ascend the high hill on which Buje (pronounce the j as y) stands. Here we dined

at the post-office-considering all things, a tolerable meal. The church which we had seen to the left, S. Maria, turned out worthless, the other, S. Servulus, is the ci-devant cathedral. These Istrian sees must have been very small. The Bezirk of Buje, (and the diocese could not have been larger) only contains 14,000 inhabitants, and twelve livings. This church is large, but entirely rebuilt-the ancient font alone remains-late in the twelfth, or early in the thirteenth century. Here it is.

"Built into the north wall are two Roman heads in high relief, with the respective legends:-C. VALERIVS. I. VALERIVS. A curious circular stone is inserted in the western façade; it is sculptured with host and chalice, with the inscription

CPS DNI.

The tower of S. Servulus is detached, and stands on the north side of the nave; a very common Istrian position. Of the four saints bearing the name of Servulus who occur in the calendar, this is doubtless the martyr of Trieste, who suffered under Numerian, about A.D. 284."-(pp. 72-74.)

The Cathedral of Parenzo in Istria is extremely curious and interesting, and Mr. Neale gives us a better account of it than usual, with a plan and some lithographic drawings, very well executed, and we think that he quite makes good his point that it was built in the sixth century. There is a most striking resemblance between the capitals here given and some in the church of S. Apollinare-in-Classe, at Ravenna, which we know to be of that period. The symbolical or allegorical meaning of the sculptures on these capitals requires further investigation; and the subject is so well suited for Mr. Neale, and requires so much of his peculiar learning, that we are surprised he should have passed it over so lightly. The same subjects occur frequently on capitals in the south of France and in other districts, down to the twelfth century or later, and there is no doubt that some text of Scripture is intended to be illustrated, but what it is has not hitherto been pointed out. Romanist writers are no better informed than Anglican on these points: the traditional meaning is lost; they can only make conjectures; and Mr. Neale's conjectures would be as likely to be correct as those of any other person.

"Of the nave caps, I have given two. Others represent a floriated cross, with the monogram of Euphrasius, (very pretty); four vultures alternating with four jars; four swans alternating with four couple of cornucopiæ; four swans alternating with four oxen." (p. 81.)

"I have then little doubt that Euphrasius I., first Bishop of Parenzo, lived earlier in the sixth century, when Istria was in communion with Rome, and built this church during the pontificate of John I. (523-526). It is, therefore, of the very deepest

interest. To continue our historical notice, we find in the year 961 that the cathedral was well-nigh ruined by certain barbarous Slaves; and that its then bishop, Adam, the seventeenth prelate, repaired it and re-consecrated it. In 1233, we find Bishop Adelpert consecrating the high altar. In 1277, as we shall see, Bishop Otho erected the present baldachin. In 1434 Citta Nova was united to the see of Parenzo by Eugenius IV.; in 1451 Pope Nicholas V. again separated it, and joined it to Venice. There are no further changes which we need particularize. The present bishop, Antonio Peteani, is much interested in the history and restoration of his cathedral.”—(p. 79.)

Western Façade of Church, Island of St. Catherine, Istria.

Ground-plan of Church, Island of St. Catherine, Istria.

The description of the mosaics was quoted in full in a recent number of this Magazine, and need not be repeated, but they help to confirm the history, as they agree in character with other mosaics of the sixth century.

The plate on which these mosaics are engraved, and which forms the frontispiece to the volume, is admirably drawn and engraved, and is by far the best plate in the book. We proceed to Pola :

"We pass the little island of S. Catherine, whose church we are presently to visit: but the ground-plan and western façade will give the reader a sufficient idea of it; (see opposite page). It is possibly of the sixth century.

"Sir Humphry Davy thought Pola harbour one of the most glorious views in the world. And marvellously beautiful it is. To our left rose the three tiers of the amphitheatre, of snow-white marble, but then reflecting the redness of a cloudless May evening. White cottage and tall spire gleamed here and there from the thick foliage of the Istrian hills. The peasant drove his oxen-it was Saturday eveningto the pastures; the vesper bells rang out from the Cathedral; the Adriatic was an unbroken sheet of gold; the 'Cheerily, men! oh, cheerily!' came from an English vessel weighing anchor.

"First to the amphitheatre. As I have said, it is of white marble, its long axis parallel to the sea; the three rows of arches are perfect everywhere, except in the (quasi) last, where the ground rises, and there are two only. The lowest and second row, of circular heads; the upper square.

"Every single feature is beautifully clear: the doors; the trapdoor-holes above; the canal; the holes for the awning poles; in several stones the width allowed to each spectator is marked by a boldly-cut line. The architectural curiosity of the amphitheatre consists in the four square towers, at four cardinal points, projecting from the ellipse, and supposed to have been the vomitories. The larger axis is 436, the shorter 346 feet in length; it is calculated that 18,000 spectators could find sitting room. The wall, when perfect, was 97 feet high. Each of the stories contains 72 arches."— (pp. 83-85.)

"We turned sorrowfully away, though to a cathedral of marvellous interest. "The cathedral is as follows:

The chief peculiarity is its square east end. Remarkable as the building is, it does not afford any extended ground for description. In the south wall is this inscription:

'AN. INCARNAT. DNI. DCCCLVII.

IND. V. REGNE. LVDOVICO. IMP. AVGVSTO
IN. ITALIA. HANDEGIS. HVJVS. ECCLESIE.'

The rest is lost."-(pp. 86, 87.)

"The Cathedral of Veglia is of Romanesque date, and rather valuable. It consists of choir, soleas, nave; aisles to all; chapels to north aisle; western tower and narthex, as hereafter to be described. The choir, which contains a circular apse and two bays, is thoroughly and hopelessly modernized. The soleas has two bays, and is divided both from choir and nave by low marble cinque-cento rails. Of the same date are the ambones on its western side. The nave has seven bays; piers, mostly circular, some

few octagonal; square Corinthianising capitals, well worked in flowers or beasts; bases, octagonal or circular, as the pier. The chapels are later. The first, entered by an elaborately worked pointed arch; shaft with white marble cap, base octagonal; it has three small lancets: the second may be original; arch, circular, and, I believe, Romanesque: the third, of First Pointed details, is very small. The font, at the west end of the nave, an octagonal block slightly tapering from the upper part to the base. The west end is very singular. Imagine a triapsidal church, with western tower, set down at right angles to the west end of the Cathedral, so that its east end should point south, and you have an idea of this strange adoption. The whole is under one vast flattish roof, gabled, of course, north and south. What may be called the north aisle of our supposed erection is now turned into a passage, between it and the cathedral. The central apse, circular, is a noble bit of Romanesque; a nebuly moulding running round the cornice. The southern apse is smaller, but in other respects the same; there are no lights. The north end of this strange adoption is partly ruinous, partly built against; but the tower is remarkable. Very lofty, it has three stages, and ends in a wretched cupola; there is a great Romanesque belfry-light north, and another west. An inscription, very difficult to decipher, states that it was restored imperante Aloysio Mocenigo duce Venetiarum. Veglia was an independent state till ceded to Venice in 1481. There can be no doubt that the Cathedral was the church erected in 1133, as a thanksgiving for a great victory over corsairs; and dedicated to S. Mark, in acknowledgment of the assistance rendered by the Venetian Republic. The building well deserves the attention of ecclesiologists; but is in the most miserable state of restoration possible. Piers and arches are 'ornamented' with crimson and yellow frippery; the stalls, wretched; filth and squalor everywhere. This ought not to be, for the bishop has a residence in the town, and the chapter is well off, and commands great respect.

"I proceed to the other churches:

"That of the Franciscans, in the upper part of the city, is of the latter part of the twelfth century. Chancel, with square east end, long nave without aisles, tower south of chancel. The altar stands under the chancel-arch; the choir, as always here, being behind. At the east end, two lancets: south of chancel, one: plain crossvaulting. The nave is very plain; no lights on its north side; on its south are trefoiled lancets, which reminded me of Pola. There is a modern gallery at the west end, in which the Office is said; it is the Glagolita. Over the door, otherwise plain, is the Lion of Venice, which must be a later addition. The tower is lofty and plain; of five stages. The belfry windows are double, circular headed; the dividing shaft square, with flowered caps. In this church I heard Glagolita Tierce and Sexts. In the cathedral, the vespers were very well and congregationally sung. There was a full assembly of canons, and the bishop was in his place. It was a very excellent example of a town, Sunday-afternoon, service.

"S. Maria stands on the opposite side of the road, and close to S. Francisco. The position of the respective towers-here at the west end, there near the east-gives an odd effect. Apsidal choir, nave, two aisles, western tower. It is of the twelfth century. The ritual choir is behind the altar. The apse is circular; one eastern lancet. The nave has five bays; the arches are round; the piers circular, the caps, square and Corinthianizing; the windows are of that stable kind which we have already had occasion to notice. The tower also forms the porch. Of two stages, it has, in the belfry, two circular-headed lights. Between the two a pilaster buttress." -(pp. 98-100.)

"The Cathedral of Sebenico, of which the accompanying is an external view, is, in its way, the most remarkable building I ever saw. It is a mixture of Flamboyant and Renaissance, which would seem to promise nothing but imbecility of motif and overgorgeousness of decoration; whereas, in truth, it is one of the noblest, most striking,

most simple, most Christian of churches, and, though highly ornamented, such is the sublimity of its design, that it gives you the impression of being by no means richly decorated. Both times that I saw it, I saw it under a great disadvantage; it was undergoing a thorough (and very good) restoration, and the interior was filled with scaffolding. Of course, cathedrals such as Pola, Parenzo, and Spalato, have a much deeper and more enthusiastic interest than anything which mere architecture can give. But in an exclusively architectural view, I do not hesitate to call this the most interesting church in Dalmatia. And the more so on this account: that the whole idea and the details must stand or fall together. You could not translate it into Middle-Pointed. I have frequently made a mental attempt at doing so, and have every time felt that the task was impossible."-(pp. 129-131.)

Spalato may be de

"And first a few words as to the general outline of the city. scribed as a parallelogram-or rather double square-the larger side to the sea. One of these squares, that namely to the south, is comprised within the walls of the palace of Diocletian. Of this, the seaward gate is called the Porta Argentea; that to the cast, the Aenea; that to the west, the Ferrea; that to the landward, the Aurea. The whole of this part of the city is so blocked up with mean alleys, staircase streets, and huddled lanes, that you are perfectly amazed when you at length enter the Peristylium, the open hall of granite columns. To your left is the Cathedral, once the great Temple of Jupiter; to your right, the church of S. Giovanni or the Baptistery, once the Temple of Esculapius. Beyond this, you did pass through the Porticus, of the Corinthian order; then the Vestibulum; then the Atrium; then the Cryptoporticus; the last was 517 English feet in length, and must have commanded a most noble view of the Adriatic.

"Let us commence in the Peristylium, now the Piazza del Duomo. On each side are seven Corinthian arches, which, exceedingly stilted, spring immediately from the capitals. The intercolumniations are not the same:

"The three first, 8 ft. 9 in.; 4th, 8 ft. 8 in.; 5th, 10 ft. 4 in.; 6th, 9 ft. 10 in.; 7th, 9 ft. 4 in.