de from here (1,900
ft.). The top is a bare, stony wilderness like the backbone of Veglia.

The weather was lovely, and we constantly came upon subjects which would
tempt the artist to stop and sketch--a monk seated under an olive-tree
in the shade; cattle and sheep tethered to the grey trunks, grouping
themselves as they clustered for company; a boat under sail seen through
the branches of the trees against a headland on the more distant hills
of Arbe and the mainland; and so on. The hillside was clothed with
bushes and plants in flower, among which we recognised the oleander,
white rose, juniper, laurustinus, fig-trees, ilex, cypress, strawberry
arbutus, a small-leaved myrtle, grape hyacinths thick on the ground,
giant and quite small spurges, a euphorbia with thorny trailing stems
and heart-shaped leaves, great ericas as high as a man, in some places
cyclamen in clumps by the wayside like daisies, a bush trifolium
something like cytisus but scentless, thyme, and a kind of sage, while
the bay-trees were so fully in bloom that they looked a pale yellowish
green instead of their usual colour. Just before we reached the bridge
connecting the islands of Ossero and Cherso, which has to be crossed
before the town of Ossero is reached, great banks of spurge made the
roadside as yellow as fields full of charlock in England.

In a wall at the entrance of the town the S. Mark's lion still watches,
though the two fortresses which report says were here are no longer
traceable. The cathedral is Lombardesque in style, built by Bishop
Antonio Palcic (1465-1474), and has a rather pretty doorway ascribed to
George of Sebenico, who was certainly employed by him upon other works,
and a massive campanile of 1675, which dominates the place. The nave is
five bays long, the arcade is round-arched with pretty caps and
ornamented archivolts, and the floor is paved with red and white marble
in chequers. The holy-water basins are simple, and the columns of the
ciborium rest on two red marble caps of the fourteenth century upside
down, one base of the same and one of the Lombardi period, showing the
use of older material. The church still retains a line monstrance, one
or two other pieces of silver-work, and some embroidered vestments,
though no longer the seat of a bishop, and over the high-altar is a
picture of the school of Titian. The monstrance is late Gothic, with a
foot added in the seventeenth century. It is decorated with many niches
a