapel of S. Spiridion to the north
+(which has an apse, but no window, except the little rose over the
+external door), and this makes the church look square from the
+south-east. The west side has one clerestory window beneath a great
+unmoulded arch, and a circular-headed door below, the jambs of which are
+made of earlier fragments; the late belfry is of three arches, two and
+one; beneath is an unusual curved ornamentation, a curious presage of
+the "New Art" of a few years ago. The church appears to have been
+restored in the fourteenth century, since a consecration by Bishop Doimo
+II. is recorded in 1368; but it has been a Greek church since 1689, was
+enlarged in 1747, and the structure shows signs of considerable
+rebuilding. The iconostasis is of the seventeenth century; the paintings
+are covered with silver plates. There is a huge cross with wings at the
+base and paintings. Through the central arch the <i>arca</i> and a little
+cross are seen. The chapel of S. Spiridion also has its iconostasis. At
+Easter time two processional crosses of silver and a Resurrection banner
+decorate the church outside the iconostasis. The Cattarine silversmiths
+have also executed work away from<span class="pagenum"><a name="Page_386" id="Page_386">[Pg 386]</a></span> their own shores. It will be
+remembered that Stephen IV. of Servia gave a silver altar to the church
+of S. Nicola, Bari, in 1322, the work of Abrado of Cattaro.</p>
+
+<div class="figcenter" style="width: 550px;">
+<img src="images/p563.jpg" width="550" height="403" alt="THE SCUOLA NAUTICA, CATTARO
+" title="" />
+<span class="caption">THE SCUOLA NAUTICA, CATTARO
+</span>
+</div>
+
+<p>There are a few interesting doors and windows in the town, of various
+periods. The Palazzo Drago, near the cathedral, has a pretty window of
+something the same style as the east window of the cathedral; the great
+doorway of the provincial tribunal has some fine heraldry in the
+tympanum (a helmeted lion, with another lion for the crest) and angels
+in the spandrils, while upon the caps beneath the lintel are other
+lions, with shields flying from their necks. These are of the late
+Venetian period. The fa�ade of the Nautical School, illustrated,
+displays a bold and unusual treatment, and there is a well near the
+hotel with elaborate and massive iron-work about the pump connected with
+it. The streets and alleys are all of the same width, and badly lighted,
+and it is a difficult place to find one's way about after dark. The only
+amusement available is usually the large caf� on the Riva, which appears
+to be open at all hours of the day and night&mdash;at least, we had coffee
+there before leaving by boat at 4.15 a.m. The gates are shut at 9 p.m.,
+except the Porta Marina. Over this gate the Venetian lion still appears,
+a rather late example, but in refreshing contrast with the griffins
+supporting the Austrian arms above, a work of 1814. Outside are gigantic
+oleander-trees, and, to the right, the market, where many Montenegrins
+may be seen in their striking costumes. Beyond the Porta Gordicchio is
+the wood market, and one for horses and forage is outside the Porta
+Fiumara, where the barrack for belated Montenegrins stands, for they are
+not admitted within the walls.</p>
+
+
+
+<p>Just outside the Porta Marina we found a shooting-saloon established on
+our second visit, with a number of moving figures, which performed on
+the marksman<span class="pagenum"><a name="Page_387" id="Page_387">[Pg 387]</a></span> hitting a certain point, the most diverting of which
+were an old woman with a kicking donkey, and two fighting goats. Several
+soldiers tried their hands, but with very indifferent success. Great
+excitement was evoked by an accident while the mails were being unloaded
+one afternoon; a post-van fell into the water, many large postal parcels
+being damaged, and part of the top of the van ripped off by the measures
+adopted for its recovery. This "Riva" was the scene of the murder of
+Danilo II. in 1860.</p>
+
+<p><a name="p388" id="p388"></a></p>
+<div class="figright" style="width: 400px;">
+<img src="images/p566.jpg" width="400" height="397" alt="A CORNER OF THE WALLS, CATTARO" title="" />
+<span class="caption">A CORNER OF THE WALLS, CATTARO</span>
+</div>
+
+<p>The walls, which are 28 ft. high, were built in 1667, after the older
+ones had been thrown down by an earthquake. These must have been strong,
+since the city was blockaded in vain by a Venetian fleet in 1378, and
+attacked by the Turks equally vainly in 1539, 1569, 1572, and 1657. The
+present walls zigzag up the mountain to the Fort S. Giovanni, which
+dominates the roads leading into Montenegro. From the fort one looks
+down upon the first house beyond the frontier. A little below the fort
+is a threatening mass of rock, which has been bound with iron to prevent
+it from falling upon the city below. The Montenegrin road climbs the
+mountain with no less than sixty-six zigzags.</p>
+
+
+
+<p>At a little chapel with an early Renaissance fa�ade some way outside the
+town, the Angelus bell hung outside just below the gable termination,
+without any visible means of being rung, and we wondered how this was
+done, until we happened one day to be within sight at the Angelus hour,
+when we saw a man bring out a ladder and ascend to within reach of a
+short cord hanging from the clapper, which he seized and agitated!<span class="pagenum"><a name="Page_388" id="Page_388">[Pg 388]</a></span></p>
+
+
+
+<p>The military are on the look-out for spies, and our camera occasioned
+two or three very searching inquiries. I congratulated myself upon
+having obtained authority to photograph from headquarters, without which
+we should certainly have been stopped. After taking the group of the
+Albanian horsedealers (who crossed with us to Bari with their
+merchandise) we wished to have a separate figure of the villain to the
+left; but the next man, who was master of the gang, thought time enough
+had been lost, and, taking the halter from a horse, twisted it round his
+neck by way of explaining that he was his servant, and that he objected
+to any further interruption to business. As we were walking between
+Perzagino and Mula an old man addressed us, asking if we were English,
+and, on our reply<span class="pagenum"><a name="Page_389" id="Page_389">[Pg 389]</a></span>ing that we were, said he had been twenty times in
+London, and called our attention to his house, which he said had been
+inhabited by Prince Nikita during the troubles at Cattaro.</p>
+
+<div class="figcenter" style="width: 550px;">
+<img src="images/p567.jpg" width="550" height="389" alt="ALBANIAN HORSE-DEALERS, CATTARO
+
+To face page 388" title="" />
+<span class="caption">ALBANIAN HORSE-DEALERS, CATTARO
+
+To face page 388</span>
+</div>
+
+<p>We saw very few English on our second trip. From the time we passed
+Cologne to the time we arrived at Cattaro we did not hear a word of our
+own language, though the boat in which we travelled from Spalato to
+Cattaro was entirely of English make, with Liberty chintzes in the
+cabins, and panels of coloured plaster in the saloon. It had cost
+�70,000, the captain said, and was certainly extremely rapid and
+comfortable. In the early morning we saw the sardine boats coming in.
+They carry on the bow an apparatus with a number of jets connected with
+an acetylene plant, producing at night a most vivid light. The Bocchese
+is a born seaman, beginning at the age of twelve, and often going on
+till he is seventy. In the Bocche scarcely a third of the land is
+fruitful, yet 40,000 people lived in the district, mainly, of course, by
+the sea. From their childhood the boys have always longed for the day
+when they might accompany their fathers into the world beyond the sea.
+They were always ready to fight, and expected to have to do so, for,
+until the second half of the eighteenth century, it was unusual good
+fortune to make a sea or land trip to Albania without being attacked.
+The ancient houses, with loopholes and little windows, still look more
+like citadels than convenient dwellings. The women had to protect their
+children and their own honour when the men were away, and this had its
+effect upon their character. In many villages it was the custom for a
+bride to go out some morning before she was married into a lonely place
+and sing the death-wail, so that she might know it if she became a
+widow!</p>
+
+<p>The introduction of the steamboat has reduced the<span class="pagenum"><a name="Page_390" id="Page_390">[Pg 390]</a></span> employment of sailing
+craft, and the Bocchesi have become poor, but they provided the best
+sailors for the Venetian fleet, and their seamanship has not decayed.</p>
+
+<p>There were certain variations among the Bocchesi from the religious
+customs of the Morlacchi, which are perhaps worth noting. The great fast
+before Easter lasted for fifty days, and during that time even fish was
+allowed but twice to the sick, on the Annunciation and on Palm Sunday.
+During fasts the people do not sing, a custom observed strictly on the
+islands. Three days before Ascension Day the crosses are taken out of
+the churches and fastened to poles ten or twelve feet high, with
+fluttering banners; these days are therefore called "Cross" days. The
+village girls make garlands to hang from the ends of the crosses. They
+are then carried in procession round the village and over the fields;
+when a spring is reached it is surrounded, the priest reads the gospel,
+and blesses the water and the people with the cross. On Ascension Day,
+or the day before, a procession with the cross goes through the village,
+and every house is blessed. In the coast-strip, on the eve of "Cross
+Day," there is a frugal supper; on the day itself, a dinner. Before
+both, the master of the house cuts a piece of bread from the "Kreuzlaib"
+(a large round loaf with a cross marked in the centre), and sticks in it
+a taper which he has lighted with a brand from the hearth. All pray
+before it for their dead, cross themselves, and sit down to table. Later
+in the meal the master rises with a glass of wine, soaks a bit of bread
+in it, and, with the traditional formula, "I to thee, bread and wine;
+thou to me, health and joy," extinguishes the taper with the morsel.
+Then he drinks to all, and they to him. The great piece of bread, into
+which the taper was stuck, is given to the first beggar who comes by.
+They provide much more than enough for the guests, as the custom is on
+those days to feed the poor in<span class="pagenum"><a name="Page_391" id="Page_391">[Pg 391]</a></span> villages and towns. Unless the family is
+in mourning, drinking songs are sung suitable to the guests, of whatever
+position.</p>
+
+<p>Fires are lighted on the eve of S. Stephen's Day, and also on New Year's
+Day and Epiphany, as well as on the morning of S. John the Baptist's
+Day, when the people jump over the midsummer fires and cry: "From one S.
+Giovanni to another, may aching feet be far from me!" On New Year's Day
+the children get an apple or an orange from the mother, and go to the
+father, asking him to silver it; he sticks a ten-kreuzer piece or two
+into it, and they go on to friends and relations with the same request.</p>
+
+<p>Every village has its church (some have three or even more), every
+hilltop has its sanctuary, and each island its holy place. In Cattaro,
+till the beginning of the nineteenth century, churches and convents
+occupied a third of the area within the walls, and each nobleman had his
+private chapel in his villa. The Bocchesi were noted for their
+honourable fidelity to their word once given, and this probity is still
+recognised in their commercial dealings. The married sons usually live
+in the house till the father's death; then the property is divided, and
+each takes his own house. If the mother is alive she lives with the
+eldest son. The house master divides the food, giving sufficient to each
+one, so that he would sometimes go short himself if the girls and
+daughters-in-law were not always ready to offer him the best part of
+their portions. The country women of Montenegro always kiss the hand of
+a male acquaintance in greeting. On the road the man is met on mule-back
+smoking, the woman on foot with a load, and they neither of them would
+consent to change their position, and put the load on the mule and make
+the man walk. The men wear full breeches, a waistcoat and sash round the
+waist, and a thick whitish wool coat over it, which<span class="pagenum"><a name="Page_392" id="Page_392">[Pg 392]</a></span> is sometimes girded
+with the sash, leggings, and the usual raw-hide shoes. On the head is a
+black silk cap with a magenta centre embroidered with gold thread. The
+women wear a coat of the same shape, but of lighter material, and
+sleeveless, over a kind of jacket, and on the head the same shaped cap
+with a handkerchief draped over it and hanging down at the back.</p>
+
+<div class="figcenter" style="width: 450px;">
+<img src="images/p572.jpg" width="450" height="241" alt="MONTENEGRINS IN THE MARKET, CATTARO" title="" />
+<span class="caption">MONTENEGRINS IN THE MARKET, CATTARO</span>
+</div>
+
+<p>Cattaro has about 2,000 inhabitants, of whom scarcely ten families are
+old-established; all the old families are dead, or have emigrated. Part
+of the present population are Italian immigrants; part are Albanian and
+Montenegrin families (to which nationality many of the country people
+also belong), who, either for purposes of trade or craft, have settled
+in the town. From many towns in Austria come the sub-alterns, who have
+married and now live here. The usual language is Croat, but Italian is
+generally understood, and songs with the Venetian accent may be heard.
+But all are much interested in the "Marinerezza," the finest festival of
+the Bocche, held on February 3. On January 27 the preliminaries
+commence. The marine officers<span class="pagenum"><a name="Page_393" id="Page_393">[Pg 393]</a></span> arrange themselves on the seat before the
+cathedral at midday. As soon as the clock has struck the second stroke
+of 12 the "little sea director," a boy of nine or ten, comes out on the
+gallery above the door, armed and in national costume, and, in Croat,
+delivers a short speech announcing the beginning of the festival, and
+calling the citizens to take part in it. At the end he takes off his
+cap, waves it, and greets the standard of S. Trifone with three "Slava!"
+At this moment the flag is unfurled, the music strikes up, the bells
+ring, and the people shout "Slava!" (which means "Glory!"). On the eve
+of the day the outside members are met and greeted with music by those
+of the town, parading before the cathedral. At 4 p.m. the sea director
+meets the bishop, who blesses the "Kolo" before Vespers. The whole
+piazza is thronged with people, and in the middle is the body of the
+"Marinerezza," with the "Kolo" leader and his company ready. The ancient
+costumes, golden knives, silver gypsires, gold pierced purses, &amp;c., show
+the ancient riches of the Bocche. The music strikes up, and the
+"Marinerezza" begins the ancient "Kolo" dance, after which the bishop
+enters the church, where a solemn service begins, lasting late into the
+night. The next day the same dance is repeated before Mass, after which
+the relics of S. Trifone are carried in procession through the narrow
+streets. Then the Society feasts the poor of the town and neighbourhood
+in the court of the bishop's palace. In the evening there are fireworks,
+and other celebrations take place on the Sunday following.</p>
+
+<p>The standard of S. Trifone bears his figure on a white ground, with the
+words "Fides et Honor" on a gold embroidered band.</p>
+
+<p>Cattaro appears to have been a republic till the thirteenth century,
+when it came under the protection of Servia, and so continued till the
+extinction of the<span class="pagenum"><a name="Page_394" id="Page_394">[Pg 394]</a></span> dynasty of the Nemagna. A document of 1351 of Stephen
+"per la Dio gratia Imperator de Servia et de Grezia" confirms all its
+privileges. It was one of the most important ports of the eastern coast
+of the Adriatic in the Middle Ages, and competed with Ragusa for the
+inland trade. In 1301 it was attacked by that city, and again in 1361.
+After the death of Uros the Strong, in 1368, it sought the protection of
+Lewis of Hungary, at that time the most powerful prince in Europe, and
+thereby lost the friendship of Venice. In 1378 Victor Pisani ravaged the
+Bocche, sacked the city, and took away a foot of S. Trifone in a silver
+reliquary, which he placed in S. Fantino, Venice. Twenty years later
+Cattaro offered itself to Venice, but was not accepted till twenty more
+years had passed. On July 25, 1420, Pietro Loredano, Captain of the
+Gulf, came to take formal possession. The ensigns of the commune and the
+keys of the city were brought in procession to the representative of the
+Republic, and the standard of S. Mark was hoisted on the cathedral. The
+oath of loyalty and devotion to the "Serenissima" was taken by Paolo
+Bucchia, count, Marius Bisanti and Luca Drago, judges, and the forty
+members of the greater council. The territory was then called Albania
+Veneta. The Bocchesi enrolled themselves voluntarily as sailors, and
+formed the finest portion of the <i>personnel</i> of the Venetian navy.</p>
+
+<p>Under the Byzantines the prior was first in the state, though there is
+mention of a Catapan in 1163. The title of the supreme officer was
+changed to "Rector," and (in 1159) to "Count." Till 1398 he was elected
+annually; after that time he bore office for a month. He was required to
+be a native of a friendly Dalmatian city, and was elected by the
+"arengo" of the nobles. His payment was partly in coin and partly in
+kind. No one could ask him to be godfather, nor could others of<span class="pagenum"><a name="Page_395" id="Page_395">[Pg 395]</a></span> his
+family contract spiritual affinity with any citizen. Neither he nor his
+relations could receive gifts, nor go to banquets in or out of the city,
+except for marriages, and with permission of the greater council; nor
+could he sleep outside the city. He was always followed by a knight and
+six squires, clothed at his own expense; and, notwithstanding his
+grandeur and power, one would think must have been glad when his term of
+office was completed. The council of the "Pregati" consisted of fifteen
+members of the Senate, elected annually on S. George's Day. There were
+three judges selected by them from the lesser council, which was
+composed of six nobles, also elected annually. Till the tenth century
+the bishop was elected by the chapter, from that time till the
+thirteenth by the clergy and people, after which period the appointment
+was made by the Pope. Thefts were punished by fine up to three times the
+value of the object stolen, and by prison, beating, branding, and
+maiming, following inability to pay. Similar punishments were enacted
+for offences against the person; but homicide of a citizen brought the
+criminal to the halter.</p>
+
+<p>From Cattaro it is but a short distance to the southern boundary of the
+Austrian Empire on the Adriatic. A stone column between Spizza and
+Antivari marks the line. Two telegraphic wires are attached to this
+stone, one belonging to Austria, and one to Montenegro. The Bay of
+Antivari is said to be the most picturesque place on the Albanian coast,
+surrounded as it is by lofty mountains, with trees almost hiding the
+minarets of the town, while, to the north, Spizza is perched on red
+rocks rising steeply from the water. There is a great waterfall, which
+appears to fall sheer into the sea, with a mill just at its foot. Budua,
+which is fifteen miles from Cattaro, is something like Arbe in
+situation, crowning a projecting peninsula, and<span class="pagenum"><a name="Page_396" id="Page_396">[Pg 396]</a></span> with grey mountains
+towering above it. It was a Roman fortress, known as Buta, and one of
+the keys to the interior. It was sacked by Saracen pirates in the ninth
+century, and in 1571 the Turks fell on it and burnt it. In 1687 it was
+defended against them by a Cornaro, but contains nothing of sufficient
+importance to repay the trouble of a visit.<span class="pagenum"><a name="Page_397" id="Page_397">[Pg 397]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="XXV" id="XXV"></a>XXV</h2>
+
+<h3>THE RECIPROCAL INFLUENCES OF THE TWO SHORES</h3>
+
+
+<p>Between the Eastern and Western shores of the Adriatic there has been
+constant communication, either peaceful or bellicose, from the earliest
+times, for the sea was a highway traversed with equal ease by the
+enterprising merchant or the daring pirate. While the resulting
+influence of one coast on the other was considerable, more distant lands
+from which the way was open by the same course can be shown to have also
+affected the progress of art and craft on either side of the
+sea&mdash;Byzantium, North Africa, and the countries between being the
+strongest factors. The occurrence of Syrian <i>motifs</i> at Ravenna and
+Spalato is frequent, both in ornament and construction; peculiar
+expedients which were used in Tunis and other parts of North Africa
+appear in Lombard or Comacine work, while the influence of Alexandrian
+and Antiochene art on the styles which preceded and prepared the genesis
+of Romanesque ornament appears incontestable. The close relations
+between the two coasts at the period when they were governed from one
+centre, either Eastern or Western, make these influences probable.
+Ecclesiastical controversies at times affected portions of both, while
+their common Christianity necessarily produced community of interests
+and sympathy for the woes which one side or the other suffered from the
+incursions of heathen and<span class="pagenum"><a name="Page_398" id="Page_398">[Pg 398]</a></span> barbarous hordes. Nor must the commercial
+relations be forgotten, by which, in the earlier medi�val period,
+objects of luxury, which served as models for the local artists, were
+spread to all points of the Mediterranean basin, and at the period of
+the Renaissance the manufacture of such objects as the plaquettes of
+bronze or lead which appear to have been produced in Italy especially,
+with the intention of serving as suggestions for craftsmen who were
+deficient in imagination or capacity. History records the assistance
+rendered by one shore to the other on many occasions, and the
+interference of the stronger and more civilised power in the affairs of
+the weaker. To those already cited in the body of the work a few may be
+added here. The Liburnians helped Octavius Augustus in the naval battle
+of Actium; and, when he became emperor, he did much for Dalmatia, in
+return for the assistance rendered. Yet the rebellions continued, mainly
+owing to the rapacity of the governors sent from Rome, as is proved by
+the answer of Batone to Tiberius, reported by Dion Cassius. He asked the
+reason for the frequent rebellions in town and country, and the
+implacable hatred which appeared to be nourished against the very name
+of Roman. Batone replied: "Because you sent neither shepherds nor dogs
+to guard your flock, but wolves." A better r�gime for the Dalmatians
+followed the peace which was made, and from that time onward Dalmatia
+furnished many distinguished men, who rose to high office in the empire,
+several, indeed, wearing the imperial purple. It is suggested that one
+of these, Decius the Illyrian, introduced the use of the dalmatic into
+Rome (the common dress in Dalmatia), which was frequently used by the
+nobles of the court of Valerian. Lampridius notes that Commodus
+sometimes wore it at special solemnities. Clergy and laity wore the same
+dress at that time, except for a fringe which distinguished the
+sacerdotal<span class="pagenum"><a name="Page_399" id="Page_399">[Pg 399]</a></span> vestment. S. Cyprian, who succeeded Donatus, bishop of
+Carthage, speaks of its use as an ancient thing, from which it may be
+concluded that in the second and third centuries it was accepted as the
+Eucharistic vestment in North Africa, or worn by bishops outside the
+church. S. Eutychian, Pope in 275, ordered the alternative use of the
+dalmatic for clothing the bodies of martyrs with the "colobium" (a long
+tunic of crimson silk), which had been in use before; an order reversed
+by S. Gregory. It was used at first by the celebrant, but, when the
+chasuble came into use in the Roman Church, it became the vestment of
+the deacons. S. Symmachus conceded to S. C�sarius, bishop of Orleans, in
+508, as a favour, that his deacons might use the dalmatic, and S.
+Gregory granted the same privilege to the archdeacon of the Franks. At a
+later period the use was granted to kings for their coronation.</p>
+
+<p>The Byzantines used Istria as a base in the final operations against the
+Goths till 555, when they were conquered. This was the period when so
+many basilicas were built in that country, in gratitude for the securing
+of freedom to the province from the yoke of the Arians, and for the
+re-establishment of the "Holy Republic," the inaccurate term which the
+Istrians used for the Byzantine Government. The exarchs ruled till 752.
+During this period the bonds between Istria and Ravenna were close. It
+was a military district under a provincial <i>magister militum</i>, directly
+subordinate to the exarch of Ravenna, and appointed by him. He was also
+charged with the civil administration, and lived at Pola, which was the
+capital till the ninth century. Istrians rose to high ecclesiastical
+honours in Ravenna, Grado, and Torcello. Justinian granted an appeal
+from the provincial judge to the bishop, who had also jurisdiction over
+secular and regular clergy, except in criminal cases. The archbishop of
+Ravenna had the right<span class="pagenum"><a name="Page_400" id="Page_400">[Pg 400]</a></span> of revising the decisions of the judges of Pola,
+a right which continued till 1331, when Pola gave herself to Venice, and
+probably commenced at the time of Maximian, who was appointed archbishop
+by Justinian in 546.</p>
+
+<p>He was a native of Vistro, now Porto Vestre, between Rovigno and Pola,
+and must have been a man of resource and great personal influence. The
+story runs that he found a treasure when cultivating his field. He sewed
+together two skins of a goat into the form of boots, and filled them and
+the skin of an ox from the treasure, deciding to take the rest to the
+emperor at Constantinople, to whom treasure-trove legally belonged. When
+he presented this remainder he was asked how much he had kept for
+himself. He replied: "As much as a stomach and a pair of boots could
+absorb." The Emperor Justinian interpreted this as meaning that he had
+taken as much as he required for food and for the journey, and became
+attached to him. Ambassadors arriving from Ravenna to announce the death
+of Archbishop Vittore (546), and to ask for the pallium for his
+successor, gave Justinian the opportunity of advancing Maximian, whom he
+sent to Ravenna with many gifts, including much of the "feudo di S.
+Apollinare," lands at Pola, and in its vicinity, which belonged to that
+church for centuries. Pope Vigilius was at that time an exile in
+Bithynia, and therefore the Ravennese at first refused Maximian, but
+changed their minds on learning of his many virtues (among which the
+imperial gifts no doubt ranked). His architectural works in Istria were
+considerable; and in Ravenna he consecrated the two churches of S.
+Vitale and S. Apollinare in Classe, built by Julian, the treasurer. In
+Istria he founded the monastery of S. Andrea, near Rovigno, and the
+church of S. Maria Formosa, or "in Canneto," at Pola (which had property
+in the exarchate of Ravenna), a magnificent<span class="pagenum"><a name="Page_401" id="Page_401">[Pg 401]</a></span> church, which has been
+spoken of in the chapter on Pola. The "feud" consisted of a palace, with
+its dependencies, and three towers in the city of Pola, and a quantity
+of land in the district. The wood at Vistro where the treasure was found
+was also given to S. Apollinare by Maximian. In 1001 Otho II. gave S.
+Maria and S. Andrea to the archbishop of Ravenna; afterwards they
+belonged to S. Mark's, Venice. A document of 1138 in Ravenna shows Abbot
+Paul, of the monastery of Pomposa, asking for himself and his successors
+for one hundred years the renting of certain lands from Martin, abbot of
+S. Maria in Canneto and of S. Andrea. In 1200 the feud consisted of many
+rights of jurisdiction, tithes, and charges, both in the city of Pola,
+and in towns in its territory, some of the land having been sold, with
+Urban III.'s permission, between 1185 and 1187. There was a chapel of S.
+Apollinare and a house with their belongings near the Porta del Duomo,
+and three towers, the country possessions being spread over eleven
+places. At this time Engelbert III., Count of G�rz, stole it, and held
+it for some time, notwithstanding an appeal to the Popes Celestine III.
+and Innocent III. In 1213 the archbishop granted the feud to a certain
+Stefano Segnor, so he must have then regained it. Seven years later
+Simeon, archbishop of Ravenna, conceded his lands in Istria to Guido
+Michele and his successors, with the obligation to renew the contract
+every sixty years, and reserving the right of appeals. The Castropola
+bought the feud from the Giroldi about 1300 for 1,800 "lire piccioli."</p>
+
+<p>Aquileia was the most prosperous city of the empire after Rome, having
+600,000 inhabitants in the days of its prosperity. The fleet which kept
+the capital in communication with the eastern coast of the Adriatic, and
+so with Liburnia, Giapidia, Pannonia, and the Levant, had a station
+there. Trajan took the divi<span class="pagenum"><a name="Page_402" id="Page_402">[Pg 402]</a></span>sion which was called Aquileian or Venetian
+from the Pretorian fleet at Ravenna. It had charge of the Upper Adriatic
+from Ancona to Zara, and of the shore from the Adige to the Arsa. After
+the Greeks lost Ravenna to the Lombards the station of the fleet was
+moved to Zara. Shortly before, in 743, the exarchate included the
+Dalmatian islands, and also the cities of Zara, Tra�, Spalato, and
+Ragusa. The Slavs occupied Dalmatia in 640-642. Paulus Diaconus says
+that they crossed to Siponto in 649 and sacked several places near. The
+annals of Bari (926) speak of the siege and capture of Siponto by a Slav
+king, Michael, possibly the husband of Queen Helena, who is named on his
+wife's sarcophagus found on the island in the Jader, near Salona, as
+described in the chapter on Spalato. In the ninth century the Narentans
+helped in driving the Saracens from Monte Gargano.</p>
+
+<p>The bishop of Torcello had possessions in Cittanova and Muggia, which
+were confirmed to him in 1177 by Frederick Barbarossa. The see of Grado
+had rights and possessions on the islands, and in Istria, at Trieste,
+Capodistria, Pirano, Cittanova, Parenzo, Pola, and Castel S. Giorgio,
+but the actual power was in the hands of the patriarch of Aquileia, who
+several times settled matters with his adversaries by giving them things
+which really belonged to Grado. With the increase of the Venetian power
+to the point at which the coast-towns were practically forced to yield
+themselves to her supremacy, Istria and Dalmatia became pawns in the
+political game which was played in Italy, and the reciprocal influences
+of the two shores became principally artistic and individual, rather
+than corporate or national.</p>
+
+<p>Artists of both shores worked indiscriminately on either side of the
+Adriatic, as may be divined from the similarity of style in many of the
+buildings and in much of the decorative work, even without the<span class="pagenum"><a name="Page_403" id="Page_403">[Pg 403]</a></span>
+documentary evidence which is often available. It is to be expected that
+between the early basilicas of Ravenna and of Pola there should be a
+great resemblance; but at Parenzo, also, there is a likeness to both
+those places, and it seems probable that the same school of artists
+worked upon the mosaics there and at S. Maria in Cosmedin, Ravenna. The
+decoration in <i>opus sectile</i> also has resemblances, but these seem more
+probably due to direct Byzantine influence, since, both at S. Sophia,
+Constantinople, and S. Demetrius, Salonica, the same form of decoration
+occurs; and it is pretty well established that there was a regular
+export trade in carved capitals and columns from Constantinople, the
+same patterns occurring in many places far apart from each other.
+Comacine work is frequently met with all down the eastern coast as far
+as Cattaro, as in Lombardy and the Venetian territory. The building at
+Ravenna known as the Palace of Theodoric resembles the Porta Aurea,
+Spalato, in its decoration of columned niches; and the material of his
+mausoleum, Istrian stone, inclines one to look across the sea for the
+inspiration of the design (which may possibly be a Gothic imitation of
+the mausoleum of Diocletian), though it must be remembered that
+Theodoric sent an architect to Rome to study the ancient buildings.</p>
+
+<p>At a later period we have many names of artists who crossed the sea in
+one direction or the other. In 1319 Uros II. of Servia sent Abiado di
+Dessislavo from Cattaro to make the silver altar at S. Nicola, Bari.
+Michelozzo of Florence was at Ragusa in 1463; George of Sebenico was at
+Ancona rather earlier; Onofrio de La Cava did work at Ragusa; before his
+time, George of Sebenico's friend, Giovanni Dalmatico, was working in
+Rome, in the third quarter of the fifteenth century. Bartolommeo da
+Mestre was <i>protomagister</i> at Sebenico between 1517 and 1525, and many
+artists of different<span class="pagenum"><a name="Page_404" id="Page_404">[Pg 404]</a></span> kinds bore the name "Schiavone" in Venice during
+the fifteenth and sixteenth centuries, where the chapel of the Illyrian
+colony, S. Giorgio degli Schiavoni, was decorated by Vittore Carpaccio
+with subjects from the life of S. Jerome (a Dalmatian by birth), S.
+George, patron of Dalmatia, and S. Trifone, venerated at Cattaro.
+Sigismond Malatesta is credited with the design of part of the
+fortifications of Ragusa, where artists of many nationalities were
+employed, one of the bells bearing the names of two Dutchmen, Willem
+Corper Cornelis and Jacob Vocor. The building on the eastern shore which
+had the most effect upon the western, and indeed upon the whole of the
+Occident, is the Palace of Diocletian, in which, for the first time in
+Europe, the arch appears springing directly from the capital without the
+interposition of the entablature, a building which was almost certainly
+constructed by Syro-Greeks, probably brought by the emperor from
+Antioch. All the masons' marks are Greek letters, and many of the
+combinations of architectural forms are found in the dead cities of
+Central Syria, in buildings dating from the end of the second century.
+The method of construction of the domes, the great bearing-arches which
+relieve the architrave, the exterior niches which decorate the walls,
+and the architrave turned into an archivolt over the tympana of the
+pediments all occur at about this period. At Laodicea, Baalbek, Palmyra,
+and Petra, <i>motifs</i> which were in use till the end of the Byzantine
+period appear. Tesser� of mosaic have been found in one of the vaults at
+Spalato, showing that it played a part in the decoration, as might be
+expected in so magnificent a building. Dr. Stmygowski says: "What we
+have in Spalato grew in that corner of Central Syria which we call
+Hittite, and in the hinterland of Asia Minor, which communicated with
+the sea by way of Antioch." In Khorsabad a glazed brick frieze has been
+found in which<span class="pagenum"><a name="Page_405" id="Page_405">[Pg 405]</a></span> the horizontal member became an arch over the door. The
+new thing was the putting it on pillars ranged before the fa�ade, which
+he thinks was probably done at Seleucia on the Tigris. The plan of the
+palace at Spalato, with projecting towers, and the soldiers' quarters
+against the walls, is Syrian, of which examples may be cited at
+Kasr-el-Abjad and Deir-el-Khaf (which is dated 306). The colonnaded
+streets are a well-known Syrian town feature, and the plan resembles
+that of Antioch, as described by the rhetorician Libanios, scarcely
+fifty years after the death of Diocletian. Dr. Strzygowski concludes
+that the emperor had seen the palace at Antioch, which was commenced by
+Gallienus, and possibly was completed. He wished it copied, and
+therefore brought over Antiochenes to do it.</p>
+
+<p>There are other Eastern characteristics both here and in other places on
+the coast, such as the sheet of lead upon which the bases of columns are
+set, as in Byzantine work; the free-standing apse, found at Salona in
+two places, and in the earlier church at Parenzo; the plan of S. Maria
+delle Grazie, Grado, with the apse in the centre, and the two chambers
+flanking it, an arrangement found in a temple of 192 <span class="smcap">A.D.</span>, at Is-Sanam�n
+in the Northern Hauran, by Mr. H.C. Butler, while the former arrangement
+was seen by Miss Lowthian Bell in many ruins in Lycaonia, as has been
+already noted.</p>
+
+<p>The Egyptian influence also appears to be made out. Upon heathen tomb
+monuments of the second and third centuries at Ghirza in Tripoli are
+columns supporting arches cut out of a thin slab, not constructional, an
+arrangement just like the Lombard ciborium tops. The connection appears
+clear. The ciborium was a tomb generally erected over a martyr's grave
+or the relics of a saint to whom the altar was dedicated, and the form
+of these tombs appears to have thus been perpetuated. That there were
+links between North Africa and the<span class="pagenum"><a name="Page_406" id="Page_406">[Pg 406]</a></span> Adriatic towns is suggested by
+various facts. Coptic objects have been noted in the treasury at
+Spalato, and the patriarchal chair once at Grado has been described.</p>
+
+<p>At Agram a stele is preserved, found at Salona, which is of the shape of
+Coptic altars. On it is a representation of Jonah being vomited by the
+whale, and a head, with a curious kind of form at the bottom like the
+plan of an apse with a rail returned across the entrance. Dr.
+Strzygowski gives similarly shaped stelai from Alexandria and Cairo,
+with incised awkward scrolls, and some of Arab date. He suggests that
+the shape originated with the altars in the apses above the relics of
+martyrs, and says that the Salona example (which is of the eighth
+century) is the most ancient that he knows, and the only Western
+example. The ivory chair of Maximian at Ravenna is another case in
+point. Maximian, before he was chosen bishop of Ravenna, had made a
+journey in the East, and visited Alexandria. Agnellus gives extracts
+from his own account of his visit. Apparently he ordered the chair from
+the ivory carvers there after his elevation, for the costume in the
+Joseph subjects, and the choice of that history, as well as the
+admixture of animal forms in the ornament, point to an Egyptian origin.
+It seems probable that Ravenna was the centre from which the influence
+spread westwards. There were many Orientals in the city, Syrians being
+so numerous that they were able to nominate one of their number for the
+episcopal dignity. With the taking of the place by the Lombards the way
+was made open for the best craftsmen to migrate to the more important
+city of Pavia, the Lombard capital, and so to spread the Oriental
+influence farther and farther westward, though of course it also
+penetrated France by the ordinary trade routes through Narbonne and
+Marseilles. It is a curious fact that the plan of the great Rhenish
+churches, with the apses and transepts at each end, is<span class="pagenum"><a name="Page_407" id="Page_407">[Pg 407]</a></span> found in North
+Africa at a much earlier date, which suggests direct intercourse, of
+which no record has survived.</p>
+
+<p>The tracing of the various currents which united to form the full
+flowing river of that magnificent style known as Romanesque is a
+fascinating subject, but not one to be taken up at the end of a book
+which has already run to a considerable length. The fusing of antique
+Occidental art with Oriental may be said to have been the principal
+factor in its production; and, though the shores of the Adriatic were
+not the district in which its greatest triumphs were achieved, it was
+here that the fruitful union first took place which at various periods
+since has rejuvenated the dulled artistic senses of the Western peoples
+with the exciting stimulus of mysticism, of the unfamiliar, of that
+charm of colour and gorgeousness of effect, which are characteristic of
+the products of the Oriental imagination.</p>
+
+<div class="figcenter" style="width: 300px;">
+<a name="p407" id="p407"></a>
+<img src="images/p587.jpg" width="300" height="81" alt="Map" title="" />
+<span class="caption">Map</span>
+</div>
+
+<div class="figcenter" style="width: 573px;">
+<a name="endofbook" id="endofbook"></a>
+<img src="images/p589.jpg" width="573" height="419" alt="" title="Map" />
+</div>
+
+<hr style="width: 65%;" />
+<h2><a name="INDEX" id="INDEX"></a>INDEX</h2>
+
+
+
+
+<ul class="none">
+<li><span style="margin-left: 1em;">A</span></li><li>&nbsp;</li><li><span style="margin-left: 1em;">Adriatic, Boundaries, <a href='#Page_2'>2</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; Mountains of the eastern coast, <a href='#Page_2'>2</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; Physical data, <a href='#Page_1'>1</a>-<a href='#Page_4'>4</a></span></li>
+
+<li><span style="margin-left: 1em;">Alp, or Mora, <a href='#Page_17'>17</a></span></li>
+
+<li><span style="margin-left: 1em;">Andreaccio Saracenis, <a href='#Page_379'>379</a>, <a href='#Page_384'>384</a></span></li>
+
+<li><span style="margin-left: 1em;">Antiquities found at Aquileia, <a href='#Page_37'>37</a>, <a href='#Page_39'>39</a>;</span></li>
+<li><span style="margin-left: 2em;">Cattaro, <a href='#Page_379'>379</a>;</span></li>
+<li><span style="margin-left: 2em;">Grado, <a href='#Page_46'>46</a>;</span></li>
+<li><span style="margin-left: 2em;">Ossero, <a href='#Page_185'>185</a>;</span></li>
+<li><span style="margin-left: 2em;">Pola, <a href='#Page_157'>157</a>;</span></li>
+<li><span style="margin-left: 2em;">Risano, <a href='#Page_371'>371</a>;</span></li>
+<li><span style="margin-left: 2em;">Salona and Spalato, <a href='#Page_305'>305</a>, <a href='#Page_306'>306</a>;</span></li>
+<li><span style="margin-left: 2em;">Tra�, <a href='#Page_266'>266</a>;</span></li>
+<li><span style="margin-left: 2em;">Trieste, <a href='#Page_62'>62</a>, <a href='#Page_64'>64</a>, <a href='#Page_66'>66</a>;</span></li>
+<li><span style="margin-left: 2em;">Zara, <a href='#Page_215'>215</a>, <a href='#Page_216'>216</a></span></li>
+
+<li><span style="margin-left: 1em;">Aquileia, <a href='#Page_23'>23</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; Antique remains, <a href='#Page_25'>25</a>, <a href='#Page_36'>36</a>-<a href='#Page_39'>39</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; Baptistery, <a href='#Page_36'>36</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; Campanile, <a href='#Page_35'>35</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; Carved work of ninth century in the cathedral, <a href='#Page_27'>27</a>, <a href='#Page_29'>29</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; Carved work of fourteenth century in the cathedral, <a href='#Page_31'>31</a>, <a href='#Page_32'>32</a>, <a href='#Page_33'>33</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; Cathedral, <a href='#Page_25'>25</a>, <a href='#Page_26'>26</a>-<a href='#Page_34'>34</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; Chiesa dei Pagani, <a href='#Page_36'>36</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; Choir of the cathedral, <a href='#Page_33'>33</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; Crypt of the cathedral, <a href='#Page_31'>31</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; Early Renaissance work in the cathedral, <a href='#Page_33'>33</a>, <a href='#Page_34'>34</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; Frescoes of eleventh century in the cathedral, <a href='#Page_30'>30</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; History, <a href='#Page_24'>24</a>, <a href='#Page_25'>25</a>, <a href='#Page_32'>32</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; Mosaics found below pavement in the cathedral, <a href='#Page_26'>26</a>, <a href='#Page_27'>27</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; Museum, <a href='#Page_36'>36</a>-<a href='#Page_39'>39</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; Narthex, <a href='#Page_35'>35</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; Objects from the treasury at G�rz, <a href='#Page_34'>34</a>, <a href='#Page_35'>35</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; The patriarchate, <a href='#Page_24'>24</a>, <a href='#Page_25'>25</a>, <a href='#Page_39'>39</a>, <a href='#Page_40'>40</a></span></li>
+
+<li><span style="margin-left: 1em;">Arbe, <a href='#Page_192'>192</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Campanile of cathedral, <a href='#Page_198'>198</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Cathedral, <a href='#Page_194'>194</a>-<a href='#Page_198'>198</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Chapel of the Campo Santo, <a href='#Page_199'>199</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Church of S. Andrea, <a href='#Page_198'>198</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Church of S. Giovanni Battista, <a href='#Page_199'>199</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Convent of S. Eufemia, <a href='#Page_199'>199</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  History, <a href='#Page_193'>193</a>, <a href='#Page_194'>194</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Medi�val houses, <a href='#Page_193'>193</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Reliquaries in the cathedral, <a href='#Page_195'>195</a>-<a href='#Page_198'>198</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  S. Pietro in Valle, <a href='#Page_200'>200</a></span></li>
+
+<li><span style="margin-left: 1em;">Arca of S. Marcella, Nona, <a href='#Page_242'>242</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  S. Simeone, Zara, <a href='#Page_235'>235</a></span></li>
+
+<li><span style="margin-left: 1em;">Artistic resemblances in buildings on both shores, <a href='#Page_402'>402</a></span></li>
+
+<li><span style="margin-left: 1em;">Ascrivium (Cattaro), <a href='#Page_370'>370</a></span></li>
+
+<li><span style="margin-left: 1em;">Avar inroads, <a href='#Page_189'>189</a></span></li><li>&nbsp;</li>
+<li><span style="margin-left: 1em;">B</span></li>
+
+<li><span style="margin-left: 1em;">Besca Nova, <a href='#Page_176'>176</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Drive to Veglia, <a href='#Page_177'>177</a></span></li>
+
+<li><span style="margin-left: 1em;">Besca Valle, Glagolitic inscription in S. Lucia, <a href='#Page_178'>178</a></span></li>
+
+<li><span style="margin-left: 1em;">Bocche di Cattaro, <a href='#Page_369'>369</a>, <a href='#Page_372'>372</a>-<a href='#Page_378'>378</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; &nbsp; &nbsp;  History, <a href='#Page_369'>369</a>-<a href='#Page_372'>372</a></span></li>
+
+<li><span style="margin-left: 1em;">Bora, <a href='#Page_4'>4</a></span></li>
+
+<li><span style="margin-left: 1em;">Borgo Erizzo, <a href='#Page_243'>243</a></span></li>
+
+<li><span style="margin-left: 1em;">Brazza, <a href='#Page_317'>317</a>, <a href='#Page_318'>318</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  Knocker on Casa Nisiteo, Bol, <a href='#Page_318'>318</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  Tintoretto at Bol, <a href='#Page_318'>318</a></span></li>
+
+<li><span style="margin-left: 1em;">Brioni Islands, <a href='#Page_131'>131</a></span></li>
+
+<li><span style="margin-left: 1em;">Bua, <a href='#Page_263'>263</a>, <a href='#Page_264'>264</a>, <a href='#Page_279'>279</a>, <a href='#Page_284'>284</a></span></li>
+
+<li><span style="margin-left: 1em;">Budua, <a href='#Page_395'>395</a></span></li>
+
+<li><span style="margin-left: 1em;">Byzantine capitals in cathedrals: Arbe, <a href='#Page_194'>194</a>;</span></li>
+<li><span style="margin-left: 2em;">Grado, <a href='#Page_44'>44</a>;</span></li>
+<li><span style="margin-left: 2em;">Parenzo, <a href='#Page_113'>113</a>;</span></li>
+<li><span style="margin-left: 2em;">Veglia, <a href='#Page_172'>172</a></span></li>
+
+<li><span style="margin-left: 1em;">Byzantine capitals in S. Maria delle Grazie, Grado, <a href='#Page_52'>52</a></span></li>
+
+<li><span style="margin-left: 1em;">Byzantine civil casket at Capodistria, <a href='#Page_92'>92</a></span></li>
+
+<li><span style="margin-left: 1em;">Byzantine civil casket found at Pirano, <a href='#Page_97'>97</a></span></li><li>&nbsp;</li><li><span style="margin-left: 1em;">C</span></li>
+
+<li><span style="margin-left: 1em;">Canal di Leme, <a href='#Page_127'>127</a>, <a href='#Page_131'>131</a>, <a href='#Page_135'>135</a></span></li>
+
+<li><span style="margin-left: 1em;">Canal of Fasana, <a href='#Page_131'>131</a></span></li>
+
+<li><span style="margin-left: 1em;">Cannosa, <a href='#Page_335'>335</a></span></li>
+
+<li><span style="margin-left: 1em;">Capodistria, Baptistery, <a href='#Page_90'>90</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Byzantine casket, <a href='#Page_92'>92</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Castel Leone and wails, <a href='#Page_87'>87</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Cathedral, <a href='#Page_88'>88</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Cathedral treasury, <a href='#Page_91'>91</a>, <a href='#Page_92'>92</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Church of S. Anna, <a href='#Page_90'>90</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Door-handles of Casa del Bello and Casa Borisi, <a href='#Page_91'>91</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Good Friday and other ceremonials, <a href='#Page_92'>92</a>, <a href='#Page_93'>93</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  History, <a href='#Page_86'>86</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Knocker on Palazzo Tacco, <a href='#Page_91'>91</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Loggia, <a href='#Page_91'>91</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Palazzo Comunale, <a href='#Page_87'>87</a>, <a href='#Page_88'>88</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Piazza da Ponte, <a href='#Page_92'>92</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Pictures in the cathedral, <a href='#Page_89'>89</a></span></li>
+
+<li><span style="margin-left: 1em;">Capodistrian craftsmen, <a href='#Page_90'>90</a></span></li>
+
+<li><span style="margin-left: 1em;">Captain of the Pasenatico, <a href='#Page_135'>135</a></span></li>
+
+<li><span style="margin-left: 1em;">Captain's opinion of Morlacchi, <a href='#Page_202'>202</a></span></li>
+
+<li><span style="margin-left: 1em;">Carpaccio, Benedetto's house at Capodistria, <a href='#Page_90'>90</a></span></li>
+<li><span style="margin-left: 2em;">"&nbsp; &nbsp; &nbsp;  Pictures at Capodistria, <a href='#Page_89'>89</a></span></li>
+
+<li><span style="margin-left: 1em;">Carpaccio, Vittore. <i>See</i> "Craftsmen" and "Pictures"</span></li>
+
+<li><span style="margin-left: 1em;">Carved picture-frames:</span></li>
+<li><span style="margin-left: 2em;">Cathedral, Aquileia, by Giovanni Pietro di Udine, <a href='#Page_33'>33</a></span></li>
+<li><span style="margin-left: 2em;">Church "alle Danc�," Ragusa, <a href='#Page_360'>360</a>, <a href='#Page_361'>361</a></span></li>
+<li><span style="margin-left: 2em;">Parish Church, Mezzo, <a href='#Page_332'>332</a></span></li>
+<li><span style="margin-left: 2em;">Sacristy of Cathedral, Parenzo, <a href='#Page_117'>117</a></span></li>
+<li><span style="margin-left: 2em;">Sacristy of S. Domenico, Ragusa, <a href='#Page_350'>350</a></span></li>
+<li><span style="margin-left: 2em;">Sacristy of S. Francesco, Zara, <a href='#Page_237'>237</a></span></li>
+<li><span style="margin-left: 2em;">S. Anna, Capodistria, by Vittore da Feltre, <a href='#Page_90'>90</a></span></li>
+<li><span style="margin-left: 2em;">S. Maria del Biscione, Mezzo, <a href='#Page_331'>331</a></span></li>
+
+<li><span style="margin-left: 1em;">Castel Abbadessa (Gomilica), <a href='#Page_289'>289</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Cambio, <a href='#Page_288'>288</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Cega, <a href='#Page_290'>290</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Dragazzo, <a href='#Page_286'>286</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Nuovo, near Spalato, <a href='#Page_287'>287</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Nuovo, in the Bocche, <a href='#Page_373'>373</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Papali, <a href='#Page_286'>286</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Quarco, <a href='#Page_286'>286</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Rosani or Rusinac, <a href='#Page_288'>288</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Stafileo, <a href='#Page_286'>286</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Sucurac, <a href='#Page_289'>289</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  "&nbsp; &nbsp; &nbsp; Early church, <a href='#Page_289'>289</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Vecchio, <a href='#Page_285'>285</a>, <a href='#Page_287'>287</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Vitturi, <a href='#Page_288'>288</a></span></li>
+
+<li><span style="margin-left: 1em;">Castropola, destruction of the family, <a href='#Page_159'>159</a></span></li>
+
+<li><span style="margin-left: 1em;">Cattaro, <a href='#Page_371'>371</a>, <a href='#Page_372'>372</a>, <a href='#Page_379'>379</a>-<a href='#Page_388'>388</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Cathedral of S. Trifone, <a href='#Page_379'>379</a>-<a href='#Page_384'>384</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Church of S. Luka, <a href='#Page_385'>385</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Fortifications, <a href='#Page_387'>387</a>, <a href='#Page_388'>388</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  La Colleggiata, <a href='#Page_384'>384</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Medi�val history and government, <a href='#Page_394'>394</a>, <a href='#Page_395'>395</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Riva and Porta Marina, <a href='#Page_386'>386</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Secular architecture, <a href='#Page_386'>386</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Treasury in the cathedral, <a href='#Page_383'>383</a>-<a href='#Page_384'>384</a></span></li>
+
+<li><span style="margin-left: 1em;">Ceremonial of blessing the fields, Salona, <a href='#Page_310'>310</a></span></li>
+
+<li><span style="margin-left: 1em;">Cherso, <a href='#Page_186'>186</a></span></li>
+
+<li><span style="margin-left: 1em;">Choir-stalls, Cathedral, Arbe, <a href='#Page_195'>195</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;  "&nbsp; &nbsp; &nbsp; Parenzo, <a href='#Page_116'>116</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;  "&nbsp; &nbsp; &nbsp; Spalato, <a href='#Page_296'>296</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;  "&nbsp; &nbsp; &nbsp; Trail, <a href='#Page_277'>277</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;  "&nbsp; &nbsp; &nbsp; Zara,&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;  <a href='#Page_222'>222</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;  S. Francesco, Zara, <a href='#Page_236'>236</a></span></li>
+
+<li><span style="margin-left: 1em;">Church of S. Maria de Salona, or de Otok, <a href='#Page_301'>301</a></span></li>
+
+<li><span style="margin-left: 1em;">Cissa, <a href='#Page_127'>127</a></span></li>
+
+<li><span style="margin-left: 1em;">Cittanova, Baptistery, <a href='#Page_106'>106</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; Church, <a href='#Page_105'>105</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; Early carvings found in the crypt, <a href='#Page_105'>105</a></span></li>
+
+<li><span style="margin-left: 1em;">Climate of Dalmatia, <a href='#Page_4'>4</a></span></li>
+
+<li><span style="margin-left: 1em;">Clissa, <a href='#Page_303'>303</a>, <a href='#Page_305'>305</a>, <a href='#Page_314'>314</a></span></li>
+
+<li><span style="margin-left: 1em;">Comacine carvings at Aquileia, <a href='#Page_27'>27</a>, <a href='#Page_29'>29</a>;</span></li>
+<li><span style="margin-left: 2em;">Cattaro, <a href='#Page_379'>379</a>, <a href='#Page_380'>380</a>;</span></li>
+<li><span style="margin-left: 2em;">Cittanova, <a href='#Page_105'>105</a>;</span></li>
+<li><span style="margin-left: 2em;">Grado, <a href='#Page_46'>46</a>, <a href='#Page_51'>51</a>;</span></li>
+<li><span style="margin-left: 2em;">Knin and Ri&#382;inice, <a href='#Page_301'>301</a>;</span></li>
+<li><span style="margin-left: 2em;">Parenzo, <a href='#Page_120'>120</a>;</span></li>
+<li><span style="margin-left: 2em;">Pola, <a href='#Page_149'>149</a>, <a href='#Page_152'>152</a>, <a href='#Page_158'>158</a>;</span></li>
+<li><span style="margin-left: 2em;">Ragusa, <a href='#Page_341'>341</a></span></li>
+<li><span style="margin-left: 2em;">Spalato, <a href='#Page_300'>300</a>, <a href='#Page_306'>306</a>;</span></li>
+<li><span style="margin-left: 2em;">Valle, <a href='#Page_141'>141</a>;</span></li>
+<li><span style="margin-left: 2em;">Zara, <a href='#Page_215'>215</a>, <a href='#Page_216'>216</a></span></li>
+
+<li><span style="margin-left: 1em;">Communes, their organisation, <a href='#Page_76'>76</a>, <a href='#Page_77'>77</a></span></li>
+
+<li><span style="margin-left: 1em;">Coptic crosses in Cathedral, Spalato, <a href='#Page_298'>298</a></span></li>
+
+<li><span style="margin-left: 1em;">Costume at S. Lorenzo in Pasenatico, <a href='#Page_133'>133</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  San Vincenti, <a href='#Page_140'>140</a>, <a href='#Page_141'>141</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  of country people at Fiume, <a href='#Page_166'>166</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  country people of Spalato, <a href='#Page_303'>303</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  country people at Zara, <a href='#Page_211'>211</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Lussin Grande and Piccolo, <a href='#Page_182'>182</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  the Montenegrins, <a href='#Page_392'>392</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  the Morlacchi, <a href='#Page_10'>10</a>, <a href='#Page_11'>11</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  the peasants at Rovigno, <a href='#Page_128'>128</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  the people of Sebenico, <a href='#Page_258'>258</a></span></li>
+
+<li><span style="margin-left: 1em;">Costume and type of peasants, Pisino, <a href='#Page_138'>138</a></span></li>
+
+<li><span style="margin-left: 1em;">Customs of the Bocchesi, <a href='#Page_389'>389</a>-<a href='#Page_391'>391</a></span></li>
+
+<li><span style="margin-left: 1em;">Craftsmen:</span></li>
+<li><span style="margin-left: 2em;">Abrado or Abiado di Dessislavo, of Cattaro, <a href='#Page_386'>386</a>, <a href='#Page_404'>404</a></span></li>
+<li><span style="margin-left: 2em;">Adalpert, <a href='#Page_118'>118</a></span></li>
+<li><span style="margin-left: 2em;">Alberti, Leo Battista, <a href='#Page_255'>255</a></span></li>
+<li><span style="margin-left: 2em;">Alexci or Alexis, Andrea, of Durazzo, <a href='#Page_255'>255</a>, <a href='#Page_279'>279</a>, <a href='#Page_280'>280</a></span></li>
+<li><span style="margin-left: 2em;">Antonio da Murano, <a href='#Page_117'>117</a></span></li>
+<li><span style="margin-left: 2em;">Bartolommeo da Mestre, <a href='#Page_255'>255</a>, <a href='#Page_357'>357</a>, <a href='#Page_404'>404</a></span></li>
+<li><span style="margin-left: 2em;">Bartolommeo of Cremona, <a href='#Page_352'>352</a></span></li>
+<li><span style="margin-left: 2em;">Bassano, Jacopo, <a href='#Page_322'>322</a></span></li>
+<li><span style="margin-left: 2em;">Battista of Arbe, <a href='#Page_352'>352</a>, <a href='#Page_359'>359</a></span></li>
+<li><span style="margin-left: 2em;">Bellini, Giovanni, <a href='#Page_277'>277</a></span></li>
+<li><span style="margin-left: 2em;">Bernardo of Parenzo, <a href='#Page_126'>126</a></span></li>
+<li><span style="margin-left: 2em;">Boccanich, Trifon, <a href='#Page_275'>275</a></span></li>
+<li><span style="margin-left: 2em;">Bonino, Gaspare, of Milan, <a href='#Page_249'>249</a>, <a href='#Page_296'>296</a></span></li>
+<li><span style="margin-left: 2em;">Carpaccio, Benedetto, <a href='#Page_89'>89</a>, <a href='#Page_99'>99</a></span></li>
+<li><span style="margin-left: 2.5em;">"&nbsp; &nbsp; &nbsp;  Vittore, <a href='#Page_89'>89</a>, <a href='#Page_98'>98</a>, <a href='#Page_222'>222</a>, <a href='#Page_236'>236</a>, <a href='#Page_307'>307</a>, <a href='#Page_404'>404</a></span></li>
+<li><span style="margin-left: 2em;">Cima da Conegliano, <a href='#Page_90'>90</a></span></li>
+<li><span style="margin-left: 2em;">Cleriginus di Justinopoli, <a href='#Page_90'>90</a></span></li>
+<li><span style="margin-left: 2em;">Cornelis, Willem Corper, <a href='#Page_404'>404</a></span></li>
+<li><span style="margin-left: 2em;">Del Vescovo, Antonio and Lorenzo, <a href='#Page_132'>132</a></span></li>
+<li><span style="margin-left: 2em;">"Donado Macalorso da Vinesia," <a href='#Page_49'>49</a></span></li>
+<li><span style="margin-left: 2em;">Donato of Parenzo, <a href='#Page_132'>132</a></span></li>
+<li><span style="margin-left: 2em;">Ezechiel, monk of the Monastery of Laura, <a href='#Page_118'>118</a></span></li>
+<li><span style="margin-left: 2em;">Francesco da Santa Croce, <a href='#Page_322'>322</a></span></li>
+<li><span style="margin-left: 2em;">Fra Sebastiano da Rovigno, <a href='#Page_132'>132</a></span></li>
+<li><span style="margin-left: 2em;">Fra Stefano of Ragusa, <a href='#Page_352'>352</a></span></li>
+<li><span style="margin-left: 2em;">Frater Urbinus, <a href='#Page_277'>277</a></span></li>
+<li><span style="margin-left: 2em;">George of Sebenico, <a href='#Page_184'>184</a>, <a href='#Page_247'>247</a>-<a href='#Page_255'>255</a>, <a href='#Page_296'>296</a>, <a href='#Page_355'>355</a>, <a href='#Page_404'>404</a></span></li>
+<li><span style="margin-left: 2em;">Giacomo, son of Matteo da Mestre, <a href='#Page_252'>252</a></span></li>
+<li><span style="margin-left: 2em;">Giorgio Dalmatico, <a href='#Page_404'>404</a></span></li>
+<li><span style="margin-left: 2em;">Giottino, Tommaso, <a href='#Page_64'>64</a></span></li>
+<li><span style="margin-left: 2em;">Giovanni Pietro, di Udine, <a href='#Page_33'>33</a></span></li>
+<li><span style="margin-left: 2em;">Girolamo da Santa Croce, <a href='#Page_101'>101</a>, <a href='#Page_137'>137</a>, <a href='#Page_175'>175</a>, <a href='#Page_183'>183</a>, <a href='#Page_307'>307</a></span></li>
+<li><span style="margin-left: 2em;">Goykovi&#263;, Matteo, <a href='#Page_275'>275</a></span></li>
+<li><span style="margin-left: 2em;">Gradinelli, Antonio, <a href='#Page_321'>321</a></span></li>
+<li><span style="margin-left: 2em;">Gregorio di Vido, <a href='#Page_278'>278</a></span></li>
+<li><span style="margin-left: 2em;">Guvina, <a href='#Page_296'>296</a>, <a href='#Page_302'>302</a></span></li>
+<li><span style="margin-left: 2em;">Lombardi of Venice, <a href='#Page_255'>255</a></span></li>
+<li><span style="margin-left: 2em;">Lotto, Lorenzo, <a href='#Page_257'>257</a>, <a href='#Page_307'>307</a></span></li>
+<li><span style="margin-left: 2em;">Maestro Giovanni quondam Giacomo di Borgo S. Sepolero, <a href='#Page_236'>236</a></span></li>
+<li><span style="margin-left: 2em;">Magister Andrea, <a href='#Page_302'>302</a></span></li>
+<li><span style="margin-left: 2em;">Mag. Beloa Viccentius, <a href='#Page_237'>237</a></span></li>
+<li><span style="margin-left: 2em;">Mag. Domenico di Capodistria, <a href='#Page_90'>90</a></span></li>
+<li><span style="margin-left: 2em;">Mag. Johannes de Pari, Tergestinus, and his son Lazarus, <a href='#Page_123'>123</a></span></li>
+<li><span style="margin-left: 2em;">Mag. Mycha of Antivari, <a href='#Page_353'>353</a></span></li>
+<li><span style="margin-left: 2em;">Magister Otto, <a href='#Page_299'>299</a>, <a href='#Page_300'>300</a>, <a href='#Page_302'>302</a></span></li>
+<li><span style="margin-left: 2em;">"Maiste Nicolai de te dito cervo d Venecia," <a href='#Page_269'>269</a></span></li>
+<li><span style="margin-left: 2em;">Massegna, Pietro Paolo, <a href='#Page_247'>247</a></span></li>
+<li><span style="margin-left: 2em;">Master Stefanus, <a href='#Page_275'>275</a></span></li>
+<li><span style="margin-left: 2em;">Masticevich, Giovanni, <a href='#Page_252'>252</a></span></li>
+<li><span style="margin-left: 2em;">"Mavrvs of Tra�," <a href='#Page_276'>276</a></span></li>
+<li><span style="margin-left: 2em;">Michelozzo, <a href='#Page_355'>355</a>, <a href='#Page_404'>404</a></span></li>
+<li><span style="margin-left: 2em;">Nicolaus Raguseus, <a href='#Page_331'>331</a>, <a href='#Page_332'>332</a>, <a href='#Page_349'>349</a>, <a href='#Page_360'>360</a></span></li>
+<li><span style="margin-left: 2em;">Nicol� Fiorentino, <a href='#Page_279'>279</a></span></li>
+<li><span style="margin-left: 2em;">Onofrio Giordano de la Cava, <a href='#Page_354'>354</a>, <a href='#Page_357'>357</a>, <a href='#Page_404'>404</a></span></li>
+<li><span style="margin-left: 2em;">Padre Bonaventura Radmilovic, <a href='#Page_308'>308</a></span></li>
+<li><span style="margin-left: 2em;">Palma the younger, <a href='#Page_222'>222</a>, <a href='#Page_257'>257</a>, <a href='#Page_321'>321</a></span></li>
+<li><span style="margin-left: 2em;">Palma Vecchio, <a href='#Page_232'>232</a>, <a href='#Page_343'>343</a></span></li>
+<li><span style="margin-left: 2em;">Paolo Veronese, <a href='#Page_323'>323</a></span></li>
+<li><span style="margin-left: 2em;">Pasqualis Michaelis Ragusinus, <a href='#Page_351'>351</a>, <a href='#Page_353'>353</a></span></li>
+<li><span style="margin-left: 2em;">Paulus Silvius Tinnius, presbyter, <a href='#Page_322'>322</a></span></li>
+<li><span style="margin-left: 2em;">Pellegrino di S. Daniele, <a href='#Page_33'>33</a></span></li>
+<li><span style="margin-left: 2em;">Pietro della Vacchia, <a href='#Page_182'>182</a></span></li>
+<li><span style="margin-left: 2em;">Pordenone, <a href='#Page_343'>343</a></span></li>
+<li><span style="margin-left: 2em;">Raduanus, <a href='#Page_270'>270</a>, <a href='#Page_302'>302</a></span></li>
+<li><span style="margin-left: 2em;">Rosselli, Matteo, <a href='#Page_322'>322</a></span></li>
+<li><span style="margin-left: 2em;">San Michele, <a href='#Page_207'>207</a>, <a href='#Page_245'>245</a>, <a href='#Page_320'>320</a></span></li>
+<li><span style="margin-left: 2em;">Sansovino, <a href='#Page_91'>91</a></span></li>
+<li><span style="margin-left: 2em;">Schiavone, Andrea, <a href='#Page_140'>140</a>, <a href='#Page_222'>222</a></span></li>
+<li><span style="margin-left: 2em;">Sebastiani, Lazzaro, <a href='#Page_90'>90</a></span></li>
+<li><span style="margin-left: 2em;">Taddeo da Rovigno, <a href='#Page_132'>132</a></span></li>
+<li><span style="margin-left: 2em;">Tartini, <a href='#Page_99'>99</a></span></li>
+<li><span style="margin-left: 2em;">Tintoretto, Jacomo, <a href='#Page_318'>318</a></span></li>
+<li><span style="margin-left: 2em;">Titian, <a href='#Page_323'>323</a>, <a href='#Page_330'>330</a>, <a href='#Page_350'>350</a></span></li>
+<li><span style="margin-left: 2em;">Tvrdoj, Nicol�, <a href='#Page_299'>299</a></span></li>
+<li><span style="margin-left: 2em;">Vecellio, Marco, <a href='#Page_257'>257</a></span></li>
+<li><span style="margin-left: 2em;">Vincenti, Giorgio, <a href='#Page_90'>90</a></span></li>
+<li><span style="margin-left: 2em;">Vittore da Feltre, <a href='#Page_90'>90</a></span></li>
+<li><span style="margin-left: 2em;">Vittoria, Alessandro, <a href='#Page_279'>279</a></span></li>
+<li><span style="margin-left: 2em;">Vivarini, Alvise, <a href='#Page_186'>186</a></span></li>
+<li><span style="margin-left: 2em;">Vivarini, Bartolommeo, <a href='#Page_177'>177</a>, <a href='#Page_182'>182</a>, <a href='#Page_199'>199</a></span></li>
+<li><span style="margin-left: 2em;">Vocor, Jacob, <a href='#Page_404'>404</a></span></li>
+
+<li><span style="margin-left: 1em;">Crivoscian insurrection, <a href='#Page_376'>376</a></span></li>
+
+<li><span style="margin-left: 1em;">Croats, or Morlacchi, <a href='#Page_7'>7</a>, <a href='#Page_9'>9</a>-<a href='#Page_21'>21</a></span></li>
+
+<li><span style="margin-left: 1em;">Croats and Serbs, <a href='#Page_189'>189</a></span></li>
+
+<li><span style="margin-left: 1em;">Curzola, <a href='#Page_323'>323</a>-<a href='#Page_328'>328</a></span></li>
+<li><span style="margin-left: 2em;">Cathedral, <a href='#Page_326'>326</a>-<a href='#Page_328'>328</a></span></li>
+<li><span style="margin-left: 2em;">Church of Ognissanti, <a href='#Page_328'>328</a></span></li>
+<li><span style="margin-left: 2em;">Knocker on Palazzo Arneri, <a href='#Page_328'>328</a></span></li>
+<li><span style="margin-left: 2em;">La Badia, the Franciscan convent, <a href='#Page_328'>328</a></span></li>
+<li><span style="margin-left: 2em;">Walls and towers, <a href='#Page_325'>325</a></span></li><li>&nbsp;</li><li><span style="margin-left: 1em;">D</span></li>
+
+<li><span style="margin-left: 1em;">Dalmatia, Climate, <a href='#Page_4'>4</a></span></li>
+<li><span style="margin-left: 2em;">Flora, <a href='#Page_4'>4</a></span></li>
+<li><span style="margin-left: 2em;">History, <a href='#Page_187'>187</a>-<a href='#Page_191'>191</a></span></li>
+<li><span style="margin-left: 2em;">Races inhabiting the country, <a href='#Page_6'>6</a></span></li>
+
+<li><span style="margin-left: 1em;">Decay of Aquileia, <a href='#Page_32'>32</a></span></li>
+
+<li><span style="margin-left: 1em;">De Dominis, Archbishop, and Dean of Windsor, <a href='#Page_193'>193</a></span></li>
+
+<li><span style="margin-left: 1em;">Dinaric Alps, or Velebits, <a href='#Page_2'>2</a>, <a href='#Page_3'>3</a></span></li>
+
+<li><span style="margin-left: 1em;">Diocletian's Palace at Spalato, <a href='#Page_292'>292</a>-<a href='#Page_295'>295</a>, <a href='#Page_299'>299</a>, <a href='#Page_404'>404</a></span></li>
+
+<li><span style="margin-left: 1em;">Dobrota, <a href='#Page_378'>378</a></span></li>
+
+<li><span style="margin-left: 1em;">Drive to Ossero, <a href='#Page_183'>183</a></span></li>
+
+<li><span style="margin-left: 1em;">Due Castelli, <a href='#Page_135'>135</a>, <a href='#Page_136'>136</a></span></li>
+
+<li><span style="margin-left: 1em;">Duino, Castle of, <a href='#Page_55'>55</a></span></li><li>&nbsp;</li><li><span style="margin-left: 1em;">E</span></li>
+
+<li><span style="margin-left: 1em;">Early carvings in Spalato, <a href='#Page_300'>300</a>;</span></li>
+<li><span style="margin-left: 2em;">in other parts of Dalmatia, <a href='#Page_300'>300</a>-<a href='#Page_302'>302</a>, <a href='#Page_318'>318</a></span></li>
+
+<li><span style="margin-left: 1em;">Early Cilician churches, Plans compared with Grado, <a href='#Page_52'>52</a></span></li>
+
+<li><span style="margin-left: 1em;">Earthquake of 1667,</span> <a href='#Page_339'>339</a></li>
+
+<li><span style="margin-left: 1em;">Education in Istrian coast towns, <a href='#Page_93'>93</a></span></li>
+
+<li><span style="margin-left: 1em;">Embroideries:</span></li>
+<li><span style="margin-left: 2em;">Chasuble in church at Dignano, <a href='#Page_142'>142</a></span></li>
+<li><span style="margin-left: 2em;">Mitre and portion of cope in Cathedral, Tra�, <a href='#Page_278'>278</a></span></li>
+<li><span style="margin-left: 2em;">Painted vestments in S. Simeone, Zara, <a href='#Page_235'>235</a></span></li>
+<li><span style="margin-left: 2em;">Treasury, S. Trifone, Cattaro, <a href='#Page_383'>383</a></span></li>
+<li><span style="margin-left: 2em;">Vestments in Cathedral, Curzola, <a href='#Page_328'>328</a></span></li>
+<li><span style="margin-left: 2em;">Vestments in Cathedral, Lesina, <a href='#Page_321'>321</a></span></li>
+<li><span style="margin-left: 2em;">Vestments in Cathedral, Spalato, <a href='#Page_298'>298</a></span></li>
+<li><span style="margin-left: 2em;">Vestments in S. Maria del Biscione, Mezzo, <a href='#Page_331'>331</a></span></li>
+
+<li><span style="margin-left: 1em;">Excavations at Aquileia, <a href='#Page_25'>25</a>-<a href='#Page_27'>27</a>, <a href='#Page_36'>36</a></span></li><li>&nbsp;</li><li><span style="margin-left: 1em;">F</span></li>
+
+<li><span style="margin-left: 1em;">Festival of the Assumption, Pictures carried in procession over the lagoon, <a href='#Page_53'>53</a></span></li>
+
+<li><span style="margin-left: 1em;">Feud of S. Apollinare, <a href='#Page_401'>401</a></span></li>
+
+<li><span style="margin-left: 1em;">Fiume, Ancient Tarsatica, <a href='#Page_163'>163</a></span></li>
+<li><span style="margin-left: 2em;">Church of Madonna del Tarsatto, <a href='#Page_165'>165</a></span></li>
+<li><span style="margin-left: 2em;">Costume of the country people, <a href='#Page_166'>166</a></span></li>
+<li><span style="margin-left: 2em;">Roman remains, <a href='#Page_163'>163</a>, <a href='#Page_164'>164</a></span></li>
+
+<li><span style="margin-left: 1em;">Flora of Dalmatia, <a href='#Page_4'>4</a></span></li>
+
+<li><span style="margin-left: 1em;">Folk-lore of the Morlacchi, <a href='#Page_13'>13</a>-<a href='#Page_16'>16</a>, <a href='#Page_17'>17</a></span></li><li>&nbsp;</li><li><span style="margin-left: 1em;">G</span></li>
+
+<li><span style="margin-left: 1em;">Geological formation, <a href='#Page_3'>3</a>-<a href='#Page_4'>4</a>, <a href='#Page_54'>54</a></span></li>
+<li><span style="margin-left: 2em;">of Istria, <a href='#Page_159'>159</a></span></li>
+
+<li><span style="margin-left: 1em;">Giorgio of Sebenico's house door, Sebenico, <a href='#Page_256'>256</a>;</span></li>
+<li><span style="margin-left: 2em;">his part in the cathedral, <a href='#Page_253'>253</a>-<a href='#Page_255'>255</a>;</span></li>
+<li><span style="margin-left: 2em;">works, <a href='#Page_249'>249</a>-<a href='#Page_250'>250</a></span></li>
+
+<li><span style="margin-left: 1em;">Glagolitic inscription in S. Lucia, Besca Valle, <a href='#Page_178'>178</a></span></li>
+
+<li><span style="margin-left: 1em;">Goldsmiths' work:</span></li>
+<li><span style="margin-left: 2em;">Altar frontal at Grado, <a href='#Page_49'>49</a>, <a href='#Page_50'>50</a></span></li>
+<li><span style="margin-left: 2em;">Arca of S. Simeone, Zara, <a href='#Page_234'>234</a>-<a href='#Page_235'>235</a></span></li>
+<li><span style="margin-left: 2em;">Chalice and ostensory at Mezzo, <a href='#Page_332'>332</a></span></li>
+<li><span style="margin-left: 2em;">Chalice in treasury, S. Simeone, Zara, <a href='#Page_235'>235</a></span></li>
+<li><span style="margin-left: 2em;">Chalices in Cathedral, Curzola, <a href='#Page_328'>328</a></span></li>
+<li><span style="margin-left: 2em;">Chalices in S. Francesco, Zara, <a href='#Page_237'>237</a></span></li>
+<li><span style="margin-left: 2em;">Church plate in S. Francesco, Ragusa, <a href='#Page_354'>354</a></span></li>
+<li><span style="margin-left: 2em;">Cross of Uros I., S. Domenico, Ragusa, <a href='#Page_351'>351</a></span></li>
+<li><span style="margin-left: 2em;">Crozier of gilded copper in Cathedral, Lesina, <a href='#Page_321'>321</a>, <a href='#Page_322'>322</a></span></li>
+<li><span style="margin-left: 2em;">Greek Benedictional cross, Parenzo, <a href='#Page_117'>117</a></span></li>
+<li><span style="margin-left: 2em;">Greek rhyton of silver in Civic Museum, Trieste, <a href='#Page_65'>65</a></span></li>
+<li><span style="margin-left: 2em;">Monstrance at Ossero, <a href='#Page_184'>184</a></span></li>
+<li><span style="margin-left: 2em;">Monstrance in Colleggiata, Isola, <a href='#Page_102'>102</a></span></li>
+<li><span style="margin-left: 2em;">Monstrance, cross, and chalice in church at Dignano, <a href='#Page_142'>142</a></span></li>
+<li><span style="margin-left: 2em;">Objects from the treasury of Cathedral, Aquileia, at G�rz, <a href='#Page_34'>34</a>, <a href='#Page_35'>35</a></span></li>
+<li><span style="margin-left: 2em;">Objects in Cathedral, Pisino, <a href='#Page_137'>137</a></span></li>
+<li><span style="margin-left: 2em;">Objects in treasury, Muggia Nuova, <a href='#Page_84'>84</a></span></li>
+<li><span style="margin-left: 2em;">Ostensory, reliquaries, &amp;c., in Cathedral, Tra�, <a href='#Page_278'>278</a></span></li>
+<li><span style="margin-left: 2em;">Pala at Veglia, <a href='#Page_173'>173</a>, <a href='#Page_174'>174</a></span></li>
+<li><span style="margin-left: 2em;">Pala in Cathedral, Parenzo, <a href='#Page_116'>116</a></span></li>
+<li><span style="margin-left: 2em;">Pastoral staff of Bishop Valaresso, <a href='#Page_228'>228</a></span></li>
+<li><span style="margin-left: 2em;">Processional cross in Cathedral treasury, Trieste, <a href='#Page_64'>64</a></span></li>
+<li><span style="margin-left: 2em;">Processional cross in S. Maria del Biscione, Mezzo, <a href='#Page_331'>331</a></span></li>
+<li><span style="margin-left: 2em;">Reliquaries, early, at Grado, <a href='#Page_47'>47</a>, <a href='#Page_48'>48</a></span></li>
+<li><span style="margin-left: 2em;">Reliquaries, early, found at Pola, <a href='#Page_153'>153</a>, <a href='#Page_154'>154</a></span></li>
+<li><span style="margin-left: 2em;">Reliquaries, early, in Museo Sacro, Vatican, <a href='#Page_48'>48</a>-<a href='#Page_49'>49</a></span></li>
+<li><span style="margin-left: 2em;">Reliquaries in Cathedral, Lesina, <a href='#Page_321'>321</a></span></li>
+<li><span style="margin-left: 2em;">Reliquaries, &amp;c., in Cathedral, Ragusa, <a href='#Page_344'>344</a>-<a href='#Page_347'>347</a></span></li>
+<li><span style="margin-left: 2em;">Reliquaries, &amp;c., in Cathedral, Spalato, <a href='#Page_296'>296</a>-<a href='#Page_298'>298</a></span></li>
+<li><span style="margin-left: 2em;">Reliquaries in Cathedral treasury, Zara, <a href='#Page_225'>225</a>-<a href='#Page_228'>228</a></span></li>
+<li><span style="margin-left: 2em;">Reliquaries in S. Anselmo, Nona, <a href='#Page_241'>241</a></span></li>
+<li><span style="margin-left: 2em;">Reliquaries in S. Maria Nuova, Zara, <a href='#Page_232'>232</a>-<a href='#Page_234'>234</a></span></li>
+<li><span style="margin-left: 2em;">Reliquaries in S. Trifone, Cattaro, <a href='#Page_383'>383</a></span></li>
+<li><span style="margin-left: 2em;">Reliquaries and chalices, &amp;c., in S. Domenico, Ragusa, <a href='#Page_351'>351</a></span></li>
+<li><span style="margin-left: 2em;">Reliquary of S. Christopher, and champlev� panels in Cathedral, Arbe, <a href='#Page_195'>195</a>-<a href='#Page_198'>198</a></span></li>
+<li><span style="margin-left: 2em;">Reredos of <i>repouss�</i> silver in S. Simeone, Zara, <a href='#Page_235'>235</a></span></li>
+<li><span style="margin-left: 2em;">Silver statue of S. Blaise in S. Biagio, Ragusa, <a href='#Page_347'>347</a></span></li>
+<li><span style="margin-left: 2em;">Silver and enamel work in Kloster Savina, <a href='#Page_374'>374</a></span></li>
+<li><span style="margin-left: 2em;">Treasury in Cathedral, Capodistria, <a href='#Page_91'>91</a>, <a href='#Page_92'>92</a></span></li>
+
+<li><span style="margin-left: 1em;">Good Friday ceremonies in Greek church, Zara, <a href='#Page_238'>238</a></span></li>
+
+<li><span style="margin-left: 1em;">G�rz, Objects from the treasury of Aquileia, <a href='#Page_34'>34</a>, <a href='#Page_35'>35</a></span></li>
+
+<li><span style="margin-left: 1em;">Gradese song sung at Trieste, <a href='#Page_58'>58</a></span></li>
+
+<li><span style="margin-left: 1em;">Grado, <a href='#Page_41'>41</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Cathedral, <a href='#Page_44'>44</a>, <a href='#Page_45'>45</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  "&nbsp; &nbsp; &nbsp; &nbsp; early pulpit, <a href='#Page_45'>45</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  "&nbsp; &nbsp; &nbsp; &nbsp; mosaic pavement, <a href='#Page_45'>45</a>, <a href='#Page_46'>46</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  "&nbsp; &nbsp; &nbsp; &nbsp; treasury, <a href='#Page_47'>47</a>-<a href='#Page_50'>50</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Church of S. Maria delle Grazie, <a href='#Page_51'>51</a>, <a href='#Page_52'>52</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  History, <a href='#Page_42'>42</a>, <a href='#Page_43'>43</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Patriarchate, <a href='#Page_43'>43</a>, <a href='#Page_44'>44</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Patriarch's seat now at Venice, <a href='#Page_50'>50</a>, <a href='#Page_51'>51</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Patriarch's seat and other ninth-century carvings, <a href='#Page_46'>46</a></span></li>
+
+<li><span style="margin-left: 1em;">Gravosa, <a href='#Page_333'>333</a></span></li>
+
+<li><span style="margin-left: 1em;">Greek church at Cattaro, <a href='#Page_385'>385</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  "&nbsp; &nbsp; &nbsp; &nbsp; Curzola, <a href='#Page_328'>328</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  "&nbsp; &nbsp; &nbsp; &nbsp; Sebenico, <a href='#Page_257'>257</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  "&nbsp; &nbsp; &nbsp; &nbsp; Zara, <a href='#Page_238'>238</a></span></li>
+
+<li><span style="margin-left: 1em;">Greek Church procession at Sebenico, <a href='#Page_257'>257</a></span></li>
+
+<li><span style="margin-left: 1em;">Greek colonies in Dalmatia and the islands, <a href='#Page_6'>6</a>, <a href='#Page_187'>187</a></span></li>
+
+<li><span style="margin-left: 1em;">Greek convent at Castel Nuovo, Kloster Savina, <a href='#Page_373'>373</a></span></li><li>&nbsp;</li>
+
+<li><span style="margin-left: 1em;">I</span></li>
+
+<li><span style="margin-left: 1em;">Island of S. Giorgio, <a href='#Page_375'>375</a></span></li>
+
+<li><span style="margin-left: 1em;">Islands, <a href='#Page_3'>3</a></span></li>
+
+<li><span style="margin-left: 1em;">Isola, Colleggiata and treasury, <a href='#Page_101'>101</a>, <a href='#Page_102'>102</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; History, <a href='#Page_101'>101</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Return of contadini, <a href='#Page_102'>102</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Scuola dei Battuti, <a href='#Page_102'>102</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Walk from Pirano, <a href='#Page_100'>100</a>, <a href='#Page_101'>101</a></span></li>
+
+<li><span style="margin-left: 1em;">Istria, Barbarian and pirate raids, <a href='#Page_75'>75</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  Destruction of Nesactium, <a href='#Page_70'>70</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  General appearance of coast towns, <a href='#Page_161'>161</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  Geological formation, <a href='#Page_160'>160</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  History, <a href='#Page_70'>70</a>-<a href='#Page_77'>77</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  Italianising of the country, <a href='#Page_71'>71</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  Original inhabitants, <a href='#Page_69'>69</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  Races inhabiting the country, <a href='#Page_6'>6</a>, <a href='#Page_7'>7</a>, <a href='#Page_69'>69</a>, <a href='#Page_71'>71</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  Schism of the "three chapters," <a href='#Page_72'>72</a>, <a href='#Page_73'>73</a></span></li><li>&nbsp;</li><li><span style="margin-left: 1em;">J</span></li>
+
+<li><span style="margin-left: 1em;">Julian Alps, <a href='#Page_2'>2</a></span></li><li>&nbsp;</li><li><span style="margin-left: 1em;">K</span></li>
+
+<li><span style="margin-left: 1em;">Kaiser Brunnen, near Zara, <a href='#Page_244'>244</a></span></li>
+
+<li><span style="margin-left: 1em;">Karvarina, or price of blood, <a href='#Page_19'>19</a></span></li>
+
+<li><span style="margin-left: 1em;">Kerka falls, <a href='#Page_260'>260</a></span></li>
+
+<li><span style="margin-left: 1em;">Klek, peninsula, <a href='#Page_335'>335</a></span></li>
+
+<li><span style="margin-left: 1em;">Kloster Savina, <a href='#Page_373'>373</a></span></li><li>&nbsp;</li><li><span style="margin-left: 1em;">L</span></li>
+
+<li><span style="margin-left: 1em;">Lacroma, island near Ragusa, <a href='#Page_362'>362</a></span></li>
+
+<li><span style="margin-left: 1em;">Lagosta, <a href='#Page_330'>330</a></span></li>
+
+<li><span style="margin-left: 1em;">Le Catene, <a href='#Page_374'>374</a></span></li>
+
+<li><span style="margin-left: 1em;">Lesina, <a href='#Page_318'>318</a>-<a href='#Page_323'>323</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Cathedral, <a href='#Page_320'>320</a>-<a href='#Page_322'>322</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Cittavecchia, Verbosca, and Gelsa, <a href='#Page_323'>323</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Franciscan convent, S. Maria delle Grazie, <a href='#Page_322'>322</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Loggia, <a href='#Page_320'>320</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; S. Marco, <a href='#Page_322'>322</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Treasury of the cathedral, <a href='#Page_321'>321</a>, <a href='#Page_322'>322</a></span></li>
+
+<li><span style="margin-left: 1em;">Limoges gemellions at Grado, <a href='#Page_49'>49</a></span></li>
+
+<li><span style="margin-left: 1em;">Lissa, <a href='#Page_329'>329</a>-<a href='#Page_330'>330</a></span></li>
+
+<li><span style="margin-left: 1em;">Loparo, <a href='#Page_200'>200</a>, <a href='#Page_202'>202</a></span></li>
+
+<li><span style="margin-left: 1em;">Lovc�n, Servian pilgrimage chapel, <a href='#Page_376'>376</a></span></li>
+
+<li><span style="margin-left: 1em;">Lussin Grande, <a href='#Page_181'>181</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; "&nbsp; &nbsp; &nbsp; Pictures in churches, <a href='#Page_182'>182</a></span></li>
+
+<li><span style="margin-left: 1em;">Lussin Piccolo, <a href='#Page_180'>180</a></span></li><li>&nbsp;</li><li><span style="margin-left: 1em;">M</span></li>
+
+<li><span style="margin-left: 1em;">Madonna del Scarpello, <a href='#Page_374'>374</a></span></li>
+
+<li><span style="margin-left: 1em;">Marinerezza, Festival at Cattaro, <a href='#Page_393'>393</a></span></li>
+
+<li><span style="margin-left: 1em;">Maximian of Ravenna, <a href='#Page_400'>400</a></span></li>
+
+<li><span style="margin-left: 1em;">Meleda, <a href='#Page_330'>330</a>, <a href='#Page_331'>331</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Porto Palazzo. <a href='#Page_330'>330</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; S. Maria del Lago, <a href='#Page_331'>331</a></span></li>
+
+<li><span style="margin-left: 1em;">Metkovi&#263;, <a href='#Page_191'>191</a></span></li>
+
+<li><span style="margin-left: 1em;">Mezzo, <a href='#Page_331'>331</a>-<a href='#Page_332'>332</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Goldsmiths' work, &amp;c., <a href='#Page_332'>332</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Pictures in other churches, <a href='#Page_332'>332</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; S. Maria del Biscione, <a href='#Page_331'>331</a></span></li>
+
+<li><span style="margin-left: 1em;">Monfalcone, Railway to Nabresina, <a href='#Page_54'>54</a>, <a href='#Page_55'>55</a></span></li>
+
+<li><span style="margin-left: 1em;">Montenegrin costume and customs, <a href='#Page_391'>391</a>, <a href='#Page_392'>392</a></span></li>
+
+<li><span style="margin-left: 1em;">Moresca, an ancient dance at Curzola, <a href='#Page_324'>324</a></span></li>
+
+<li><span style="margin-left: 1em;">Morlacchi, <a href='#Page_9'>9</a>, <a href='#Page_10'>10</a>, <a href='#Page_11'>11</a>-<a href='#Page_21'>21</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Costume of, <a href='#Page_10'>10</a>, <a href='#Page_11'>11</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Curious customs among, <a href='#Page_13'>13</a>, <a href='#Page_14'>14</a>, <a href='#Page_15'>15</a>, <a href='#Page_18'>18</a>, <a href='#Page_19'>19</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Marriage customs, <a href='#Page_20'>20</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Music and singing, <a href='#Page_12'>12</a>, <a href='#Page_260'>260</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Proverbs, <a href='#Page_21'>21</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Religious customs, <a href='#Page_13'>13</a>, <a href='#Page_14'>14</a>, <a href='#Page_15'>15</a></span></li>
+
+<li><span style="margin-left: 1em;">Mosaics:</span></li>
+<li><span style="margin-left: 2em;">Apse and triumphal arch of Cathedral, Parenzp, <a href='#Page_114'>114</a>, <a href='#Page_115'>115</a></span></li>
+<li><span style="margin-left: 2em;">Apses of Cathedral, Trieste, <a href='#Page_61'>61</a>, <a href='#Page_62'>62</a></span></li>
+<li><span style="margin-left: 2em;">At Cathedral, Pola, <a href='#Page_151'>151</a></span></li>
+<li><span style="margin-left: 2em;">Fa�ade of Cathedral, Parenzo, <a href='#Page_119'>119</a></span></li>
+<li><span style="margin-left: 2em;">From S. Maria del Canneto, Pola, <a href='#Page_149'>149</a></span></li>
+<li><span style="margin-left: 2em;">Opus sectile in apse of Cathedral, Parenzo, <a href='#Page_114'>114</a>, <a href='#Page_115'>115</a></span></li>
+<li><span style="margin-left: 1.5em;">Pavement of Cathedral, Grado, <a href='#Page_45'>45</a>, <a href='#Page_46'>46</a></span></li>
+<li><span style="margin-left: 1em;">Mountain chains: Julian Alps, <a href='#Page_2'>2</a>;</span></li>
+
+<li><span style="margin-left: 1em;">Velebits, or Dinaric Alps, <a href='#Page_2'>2</a>, <a href='#Page_3'>3</a></span></li>
+<li><span style="margin-left: 1em;">Muggia by boat, <a href='#Page_79'>79</a></span></li>
+
+<li><span style="margin-left: 1em;">Muggia Nuova, Church, <a href='#Page_84'>84</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  "&nbsp; &nbsp;  "&nbsp; &nbsp; &nbsp; treasury, <a href='#Page_84'>84</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  "&nbsp; &nbsp; &nbsp;  Fortifications, <a href='#Page_83'>83</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  "&nbsp; &nbsp; &nbsp;  History, <a href='#Page_84'>84</a>-<a href='#Page_85'>85</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  "&nbsp; &nbsp; &nbsp;  Municipal palace, <a href='#Page_84'>84</a></span></li>
+<li><span style="margin-left: 1em;">Muggia Vecchia, Church, <a href='#Page_80'>80</a>-<a href='#Page_82'>82</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  "&nbsp; &nbsp; &nbsp; &nbsp; Earlyambo, <a href='#Page_81'>81</a>,<a href='#Page_82'>82</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  "&nbsp; &nbsp; &nbsp; &nbsp; Wall paintings, <a href='#Page_82'>82</a></span></li>
+<li><span style="margin-left: 1em;">Music of the Morlacchi, <a href='#Page_260'>260</a></span></li><li>&nbsp;</li><li><span style="margin-left: 1em;">N</span></li>
+
+<li><span style="margin-left: 1em;">Neresine, Franciscan convent, <a href='#Page_183'>183</a></span></li>
+<li><span style="margin-left: 1em;">Nesactium destroyed, <a href='#Page_70'>70</a></span></li>
+<li><span style="margin-left: 1em;">Nona, Area of S. Marcella, <a href='#Page_242'>242</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Church of S. Anselmo, <a href='#Page_240'>240</a>-<a href='#Page_241'>241</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; "&nbsp; &nbsp; &nbsp; &nbsp; S. Croce, <a href='#Page_240'>240</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; "&nbsp; &nbsp; &nbsp; &nbsp; S. Michele, <a href='#Page_242'>242</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; "&nbsp; &nbsp; &nbsp; &nbsp; S. Nicol�, <a href='#Page_243'>243</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  History, <a href='#Page_239'>239</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Treasury of S. Anselmo, <a href='#Page_241'>241</a>-<a href='#Page_242'>242</a></span></li>
+<li><span style="margin-left: 1em;">North African influences on ornament, <a href='#Page_405'>405</a>, <a href='#Page_406'>406</a></span></li>
+<li><span style="margin-left: 1em;">Novaglia, <a href='#Page_202'>202</a>, <a href='#Page_205'>205</a></span></li><li>&nbsp;</li><li><span style="margin-left: 1em;">O</span></li>
+
+<li><span style="margin-left: 1em;">Ombla, the river Arione, <a href='#Page_335'>335</a></span></li>
+<li><span style="margin-left: 1em;">Oriental influences on construction,</span></li>
+<li><span style="margin-left: 1em;"><a href='#Page_405'>405</a></span></li>
+<li><span style="margin-left: 1em;">Ornament in the West influenced</span></li>
+<li><span style="margin-left: 1em;">from the East and from Africa,</span></li>
+<li><span style="margin-left: 1em;"><a href='#Page_405'>405</a>-<a href='#Page_407'>407</a></span></li>
+<li><span style="margin-left: 1em;">Ossero, <a href='#Page_184'>184</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Ancient bishop's seat from S. Maria, <a href='#Page_185'>185</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Cathedral, <a href='#Page_184'>184</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Museum, <a href='#Page_185'>185</a></span></li><li>&nbsp;</li>
+
+<li><span style="margin-left: 1em;">P</span></li>
+
+<li><span style="margin-left: 1em;">Pago, <a href='#Page_205'>205</a></span></li>
+<li><span style="margin-left: 1em;">Parenzo, An Easter Eve ceremonial, <a href='#Page_121'>121</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  Atrium and fa�ade with mosaics, <a href='#Page_119'>119</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  Baptistery and surrounding rooms, <a href='#Page_120'>120</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  Bishop's palace, <a href='#Page_121'>121</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  Chapels of the cathedral, <a href='#Page_118'>118</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  Christian cemetery with commemorative chapels, <a href='#Page_119'>119</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  Ciborium, <a href='#Page_116'>116</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  Excavations below and around the cathedral, <a href='#Page_107'>107</a>-<a href='#Page_113'>113</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  Greek Benedictional cross in the cathedral, <a href='#Page_117'>117</a>, <a href='#Page_118'>118</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  Medi�val fragments and buildings, <a href='#Page_122'>122</a>, <a href='#Page_123'>123</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  Modern life, <a href='#Page_125'>125</a>-<a href='#Page_126'>126</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  Mosaic inscriptions in pavements, <a href='#Page_108'>108</a>, <a href='#Page_112'>112</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  Mosaic in the apse, <a href='#Page_114'>114</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; &nbsp; "&nbsp; &nbsp;  upon triumphal arch, <a href='#Page_115'>115</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  Pala of high-altar, <a href='#Page_116'>116</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  Picture by Antonio da Murano in sacristy, <a href='#Page_117'>117</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  Roman remains, <a href='#Page_122'>122</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  Stalls in chapel of the Sacrament, <a href='#Page_116'>116</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  Struggles between bishop and commune, <a href='#Page_124'>124</a>, <a href='#Page_125'>125</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  The first basilica, <a href='#Page_107'>107</a>-<a href='#Page_110'>110</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  The present cathedral, <a href='#Page_113'>113</a>-<a href='#Page_121'>121</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  The second basilica, <a href='#Page_110'>110</a>-<a href='#Page_113'>113</a></span></li>
+<li><span style="margin-left: 1em;">Perasto, <a href='#Page_374'>374</a>-<a href='#Page_377'>377</a></span></li>
+<li><span style="margin-left: 1em;">Perkovic-Slivno, <a href='#Page_262'>262</a>, <a href='#Page_263'>263</a></span></li>
+<li><span style="margin-left: 1em;">Pictures:</span></li>
+<li><span style="margin-left: 2em;">Altar-piece of fifteenth century in S. Antonio, Arbe, <a href='#Page_199'>199</a></span></li>
+<li><span style="margin-left: 2em;">Altar-piece of 1430 in sacristy of S. Francesco, Zara, <a href='#Page_237'>237</a></span></li>
+<li><span style="margin-left: 2em;">Antonio da Murano in sacristy of Cathedral, Parenzo, <a href='#Page_117'>117</a></span></li>
+<li><span style="margin-left: 2em;">Bassano Giacomo (da Ponte) in Cathedral, Curzola, <a href='#Page_328'>328</a></span></li>
+<li><span style="margin-left: 2em;">Bassano, Jacopo in Franciscan Convent, Lesina, <a href='#Page_322'>322</a></span></li>
+<li><span style="margin-left: 2em;">Bellini, Giovanni, Organ wings in Cathedral, Tra�, <a href='#Page_277'>277</a></span></li>
+<li><span style="margin-left: 2em;">Bruges picture in Cathedral, Ragusa, <a href='#Page_342'>342</a></span></li>
+<li><span style="margin-left: 2em;">Carpaccio, Benedetto, in Cathedral, Trieste, <a href='#Page_64'>64</a></span></li>
+<li><span style="margin-left: 2em;">Carpaccio, Benedetto, in Communal Palace, Capodistria, <a href='#Page_89'>89</a></span></li>
+<li><span style="margin-left: 2em;">Carpaccio, Benedetto, in office of the Salt Works, Pirano, <a href='#Page_99'>99</a></span></li>
+<li><span style="margin-left: 2em;">Carpaccio, Benedetto, in S. Anna, Capodistria, <a href='#Page_89'>89</a></span></li>
+<li><span style="margin-left: 2em;">Carpaccio, Vittore, in Cathedral, Capodistria, <a href='#Page_89'>89</a></span></li>
+<li><span style="margin-left: 2em;">Carpaccio, Vittore, in Church of the Paludi, Spalato, <a href='#Page_307'>307</a></span></li>
+<li><span style="margin-left: 2em;">Carpaccio, Vittore, in Communal Palace, Capodistria, <a href='#Page_89'>89</a></span></li>
+<li><span style="margin-left: 2em;">Carpaccio, Vittore, in S. Francesco, Pirano, <a href='#Page_98'>98</a></span></li>
+<li><span style="margin-left: 2em;">Carpaccio, Vittore, six small pictures in Cathedral, Zara, <a href='#Page_222'>222</a></span></li>
+<li><span style="margin-left: 2em;">Carpaccio, Vittore, in S. Francesco, Zara, <a href='#Page_230'>230</a></span></li>
+<li><span style="margin-left: 2em;">Cima da Conegliano in S. Anna, Capodistria, <a href='#Page_90'>90</a></span></li>
+<li><span style="margin-left: 2em;">Crucifixion, &amp;c., on gold ground with Greek inscriptions, Cathedral, Arbe, <a href='#Page_195'>195</a></span></li>
+<li><span style="margin-left: 2em;">Early Madonna and Child, Cathedral, Arbe, <a href='#Page_195'>195</a></span></li>
+<li><span style="margin-left: 2em;">Francesco Santa Croce in Franciscan Convent, Lesina, <a href='#Page_322'>322</a></span></li>
+<li><span style="margin-left: 2em;">Giottino, Tommaso, in sacristy, Cathedral, Trieste, <a href='#Page_64'>64</a></span></li>
+<li><span style="margin-left: 2em;">Girolamo da Santa Croce in Cathedral, Pisino, <a href='#Page_137'>137</a></span></li>
+<li><span style="margin-left: 2em;">Girolamo da Santa Croce in Church of the Paludi, Spalato, <a href='#Page_307'>307</a></span></li>
+<li><span style="margin-left: 2em;">Girolamo da Santa Croce in Colleggiata, Isola, <a href='#Page_101'>101</a></span></li>
+<li><span style="margin-left: 2em;">Girolamo da Santa Croce in Monastery of Val Cassione, Veglia, <a href='#Page_175'>175</a></span></li>
+<li><span style="margin-left: 2em;">Girolamo da Santa Croce in S. Francesco, Neresine, <a href='#Page_183'>183</a></span></li>
+<li><span style="margin-left: 2em;">Gradinelli, Antonio, in Cathedral, Lesina, <a href='#Page_321'>321</a></span></li>
+<li><span style="margin-left: 2em;">Lotto, Lorenzo, in Church of the Paludi, Spalato, <a href='#Page_307'>307</a></span></li>
+<li><span style="margin-left: 2em;">Lotto, Lorenzo, in S. Domenico alia Marina, Sebenico, <a href='#Page_257'>257</a></span></li>
+<li><span style="margin-left: 2em;">Mantegna, or John Bellini, in Cathedral, Cittanova, <a href='#Page_106'>106</a></span></li>
+<li><span style="margin-left: 2em;">Nicolaus Raguseus in "Danc�" Church, Ragusa, <a href='#Page_360'>360</a></span></li>
+<li><span style="margin-left: 2em;">Nicolaus Raguseus in Parish Church, Mezzo, <a href='#Page_331'>331</a></span></li>
+<li><span style="margin-left: 2em;">Nicolaus Raguseus in S. Domenico, Ragusa, <a href='#Page_349'>349</a></span></li>
+<li><span style="margin-left: 2em;">Nicolaus Raguseus in S. Nicol�, Mezzo, <a href='#Page_332'>332</a></span></li>
+<li><span style="margin-left: 2em;">Padovaninos in Cathedral, Ragusa, <a href='#Page_343'>343</a></span></li>
+<li><span style="margin-left: 2em;">Painted crucifix in S. Crisogono, Zara, <a href='#Page_231'>231</a></span></li>
+<li><span style="margin-left: 2em;">Painted crucifix of tenth century in Chapel of S. Carlo, S. Francesco, Zara, <a href='#Page_236'>236</a></span></li>
+<li><span style="margin-left: 2em;">Pala from S. Pietro di Klobu&#269;ac, in church of Castelnuovo, <a href='#Page_287'>287</a></span></li>
+<li><span style="margin-left: 2em;">Palma Giovane in Cathedral, Lesina, <a href='#Page_321'>321</a></span></li>
+<li><span style="margin-left: 2em;">Palma Giovane in Cathedral, Zara, <a href='#Page_222'>222</a></span></li>
+<li><span style="margin-left: 2em;">Palma Giovane in S. Domenico alia Marina, Sebenico, <a href='#Page_257'>257</a></span></li>
+<li><span style="margin-left: 2em;">Palma Giovane in S. Domenico, Tra�, <a href='#Page_269'>269</a></span></li>
+<li><span style="margin-left: 2em;">Palma Giovane in S. Francesco, Zara, <a href='#Page_236'>236</a></span></li>
+<li><span style="margin-left: 2em;">Palma, Jacopo, in Franciscan Convent, Lesina, <a href='#Page_322'>322</a></span></li>
+<li><span style="margin-left: 2em;">Palma Vecchio in Cathedral, Ragusa, <a href='#Page_343'>343</a></span></li>
+<li><span style="margin-left: 2em;">Palma Vecchio in S. Maria Nuova, Zara, <a href='#Page_232'>232</a></span></li>
+<li><span style="margin-left: 2em;">Panels of saints on gold ground, S. Domenico, Tra�, <a href='#Page_269'>269</a></span></li>
+<li><span style="margin-left: 2em;">Paolo Veronese in S. Maria, Verbosca, <a href='#Page_323'>323</a></span></li>
+<li><span style="margin-left: 2em;">Paris Bordone (copy) in Rector's Palace, Ragusa, <a href='#Page_355'>355</a></span></li>
+<li><span style="margin-left: 2em;">Pellegrino di S. Daniele in Cathedral, Aquileia, <a href='#Page_33'>33</a></span></li>
+<li><span style="margin-left: 2em;">Picture of school of Titian, S. Maria Nuova, Zara, <a href='#Page_232'>232</a></span></li>
+<li><span style="margin-left: 2em;">Pictures of the Venetian school in S. Maria del Biscione, Mezzo, <a href='#Page_331'>331</a></span></li>
+<li><span style="margin-left: 2em;">Pietro della Vacchia in S. Maria degli Angeli, Lussin Grande, <a href='#Page_182'>182</a></span></li>
+<li><span style="margin-left: 2em;">Pordenone in Cathedral, Ragusa, <a href='#Page_343'>343</a></span></li>
+<li><span style="margin-left: 2em;">Pordenone&nbsp; in&nbsp; S. Francesco, Veglia, <a href='#Page_175'>175</a></span></li>
+<li><span style="margin-left: 2em;">Rosselli, Matteo, in Franciscan Convent, Lesina, <a href='#Page_322'>322</a></span></li>
+<li><span style="margin-left: 2em;">Schiavone, Andrea, in Cathedral, Sebenico, <a href='#Page_257'>257</a></span></li>
+<li><span style="margin-left: 2em;">Schiavone, Andrea, in Cathedral, Zara, <a href='#Page_222'>222</a></span></li>
+<li><span style="margin-left: 2em;">Schiavone, Andrea, in church, San Vincenti, <a href='#Page_140'>140</a></span></li>
+<li><span style="margin-left: 2em;">Tintoretto, Jacomo, in Dominican Convent, Bol, on Brazza, <a href='#Page_318'>318</a></span></li>
+<li><span style="margin-left: 2em;">Titian in Cathedral, Lagosta, <a href='#Page_330'>330</a></span></li>
+<li><span style="margin-left: 2em;">Titian in S. Domenico, Ragusa, <a href='#Page_350'>350</a></span></li>
+<li><span style="margin-left: 2em;">Titian in S. Lorenzo, Verbosca, <a href='#Page_323'>323</a></span></li>
+<li><span style="margin-left: 2em;">Vecellio, Marco, in S. Domenico alia Marina, Sebenico, <a href='#Page_257'>257</a></span></li>
+<li><span style="margin-left: 2em;">Vivarini, Alvise, in priest's house, Cherso, <a href='#Page_186'>186</a></span></li>
+<li><span style="margin-left: 2em;">Vivarini, Bartolommco, in S. Andrea, Arbe, <a href='#Page_199'>199</a></span></li>
+<li><span style="margin-left: 2em;">Vivarini, Bartolommco, in S. Eufemia, Arbe, <a href='#Page_199'>199</a></span></li>
+<li><span style="margin-left: 2em;">Vivarini, Bartolommeo, in S. Maria degli Angeli, Lussin Grande, <a href='#Page_182'>182</a></span></li>
+<li><span style="margin-left: 2em;">Vivarini in church at Besca Nova, <a href='#Page_177'>177</a></span></li>
+
+<li><span style="margin-left: 1em;">Pirano, <a href='#Page_93'>93</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Baptistery, <a href='#Page_98'>98</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Byzantine casket found in the cathedral, <a href='#Page_97'>97</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Carved stall in the church of S. George, <a href='#Page_99'>99</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Church of S. Francesco, <a href='#Page_98'>98</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Funeral, marriage, and festival customs, <a href='#Page_97'>97</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  History, <a href='#Page_94'>94</a>, <a href='#Page_95'>95</a>, <a href='#Page_96'>96</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Picture by Ben. Carpaccio in office of the salt-works, <a href='#Page_99'>99</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Picture by Vittore Carpaccio in S. Francesco, <a href='#Page_98'>98</a>, <a href='#Page_99'>99</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Tartini, statue of, <a href='#Page_99'>99</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  The statute, <a href='#Page_96'>96</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  The walls, <a href='#Page_95'>95</a></span></li>
+
+<li><span style="margin-left: 1em;">Pisino, <a href='#Page_136'>136</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Castle and cathedral, <a href='#Page_137'>137</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Costume of peasants at cattle-fair, <a href='#Page_138'>138</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Ravine, <a href='#Page_137'>137</a></span></li>
+
+<li><span style="margin-left: 1em;">Placito of Risano, <a href='#Page_74'>74</a></span></li>
+
+<li><span style="margin-left: 1em;">Plague, Its ravages, <a href='#Page_77'>77</a>, <a href='#Page_78'>78</a></span></li>
+
+<li><span style="margin-left: 1em;">Pola, Amphitheatre, <a href='#Page_146'>146</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Antique marbles sent to Venice, <a href='#Page_150'>150</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Castle, <a href='#Page_155'>155</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Cathedral, <a href='#Page_151'>151</a>-<a href='#Page_153'>153</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Church of S. Francesco, <a href='#Page_154'>154</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Church of S. Maria Formosa, <a href='#Page_147'>147</a>-<a href='#Page_150'>150</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Communal museum, <a href='#Page_157'>157</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Communal palace, <a href='#Page_155'>155</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Early churches, <a href='#Page_150'>150</a>, <a href='#Page_151'>151</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Early reliquaries found near the cathedral, <a href='#Page_153'>153</a>, <a href='#Page_154'>154</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Harbour, <a href='#Page_143'>143</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  History, <a href='#Page_158'>158</a>, <a href='#Page_159'>159</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Medieval walls, and regulations with regard to them, <a href='#Page_156'>156</a>, <a href='#Page_157'>157</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Porta Aurea, <a href='#Page_145'>145</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Porta Gemina and Porta Ercole, <a href='#Page_145'>145</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Remains of building of the ninth century, <a href='#Page_151'>151</a>, <a href='#Page_152'>152</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Temple of Augustus, <a href='#Page_145'>145</a>, <a href='#Page_146'>146</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  The Roman city, <a href='#Page_144'>144</a></span></li>
+
+<li><span style="margin-left: 1em;">Poppo's rebuilding of Cathedral, Aquileia, <a href='#Page_29'>29</a></span></li>
+
+<li><span style="margin-left: 1em;">Privileges of the nobles or founders of the Castelli, <a href='#Page_290'>290</a></span></li>
+
+<li><span style="margin-left: 1em;">Proverbs of the Morlacchi, <a href='#Page_21'>21</a></span></li>
+
+<li><span style="margin-left: 1em;">Punta Planka, <a href='#Page_264'>264</a></span></li><li>&nbsp;</li><li><span style="margin-left: 1em;">Q</span></li>
+
+<li><span style="margin-left: 1em;">Quarnero, <a href='#Page_162'>162</a>, <a href='#Page_166'>166</a>, <a href='#Page_167'>167</a></span></li>
+
+<li><span style="margin-left: 1em;">Quays at Trieste, Shipping and varied costumes, <a href='#Page_57'>57</a></span></li><li>&nbsp;</li><li><span style="margin-left: 1em;">R</span></li>
+
+<li><span style="margin-left: 1em;">Race animosity in Dalmatia, <a href='#Page_21'>21</a></span></li>
+
+<li><span style="margin-left: 1em;">Ragusa, Cathedral, <a href='#Page_342'>342</a>-<a href='#Page_347'>347</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; &nbsp; "&nbsp; &nbsp; &nbsp; the treasury, <a href='#Page_343'>343</a>-<a href='#Page_347'>347</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Cemetery&nbsp; church "alle Danc�,"&nbsp; <a href='#Page_360'>360</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Chapel of S. Luke, <a href='#Page_363'>363</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Chapel of SS. Annunziata, <a href='#Page_363'>363</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Church of S. Biagio, <a href='#Page_347'>347</a>, <a href='#Page_366'>366</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Church of S. Salvatore, <a href='#Page_357'>357</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Dominican church, <a href='#Page_349'>349</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  "&nbsp; &nbsp; &nbsp; &nbsp; cloister, <a href='#Page_351'>351</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  "&nbsp; &nbsp; &nbsp; &nbsp; convent, <a href='#Page_348'>348</a>-<a href='#Page_53'>53</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Enlightenment in Middle Ages, <a href='#Page_364'>364</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Fortifications, <a href='#Page_336'>336</a>, <a href='#Page_337'>337</a>, <a href='#Page_361'>361</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Fountains by Onofrio de La Cava, <a href='#Page_357'>357</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Franciscan convent, <a href='#Page_353'>353</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Government of the Republic, <a href='#Page_364'>364</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; History, <a href='#Page_338'>338</a>, <a href='#Page_341'>341</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; La Sigurata, <a href='#Page_354'>354</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Lazaretto and Turkish bazaar, <a href='#Page_363'>363</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Oldest relief of S. Blaise, <a href='#Page_362'>362</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Porta Pile, <a href='#Page_336'>336</a>, <a href='#Page_351'>351</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Porta Plo&#269;e, <a href='#Page_348'>348</a>, <a href='#Page_351'>351</a>, <a href='#Page_362'>362</a>, <a href='#Page_363'>363</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Rector's Palace, <a href='#Page_354'>354</a>-<a href='#Page_357'>357</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Revenue and coinage, <a href='#Page_366'>366</a>, <a href='#Page_367'>367</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Roland Column, <a href='#Page_359'>359</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; S. Giacomo degli Olivi, <a href='#Page_363'>363</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; S. Stefano&nbsp; and&nbsp; early churches, <a href='#Page_341'>341</a>, <a href='#Page_342'>342</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Situation, <a href='#Page_333'>333</a>, <a href='#Page_336'>336</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Sponza, <a href='#Page_358'>358</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Strips of territory given to Turkey, <a href='#Page_335'>335</a></span></li>
+
+<li><span style="margin-left: 1em;">Ragusa Vecchia, <a href='#Page_367'>367</a></span></li>
+
+<li><span style="margin-left: 1em;">Railway customs at Spalato, <a href='#Page_310'>310</a></span></li>
+
+<li><span style="margin-left: 1em;">Regulations under the communes, <a href='#Page_77'>77</a></span></li>
+
+<li><span style="margin-left: 1em;">Relations between the two coasts, <a href='#Page_398'>398</a>-<a href='#Page_404'>404</a></span></li>
+
+<li><span style="margin-left: 1em;">Rhizinit�, <a href='#Page_369'>369</a></span></li>
+
+<li><span style="margin-left: 1em;">Risano, <a href='#Page_370'>370</a>, <a href='#Page_371'>371</a>, <a href='#Page_376'>376</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Intermittent waterfall, <a href='#Page_375'>375</a></span></li>
+
+<li><span style="margin-left: 1em;">Riviera dei Castelli, from the railway above, <a href='#Page_263'>263</a></span></li>
+
+<li><span style="margin-left: 1em;">Roman roads in Dalmatia, <a href='#Page_188'>188</a></span></li>
+
+<li><span style="margin-left: 1em;">Rovignese craftsmen, <a href='#Page_132'>132</a></span></li>
+
+<li><span style="margin-left: 1em;">Rovigno, <a href='#Page_127'>127</a>-<a href='#Page_131'>131</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; &nbsp; Colleggiata, Chapel of S. Eufemia, <a href='#Page_129'>129</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; &nbsp; Costume of the peasants, <a href='#Page_128'>128</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; &nbsp; Funeral ceremonies, <a href='#Page_128'>128</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; &nbsp; Oratory of the Trinity, <a href='#Page_129'>129</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; &nbsp; Pirate raids, <a href='#Page_131'>131</a></span></li><li>&nbsp;</li><li><span style="margin-left: 1em;">S</span></li>
+
+<li><span style="margin-left: 1em;">Salona, <a href='#Page_309'>309</a>-<a href='#Page_314'>314</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Basilica at Marusinac, <a href='#Page_313'>313</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Salona, Basilica Urbana, <a href='#Page_311'>311</a>, <a href='#Page_312'>312</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Christian cemetery, <a href='#Page_312'>312</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Sarcophagus in S. Caius, <a href='#Page_314'>314</a></span></li>
+
+<li><span style="margin-left: 1em;">Salvore, <a href='#Page_100'>100</a></span></li>
+
+<li><span style="margin-left: 1em;">S. Eufemia, Rovignese legends, <a href='#Page_129'>129</a>-<a href='#Page_131'>131</a></span></li>
+
+<li><span style="margin-left: 1em;">S. Giorgio degli Schiavoni, Venice, <a href='#Page_404'>404</a></span></li>
+
+<li><span style="margin-left: 1em;">S. Giovanni Orsini of Tra�, <a href='#Page_278'>278</a></span></li>
+
+<li><span style="margin-left: 1em;">S. Lorenzo in Pasenatico, <a href='#Page_133'>133</a></span></li>
+
+<li><span style="margin-left: 1em;">S. Lorenzo in Pasenatico, Church, <a href='#Page_134'>134</a></span></li>
+
+<li><span style="margin-left: 1em;">S. Lorenzo in Pasenatico, Loggia and gateways, <a href='#Page_134'>134</a></span></li>
+
+<li><span style="margin-left: 1em;">S. Maria di Barbana, <a href='#Page_52'>52</a></span></li>
+
+<li><span style="margin-left: 1em;">San Vincenti, Castle, <a href='#Page_138'>138</a>, <a href='#Page_139'>139</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  "&nbsp; &nbsp; &nbsp;  Churches, <a href='#Page_140'>140</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  "&nbsp; &nbsp; &nbsp;  Jousts and witch-burning, <a href='#Page_138'>138</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  "&nbsp; &nbsp; &nbsp;  Wedding&nbsp; customs, <a href='#Page_141'>141</a></span></li>
+
+<li><span style="margin-left: 1em;">Scardona, <a href='#Page_259'>259</a></span></li>
+
+<li><span style="margin-left: 1em;">Scoglio Orlandino, <a href='#Page_127'>127</a></span></li>
+
+<li><span style="margin-left: 1em;">Sebenico, <a href='#Page_245'>245</a></span></li>
+<li><span style="margin-left: 2em;">"&nbsp; &nbsp; &nbsp;  at night, <a href='#Page_260'>260</a></span></li>
+<li><span style="margin-left: 2em;">"&nbsp; &nbsp; &nbsp;  Baptistery, <a href='#Page_252'>252</a></span></li>
+<li><span style="margin-left: 2em;">"&nbsp; &nbsp; &nbsp;  Cathedral, <a href='#Page_247'>247</a>-<a href='#Page_255'>255</a></span></li>
+<li><span style="margin-left: 2em;">"&nbsp; &nbsp; &nbsp;  Church of S. Barbara, <a href='#Page_256'>256</a></span></li>
+<li><span style="margin-left: 2em;">"&nbsp; &nbsp; &nbsp;  Church of S. Giovanni Battista, <a href='#Page_256'>256</a></span></li>
+<li><span style="margin-left: 2em;">"&nbsp; &nbsp; &nbsp;  City arms, <a href='#Page_246'>246</a></span></li>
+<li><span style="margin-left: 2em;">"&nbsp; &nbsp; &nbsp;  Communal wells, <a href='#Page_256'>256</a></span></li>
+<li><span style="margin-left: 2em;">"&nbsp; &nbsp; &nbsp;  Costume of the people, <a href='#Page_258'>258</a></span></li>
+<li><span style="margin-left: 2em;">"&nbsp; &nbsp; &nbsp;  Door of Giorgio's house, <a href='#Page_256'>256</a></span></li>
+<li><span style="margin-left: 2em;">"&nbsp; &nbsp; &nbsp;  Fort Barone, <a href='#Page_245'>245</a></span></li>
+<li><span style="margin-left: 2em;">"&nbsp; &nbsp; &nbsp; "&nbsp; &nbsp;  S. Anna, <a href='#Page_245'>245</a>, <a href='#Page_262'>262</a></span></li>
+<li><span style="margin-left: 2em;">"&nbsp; &nbsp; &nbsp; "&nbsp; &nbsp;  S. Giovanni, <a href='#Page_245'>245</a>, <a href='#Page_262'>262</a></span></li>
+<li><span style="margin-left: 2em;">"&nbsp; &nbsp; &nbsp; "&nbsp; &nbsp;  S. Nicol�, <a href='#Page_245'>245</a></span></li>
+<li><span style="margin-left: 2em;">"&nbsp; &nbsp; &nbsp;  Greek Christian procession on Feast of the Assumption, <a href='#Page_257'>257</a></span></li>
+<li><span style="margin-left: 2em;">"&nbsp; &nbsp; &nbsp;  Greek church, <a href='#Page_257'>257</a></span></li>
+<li><span style="margin-left: 2em;">"&nbsp; &nbsp; &nbsp;  History, <a href='#Page_246'>246</a></span></li>
+<li><span style="margin-left: 2em;">"&nbsp; &nbsp; &nbsp;  Loggia, <a href='#Page_256'>256</a></span></li>
+<li><span style="margin-left: 2em;">"&nbsp; &nbsp; &nbsp;  S. Domenico alia Marina, <a href='#Page_257'>257</a></span></li>
+<li><span style="margin-left: 2em;">"&nbsp; &nbsp; &nbsp;  S. Francesco, <a href='#Page_257'>257</a></span></li>
+
+<li><span style="margin-left: 1em;">Slav immigration, <a href='#Page_7'>7</a></span></li>
+
+<li><span style="margin-left: 1em;">Slavs described by Procopius, <a href='#Page_8'>8</a></span></li>
+
+<li><span style="margin-left: 1em;">Smergo&mdash;"Dirupo di Smergo," <a href='#Page_185'>185</a></span></li>
+
+<li><span style="margin-left: 1em;">Solta, <a href='#Page_317'>317</a></span></li>
+
+<li><span style="margin-left: 1em;">Spalato, Approach to, <a href='#Page_263'>263</a>, <a href='#Page_264'>264</a></span></li>
+
+<li><span style="margin-left: 1em;">Spalato, Baptistery, <a href='#Page_299'>299</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Campanile, <a href='#Page_298'>298</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Cathedral, <a href='#Page_294'>294</a>-<a href='#Page_298'>298</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Chapel of S. Martin, Porta Aurea, <a href='#Page_300'>300</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Chapels in the cathedral by Gaspare Bonino of Milan and Giorgio of Sebenico, <a href='#Page_249'>249</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Church and convent of S. Francesco, <a href='#Page_304'>304</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Church of S. Eufemia, <a href='#Page_309'>309</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Church of SS. Trinita, <a href='#Page_308'>308</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Corinthian vase of sixth century <span class="smcap">B.C</span>., <a href='#Page_306'>306</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Diocletian's Palace, <a href='#Page_292'>292</a>-<a href='#Page_295'>295</a>, <a href='#Page_299'>299</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; History, <a href='#Page_302'>302</a>, <a href='#Page_303'>303</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Marina, <a href='#Page_304'>304</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Monastery of the Paludi, <a href='#Page_307'>307</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Origin, <a href='#Page_292'>292</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Pictures in the church of the Paludi, <a href='#Page_307'>307</a>, <a href='#Page_308'>308</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Sculptures in the Museums, <a href='#Page_305'>305</a>, <a href='#Page_306'>306</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Treasury in the cathedral, <a href='#Page_296'>296</a>-<a href='#Page_298'>298</a></span></li>
+
+<li><span style="margin-left: 1em;">Spizza, <a href='#Page_395'>395</a></span></li>
+
+<li><span style="margin-left: 1em;">Stagno, <a href='#Page_335'>335</a></span></li>
+
+<li><span style="margin-left: 1em;">Stormy passage to Arbe, <a href='#Page_200'>200</a>-<a href='#Page_203'>203</a></span></li>
+
+<li><span style="margin-left: 1em;">Strzygowski's opinions on palace of Diocletian, <a href='#Page_405'>405</a></span></li>
+
+<li><span style="margin-left: 1em;">Syrian influences in ornament and construction, <a href='#Page_397'>397</a>, <a href='#Page_404'>404</a></span></li>
+
+<li><span style="margin-left: 1em;">Syro-Greek construction at Spalato, <a href='#Page_404'>404</a></span></li><li>&nbsp;</li><li><span style="margin-left: 1em;">&#932;</span></li>
+
+<li><span style="margin-left: 1em;">Three chapters, Schism of, <a href='#Page_70'>70</a>, <a href='#Page_71'>71</a></span></li>
+
+<li><span style="margin-left: 1em;">Tommaseo, Nicol�, <a href='#Page_259'>259</a></span></li>
+
+<li><span style="margin-left: 1em;">Tra�, Antiquities, pagan and Christian, <a href='#Page_266'>266</a>, <a href='#Page_267'>267</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; Campanile of the cathedral, <a href='#Page_275'>275</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; Casa Cippico and other palaces, <a href='#Page_282'>282</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; Castel del Camerlengho, <a href='#Page_266'>266</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; Cathedral, <a href='#Page_269'>269</a>-<a href='#Page_280'>280</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  "&nbsp; &nbsp; &nbsp; &nbsp;  baptistery, <a href='#Page_280'>280</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  "&nbsp; &nbsp; &nbsp; &nbsp;  chapel of S. Giovanni Orsini, <a href='#Page_276'>276</a>, <a href='#Page_278'>278</a>-<a href='#Page_280'>280</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  "&nbsp; &nbsp; &nbsp; &nbsp;  exterior, <a href='#Page_274'>274</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  "&nbsp; &nbsp; &nbsp; &nbsp;  interior, <a href='#Page_275'>275</a>, <a href='#Page_278'>278</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  "&nbsp; &nbsp; &nbsp; &nbsp;  sacristy, <a href='#Page_277'>277</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  "&nbsp; &nbsp; &nbsp; &nbsp;  tomb of S. Giovanni Orsini, <a href='#Page_280'>280</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  "&nbsp; &nbsp; &nbsp; &nbsp;  west door, <a href='#Page_270'>270</a>-<a href='#Page_274'>274</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; Church of S. Barbara, <a href='#Page_267'>267</a>-<a href='#Page_269'>269</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  "&nbsp; &nbsp; &nbsp; &nbsp; S. Domenico, <a href='#Page_269'>269</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  "&nbsp; &nbsp; &nbsp; &nbsp; S. Giovanni, <a href='#Page_283'>283</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  "&nbsp; &nbsp; &nbsp; &nbsp; S. Nicol�, <a href='#Page_267'>267</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; from Spalato, <a href='#Page_284'>284</a>, <a href='#Page_285'>285</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; Gates, <a href='#Page_265'>265</a>, <a href='#Page_266'>266</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; History, <a href='#Page_264'>264</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; Loggia, <a href='#Page_281'>281</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; Pains and penalties, <a href='#Page_282'>282</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; Palazzo Comunale, <a href='#Page_283'>283</a></span></li>
+
+<li><span style="margin-left: 1em;">Trieste, <a href='#Page_56'>56</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  Arco di Riccardo, <a href='#Page_65'>65</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  Cathedral, SS. Giusto and Servolo, <a href='#Page_59'>59</a>-<a href='#Page_64'>64</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; &nbsp; "&nbsp; &nbsp; &nbsp; &nbsp; mosaics in apses, <a href='#Page_61'>61</a>, <a href='#Page_62'>62</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  Civic museum, <a href='#Page_65'>65</a>, <a href='#Page_66'>66</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  Classical carvings in cathedral and campanile, <a href='#Page_62'>62</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  Descent from Nabresina, <a href='#Page_56'>56</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  Gradese song, <a href='#Page_58'>58</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  History, <a href='#Page_59'>59</a>, <a href='#Page_67'>67</a>, <a href='#Page_68'>68</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  Museo Lapidario, <a href='#Page_64'>64</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  Pictures and treasury in the cathedral, <a href='#Page_64'>64</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  Quays,&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;  <a href='#Page_57'>57</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  Varied costumes, <a href='#Page_57'>57</a></span></li><li>&nbsp;</li><li><span style="margin-left: 1em;">U</span></li>
+
+<li><span style="margin-left: 1em;">Ugljan, <a href='#Page_206'>206</a></span></li>
+
+<li><span style="margin-left: 1em;">Umago, <a href='#Page_104'>104</a></span></li>
+
+<li><span style="margin-left: 1em;">Uscocs of Zengg, <a href='#Page_167'>167</a>, <a href='#Page_168'>168</a></span></li><li>&nbsp;</li><li><span style="margin-left: 1em;">V</span></li>
+
+<li><span style="margin-left: 1em;">Val Cassione, <a href='#Page_201'>201</a>, <a href='#Page_205'>205</a></span></li>
+
+<li><span style="margin-left: 1em;">Valle, Embroidered chasuble and silver-work in the church, <a href='#Page_142'>142</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Fortifications, <a href='#Page_141'>141</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Ninth-century carving&nbsp; in crypt, <a href='#Page_141'>141</a></span></li>
+
+<li><span style="margin-left: 1em;">Veglia, Castel Muschio, <a href='#Page_169'>169</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  Castle and walls, <a href='#Page_171'>171</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  Cathedral, <a href='#Page_172'>172</a>-<a href='#Page_174'>174</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Cathedral, the silver pala, <a href='#Page_173'>173</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Church of S. Francesco, <a href='#Page_175'>175</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  "&nbsp; &nbsp; &nbsp; &nbsp; S. Maria, <a href='#Page_175'>175</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  "&nbsp; &nbsp; &nbsp; &nbsp; S. Quirinus, <a href='#Page_174'>174</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Defeat of C�sarian fleet in <a href='#Page_49'>49</a> <span class="smcap">B.C</span>., <a href='#Page_169'>169</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Monastery of Val Cassione, <a href='#Page_175'>175</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; The last Count Frangipani, <a href='#Page_170'>170</a>, <a href='#Page_171'>171</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp; Venetian remains, <a href='#Page_171'>171</a>, <a href='#Page_175'>175</a></span></li>
+
+<li><span style="margin-left: 1em;">Velebits, <a href='#Page_2'>2</a></span></li>
+
+<li><span style="margin-left: 1em;">Venetian advances, <a href='#Page_76'>76</a></span></li>
+
+<li><span style="margin-left: 1em;">Vilen, <a href='#Page_17'>17</a></span></li><li>&nbsp;</li>
+
+
+<li><span style="margin-left: 1em;">Z</span></li>
+
+<li><span style="margin-left: 1em;">Zara, <a href='#Page_206'>206</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Altar of S. Anastasia, <a href='#Page_224'>224</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Antique remains, <a href='#Page_212'>212</a>, <a href='#Page_213'>213</a>, <a href='#Page_215'>215</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Bo d'Antona, <a href='#Page_207'>207</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Cathedral, <a href='#Page_219'>219</a>-<a href='#Page_222'>222</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  "&nbsp; &nbsp; &nbsp; &nbsp; baptistery and sacristy, <a href='#Page_229'>229</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  "&nbsp; &nbsp; &nbsp; &nbsp; campanile, <a href='#Page_221'>221</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  "&nbsp; &nbsp; &nbsp; &nbsp; crypt, <a href='#Page_222'>222</a>, <a href='#Page_224'>224</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  "&nbsp; &nbsp; &nbsp; &nbsp; interior, <a href='#Page_221'>221</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Church of S. Barbara, now sacristy of the cathedral, <a href='#Page_229'>229</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  "&nbsp; &nbsp; &nbsp;  S. Crisogono, <a href='#Page_229'>229</a>-<a href='#Page_231'>231</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  "&nbsp; &nbsp; &nbsp;  S. Domenico, <a href='#Page_217'>217</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  "&nbsp; &nbsp; &nbsp;  S. Domenico (S. Michele), <a href='#Page_238'>238</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  "&nbsp; &nbsp; &nbsp;  S. Lorenzo, <a href='#Page_216'>216</a>, <a href='#Page_217'>217</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  "&nbsp; &nbsp; &nbsp;  S. Maria Nuova, <a href='#Page_231'>231</a>-<a href='#Page_234'>234</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  "&nbsp; &nbsp; &nbsp;  S. Maria Nuova, treasury, <a href='#Page_232'>232</a>-<a href='#Page_234'>234</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  "&nbsp; &nbsp; &nbsp;  S. Pietro Vecchio, <a href='#Page_219'>219</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  "&nbsp; &nbsp; &nbsp;  S. Simeone, <a href='#Page_234'>234</a>-<a href='#Page_236'>236</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Church and Convent of S. Francesco, <a href='#Page_236'>236</a>-<a href='#Page_238'>238</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp; &nbsp;  "&nbsp; &nbsp; and Convent of S. Francesco,&nbsp; Pictures in, <a href='#Page_236'>236</a>, <a href='#Page_237'>237</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Cinque Pozzi, <a href='#Page_207'>207</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Costume of&nbsp; the country people, <a href='#Page_211'>211</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Foundations of chapel on Riva Nuova, <a href='#Page_217'>217</a>, <a href='#Page_218'>218</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Greek church, S. Elia, <a href='#Page_238'>238</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  History, <a href='#Page_207'>207</a>-<a href='#Page_211'>211</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Loggia, now Paravia Library, <a href='#Page_238'>238</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Porta Marina, <a href='#Page_206'>206</a>, <a href='#Page_207'>207</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Porta Terra Ferma, <a href='#Page_207'>207</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  Reliquaries in the cathedral, <a href='#Page_225'>225</a>-<a href='#Page_228'>228</a></span></li>
+<li><span style="margin-left: 1.5em;">"&nbsp; &nbsp;  S. Donate, church and museum, <a href='#Page_214'>214</a>-<a href='#Page_216'>216</a>
+</span></li>
+<li><span style="margin-left: 1em;">Zara Vecchia, <a href='#Page_244'>244</a></span></li>
+
+</ul>
+
+
+<h4>Transcriber's note:</h4>
+
+<p class="center">Inconsistent hyphenation and spelling of names is as in the original. Some of the illustrations
+had a 'facing page' reference in the original and has not been used in this ebook. Some illustrations have been moved to paragraph end.
+</p>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of Project Gutenberg's The Shores of the Adriatic, by F. Hamilton Jackson
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+</body>
+</html>
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author	Roger Frank <rfrank@pglaf.org>	2025-10-14 19:53:59 -0700
committer	Roger Frank <rfrank@pglaf.org>	2025-10-14 19:53:59 -0700
commit	38d89939242486f9d0b4a14428f4548385f20796 (patch)
tree	7ea339f0b580e1d5dd9b58303e7d364e7a3d2f76 /30548-h