Part 23

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 (Stobrec) 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 A.D. 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 mediæval 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 Traù and Brazza limestone. The sea façade 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 façades 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.

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 _putti_ hunting, bearing garlands, &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 restoration there were galleries on the columns, both below and above.

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 Traù, 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 _motifs_, have also been ascribed to him; brought hither, as is thought, from S. Stefano de Pinis when it was destroyed.

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 Dñi, 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.

The campanile is Romanesque in style, and dates from the early part of the thirteenth century; it has five stories divided by strings, 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 façade 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.

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--that of Archbishop Giovanni ([Symbol: cross]680), that of Archbishop Lorenzo ([Symbol: cross]1097), and that of the two daughters of Bela IV. of Hungary, which used to be over the door of the cathedral.

The panels of the cruciform font were put together in 1527-1533 by Archbishop Andrea Cornelio, and probably came from the cathedral. The archæological society, "Bihac," 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 mediæval 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. Bulic 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 Rizinice, 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 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 Rizinice, 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.

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. Bulic. Two sculptors only are known by inscriptions earlier than the Benedictines, who took a leading part in the development of mediæval 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 Traù. 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.

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 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 Traù 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.

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 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.

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, &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 _municipio_ 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.

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 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.

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 archæologist 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.

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 Phædra, 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 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 _labarum_ 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.