Spalato appears for the first time in the "Tavola Peutingeriana" under the name Aspalathos, as a station on the shore road which led from the promontory Ad Dianam (at the end of Monte Marjan) to Epetium (Stobrec) below Salona, but appears at that time to have been a place of no importance. It, however, is thus proved to have existed before the end of the third century, which makes the accepted derivation of the name from "ad Palatium" plainly erroneous. Its great celebrity is due to the palace which Diocletian began to build for himself there shortly before 300 A.D. and to which he retired after his abdication in 305. Within its walls fugitives from Salona, who had returned from the islands to which they had fled at the time of the destruction of the city in 639, found shelter, and so the existing city began its mediÆval course. The palace faced the sea to the south, and along this side were the imperial apartments with the open loggia of fifty arches raised above the water upon massive substructures. The plan is not quite square, but imitates a Roman camp, with great square towers at the angles, a gate in the centre of each of three sides flanked with octagonal towers, and with smaller square towers between gates and angles. Towards the sea was a water gate on a lower level. The material is marble from TraÙ and Brazza limestone. The sea faÇade is about 550 ft. long, the north about 530 ft., the east and west some 620 ft. The external walls are double throughout, of worked stone filled in with concrete, the thickness being 6 ft. 6 in., and the height from 60 to 80 ft. On the three land faÇades are double-arched windows 20 ft. from the ground, 6 ft. 6 in. broad, and a little over 11 ft. high. Only three of the angle towers remain, the fourth having fallen in 1555. The principal gateway is towards Salona, and is known as the Porta Aurea. Above the gate itself is an open arch flanked by niches on each side; above them are brackets which sustained the columns of a higher row of seven niches, the whole forming a grandiose architectural composition, of which the illustration shows the effect. The passage-way is 13 ft. high by 11 ft. 3 in. wide. The other gates are known as the Porta Ferrea and Porta Argentea. The latter has practically disappeared; the former is over 14 ft. high, and the same width as the Porta Aurea, but without its architectural magnificence. These gates gave entrance to streets which divided the palace into quarters, that from the Porta Aurea leading to the great peristyle, around and beyond which were the public buildings and the imperial apartments, while the women's quarter was probably to the west of this street, and the officials' rooms to the east, the street at right angles separating them from the more important parts of the palace.

The colonnade of the peristyle, which is 114 ft. by 50 ft., consists of six free-standing columns of red granite on each side and four at the end. Those at the sides support arches beneath an architrave continued across the end and rising into an arched form over the central space beneath the pediment. This portion is raised several steps above the general level. To the left is the cathedral, an octagonal building which was the mausoleum of Diocletian, with the campanile standing between it and the peristyle, through which a flight of steps leads; these will again form the entrance when the restorations are completed. Towards the sea steps give entrance to the "atrio rotondo," a circular ante-room, once decorated with precious statues, paintings, and other costly ornaments, while the lantern of the roof was covered with purple hangings. The decoration has vanished, leaving mere construction except for the fine door of entry. To the right, at the end of a narrow alley, is the baptistery, formerly probably the emperor's private temple or chapel, as one may say, which now contains a very interesting font made up of fragments of ninth-century carving, and the beautiful doors of the cathedral, stored there temporarily. The base blocks of the cathedral are nearly 20 ft. high, and there are twenty-two steps in the flight of approach. The portico which surrounds it has columns of marble and granite 21 ft. high. Only nineteen remain of the original twenty-four. The caps are Corinthian, and they sustain the usual architrave, frieze, and cornice. The octagon within has alternate semicircular and rectangular niches, except on the side which opens into the late Renaissance choir; at each angle stands a column of Egyptian granite with Corinthian cap, and a highly decorated but rather heavy order runs round the interior. Above this is a second smaller row of columns of porphyry with a shallower order, reaching to the springing of the dome, which is built of Dalmatian tiles, arranged in imbrications. Round the upper frieze are putti hunting, bearing garlands, &c. The height to the dome is 68 ft., and the internal diameter 42 ft. A couple of niches in the upper order are so arranged that a word spoken low in one is well heard in that opposite, an arrangement supposed to have been connected with oracular responses. Before the restoration there were galleries on the columns, both below and above.

The high-altar stands under the niche which has been opened to give access to the choir. At each side of it are the altars of S. Ranier and S. Anastasius, the latter made by George of Sebenico in 1448 to match the former, made in 1427 by the Milanese Gasparo Bonino, and both Gothic. To the left is the very beautiful pulpit shown in the illustration. It bears considerable resemblance to that at TraÙ, but is superior to it both in design and execution. The lower capitals are worked as if in wood, which makes the tradition all the more probable that Guvina (who made the beautiful doors in 1214) had to do with the making of it. The very original stalls in the choir, with their curious combination of Eastern and Western motifs, have also been ascribed to him; brought hither, as is thought, from S. Stefano de Pinis when it was destroyed.

The treasury contains a good many interesting things, among which the first place should perhaps be given to a fine Gospel book of the eighth century, upon which the suffragan bishops used to swear fealty to the metropolitan, reciting the commencement of the Gospel of S. John in Greek, which portion is therefore translated from the Latin for that purpose. Eight formulas used by suffragan bishops from 1059 to 1200 are inserted in it. Two other MSS. are interesting on account of their bindings, a Gospel book and a missal, both of the thirteenth century, reset in the seventeenth. On one is Christ seated on the rainbow in the attitude of blessing, within a mandorla, with cruciferous nimbus and the monograms "IC XC," the corners being filled with the symbols and names of the Evangelists; on the back is the Madonna enthroned with the Child, and two angels in circles; above is the inscription "Michael, Mater DÑi, Gabriel." The other binding, which is rather later in style, shows our Lord in Glory, with the monograms "IHS XPC" in an ornamented mandorla, and the Evangelists' symbols; and, on the back, the Crucifixion, with the feet separate. There are eight chalices, all of the fourteenth or fifteenth century, damaged by an inexpert goldsmith who had them to repair, with nielli or enamel grounds to the medallions, and good foliage in relief; two arms of S. Doimus, richly set with gems and precious stones among filigree; a good late fourteenth-century head of S. Giovanni Elemosinario; a morse of the same period, with gems and nielli; a fifteenth-century pax of gilded brass; and several interesting and very early crosses, probably of the eighth or ninth century, some even earlier. One of these, bearing a figure of Christ wearing the colobium, and resembling Coptic work, bears the inscription "HCA HCA," while another of rock-crystal has Coptic inscriptions. The treasure is kept in a cupboard just inside the door of the cathedral; but in the upper sacristy some larger objects are preserved. Here are a fine silver monstrance of 1532, a chapel supported by two angels, and a chalice of silver filigree; also some fine embroidered vestments of the 16th and 17th centuries upon crimson cut velvet.

The campanile is Romanesque in style, and dates from the early part of the thirteenth century; it has five stories divided by strings, and was nearly 170 ft. high before the restoration, which has been going on ever since 1882. It was largely built of ancient material, and at the sides were two sphinxes, one of which (headless) has been removed into the museum, the head being built into a house in the Ulica Ghetto; it bears an inscription showing that it is of the epoch of Amenhotep III.; the other, of granite of Syene, is still among the scaffolding which surrounds the campanile. Lions crouch at each side of the stairs on the level of the top step; and on the side towards the church are interesting reliefs by Mag. Otto, probably a Benedictine. They represent SS. Doimus and Anastasius and S. Peter, and probably formed part of an altar; above is the Nativity, in two panels, of a later date. A third relief shows the Annunciation, and round the arch of the faÇade are roughly carved struggling figures and animals, and also the Sacrifice of Abraham. The building is generally believed to have been commenced by Queen Mary of Naples (1270-1323), but an inscription found in the cornice of the first story shows that it had reached that height in 1257. The major part is due to the Spalatine Tvrdoj, who signed a contract in 1416 to construct it, and probably took it up to the third story. The upper part is much later, and the octagonal pyramid was not completed till the eighteenth century.

The baptistery is 32 ft. long and 29 ft. broad, with pilasters at the angles. It was probably prostyle, with a pediment in front which has gone; under the cornice is a rich frieze with symbols denoting a dedication to Jupiter. The door is richly ornamented, and is nearly 20 ft. high by a little more than 8ft. broad. The building has a wagon vault of three courses, carved with cofferings and rosettes above a magnificent cornice. Resting against the wall are the fine doors of the cathedral, carved with twenty-eight subjects in panels divided by scroll-work; amongst the scrolls, animals, birds, and figures appear, and traces of colour and gilding may be discovered, the design showing by style the influence of Byzantine models. Here are also several early sarcophagi—that of Archbishop Giovanni (?680), that of Archbishop Lorenzo (?1097), and that of the two daughters of Bela IV. of Hungary, which used to be over the door of the cathedral.

The panels of the cruciform font were put together in 1527-1533 by Archbishop Andrea Cornelio, and probably came from the cathedral. The archÆological society, "Bihac," took it to pieces in March, 1895. It is made of fourteen slabs, twelve external and two as walls between the shorter arms and the internal space, all of Greek marble with blue veins. Six of the external slabs have early mediÆval carvings, one has Roman ornament, a Roman inscription is on the back of another, the rest are smooth back and front, and several have been sawn. They are nearly the same height and thickness, but vary in length, and were part of some chancel enclosure, altar or sarcophagus. The carvings are probably of the eleventh century, and are extremely curious. It is possible that they may be work of pupils of Mag. Otto, though the character of the patterns points rather to the Comacines, who were certainly working a little higher up the coast. In a passage in the Porta Aurea, above the gate, is a little chapel made in the eighth or ninth century, and dedicated to the Blessed Virgin, S. Martin, and S. Gregory the Pope. It is said to have belonged to the tertiaries of S. Dominic till a century or so back, and was then used as a store. Mgr. Bulic restored it in 1899. On the lintel of the door of entry is an inscription mentioning a presbyter Dominicus. There is a "Dominicanus presbyter, capellanus" as witness in a deed of gift of the ban Trpimir in 852, and the screen of a chapel of Trpimir at Riinice, near Salona, is like that of this little chapel in style. This is the oldest place of worship in Dalmatia, except the cathedral. It occupies the space between the two niches above the archway, and the pierced window-slabs of the ninth century still remain in the little windows. The screen has two octagonal colonnettes with a cable necking, and rough caps with volutes, but no foliations support an arch beneath a steep gable; a Latin cross with griffins crouching on each side fills the space between. Round the arch and along the frieze runs an inscription. All along are the simple crockets called by the Italians "caulicoli." The slabs at the bottom are surrounded by a running pattern bordered by zigzags. A number of remains of this period have been found in Dalmatia, of which a few may here be noted. The most ancient inscription of the national dynasty is on the fragments of the screen already referred to at Riinice, between Clissa and Salona, where the ban Trpimir founded a convent of Benedictines in 860, and where the foundations of church and castle were excavated in 1895-1899.

The church of S. Maria de Salona, or de Otok, lies on an island in the Jader joined by a bridge to the Clissa road. It was founded by Queen Helena, whose sarcophagus was discovered among the foundations in 1898, and bears the date 976 and the name of Helena, wife of King Mihael and mother of King Stefanus. The church was a small basilica with nave and aisles, and an apse in the thickness of the eastern wall, with three piers and corresponding pilasters in the side walls. It was about 36 ft. long, with a width of ii ft. 6 in. the nave, and 7 ft. 4 in. the aisles. There was one west door, a narthex of two bays, and an atrium. Amongst fragments of ninth and tenth-century carving a pattern closely resembling Syrian ornament was found. At Knin, when the railway was being made, stones with ninth-century patterns were also found. This city was a royal residence and seat of the courts of justice, and in the middle of the eleventh century the bishop of Knin was made primate of Croatia and a councillor of the king. All these carvings were probably executed by Comacines, documentary evidence of whose presence in the country, brought from Cividale by the Croatian ban, has been found by Mgr. Bulic. Two sculptors only are known by inscriptions earlier than the Benedictines, who took a leading part in the development of mediÆval Dalmatian sculpture in the twelfth and thirteenth centuries. These are Mag. Andrea, builder of the little church of S. Lucia, near Besca, in Veglia, which is earlier than the twelfth century, and Mag. Otto of the eleventh century. After them the names of Guvina and Raduanus occur, at Spalato and TraÙ. There are, however, indications that Mag. Otto may have himself been a Benedictine; the Order appears to have been established in Dalmatia before the tenth century, and to them S. Crisogono, Zara, was due. If so, according to the rule of his Order, he would have inherited the manual of art which every Benedictine leaving the mother monastery to found a new one carried with him, together with the liturgical books.

After the death of Diocletian in 313 Salona inherited the palace. The imperial apartments were reserved for illustrious guests, and the rest appears to have been used as a cloth-factory. It is thought that it was here that the dethroned Emperor Nepos was slain in Odoacer's time. Towards the end of the fifth century Marcellinus, first king of Dalmatia, lived here for a short time after his proclamation, when the province had been taken from the Emperor Leo. The destruction of Salona in 639 drove the inhabitants to take refuge in the islands where the Avars could not follow them. When the Croats drove these away Severus recalled some of them, and they inhabited the palace. The bishopric was founded in 649 by John of Ravenna, legate of Pope Martin I. He it was who converted the mausoleum into a cathedral, opening the door on the south side which has the curious ornament round it, and dedicating it to the Assumption, and also bringing the relics of S. Anastasitis and S. Doimus from Salona, and placing them beneath the side altars. The beginning of the Venetian dominion was brought about by the appeal for help against Cresimir which the Spalatines made to Venice by advice of Basil and Constantine, emperors of Byzantium. Pietro Orseolo received the homage of the citizens in the cathedral, defeated Cresimir, and made peace at TraÙ on the understanding that Zara and Spalato were to be Venetian thenceforth; but the Croat kings assumed the title of King of Dalmatia and obtained the assent of the Pope to their holding the dignity till the Hungarian dynasty succeeded them. In 1401 all Dalmatia, except the Bocche and Ragusa, became Neapolitan; and Ladislas was crowned by a papal emissary king of Hungary and Dalmatia at Zara. His viceroy built a palace at Spalato, of which remains exist between the Marina and the Piazza dell' Erbe; to which the Venetians added the octagonal tower for the defence of the port, so conspicuous from the sea. Turkish raids were frequent. In 1570 the garrison of Clissa nearly took the city; but twenty-six years later the Spalatines retaliated by surprising and massacring the garrison of Clissa in a night attack, led by the archdeacon, who, with three canons, was left on the field. Their leader dead, they were not able to retain possession of the fortress. Under Venice, Spalato was the principal place for trade with Persia and the Indies, and many noble Venetian families established themselves there.

The costume of the country people shows the influence of Turkish and Oriental relations, and suggests the possibility of many figures in Old Italian pictures being painted from Dalmatian models. The men are generally blonde, and wear great moustaches. They are fond of bright colours, and wear light-blue tight cloth hose, red-and-green stockings, the usual shoes, a broad red-leather girdle, which used to have weapons in it, a red waistcoat, a short brown jacket embroidered with red and ornamented at the corners with red and white stripes, and on the head a turban of a red-brown colour. These costumes may be seen in numbers in the morning in the market, on the way to the station. The women have a shawl or folded piece of stuff on their heads, and frequently wear printed calicoes of a startling pattern in the town, but outside have a modification of the usual Morlacca costume.

Along the quays many Italian boats are moored, bringing cargoes of fruit, onions, and other kindred produce, which they appear to sell retail as well as wholesale; and many picturesque subjects may be noted, to which the masts and rigging, awnings and sails, weather-beaten paint, baskets of gleaming fruit and other articles, cordage, gangway planks, &c., in careless arrangement, lend attractiveness and beauty, whether in the full glare of the midday sun, with its strong contrasts of light and shade, or in the early morning or late evening, when its level rays tend to greater simplicity of effect and greater glow of colour. On Sunday evening the long parapet of the Marina is lined with townsfolk taking the air, while those who desire to show off their toilettes march up and down the Piazza dei Signori (which appears to answer to the "Park") for an hour or so, after which it resumes its usual quiet condition. On the morning of May 1, the municipio was decorated with flags, and saluted by a band which played in front of it for a short time and then marched off, still playing.

At the end of the Marina is the Franciscan convent dedicated to S. Felice, bishop of Epetium, whose relics are said to be preserved in the church. It was built by Archbishop Giovanni IV. of Spalato in 1059, but has been modernised, and little of an early date can be seen. In the wall towards the cloister are several walled-up windows, with semicircular heads cut out of a lintel, and in the cloister itself are a few caps which appear to be eleventh-century, but the bulk of it is fourteenth-century in style, and that is the date of the three inscriptions inserted in the walls. It is a pleasant little cloister, with a school attached to it, and the church is crowded with the poor at service time.

The situation of the city is very fine, and the harbour accommodation there and in the immediate neighbourhood led the Austrian admiralty at one time to think of it as the principal military port. Preference was given to Pola on account of its connection with the main railway lines, for which the archÆologist and artist may be thankful. The two ranges of Kozjak and Mosor (Mons Aureus) dip down to the pass which is guarded by the rock of Clissa. On the slopes of one lie the ruins of Salona; on the other, those of Epetium; in front is the sea, always peaceful, being sheltered by the islands of Solta and Brazza; and beyond Marjan the land-locked Salonitan port.

The museum accommodation is very insufficient, and, though several of the larger monuments are in the open air (like the second-century monument of Pomponia Vera near the Porta Argentea), the four museums are crowded with the objects which excavations have brought to light. There are an enormous number of inscriptions, a few sculptures comparatively, a great many architectural fragments, and an infinity of small objects. Among the sculptures two or three, sarcophagi may be specially noted. One with the subject of Hippolytus and PhÆdra, found in the narthex of the little basilica at Salona in 1859, in a fifth-century stratum, is a late copy of one in the Louvre. Near it was a colossal sarcophagus of the first half of the fourth century, with the Good Shepherd upon it, which is also in the museum. At one end is a door watched by figures at each side; at the other a genius leaning on a reversed torch stands on a pedestal beneath the arch of a little gabled building with twisted columns. The columns in front are also twisted; those at the back channelled with three flutes. The one with the Hunting of the Caledonian Boar, which stood outside the baptistery, where its inscription was copied by Cyriacus of Ancona in 1436, is of the period of the Antonines, and has been used twice. One of the ends is really fine. A fourth, with the Passage of the Red Sea on the front, and three panels on the back, was brought from the Franciscan cloister. One end has two standing figures with a Latin cross in high relief between them, and a garland with waving ribands surrounding the labarum above; the other an imbrication with the spaces in relief. The back has an Orante or Virgin in the centre, and male figures at the ends, with S-shaped striations between.

There is also a very beautiful torso of Venus accompanied by Cupid, and in one of the more distant museums two fine fragments of a relief of undoubtedly Greek work. There are many striking fragments of architectural carving, among which one of the most interesting is a balustrade bearing close resemblance to the carving upon an ambo at S. Agata, Ravenna, but constructed of many pieces, whereas that is an adaptation of a portion of a fluted column. There are also a good many pieces of ninth and tenth-century work, and a large collection of Christian lamps. The most ancient object in the collection is a Corinthian vase with cover of the sixth century B.C., found at Salona, and ornamented with animals and rosettes in black and violet on a yellow ground. A new museum is to be built near the agricultural college on the way to the monastery of the Paludi, which lies on the shore on the Salona side of Marjan, with cypresses in its grassy forecourt, and a garden beyond the cloister.

This convent is Franciscan, but was founded by Benedictines in the eleventh century, the Franciscans taking their place in the fifteenth century. Near the entrance is the inscribed lid of a sarcophagus upside down, used as a water-trough. The convent was fortified by the Spalatines in 1540, of which fortification the machicolated tower to the left of the church remains. The church is early Renaissance in appearance, and is dedicated to S. Maria delle Grazie. It was a favourite place of burial for distinguished Spalatine families, and the floor was covered with fine gravestones in relief, mainly of the sixteenth century, worked in a hard white Dalmatian limestone. These have now been taken up (in 1900) and arranged along the wall of the cloister. Many of them are beautiful in design, with borders of early Renaissance ornament. Perhaps the most charming is that of Caterina Cvitic, but the historic interest of that of Tommaso de Nigris of Scardona and TraÙ who died in 1527 in Spalato, is greater. There is a half-length portrait of him in the library by Lorenzo Lotto. Behind the high-altar in the monks' choir is an important picture by Girolamo da Santa Croce (1549). It consists of ten panels. In the upper row the centre is occupied by a Madonna and Child surrounded by child angels, flanked by SS. Helena and Scolastica, beyond whom are SS. Catherine and Mary Magdalene. In the centre of the lower row is S. Francis in ecstasy, with SS. Antonio and Bernardino, flanked by S. Doimo (with the city of Spalato) and S. Louis of Toulouse, beyond whom are SS. John the Baptist and Jerome. In the gable of a much restored frame is a dove. On the right side is a curious lintelled door with dull arabesques emphasised by lines of drilling and pictures on either side. One is a Carpaccio in tempera on canvas, a "Madonna auxilium Christianorum," with the Child in a vesica on her breast, and S. Sebastian and a bishop (S. Doimus), one on each side. She holds her cloak out to shelter a crowd of kneeling men on one side, and women on the other, from the darts which God the Father is showering from above. In the sky are cherub heads; two child angels hold a crown above the Virgin's head; in the background are Venetian towers and hills. The frame is architectural, with painted arabesques. Close by is an inlaid black marble slab, with music, the words of a psalm, and flowers in colour. On the other side of the door is a Virgin and Child, with SS. John, Peter, and Scolastica in front, and two little angels on the steps of the throne, a tempera picture on panel, rather grey in colour. A ghastly painted crucifix, with a great deal of blood, stands near the door. On one of the wells in the cloister is the date 1453; they are decorated with roundels bearing various devices. The remarkable thing which brings tourists to the Paludi is, however, the antiphonary of Padre Bonaventura Radmilovic, painted with vegetable colours, and finished after ten years' labour in 1675.

Not far away, among the vineyards, is the ninth-century church of SS. Trinita, of which the earliest known mention is in the eleventh century. It consists of six niches surrounding a circle of the same diameter as the similar buildings already described at Zara. At the springing of the arches a cornice runs right round the building. The niches terminate in semi-domes, and two of them are pierced with doors, one of which is of a later date than the rest of the building. The exterior of each niche has a rough arcading of three arches. The springing of the dome and ornamented rosettes in the semi-domes still remain. The courses are horizontal, and the niches terminate outside in a slightly sloped roof. The door has been made into a window, and the lintel bears a bit of antique egg-and-tongue moulding. Three Latin inscriptions of the ninth century have been found, and various pieces of ornament, which are in the museum, also quantities of bones, testifying to its long use as a cemetery chapel. On the way back to Spalato the Casa Katic may be noted, in the walls of which many antique fragments are encrusted.

There was another early church, that of S. Eufemia, within the military hospital, which was destroyed in 1877. It had a central elliptical dome without windows resting on four pillars; two more on each side made the nave four bays long. The apse and aisle ends were square, and the nave was vaulted with a wagon vault.

The great excursion from Spalato is to Salona, a city large enough to quarter the entire army of the Consul L. Cecilius Metellus in 119 B.C., and then known as Colonia Martia Julia. The walls extend for a long distance upon the roads to TraÙ and to Clissa after crossing the Jader, and the city also stretched some distance up the mountain slopes, the dÉbris from which have done so much to hide its remains. Several burial-places have been discovered, of greater or less extent, an amphitheatre, basilicas, a baptistery with the buildings appertaining, city gates, and more than one circuit of walls. Salona may be reached by rail or road; in the latter case the aqueduct may be observed, originally constructed by Diocletian for his palace, and restored in 1879 by Dr. Bajamonti for the use of the Spalatines. It is six miles long, and taps the source of the Jader. The road descends by long curves to the valley, and enters the village, where the Clissa road diverges, under the pleasant shade of trees, beyond which is a marshy field, white in spring with the giant snowdrop. Half-way down the hill is a fountain which muleteers and pedestrians find most refreshing, especially if they are pressed for time as we were on one occasion when we had an appointment in Spalato, and, missing the train, had to return on foot in the middle of the day. The railway customs are rather curious. On one visit I asked for return tickets, and, as they were not taken on leaving the station at Salona, supposed I had them. In the train the guard told us as we were returning that they were not available, and that we must therefore pay a fine of a florin! I, of course, protested, detailed the circumstances, and pleaded the ignorance of a foreigner; and on arrival at Spalato the matter was referred to a higher official, who was graciously pleased to refund the fine, and accept the fare for a single journey. The traveller in Austria must not calculate on paying his fare on the train, as he would do on the Italian light railways.

Near the station at Salona is a little osteria, in and about which a number of antique fragments are disposed. It was stopping to have some wine here that caused us to miss our train. There were some eight or ten children playing beneath the pergola, and I found by experience how small a sum may suffice to make a human being happy, since the distribution of three halfpence in heller, the small copper coin which is the basis of calculation, delighted them all! As we left the station on arriving we saw a crowd of peasants kneeling at the cross roads, with three banners, a big crucifix, a chandelier with three candles, and other objects rising above their bent heads. The priest in the centre was blessing the fields, sprinkling holy water in all directions, whilst prayers and responses went up from the kneeling people, the smoke from the censers which the acolytes were slowly swinging hanging round the group like a cloud. Afterwards they came down the road in procession. The priest held a little silver crucifix on a base; near him were the acolytes bearing their various, utensils, and a choir of male singers. The men and boys went first, in two rows down the sides of the road, just as we had often seen in Italy. The women and girls followed.

The oldest part of the city is towards the Clissa road, for it spread westwards. The Basilica Urbana is quite close to the wall, and only a little farther south are the Porta Suburbia and the Porta CÆsarea. Of the latter the arches no longer exist, but the ruts in the stone show the carriage-way, flanked by two footways. The Basilica Urbana, with its accompanying buildings, has been fully excavated. It was used for religious purposes till its restoration in the ninth century, for Salona was not entirely abandoned after its destruction in 639. The soil removed showed evident traces of its destruction by burning. It consisted of nave and aisles with a western narthex, and buildings both to the north and to the south. The nave appears to have had twelve columns on either side, with projecting piers from the narthex and from the eastern wall. There was one apse with an ambulatory surrounding it, as in the Lycaonian buildings recently described by Miss Lowthian Bell. The foundations of the chancel were found, and of an enclosure which reached to the second column on the right. In the north aisle wall were two doors, one towards the baptistery, the other to the catechumens' room, and all along the wall there was a seat. The prothesis is an irregular space to the north of the apse, entered by a door at the end of the aisle, with a short column in the middle, probably the central column of a table. For ritual reasons this arrangement (the diakonikon communicating directly with the presbytery, while the prothesis does not) is usual in the Greek Church. The nave appears to have been flagged, but the aisles were covered with a mosaic pavement, now more or less damaged. Fragments of glass were found, and an inscription of the fourth or fifth century discovered in the cemetery, "Pasc[asi]o vitriario," shows that glassmaking was a Salonitan industry. Beneath the presbytery remains of an earlier building were discovered with a pagan mosaic of the second or third century, representing the poetess Sappho and the nine muses. The ambulatory is also floored with mosaic, in which is this inscription:

NOVA POST VETERA
COEPIT SYNFERIUS
ESYCHIUS CJUS NEPOS
CUM CLERO ET POPULO FECIT
HAEC MUNERA
DOMUS xpe GRATA
TENE.

The two names here recorded are those of bishops of the end of the fourth and beginning of the fifth centuries, judging from the palÆography of other inscriptions. Esychius was bishop, 406-426. The baptistery is accessible by steps both from the basilica and the narthex. Attached to it is the consignatorium, as at Parenzo. This retains its mosaic pavement, with a design of stags drinking at a vase, and the text "Sicut cervus," &c. It is kept covered with pebbles to preserve it. The baptistery itself is octagonal externally and circular internally, with niches and several doors. It appears to have had six columns (fragments of three of cipollino remain) and grey stone bases. The font is somewhat cruciform in shape, about 3 ft. deep, and with a little step at one end. The slabs at the bottom and the conduit for the water still remain. North of this is the house of the Director of the Excavations, with a pergola composed of fragments from the campanile, &c., among which is a cap the exact counterpart of one in the cathedral at Veglia.

North-west of the house is the Christian cemetery, a bewildering mass of sarcophagi and foundations of several epochs, from among which many objects have been taken to the museum. All the sarcophagi had been broken into and plundered; with a single exception, that of a little Greek girl who still had the earrings in her ears. Apparently apses were built round the martyrs' tombs, pointing in all directions, and many burials took place close to them. When the Goths destroyed the city they plundered the tombs; and when the Christians returned they levelled the ground, and built another basilica properly orientated; and here, also, burials took place. The Avars descended upon this and destroyed it, and the soil washed down from the hills covered much of it to the depth of 15 ft. Fragments found of the eighth and ninth centuries, however, show that the place was not abandoned; the theatre was only demolished at the end of the tenth century to build S. Michele, and the amphitheatre lasted till the close of the thirteenth. Upon the extinction of the Croatian dynasty in 1102, Salona rapidly declined, and when the Turks appeared in the sixteenth century it became a neglected ruin.

At Marusinac, some distance to the north of the station and the amphitheatre, is another basilica, dedicated to S. Anastasius, and a Christian cemetery. The children are on the look-out for chance visitors, and ready to point out the road; and sell copper coins and tesserÆ of mosaic at a price which lowers remarkably as the basilica is approached. It is to be feared that they come from the great mosaic, which is necessarily unguarded. The basilica consists of nave and aisles, separated apparently by six columns on each side, with a single apse, which seems to have had external buttresses, but there is no trace of the usual internal bench. The total length approaches 150 ft., the nave is 39 ft. wide, the left aisle about 14 ft., and the right 17 ft. 6 in. The prothesis and diakonikon are square, and a long schola cantorum forms a continuation to the presbytery westward, though it is less in width. The westward angles of the aisles also have rectangular rooms walled off. The whole surface was covered with mosaic, of which a great deal is still preserved, consisting of geometrical pattern work for the most part, without inscriptions, though there is one panel showing a vase with scrolls issuing from it. A large drawing to scale has been made of it, which is in the communal palace. It took a full year's labour to complete. The basilica was built between 425 and 443, but there was a villa there previously, of which considerable remains were discovered in 1890, at the same time that the first sarcophagi came to light.

In the modern chapel of S. Caius, pope and martyr, the side of an antique sarcophagus serves as altar-frontal. It is sculptured with the deeds of Hercules. The subjects are the Killing of the Dragon of the Hesperides (which the peasantry mistake for the Garden of Eden), Alcestis being brought back from Hades, and the Binding of Cerberus. The water which filtered into the sarcophagus believed to be the tomb of S. Caius was credited with the same miraculous powers as the "Manna" of S. Nicola at Bari.

A path skirts the wall of Salona to the Porta Andetria upon the Clissa road, which climbs the hillside in well-graded curves. To the north the ridge of Kozjak rises to the height of 2,000 ft.; across the gap up which the Roman Via Gabiniana ran, the course of which the modern road follows, beyond Clissa, the still higher crests of Mosor frown. The isolated rock on which the fortress stands appears to have been an outwork of Salona in Roman times, and some assume that it was Andetrium, which others place farther off; the Byzantines called it Clausura. It is the key between Sinj and Spalato, its possession effectually closing the pass to an enemy. The Avars took it in 640 by stratagem, disguising themselves as Romans. It was Turkish from 1537 till 1669, except for a short period, and one of the attempts of the Spalatines to possess themselves of it has been referred to. The fort has three terraces, and retains a characteristic building, a mosque of Turkish times, now used as an ammunition store. Round arches which sustain the dome spring from stalactite-shaped brackets. There is also a Venetian wall-fountain, but considerable additions have been made to the buildings in modern times by the Austrian military authorities, who have held the place since 1813; and permission from the command at Spalato is necessary to enter the fort. To the south-east are the ruins of the Roman camp.