Our comparison of the columns and capitals has carried us underground; but the really distinctive feature of the basilica of Otranto is above. Other churches of southern Italy have wonderful crypts; none, we may feel sure, has so wonderful a pavement. And here we do wonder that the Turks did not do incomparably more mischief than they did do. Some mischief they did; but the archbishops and canons of Otranto seem—perhaps unavoidably—to have done a great deal more by destroying or covering the rich pavement to make room for the furniture of the church. It would surely be hard to find another example of a pavement whose design is spread over the whole ground-floor of a great church. The pictures are in mosaic, rough mosaic certainly, of the second half of the twelfth century, when Otranto formed part of the Sicilian realm, and when that realm was ruled by William the Bad. Luckily inscriptions in the pavement itself have preserved to us the exact date, and the names of the giver and the artist. One tells us in leonine rimes:
"Ex Ionathi donis per dexteram Pantaleonis
Hoc opus insigne est superans impendia digne.
Another stoops to prose: "Humilis servus Ionathas Hydruntinus archieps. jussit hoc op fieri per manus Pantaleonis prb. Anno ab Incarnatione Dni Nri Ihu. Xri MCLXV indictione XIV, regnante Dno nostro W. Rege Magnif." The design of the priest Pantaleon, wrought at the bidding of Archbishop Jonathan in the last year of the first William, is of a most extensive and varied kind. Scriptural scenes and persons, figures which seem purely fanciful, the favourite subject of the signs of the zodiac, all find their place. We meet also with one or two heroes of earlier and later times whom we should hardly have looked for. The main design starts, not far from the west end, with a tree rising from the backs of two elephants. The huge earth-shaking beast, the Lucanian ox, is, it must be remembered, a favourite in southern Italy; he finds a marked place among the sculptures of the great churches of Bari. The tree—one is tempted to see in it the mystic ash of Northern mythology—sends its vast trunk along the central line of the nave, throwing forth its branches, and what we may call their fruit, on either side. Here are strange beasts which may pass either for the fancies of the herald or for the discoveries of the palæontologist; but in the lion with four bodies and a single head we must surely look for a symbolical meaning of some kind. He is balanced, to be sure, by other strange forms, in which two or three heads rise from a single body. Here are figures with musical instruments, here a huntress aiming at a stag; and in the midst of all this, not very far from the west end, we find the figure of "Alexander Rex." To the left we have Noah, making ready to build the ark—the story begins at the beginning, like the building of the Norman fleet in the Bayeux Tapestry. Four figures are cutting down trees, and the patriarch himself is sawing up the wood, with a saw of the type still used in the country. The centre of the pavement is occupied by the zodiac; each month has its befitting work assigned to it according to the latitude of Otranto. Thus June cuts the corn. July threshes it, neither with a modern machine, nor with the feet of primitive oxen, but with the flail which many of us will remember in our youth. August, with his feet in the wine-press, gathers the grapes. December carries a boar, as if for the Yule feast of Queen Philippa's scholars. Each month has its celestial sign attached; but it would seem that the priest Pantaleon was in a hurry in putting together his kalendar, and that he put each of the signs a month in advance. Beyond the zodiac, near the entrance of the choir, and partly covered by its furniture, is a figure, which startles us with the legend "Arturus Rex." If we were to have Alexander and Arthur, why not the rest of the nine worthies? If only a selection, why are the Hebrews defrauded of their representative?—unless indeed Samson, who appears in the form of a mutilated figure, not far from the left of Arthur, has taken the place of the more familiar Joshua, David, and Judas. Here is a witness to the early spread of the Arthurian legends; here, in 1165, within the Sicilian kingdom, the legendary British hero receives a place of honour, alongside of the Macedonian. Nor is this our only witness to the currency in these regions of the tales which had been not so long before spread abroad by Walter Map. By this time, or not long after, the name of Arthur had already found a local habitation on Ætna itself. Among other scriptural pieces in different parts, we find of course Adam and Eve, and Cain and Abel; there is Jonah too, far to the east; and in the eastern part of the north aisle, the imagination of Jonathan or Pantaleon has forestalled somewhat of the Dantesque conception of the Inferno. "Satanas" is vividly drawn, riding on a serpent, and other figures armed with serpents are doing their terrible work in the train of the "duke of that dark place." The whole work is strictly mosaic, and the design, though everywhere rude, is carried out with wonderful spirit. We may indeed rejoice that the hoofs of Turkish horses and the improvements of modern canons have left so much of a work which, even if it stood by itself, it would be worth while going to the end of railways at Otranto to see.
Such is now the one city in which the Turk ever ruled on our side of Hadria. In earlier times we might have passed straight from Otranto to the lands where he still rules, or to the island where he never ruled. But now he who looks out for Otranto on the heights of Albania, and whose objects call him to the nearer neighbourhood of those heights, must go back to Brindisi to find his way to reach them.
FIRST GLIMPSES OF HELLAS.
1875—1881.
In our present journey we draw near to the eastern peninsula, to the Hellenic parts of that peninsula, by way of the great island—great as compared with the mass of Greek islands, though small as compared with Sicily or Britain—which keeps guard, as a strictly Hellenic outpost, over a mainland which was and is less purely Hellenic. From Brindisi we sail to Corfu, the elder Korkyra, as distinguished from the black isle of the same name off the Dalmatian shore. In so sailing, we specially feel ourselves to be sailing in the wake of the conquerors who made Corfu an appendage to the Sicilian realm; we are passing between spots on either side which have known both a Norman and Venetian master. But it may be that we may have already drawn near to Greece by another path. It is easy to prolong the voyage which took us from Trieste to Spalato, from Spalato to Cattaro, by a third stage which will take us from Cattaro to Corfu. In this case we may have already studied the Albanian coast, and that with no small pleasure and profit. We may have marked a point not long after we had left Dalmatia behind us, and that where a line may well be drawn. There is a geographical change in the direction of the coast, from the shore of Dalmatia, with its islands and inland seas, its coast-line stretching away to the south-east, to the nearly direct southern line of the shore of Albania. In modern political geography we pass from the dominion of Austria to the dominion of the Turk. In the map of an earlier day, we pass from the all but wholly continuous dominion of the two commonwealths of Venice and Ragusa. In modern ethnology we pass from the Slave under a certain amount of Italian influence to the Albanian under a certain, though smaller, amount of influence, Italian or Greek, according to his local position and his religious creed. In modern religious geography we pass from a land which is wholly Christian, but where the Eastern form of Christianity, though still in the minority, makes itself more deeply felt at every step, to a land where Islam and the two great ancient forms of Christianity are all found side by side. In the geography of earlier times this point marks the frontier of a land intermediate between the barbaric land to the north, with only a few Greek colonies scattered here and there, and the purely Greek lands, the "continuous Hellas," to the south. We find on this western shore of the south-eastern peninsula the same feature which is characteristic of so large a part of the Ægæan and Euxine coasts, both of the south-eastern peninsula itself and of the neighbouring land of Asia. The great mainland is barbarian; the islands and a fringe of sea-coast are Greek. As we draw nearer to the boundary of Greece proper, the Hellenic element is strengthened. Thesprotians, Molossians, Chaonians, were at least capable of becoming Greeks. Epeiros, Ἤπειρος, terra firma, once the vague name of an undefined barbarian region, became the name of a Greek federal commonwealth with definite boundaries. And the character of a barbarian land, fringed with European settlements and looking out on European islands, did not wholly pass away till almost our own day. A few still living men may remember the storming of Prevesa; many can remember the cession—some might call it the betrayal—of Parga. It was only when Parga was yielded to the Turk that this ancient feature of the Illyrian and Epeirot lands passed away. What Corinth had once been Venice was. Corinth first studded that coast with outposts of the civilized world. Venice held those outposts, sadly lessened in number, down to her fall. And the men of Parga deemed, though they were mistaken in the thought, that to the mission of Corinth and Venice England had succeeded.