people make a great display, and go through ceremonies pointing to the
capture or purchase of the bride. The cortège is headed by a
standard-bearer, an unmarried relation, carrying a linen flag of
different colours, and on it a wheel-shaped loaf with a great apple on
the point of a long pole. The guests knock loudly at the door: after a
time a voice asks who they are and what they want. The oldest man
answers: "A rose out of the garden," or "A hind out of the thicket."
After some debate, first an old woman is brought out, then a younger,
then the bridesmaids. They take them all, but want another--"A barefoot
girl is still there." At last the bride appears. "That is the right one;
we will take her away," all cry, and the bride-leader asks for her
stockings and fine shoes, which generally contain a silver coin. These
she herself puts on. The bridegroom gives shoes or some other gift to
the mother and all the home people. Then one of the guests fires at an
apple on a stick fixed to the roof, or on a tree-top, and it is
considered a disgrace to all if he misses. Now the bride comes down,
garlanded and with one or two apples in her hand, which she throws at
the bridegroom, who tries to cover her with the flag. Whether struck or
not, he picks the apples up, to eat with his bride after the ceremony.
Then they go off to church. Other customs accompany the journey home.
The Morlacchi are very hospitable; if any one approaches one of their
houses they ask him in, and will not let him go without his tasting
bread and wine. They are exceedingly loyal and devoted to their native
land. They are very fond of proverbs, of which I quote a few: "The empty
sack does not stand upright"; "Penitence does not make the madman well
again"; "If you will not be a thief I will not watch"; "You can't shut
out the sun with the palm of your hand"; "Be married by your ears and
not your eyes"; "There is most milk in other people's cows"; "He who
cries most loudly works the least"; "Promises console the foolish"; "He
who has been bitten by a viper fears the lizard"; "The wolf changes his
skin, but not his habits"; "As the mother spins, so the daughter
weaves"; "Horses by their pace, maidens by their stock."
They are a powerful and a proud race, as the following story from Fortis
shows, and will without doubt leave their mark on European history when
their culture equals their physical powers; but the present
race-animosity between Croat and Italian is deplorable. The Croats,
being in the majority, are using their power to oppress the
Italian-speaking portion of the population. The schools are now all
Croat, and the Italians have no means of instruction for their children
in their own language except at Zara. At Spalato the race-feeling is
especially bitter; it is the only city in Dalmatia in which the
anniversary of the Italian defeat at Lissa is fêted with display of
flags and music by the _municipio_. The Italian theatre was burnt down
some years ago, and the Croat majority on the council voted a large sum
of money (stated to have been £60,000) to build a new Croat theatre to
replace it; and this they refused to let to Italian companies. But there
are no Croat companies ready to bear the expense of coming to Spalato,
so the theatre remains closed!
The story told by Fortis is as follows: "Venice was exchanging
prisoners-of-war with the Turks, and gave several Turkish soldiers for
each Dalmatian. A deputy of the Porte observed that this was scarcely
fair, to whom a Morlacco of Sinj replied fiercely: 'Know that our prince
willingly gives many asses for a horse.'"
III
AQUILEIA
The city of Aquileia, called by the Greeks Chrysopolis, because it was
one of the largest and richest cities of the empire, is now represented
by a cluster of houses, a cathedral, and a museum in which the greater
part of the objects found by excavating are housed. It is easily reached
by carriage from either Villa Vicentina or Cervignano, a pleasant drive
of an hour or so; and it gives one some idea of the size of the ancient
city to remember that the whole of the ground passed over, at least from
Villa Vicentina, was originally included in its suburbs. The city
stretched 16 miles along the shore, but the ground has sunk some five
feet, and much of ancient Aquileia now lies beneath the lagoon. The
inscriptions show that most of the inhabitants were foreigners. At
present the environs are malarious; but at the time when the naval
station was established here the climate must have been much more
healthy; on account, probably, of the great pine-forest which stretched
along the shore, and of which there are still some small remains towards
the Belvedere. At that time the Natisone debouched close to the town,
and there was ample anchorage for ships. In the eleventh century the
great port and arsenal were at Morrano and S. Marco al Belvedere, which
were then still islands. The sea-mouth was between Grado and S. Pietro
d'Oro, where the pharos was.
The city was founded in 181 B.C., and its name is said to have
originated in the appearance of an eagle which was seen while the plan
was being laid out. It was the centre from which numerous roads
diverged. Here Vespasian was hailed emperor by his legion. In 238
Maximin and his son were killed beneath its walls. Alaric besieged it,
and Attila destroyed it in 452. Forty years later Theodoric took the
lordship of Italy from Odoacer on the banks of the Isonzo, and in 552
the citizens who had returned were again driven away to the deltas of
other rivers by Alboin, who was, it is said, called from Pannonia by
Narses to wreak his vengeance on the son of Justinian.
Christianity was planted in Aquileia in apostolic times. According to
tradition S. Mark was sent by S. Peter from Rome to the city, and there
wrote or translated his gospel into Greek. S. Hermagoras, who was
Aquileian by birth, followed him as overseer of the Church. He was
consecrated the first bishop of Italy in Rome, the diocese ranking next
to the Roman see as being the most ancient after that city. There is no
doubt possible as to the existence of Christianity here at the end of
the third century. There were churches in the time of Constantine, and a
baptistery as early as 270, in the days of Aurelian. In Constantinian
times it was a centre of Catholic life. SS. Jerome and Ambrose lived
within its walls, and towards the end of the fourth century the bishops
of Como, Venetia, Istria, Noricum, Pannonia, and even Augsburg, as some
say, were under Valerian the bishop. Till Carolingian times the
patriarchs were Italians, Greeks, or Friulians; but, with the
establishment of the Holy Roman Empire, the patriarchs of Aquileia
politically were attached to it, and were friends of the emperors, who
often stayed in the city on their journeys to and from Italy. All the
names are German from the end of the tenth century to the middle of the
thirteenth. The patriarchate was exceedingly prosperous under Poppo
(1019-1045), who had been chancellor to Henry II. He moved his seat back
to Aquileia from Cividale, built a fine palace (of which the two
isolated pillars and the ruined walls to the south of the cathedral
remain) and the existing cathedral, using portions of an earlier one as
material.
As at Parenzo, excavations have revealed the plan of earlier buildings
upon and around the site of the cathedral. This was the Capitol of the
ancient city, and probably a street ran between the baptistery and the
cathedral. To the north lay the forum and the cattle-market, as
inscriptions prove. The discovery of drains proves that there were
dwelling-houses as well as temples near; but the wall of the original
city was just east of the cathedral, and beyond it a branch of the
Natisone flowed, affording additional protection. The river was
canalised and navigable for seven miles. The piers of a bridge still
remain near Monastero.
A large antique building of some kind, perhaps a prison or
courts-of-law, connected with the martyrdom of SS. Hermagoras and
Fortunatus, was used in the construction of the first cathedral, and
portions of imperial work are to be seen in the lower parts of the
eastern wall and the paving of the crypt. The baptistery, which rises to
the west, also is on the base of a heathen temple. In the year 348 a new
church was so far ready that a great meeting could be held in it, at
which the emperor's brother was present, Athanasius tells us. It was
finished in 381, when a council was held in it. The destruction wrought
by Attila appears to have been complete, for no inscriptions have been
found of his date, nor any Lombard objects, and at the time of the
Lombard invasion the patriarch fled to Grado with all the church
valuables, and moved his seat thither.
The foundations show that there were two basilicas side by side, with a
narthex common to both and a passage between them up to the transept. To
the south the narthex terminated in an apse nearly 20 ft. across, and
there was a hall, probably open to the sky, between the narthex and the
baptistery, with others to the north and south of it. The basilica to
the north of the present cathedral extended under the campanile and the
graveyard, and mosaics of its floor have been found on two levels,
sunken in part by the weight of the campanile. The lower mosaic has been
found over a space of more than 120 ft., but the excavations could not
be made complete owing to the ground being used as a cemetery. One
pattern is purely geometrical; another has birds, dogs, hares, baskets
of flowers, and floral scrolls in octagons and squares set diagonally
between them; both marble and vitreous pastes are used, as well as gold
tesseræ. Inscriptions were also found in letters of the third or
beginning of the fourth century: "***ore Felix hic crevisti hic Felix"
and "Cyriacus vivas." The former is held to prove that there was a
domestic basilica here at that period. The bottom of the wall was
painted with geometrical patterns imitating marble plating. The mosaic
runs right under the campanile. There is a door to the south, and two
pillars parallel to the face of the wall, and one to the left, opposite
the north angle. The upper building has a double row of bases of
columns, nine or ten in number, with an external wall 19 ft. 6 in. from
the present basilica, and with the western wall of the narthex level
with the present narthex, beneath the piazza. Antique fragments were
used in the foundations. The lower part of the wall of the existing
building is of the same materials and thickness, and probably of the
same date. The much simpler mosaic patterns of the floor are at the same
level both inside and outside--viz. 2 ft. 9 in. below the present
pavement. Near the round building in the north aisle a fish mosaic was
found on which the sarcophagus of Poppo stood. Signs of a
conflagration--fragments of charcoal, &c.--were also found on this
pavement. The colours used in the mosaics are white, blue, grey, palish
green-grey, yellow, brown, black, several blues and reds, and two
greens. The finest fragment has a figure of a peacock with tail
displayed, which was in the narthex in front of the door to the church,
and is now in the museum. On the pavement coins were found, most of
which belonged to the third and fourth centuries; but there were also
one Greek coin of Marcianopolis, two so-called Consular coins, one
Augustan, three of the second century, one Ostrogothic of Ravenna, and
several Aquileian of 1400. In the eighteenth century sarcophagi were
disinterred bearing fourth-century crosses, of an earlier date than
Attila, at all events.
There appears to have been a restoration in the sixth century, probably
under Narses; the use of super-abaci and the caps in the transept
suggest this. Perhaps the council of 557 may have had something to do
with it. Twin basilicas occur elsewhere in Istria, though they were not
always of the same date, as at Trieste, S. Michele in Monte, Pola, and
probably at Ossero, where the seven-naved basilica of which Mr. T.G.
Jackson gives the plan would be easily explained by the supposition.
The original east end was square. The semicircular apse within it is of
a later date, probably of the ninth century, of which period there are
other remains--viz. the beautiful slabs of the choir now in the south
transept, with the remains of the bases of the pillars of the screen
above. Two of the patterns are exactly like some at Muggia Vecchia;
others resemble ornamented pillars of the door of S. Ambrogio, Milan;
others are very like the fragments preserved at S. Maria in Valle,
Cividale; whilst a band of interlacings resembles one which occurs on an
Assyrian cylinder, not only in its forms, but in its irregularities. A
piece of antique fluted pilaster now does duty as a base. The ornament
on the steps of the throne is also of this period, probably executed
under either Paulinus ([Symbol: cross]802) or Maxentius ([Symbol:
cross]833) by Comacines, who probably went on to Rome to work in S.
Maria in Cosmedin. The Liber Pontificalis under Hadrian I. mentions the
"tres apsides in ea constituens" of that church as if they were
something new.
[Illustration: PLAN OF THE CATHEDRAL, AQUILEIA]
The cathedral was much damaged by the earthquake of 998, and Poppo began
to rebuild it after the Latcran Council of 1027 had declared the see of
Aquileia first in Italy after Rome, It was sufficiently finished in 1031
for it to be consecrated by him on the festival of the patron saint
(July 13), two Roman cardinal-bishops and twelve bishops being present,
as a later inscription states. Of this building the greater part
remains, though with considerable alterations and additions made in the
fourteenth century, after the earthquake of 1348, and in the fifteenth
century. The twenty columns of the nave arcade, some of which are
granite and some Istrian limestone, show by their different heights and
thickness that they came from other buildings. Some of them are in more
than one piece. The bases are Attic of different heights and are of
Poppo's time, as the caps appear to be also. Two similar caps are in the
churchyard; and one, hollowed out, is used as a holy-water basin. Some
of the same character were found at Monastero under another basilica.
The central nave is 39 ft. broad, and the aisles 26 ft. The transept is
about 136 ft. long, with an apse 32 ft. 6 in. broad opening from it, 21
ft. deep. The exterior length of the building is 218 ft. The round
arches from the aisles to the transepts are older than the nave arcade.
The columns are antique; that on the south has also a Corinthian cap,
but the base is Romanesque. The base of the northern column is a
shapeless block; the cap is like those of the nave, but the super-abacus
is plain. Across the transepts two round arches are thrown in a line
with the aisle walls, resting on very thin columns of cipollino; that on
the south is of several pieces not belonging to each other. The caps
vary in design. North and south of these arches are the chapels, with
their apses. The arch of the apse is round, with two antique granite
columns; it had three small round windows in it. The bishop's throne is
from the earlier church. Beneath the late-Gothic seats round the apse
are the seats of Poppo's time, with remains of inscriptions: the
pavement of marble slabs and mosaic patterns is also due to him.
In 1896 frescoes of the eleventh century were discovered beneath the
rococo plaster-work in the semi-dome. In the centre is the Madonna and
Child enthroned in a vesica above six saints, and surrounded by the
symbols of the Evangelists. The saints to the spectator's right are SS.
Hermagoras, Fortunatus, and Euphemia; to the left are SS. Mark, Hilarus,
and Titianus. Among them are persons on a smaller scale--Poppo holding
his church, the emperor (Conrad II.) and the empress, an unnamed person,
and a boy "Einricus" (afterwards Henry III.); a border of medallions,
with heads and peacocks alternately, surrounds the field. Below, between
the three windows, are six more saints, three on each side. Two
different hands can be traced. In the crypt are also paintings of the
eleventh and twelfth centuries, the difference in technique being
marked. On the vaults are the legends of SS. Hermagoras and Fortunatus;
in the lunettes the life of the Virgin, angels, Apostles, and saints,
and on the soffits of the arches; and painted hangings in outline with
figure-subjects upon them, on the lower part of the wall. There is one
subject from the life of S. Mark. Two kinds of intonaco are used, one
hard and white, the other grey and sandier. There are two rows of
pillars in the crypt, six in the wall round the apse, and two
(Renaissance) at the sides of the westward niche, which looks like a
western apse with altar in front of it. The roof is a wagon vault
pierced with cross-vaults, but not truly quadripartite, and the caps a
curious combination of badly cut foliage and scrolls and round-arched
arcading. Iron grilles of 1500 isolate the space within the columns
where the sarcophagus stands. There were doorways to the triangular
spaces left between the apse and the rectangular external form, which
were walled up at a later date. The stairs to the crypt go through the
side wings of the Renaissance tribune above with a crookedly set room on
each side, with little windows in the walls, one of which is blocked by
the marble sheeting, while those towards the crypt are also walled up,
showing that the structure is early, and is probably Poppo's. The doors
are of iron, with lions' heads on the south side and man-headed animals
on the other.
The Patriarch Raimondo della Torre (who died in 1299) built the chapel
of SS. Ambrogio and Margherita, which was used as the sepulchral chapel
of the family. It opens to the nave, with two pointed arches with an
oculus above. In the middle of the side wall, between two sarcophagi of
white marble, is that of Allegranza di Rho, second wife of Moschino
della Torre and mother of the Patriarch Gastone. She died July 23, 1300,
and her sarcophagus is the only one of the five in the chapel inscribed.
On the front are reliefs, and on the sloping cover her effigy. One of
those at her side has a figure of a person in subdeacon's dress, with a
key, no doubt Rainaldo della Torre, treasurer to the church and brother
of Gastone. His will of March 31, 1332, gives a precise description of
the monument he wished to have erected to him. There was to be an
archivolt over it, but if it was erected it must have fallen in the
earthquake of 1348, as there are no traces of it. One of red marble,
with a patriarch fully robed, with pallium and mitre, standing on a
dragon between a processional cross and a crozier, with censing angels
on each side of the head, is that of either Raimondo or Pagano. It also
bears a relief of the Annunciation. On the front of another are three
circular plaques with the Agnus Dei in the centre and crosses in the
others; in the spaces between are flatly treated towers, the arms of the
family. In the north transept a sarcophagus front, or altar, stands
against the wall supported on pillars. It has five ogee trefoil niches
with saints within them, and a framing of late Gothic foliage, with
half-lengths of angels in the spandrils. The central saint is
accompanied by two small kneeling donors; the other four are the
Aquileian virgins. In the south transept is a sarcophagus on four
Romanesque columns with twisted pillars at the corners, and the sides of
the central subject (S. Hermagoras, with the four virgins small, on
their knees, and the hand of God above). The spaces between are inlaid
with red marble. The caps appear to be of the fourteenth century, the
period of the foliage cornice.
As a consequence of the earthquake of January 25, 1348, a good part of
the church fell down on October 19. Constant wars prevented the
patriarch from having money to spend on its restoration. A document of
1354 reveals a lamentable state of things--the population was but
100--worshippers did not come, and the clergy had fled to save
themselves from sickness and death; no one came to the services of Holy
Week because the roads were under water, &c.; with a final request that
Udine might be named as the seat of the patriarchate. The rebuilding was
commenced under Lodovico della Torre (1360) and finished under Marquard
da Randeck (1365-1380), the architect being unknown. At this time the
nave arcade was made pointed, and some of the super-abaci carved with
Gothic foliage. After Venice had expropriated the patriarch (in 1420)
money was spent upon the cathedral. In 1479 the choir seats were
renewed. In 1493, under Nicolò Donato, the winter choir was renewed. In
1495 the high-altar was erected, upon which Antonio di Osteno,
Bernardino di Bissone, and Domenico di Udine were employed. Work was
also done in the crypt, in connection with the better preservation of
the relics of some saints. In 1498 the tribune appears to have been
made, under Domenico Grimani. This is a very decorative arrangement,
with a central feature, flanked by two flights of steps, and side
platforms furnished with a balustrade, which project some way into the
transepts, and are carved elaborately with graceful arabesques. In the
centre below is a niche with shell-head and grated window, through which
the inside of the crypt is visible. To the right is a ciborium altar,
with a relief of Christ in the tomb half-length, supported by the Virgin
and S. John, flanked by two scroll-bearing angels. An inscription
describes it as an oratory, where relics of the saints are venerated.
The pillars bear an architrave--a shell-he ad beneath, an arch above,
and a gable termination of early Renaissance shape--above a shallow
cornice. The effect is heavy. The left side was used as a
singing-gallery. In the apse hangs a picture by Pellegrino di S. Daniele
(which was put up in 1503), a good deal repainted--a Risen Christ with
SS. Peter and Herniagoras. The fine frame was carved by Giovanni Pietro
di Udine in 1500, and gilded two years later by Antonio de' Tironi of
Bergamo. Before 1484 the floor was of beaten earth; at that time a
pavement of red Veronese marble was commenced, completed in 1544. The
aisles are at a slightly higher level than the nave. The Gothic roof was
remade on the pattern of those of SS. Zeno and Fermo, Verona, in 1526
(signed Giuliano q Vivente of Udine), and restored in 1560. It is now
painted in chequers. Beams resting on corbels beneath the windows cross
the nave, while the aisles have a flat panelled roof, with bosses at the
intersections of the framing.
The font is supported by four small pillars surrounding a larger central
one. In the north aisle is a circular building with a conical wooden
roof supported upon a little colonnade--work of the fifteenth century in
its present form. There was, however, a "sepolcro"--a copy of the Holy
Sepulchre--here, with a flat cupola, mentioned in 1077, and described as
being near the grave of Patriarch Sigeard, and in 1085 an altar was
consecrated within it by Patriarch Frederick II. The ceremony of
carrying the Host thither on Good Friday and locking and sealing the
door, from which it was brought out on Easter Day, lasted till the
suppression of the patriarchate in 1751.
[Illustration: NARTHEX OF THE CATHEDRAL, AQUILEIA
_To face page 35_]