ops and
pins, which is the usual practice in boats of the Mediterranean now. In
the cut from D. Tintoretto (p. 37) the groups of oars protrude through
regular ports in the bulwarks, but this probably represents the use of a
later day. In any case the oars of each bench must have worked in very
close proximity. Sanudo states the length of the galleys of his time
(1300-1320) as 117 feet. This was doubtless length of _keel_, for that is
specified ("_da ruoda a ruoda_") in other Venetian measurements, but the
whole oar space could scarcely have been so much, and with twenty-eight
benches to a side there could not have been more than 4 feet gunnel-space
to each bench. And as one of the objects of the grouping of the oars was
to allow room between the benches for the action of cross-bowmen, &c., it
is plain that the rowlock space for the three oars must have been very
much compressed.[12]

The rowers were divided into three classes, with graduated pay. The
highest class, who pulled the poop or stroke oars, were called
_Portolati_; those at the bow, called _Prodieri_, formed the second
class.[13]

Some elucidation of the arrangements that we have tried to describe will
be found in our cuts. That at p. 35 is from a drawing, by the aid of a
very imperfect photograph, of part of one of the frescoes of Spinello
Aretini in the Municipal Palace at Siena, representing a victory of the
Venetians over the Emperor Frederick Barbarossa's fleet, commanded by his
son Otho, in 1176; but no doubt the galleys, &c., are of the artist's own
age, the middle of the 14th century.[14] In this we see plainly the
projecting _opera-morta_, and the rowers sitting two to a bench, each with
his oar, for these are two-banked. We can also discern the Latin rudder on
the quarter. (See this volume, p. 119.) In a picture in the Uffizj, at
Florence, of about the same date, by Pietro Laurato (it is in the corridor
near the entrance), may be seen a small figure of a galley with the oars
also very distinctly coupled.[15] Casoni has engraved, after Cristoforo
Canale, a pictorial plan of a Venetian trireme of the 16th century, which
shows the arrangement of the oars in _triplets_ very plainly.

The following cut has been sketched from an engraving of a picture by
Domenico Tintoretto in the Doge's palace, representing, I believe, the
same action (real or imaginary) as Spinello's fresco, but with the costume
and construction of a later date. It shows, however, very