Chapter IV: Plans and Sections (2)

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 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.

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--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 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.

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 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.

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--the population was but 100--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 because the roads were under water, &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 Nicolò 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--a shell-he ad beneath, an arch above, and a gable termination of early Renaissance shape--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--a Risen Christ with SS. Peter and Herniagoras. The fine frame was carved by Giovanni Pietro di Udine in 1500, and gilded 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.

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--work of the fifteenth century in its present form. There was, however, a "sepolcro"--a copy of the Holy Sepulchre--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.

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At that time the treasure and archives were divided between the bishoprics of Görz and Udine. The precious objects were stolen from Udine, and have disappeared, but at Görz 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--set in metal at a later date to preserve it from destruction--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 _orante_, 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 Görz 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.

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: "MD · XLVIII TADEVS · LVRANVS · HOC · O · FECIT." 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.

The narthex has three thick antique pillars, part granite and part marble, with heavy early Christian Corinthian caps and super-abaci with crosses upon 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--a bit of the paving was found a foot deeper than the original floor of the baptistery.

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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 splendid examples have gone to the British Museum, to Udine and Görz. 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 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, &c.--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 A.D. 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, &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.

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, &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. 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.

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 erection of a wooden castle in the rooms of the Ducal Palace, which the _Doge and the Senate_ attacked and demolished with clubs." Mutinelli quotes the decree.

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.

IV

GRADO

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 _vice versâ_, 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 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.

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 archæological, for it contains early Christian antiquities of considerable importance.

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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 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.

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--one in Grado and one in Aquileia--established for political 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.

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--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 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.

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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 tesseræ of very few colours--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 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 ætas prisca en cesserunt magno novitatis honori praesulis Haeliae studio praestante beati haec sunt tecta pio semper devota timori."

The flat ceilings and the rococo stucco-work are due to the restorations of 1740. The apse contains remains of mediæval painting--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--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.

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In the treasury are two early reliquaries of silver, found beneath the high-altar in August, 1871. One is 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, [Greek: MÊ ThT]. 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 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.

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: "[Symbol: cross] Sanctvs Cantivs, Sanc. Cantianvs, Sancta Cantianilla, Santvs Qvirinvs, Santvs Latinv." The lower row runs: "[Symbol: cross] S. Lavrentivs, vs loannes, vs Niceforvs Santisreddedidbotvm" (vir spectabilis, &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.

In the Museo Sacro of the Vatican library is a similar capsella found at Aïn 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 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.

The treasury also contains an oblong fourteenth-century casket and two Limoges _gemellions_, as well as a good deal of late silver work, and an interesting altar frontal. The _gemellions_ are champlevé 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.

The altar-frontal is inscribed: "[Symbol: cross]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. 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--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 æternum 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.

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.

It is made of Oriental cipollino. The medallion at the top is cemented on. On it is a crux ansata, with 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 débris of the wooden chair which he actually used.

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.

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 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 Vogué gives two plans closely resembling it, and Mr. H.C. Butler describes some very similar plans near Is-Sanemên in the Northern Haurân (the ancient Ære), 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.

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 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!

V

GRADO TO TRIESTE

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 _viâ_ 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 débris 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--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, sometimes coming to the surface again many miles away. The river Rjeka, for instance, enters into the grottoes of S. Canzian, near Divaca--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.

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.

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 turned one of the youths out of his place! to which he submitted quite meekly.

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.

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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--red and white crosses, blue, yellow, and black stripes, moons and stars--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--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 _trabarcolo_ 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 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.

Lisetta guarda, bella è la luna
Argento piove sulla laguna,
Non è una nuvola; quieto è il mar--
Lisetta, in gondola ti voi menar?

La bavisella che va soffiando
Con quel bel viso di quando in quando
I biondi boccoli te li fa far--
Lisetta, in gondola ti voi menar?

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.