tian slightly ogee
arches, with saints at the top emergent from leaves, and a cable
moulding within and dentils without. In one, the columns have been
replaced by Renaissance half-columns; in the other, the
fourteenth-century shafts still remain. In the choir are two fine Gothic
tomb slabs, commemorating a fourteenth-century bishop and an arch-priest
(1494), and other slabs with coats of arms in high relief.

[Illustration: SOUTH PORTION OF CHOIR-SCREEN, CATHEDRAL, VEGLIA

_To face page 173_]

The silver pala is preserved just within the west door upon the south
wall, behind glass in tolerably large sheets, so that it can be easily
studied. The present _parroco_ replaced the old heavy wooden framing by
one of lighter construction. It is thought to have been a triptych
originally. Each of the wings has ten figures in two rows of five, one
above the other--twenty in all. On the right S. Peter occupies the
middle of the top row with S. John the Baptist below; on the left are S.
Paul and S. Nicholas in the corresponding places. All the figures stand
on brackets. The upper centre is occupied by the Madonna and Child
standing on the crescent moon; below is the Coronation of the Virgin;
the other four niches have figures of angels, three half-lengths in
each, one above the other. SS. Jerome and George are recognisable among
the other saints. The heads are much too large, and the figure-work is
coarse. The niches are trefoiled and ogee-headed, with crockets and
finials and octagonal colonnettes between, springing from corbels, and
crowned with imbricated pinnacles; they have piercings resembling window
tracery, with rosettes between each repetition. The bar which divides
the two ranges of figures, and the frame have very beautiful triple rows
of vine-scrolling in exceedingly low relief, which is quite lost at a
little distance. An inscription gives the name of Peter Grimani and the
date of 1742; but this must refer to a restoration, as the style
suggests the fifteenth century, and would agree quite well with the date
1405, when one of the Frangipani is recorded to have established the
chapel of S. Vito in the cathedral. The treasury now contains nothing of
importance--at least, inquiries only produced a showy processional cross
of the seventeenth century.

The cathedral is entered from an archway beneath the campanile; on the
other side of the arch is the church of S. Quirinus, a Romanesque
building in two stories. The lowe