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In the large piazza which stretches to the south-east of the cathedral are two well-heads and the "fontico" or place where corn was sold cheaply to the poor, a building of 1432, restored in 1529, plentifully studded with coats of arms. Opposite the Palazzo Comunalelis the Loggia, now a cafe, built in 1464 for a literary academy. It has seven pointed and traceried arches in front and two at the side, a Madonna and Child decorates the south-west angle, and coats of arms are between the windows of the upper story. Here the Compagnia della Calza was inst.i.tuted in 1478 in imitation of that of Venice. A few houses have remains of late Gothic painting, and in others something of the mediaeval arrangement may still be seen. Upon the Palazzo Tacco is a very beautiful knocker, ascribed to Sansovino, now happily the property of the commune; and the Casa del Bello has a fine negro's head as handle, rather worn by use, and an elaborate knocker, probably of German work.

The Casa Borisi also has a handle with the head and shoulders of a child emergent from leaves, and a knocker of similar design.

[Ill.u.s.tration: KNOCKER ON PALAZZO TACCO, CAPODISTRIA]

In the cathedral treasury is a late fifteenth-century silver-gilt chalice with elaborately worked knop and stem; on the knop are saints under canopies, and angels with outspread wings emerge from scroll-work round the base of the cup. Also a monstrance of the same period with very elaborate and beautiful architectural ornament and figures of angels in adoration. In two elaborate silver-gilt crosses of the sixteenth century there is a curious mixture of Gothic and Renaissance details.

There is also a Byzantine civil casket at Capodistria, with traces of ancient gilding upon it. It has the usual rosettes in the borders, and small plaques with figure subjects. On the front there are three G.o.ds and G.o.ddesses, separated by a repet.i.tion of the border pattern. The handle and fastenings are later in date.

Just inside the Porta della Muda is the Piazza da Ponte, so called after the Podesta Lorenzo da Ponte, who in 1666 had the very curious fountain erected, in which he imagined a further memorial of himself by the punning design of the bridge, so unsuitable for its position. In front of the Palazzo Tacco is a column with a statue of S. Giustina, set up to commemorate the battle of Lepanto, at which Domenico di Tacco commanded a ship fitted out at his own expense.

[Ill.u.s.tration: THE PIAZZA DA PONTE, CAPODISTRIA

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In the churches on Good Friday a crucifix was laid on the chancel steps.

Women and children knelt round and kissed it. In one or two of them a dead Christ, life-size and painted, was exhibited behind gla.s.s. There was also the "tomba," a custom to which one is used in Italy. A few men joined in the devotion. The Good Friday procession is over half a mile long, and takes two hours to get round the town, starting from the cathedral west door at twilight. It is formed in great part of the ancient confraternities (among which that of S. Maria is mentioned as early as 1082), who carry some 200 implements and standards, torches, candelabra, wax tapers, figures of saints, and lanterns. At the end of the procession a rich baldacchino is borne aloft above the priest who carries the Host. "Mazzieri" (from the mace which they carry as sign of authority) keep order. Other processions by daylight take place on Corpus Domini and S. Nazario (June 19). The people have always been fond of such displays, and till the seventeenth century there was a great function at the departure of the rector, who was solemnly bidden farewell by one of the syndics or n.o.bles in the cathedral. These Istrian coast towns have always shown enlightenment in the matter of education.

In 1699 a school was opened in Capodistria for the sons of citizens and patricians, in which Latin, Greek, Italian, mathematics, rhetoric, and physics were taught. And, in order that poor and talented young men should not be cut off from the possibility of learning, this town, and, after its example, Isola, Muggia, Parenzo, Pola, and Trieste established scholarships at the University of Padua, where Istrian professors became rectors. But, even in the fourteenth century, there were already school teachers in Pirano, Muggia, and Capodistria.

It is Pirano on its headland, with the cathedral standing out against the sea, and with its crown of battlemented towers among cypresses and other trees which terminates the land as seen from the railway descending from Nabresina to Trieste; for, though the Point of Salvore stretches actually farther out, it is low, and does not catch the eye as Pirano does, especially when its characteristic silhouette is emphasised by the blue shadow of a pa.s.sing cloud. The headland upon which the cathedral is built, with its arched b.u.t.tresses below, hides the town, except for the fortified cresting high above the trees; but, when the point is rounded and the harbour entered, one is tempted to a.s.sert that there are few places so picturesque. The quays are crowded with fishing-boats, which are backed by the brilliantly white buildings. The green water reflects boats, buildings, and sky with a bewildering flashing and mingling of varied colours; while, above the houses of the Piazza Tartini, other houses and towers climb to the battlemented walls which crown the hill above a s.p.a.ce filled with the grey of olives and green of the gra.s.s beneath them. Within the town the streets are narrow and often arched over, producing striking effects of light and shade; and there are external stairs to some of the houses and many balconies.

It is an ancient town, and may have been founded by Celtic immigrants, since the word "pyrn" (a possible derivation for its name) means "top of the hill" in Celtic. It certainly was inhabited in Roman times, for the foundations of a Roman house have been found, as well as inscriptions, bronzes, and other objects now preserved in the museums of Trieste, Parenzo, and Pola. The names of a good many places near are of Roman derivation, but the first definite mention of Pirano is made by the anonymous Ravennese chronicler. In the tenth century the Istrians attacked the possessions of the Patriarch of Grado and of Venice, under the Marquis Winter, who governed for Ugo, king of Italy. The doge retaliated by prohibiting all commerce with Pirano, Trieste, Muggia, Capodistria, Cittanova, and Pola, and this soon brought them to their knees, finally resulting in the treaty of 933.

[Ill.u.s.tration: THE INNER HARBOUR, PIRANO

_To face page 94_]

A castle, the residence of the count or burgrave, was built nearly opposite the cathedral, with a wall falling sheer to the sea; this wall was still in existence in 1483, and was seen by Sanudo, but it was destroyed soon after. Venice gradually laid a heavier hand on this part of the eastern sh.o.r.e of the Adriatic, and, though the citizens struggled to retain their independence, the year 1283 saw the dedition of Pirano.

Yet it always retained the right of displaying its own standard of S.

George in the Piazza by the side of that of S. Mark. The existing bases for the support of these standards date from 1464 and 1466, and bear the figure of S. George on one, and S. Mark's lion on the other, with the arms of the podestas who ruled in those years. On the base of the Venetian standard the measures of length then in use are engraved. The standards for measures of capacity were three hollows sunk in a stone which once stood at the foot of the stair of the communal palace. This palace was demolished in 1877. It was a building erected in 1291, outside the circuit of the walls as it then existed, "to show that a new spirit ought to animate the citizens to forget their ancient divisions,"

as a chronicler says. From 1264 Venice practically had control of the government, being the princ.i.p.al customer for the salt, which was (and is still) the chief product of the place.

The city is an irregular triangle in plan, and is divided into four sections, known as "Porte"--Porta Muggia, Porta Domo, Porta Misana, and Porta Campo. Walls enclosed each of these sections, which were thrown down by Venice at the same time that many of the n.o.bles' towers were destroyed; but some portions remain here and there, utilised for the erection of later houses. Round the "Punta," the most ancient part of the city, are remains of early walls, thought to be late Roman. The Venetians allowed only one wall for protection, and the present towered portion, so conspicuous along the crest of the hill, was finished in 1488. The suburb, the Borgo Marzana, which stretched along the sh.o.r.e, was also enclosed within their circuit by 1533. They recall those of Soave and Marostica in North Italy, where the houses cl.u.s.ter round the piazza below, and the hillside is covered with olives, through and above which the line of battlements may be traced high above the tops of the campanili. The harbour was once larger than it now is, the Piazza Tartini occupying the site of part of it. In 1320 the Venetians sent three engineers to construct a port, but all that was done was to strengthen the inner harbour as then existing. The chain which closed it was replaced by a drawbridge in 1578, shown in a picture in the cathedral, but this was demolished in 1894.

In 1379 the Genoese fleet of fifteen galleys demanded the surrender of Pirano. Reply was made with cannon-shots which sank three large ships, and the others sailed away. It was the only Istrian city which thus repelled the Genoese attack, and the incident is also interesting as showing that the Venetians used bombards before the war of Chioggia.

The statute is more ancient than those of most of the neighbouring cities, and gives curious details as to pains and penalties and munic.i.p.al regulations. The penalty for mutilation was a corresponding mutilation unless the fine prescribed was paid. The making of false money was punished with death. The false witness, if insolvent, lost his right nostril, and his name was published as a perjurer on the stair of the communal palace. He who destroyed the property of another lost his right hand. But there was no public executioner; and there are many records of the flight of guilty persons, though an intention to make "the punishment fit the crime" is evident. No one was allowed to build a house close to the walls, and thatch was forbidden. A blasphemer was pilloried for a day (a list of illegal words and phrases is attached to this section). Workmen were forbidden to receive more than the wage prescribed, butchers had to accept the price fixed for meat by the justices, and the times and places for fishing were specified. The commune had an inn "let to an honest man," with six good beds, which he had to provide. No one else was allowed to let rooms till 1469, when the payment of a tax of three ducats a year ent.i.tled the payer to a license.

In 1484 interest on loans was fixed at 20 per cent., and Jews were allowed to charge no more. This people enjoyed considerable liberties, as in Venice, and corresponding concessions were made to them. With the establishment of a "Monte di Pieta" their occupation was gone, and they migrated to Trieste. The commune paid a chief bombardier, a captain of ordnance, a palace chaplain, two doctors and a surgeon, a canon of the Community, a master of arithmetic, a professor of humanities and rhetoric, and a preacher for Lent.

[Ill.u.s.tration: PIRANO, FROM NEAR THE CATHEDRAL

_To face page_ 97]

An academy, called "Dei Virtuosi," was also sustained at the public expense, and by it public festivals were organised, with the accompaniment of decorations and music, &c. The festival of Corpus Domini is still celebrated with the hanging of cloths and paintings on the walls of the houses, and with stretching awnings, like the Florentine mediaeval "cieli," across the streets, which are strewn with flowers and ornamented with altars and fountains. Processions also still accompany funerals and marriages, when garlands, flowers, and confetti are thrown upon the cortege as it pa.s.ses. The banner and pall are black, with white embroidery, and the members of a red-clothed confraternity attend the funerals, bearing a crucifix and tapers. Many of them are quite old men, and they raise a quavering chant as they climb the steep ascent to the cathedral, which is a late Renaissance building, and not interesting, though finely placed. The campanile is an evident copy of that of S. Mark at Venice.

In 1572, under an altar in the cathedral, a fine Byzantine civil casket of ivory was found. Presented in 1884 to the Emperor by the munic.i.p.ality, it is now in the Court museum at Vienna. It has a sliding lid, the usual borders of rosettes, and long panels of subjects imitated from the antique. In the library above the sacristy are several early paintings in carved and gilt frames. The most important represents a long arcade with four saints on each side of a broader central panel, on which are the Virgin and Child enthroned. The figures have small heads and meagre limbs. There is also a Crucifixion, which, from its shape, was probably the top panel of a large picture in compartments.

These are of the fourteenth century. A later example shows four saints in trefoil-headed panels, with a cornice above, composed of a series of sh.e.l.l-headed tops of niches. These originally formed the doors of a cupboard. There are also said to be a psalter and antiphonary of the fourteenth century, and a Bull of Urban V. relating to the Crusades of 1365. The ancient baptistery stood opposite the cathedral, if one may trust the views in Carpaccio's picture, and in one by Domenico Tintoretto in the town-hall. The modern one is on the slope of the hill, just below the campanile. It contains an early rectangular font. On the side facing the door is a carving similar to that on the font at Venzone--a naked youth astride of a sea-monster, said to typify the control of the bodily appet.i.tes by the reason. The other sides are much damaged.

The other important church is that of S. Francesco, which has a good early Renaissance doorway and a cloister, some seventeenth-century carved chairs, several Venetian pictures, and an early altar-piece. On the facade a curious inscription is set in the wall, which states that the church was dedicated on S. Mark's Eve, 1344, and that seven altars were then consecrated by seven bishops--nine being mentioned, however--Justinoplensis (Capodistria), Enonensis (Cittanova), Parentinus, Polensis, Petenesinus (Pisino), Capiolensis, Evelinensis (Buie), Domatensis, Soaralensis. The lion of the church is, however, the fine Carpaccio in the chapel to the left at the bottom of the nave, dated 1518, and signed "Victoris Charpatii Veneti opus," considered by some his best work. It represents the Virgin seated, and holding the Child to her breast. He has two cherries in His left hand; to His right are three saints --S. Francis with a cross, S. George, and S. Louis of Toulouse; to the left, S. Anthony, Santa Chiara, and S. Louis of France.

At the feet of the Virgin are two angels with lute and violin on each side of a pot of lilies; a pillared hall, with a view of Pirano in the distance, forms the background. The chapel has pilasters with very beautiful arabesques. The design of the architecture and of the picture agrees perfectly, and it is evident that it was intended that the painted architecture should continue the effect of perspective, which commences with the reality of carved and built-up marble.

In the office of the salt-works is a picture by Carpaccio's son Benedetto, signed and dated 1541, which came from S. Lucia di Val di Fasano. It shows the Virgin seated with the Child in a little shirt, in the act of blessing. On the left is S. Lucy, on the right S. George standing, with their heads on the same level as the Virgin, and therefore on a smaller scale. The throne has a very shallow step. The figure of S. George is a repet.i.tion of that by Benedetto's father in S.

Francesco.

In the Piazza Tartini, near a fourteenth-century house of Venetian Gothic, once the palace of the family of del Bello, is a modern statue of Tartini the violinist (1692-1770), who here commenced the study of music, which led him to extraordinary executive triumphs and the production of the celebrated "Trillo del diavolo."

Outside the walls, on the road to Porto Rose, are the ruins of the monastery of S. Bernardino, founded in 1450 by S. Giovanni da Capistrano, to whom the ruined convent on the island opposite Rovigno is also due. It once possessed a Vivarini, a Madonna with a sleeping Child, which was sent to Vienna in 1803. In the church of S. George is a fragment of a carved stall with a figure of the saint, which should be mentioned.

The town of Salvore seems to have been under the jurisdiction of Pirano, and the commune held a fair there on S. John the Baptist's Day, to celebrate the naval battle in 1177, in which Frederick Barbarossa was conquered in the deep bay between it and Pirano. The jousts, boat-races, and hunts which were held then and on the feasts of Pentecost and S.

Orligo were so sumptuous that the _provveditore_ limited the expenditure.

The last boat for Trieste left Pirano at 1.30 p.m., an hour so ridiculously early, that we determined to walk to Isola and proceed thence by train. We started off bravely up the steep road which led to the fifteenth-century Porta di Raspo, obtaining fine views down the alleys and through garden doors as we ascended the hill. High above our heads the battlements towered, and as we approached the walls we realised what a business it must have been to attack a town so protected before the invention of gunpowder. Soon the road bent away to the right, which was not the direction in which we wished to go, but a path led to some brick-works, and there we found an idle workman, who advised us to go along the sh.o.r.e as being much shorter. So we plunged and slid about among rocks of a considerable size, and skirted the base of slippery cliffs, and ploughed through sand and shingle for some miles, rejoicing when we met the road again in a flat piece of land where there were salt-pans. From this point it made a long sweep inland and then rose in wide curves up the shoulder of a hill which divided us from Isola. Here we saw a train draw up to take on board two gentlemen and a little boy; there was no sign of station or halting-place, and we wondered whether all that was necessary was to stand by the line and wave one's hand to the driver in order to be taken up! A stony path led us to the summit--another short cut, which happily called for less exertion than our previous jaunt along the sh.o.r.e--and a charming view amply repaid us for our labours. In the foreground the stony path dropped between steep banks, the soil being occupied by vines and olives, with a little shrine perched on one of the banks. In the middle distance Isola lay like a jewel upon the sea, opalescent with delicate blue shadows and the indescribable tints of grey stone buildings at a distance in sunlight; with the campanile crowning the slight elevation of the cl.u.s.tered houses. Beyond were the horns of the Bay of Capodistria and the highlands of the Julian Alps, blue in the shadow of the declining sun. A few lighter houses scattered along the peninsula served to soften the transition from the grey town to the green country.

The town is at least as old as the beginning of the eleventh century, for in 1041 it was ceded to the monastery of Aquileia; at this time it was probably unwalled, for in 1165 the Abbess Valperta allowed the inhabitants to remove to Monte Albuciano and build fresh houses there, as they did not feel secure. After the dedition to Venice in 1280 it was strengthened; but that did not prevent a body of the patriarch's troops scaling the walls and taking it on August 25, 1379, to be driven out a few days after by the podestas of Capodistria, Pirano, and Umago. Since 1411 it has been joined to the Capodistria road by a bridge, and no one would now suppose that it was originally--as its name denotes--an island. Nine square towers defended the walls, and the princ.i.p.al gate was protected by a barbican. The ditch was so useful to the people in peaceful times that the commune threatened with severe penalties those who went by night to deposit in it the refuse of their houses and stables. No trace of these works now remains.

The _Colleggiata_ is a late Renaissance building, but contains some interesting things, including a picture by Girolamo Santa Croce of the Madonna enthroned, with SS. Nicholas and Joseph, and a child angel with a violin on the plinth, signed and dated 1537, but restored. The treasury contains a fine monstrance of silver, Gothic in design, with bands of pierced work and tabernacles at the sides on twisted columns.

It has a spire-like top with windows and pinnacles between round its base, a feature which is repeated on the knop. In the seventeenth century several figures were added or replaced and the stem repaired.

The Scuola dei Battuti, built in 1451, has a door with a frescoed tympanum beneath a pointed arch on brackets, a good deal weather-worn--Madonna sheltering the penitents beneath her cloak--and pretty arabesque scrolls on the soffit.

Isola is delightful from outside; but inside there is much dirt, and little food for the traveller. All that we could obtain was bread and rough red wine. While waiting for the train, as the sun set and twilight fell, we saw many of the _contadini_ returning from their work, most of them on donkeys or ponies--a father with a little son before or behind him, a man in a black cloak with panniers laden with branches of trees, which hid the saddle, and, in the semi-obscurity, made them look like some monstrous beast of strange form, another perched upon a great bundle of hay or gra.s.s, and so on, all pa.s.sing rapidly from the malaria of the fields to the safety of the malodorous town.

It reminded one of the return of the townspeople within the walls at nightfall necessitated by the mediaeval custom of closing the gates an hour after "Ave Maria," after which none could enter or leave the cities; and how the lamps of the shrines were the only illumination of the streets, about which none were allowed to go without carrying a light.

In the train we had as fellow traveller an engineer who spoke English well. He said that all over Istria nothing could be obtained to eat (except, of course, in the more important towns). He had been constructing a new line near Divaca, where nothing was obtainable, and he and his companions had been obliged to take a cook and all supplies with them. He appeared to have a very bad opinion of the Triestines, whom he characterised as drunken swine, which we had not observed ourselves. He said that beer was too dear for the majority, so they got drunk on black wine and brandy--a statement which sounded strange to our English ears. The smaller boats, being for the use of the country people, are very inconvenient for tourists, since they generally start so as to arrive at Trieste early in the day, thus allowing of return the same night with the purchases made. Baedeker advises an excursion to Muggia and on to Capodistria and Isola and Pirano, "returning by boat in the evening"; but the last boat from Pirano leaves at 1.30 p.m., and the last one from Capodistria at 4.0 (by which, by-the-bye, we paid twice as much as we paid for the same journey in the morning), and after that the traveller is dependent upon the little railway, which lands him in Trieste after 10.0 p.m., at the S. Andrea Station, rather late to obtain a meal.

VIII

UMAGO TO PARENZO

The next place along the coast, after pa.s.sing the Promontory of Salvore and turning south, is Umago. It is sheltered behind a shoal, upon which the Chronicles say that the ship laden with the relics of S. Mark struck during a storm on its way to Venice. It was given as a feud to the bishop of Trieste in 929, at Pavia, by Ugo of Provence, king of Italy, and to the bishop of Cittanova in 1029 or 1038 by the Emperor Conrad. It had been sacked by the Slavs of Croatia and Dalmatia in 876, at the same time with Cittanova, Rovigno, and Sipar (at which last place very early wall-paintings are said to exist). It swore fealty to Venice in 1269; but very little is known of its history, the English apparently having burnt the archives in the piazza early in the nineteenth century. At that period no one seems to have thought that such things could be of any value; indeed at Portole, about 1850, the podesta actually sold all the communal deeds to the grocer of the place, thinking them useless rubbish, and at Cittanova the parchments were used by the citizens to mend windows!

Cittanova lies at the mouth of the Quieto valley which, commencing at Pinguente, pa.s.ses Montona on its isolated hill (visible from the coast like lofty Buie), and terminates in a marsh seven or eight miles long.

The mouth is known as Porto Torre, from a little place on the Parenzo side of the river. The city was a Roman colony with the name aemonia, and the seat of an early Istrian bishop. A few years ago some seventy carved slabs of the eighth or ninth century were discovered face downwards in the pavement of the crypt of the basilica, which appear to have belonged to the font and choir enclosure. Among them are several archivolt pieces, very much like those of the font of Calixtus at Cividale, which show by a mutilated inscription that they were due to Bishop Maurizio, apparently a bishop suspected of being on the side of the Franks, and therefore blinded by the Byzantines in 781. The slabs are all of Istrian stone, except one, which is of marble, and the carvings therefore may possibly to some extent be of local workmanship, though we know that Comacines from Cividale were employed in Croatia.

They have the characteristic Lombard furrows and interweavings, and other details met with in different parts of Italy. There are no mouldings, but a slight bead and reel along the interior edge of the arches. One slab shows two birds drinking from a vase in the upper part, and, below, two others apparently going to divide a fish--at each side vine scrolls springing from vases; another is carved with figures of griffins. There are two window-slabs with pierced patterns: one has simple rhomboidal forms; the other a central stem, with curling branches terminating in trefoils of much more advanced type, suggesting the panels in the later tomb of the Dogaressa Michieli in the atrium of S.

Mark's, Venice. The basilica was restored in 1409-1414, and in the sixteenth century, with the a.s.sistance of Venice, at which time the baldacchino was destroyed. The church stands on the edge of the land, and has a small round-arched arcade on the facade divided by the doorway, which is covered with a pointed hood on brackets. In the gable is an oculus. The campanile resembles S. Mark's, Venice, as is usual.

Within, a Venetian Madonna and Child is preserved, Mantegnesque in style, and therefore ascribed to Mantegna or John Bellini. In the eighteenth century a picture by the latter was sent to Venice to be restored, and, if this is the picture, the restoration was very thorough. The baptistery, destroyed in 1780, had a vestibule like that at Concordia. It was octagonal, with four little round-headed windows, and the hexagonal font was built up from the floor, the rim being level with the top-most of the three steps which surrounded the building.

Three steps also descended into it.

The city swore fealty to Venice in 1270. It still retains a portion of its ancient battlemented walls, which have a curious feature--a projecting spur, which runs out into the sea a long way, and was probably intended to make the sea-front secure at low water. The commune was very zealous in its preparations for war, and, according to the statute, a citizen who wounded or killed a spectator during military evolutions or practice was able to secure immunity from punishment!

In 1466 the see was divided from the patriarchate of Venice by Paul II., Francesco Contarini being made bishop, and was enriched by the gift of the property of the suppressed bishopric of Equilium. Fifty years before leave was granted to the then bishop to sell wine grown in his vineyards outside the territory.