s far apart from each other.
Comacine work is frequently met with all down the eastern coast as far
as Cattaro, as in Lombardy and the Venetian territory. The building at
Ravenna known as the Palace of Theodoric resembles the Porta Aurea,
Spalato, in its decoration of columned niches; and the material of his
mausoleum, Istrian stone, inclines one to look across the sea for the
inspiration of the design (which may possibly be a Gothic imitation of
the mausoleum of Diocletian), though it must be remembered that
Theodoric sent an architect to Rome to study the ancient buildings.

At a later period we have many names of artists who crossed the sea in
one direction or the other. In 1319 Uros II. of Servia sent Abiado di
Dessislavo from Cattaro to make the silver altar at S. Nicola, Bari.
Michelozzo of Florence was at Ragusa in 1463; George of Sebenico was at
Ancona rather earlier; Onofrio de La Cava did work at Ragusa; before his
time, George of Sebenico's friend, Giovanni Dalmatico, was working in
Rome, in the third quarter of the fifteenth century. Bartolommeo da
Mestre was _protomagister_ at Sebenico between 1517 and 1525, and many
artists of different kinds bore the name "Schiavone" in Venice during
the fifteenth and sixteenth centuries, where the chapel of the Illyrian
colony, S. Giorgio degli Schiavoni, was decorated by Vittore Carpaccio
with subjects from the life of S. Jerome (a Dalmatian by birth), S.
George, patron of Dalmatia, and S. Trifone, venerated at Cattaro.
Sigismond Malatesta is credited with the design of part of the
fortifications of Ragusa, where artists of many nationalities were
employed, one of the bells bearing the names of two Dutchmen, Willem
Corper Cornelis and Jacob Vocor. The building on the eastern shore which
had the most effect upon the western, and indeed upon the whole of the
Occident, is the Palace of Diocletian, in which, for the first time in
Europe, the arch appears springing directly from the capital without the
interposition of the entablature, a building which was almost certainly
constructed by Syro-Greeks, probably brought by the emperor from
Antioch. All the masons' marks are Greek letters, and many of the
combinations of architectural forms are found in the dead cities of
Central Syria, in buildings dating from the end of the second century.
The method of construction of the domes, the great bearing-arches which
relieve the architrave, the exterior niches which decorate the walls