purposes; other Gothic
palaces remain along the side of the piazza. Above the town is Fort
Spagnuolo, which probably occupies the site of an older castle besieged
by the Hungarians and their allies in 1358; an inscription states that
the present building is due to the Spaniards, and was built in 1551
under Charles V., when he was allied to Venice against the Turks. Higher
still to the east is Fort S. Nicolo, constructed after the Russian
attack in 1807.

The cathedral is not remarkable for its architecture. The facade has a
semicircular termination, quadrants above the aisles, and an early
Renaissance doorway. The stalls are carved and pierced like those at
Arbe and Zara, but have lost the tops and the carved divisions. At each
side is an ambo of stone supported on four columns, but with an
octagonal body above, arcaded, with shafts at the angles. The arches are
all round, but the change in the plan produces a curious pointed
appearance in perspective in the lower arcade. On the high-altar is a
picture by the younger Palma, a Madonna and the Child in the clouds,
with S. Stephen vested as pope below, and SS. Jerome and Carlo Borromeo.
There is also a more ancient picture by Antonio Gradinelli, a dead
Christ supported by angels. Near the west end is a carved reredos of
Venetian-Gothic style; S. Luke in the centre with his ox, and S. John
the Baptist are recognisable among the well-carved figures of saints
beneath pointed arches with shell-heads to the niches. Two Venetian
lions have closed books with the date 1475. The sacristy contains some
fine embroidered vestments and several interesting pieces of
metal-work--a ciborium of the fifteenth century of silver, with a
pyramidal roof, a large silver chalice of Venetian late
fifteenth-century work in _repousse_, a monstrance with round upper part
and an angel with a scroll and the inscription "O Salutaris," &c.,
decorated with translucent enamel.

There is also a very curious sixteenth-century crozier of gilded copper
enriched with silver bands and rosettes, which repeats and enlarges on
the idea of Bishop Valaresso's crozier at Zara. Inside the crook (which
is a complete circle) is the Coronation of the Virgin, above whose head
is a dove, and beneath her feet the head of the serpent, which
terminates it. She is crowned by a half-figure emerging from a flower,
wearing the kind of high mitre which is frequently given to God the
Father; behind her is a similar half-figure of