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 Traù, 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 façade 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, &c., as laid down in Giorgio's plan, and still existing.[2] 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.

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 (☦1453), and of Bishop Vignacco (elected 1454), apparently fixing its date thirteen years after Massegna had received his congé. 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 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.

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 Traù.

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.

The door of Giorgio's house is beyond that of the 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—the first constructed in Dalmatia in modern times—is named the Lott-Brunnen, in commemoration of the clever engineer who designed it.

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, &c., in the walls here and there, and wheel-windows occur with quatrefoils filling the heads of the spaces next the circumference.

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. Bulić discovered a gradual written on parchment of the ninth or tenth century, which had been brought from S. Maria di Bribir in 1527.

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 appearance, 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.

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 British towns—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.

Sebenico was the birthplace of the celebrated Nicolò 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.

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 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.

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 Æolian 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.

XX

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 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.

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 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.

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 Traù 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.

It is distinctly asserted by Strabo that Traù, the ancient Tragurium, was founded in the fourth century B.C.. 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, &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.

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 Traù are no earlier than the thirteenth century, and only small portions of that date remain by the tower of the nuns of S. Nicolò. 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, podestà, was freed from the obligation of paving fifty paces of the street between the two main gates, which was laid on every podestà, so one may suppose that the paving was completed. In Venetian times Traù had seven gates. Of these three remain—a plain pointed arch near S. Nicolò, 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 podestà 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.

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 Traù was the rendezvous. 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.

A few discoveries have been made of pre-mediæval 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 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.

At one time there were twenty-one churches in the city. Those of S. Nicolò and S. Barbara are early. S. Nicolò (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 B.C. in the court of the convent. Two early caps in the entrance portico appear to belong to the period of foundation.

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 Traù, 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, 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 podestà told me that they hoped to clear it out and make it into a museum.

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.

The cathedral, however, is the glory of Traù. It replaces an earlier building, reported to have dated from the sixth century, but destroyed by the Saracens in 1123. At this time the Traùrines 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.

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 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 ϒΘ. 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, 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 motif 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—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 octagonal shafts are of green marble; and this gives some support to the legend that they were brought from Bihać, 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.[3] 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, &c.; here there is a female centaur; there a girl seated on an ox, a wood-devil with two horns, &c. On the other side are lions and bears, figures fighting, a young man with a falcon, loose dogs, &C., all most carefully carved. Beneath the lintel two caps with amorini of the fifteenth or sixteenth century have been inserted.

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 striæ, and terminating in a small volute at the top corner occurs here. There are two shafts to each small apse dividing the wall 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 Goyković 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.

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—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 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 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—arm reliquaries, ostensory, and a silver-gilt ewer, &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).

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 Traù, 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 Traù. 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 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 Traùrines 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 Nicolò 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 putti, 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 Traù, and it is suggested that the named figures are these four. The architects carved the first figure, that of S. John the Evangelist, 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.

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 putti 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 1467. The cost was 4,980 zecchins. The resemblance of this baptistery to portions of the cathedral at Sebenico is striking.

The Loggia faces the cathedral at the other side of the piazza. 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 piazza, 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 Traù, 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.

It is interesting to note a few of the pains and 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—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 Traù there was neither bridge-playing nor company-promoting.