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.

[Illustration: CLOISTER OF S. FRANCESCO, SPALATO

_To face page 305_]

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 archaeologist 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 Phaedra, 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 fl