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[ The Abate Fortis, in his Viaggio in Dalmazia, p. 43, (printed at Venice in the year 1774, in two small volumes in quarto,) quotes a Ms account of the antiquities of Salona, composed by Giambattista Giustiniani about the middle of the xvith century.]
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[ Adam’s Antiquities of Diocletian’s Palace at Spalatro, p. 6. We may add a circumstance or two from the Abate Fortis: the little stream of the Hyader, mentioned by Lucan, produces most exquisite trout, which a sagacious writer, perhaps a monk, supposes to have been one of the principal reasons that determined Diocletian in the choice of his retirement. Fortis, p. 45. The same author (p. 38) observes, that a taste for agriculture is reviving at Spalatro; and that an experimental farm has lately been established near the city, by a society of gentlemen.]
Though Constantine, from a very obvious prejudice, affects to mention the palace of Diocletian with contempt, [118] yet one of their successors, who could only see it in a neglected and mutilated state, celebrates its magnificence in terms of the highest admiration. [119] It covered an extent of ground consisting of between nine and ten English acres. The form was quadrangular, flanked with sixteen towers. Two of the sides were near six hundred, and the other two near seven hundred feet in length. The whole was constructed of a beautiful freestone, extracted from the neighboring quarries of Trau, or Tragutium, and very little inferior to marble itself. Four streets, intersecting each other at right angles, divided the several parts of this great edifice, and the approach to the principal apartment was from a very stately entrance, which is still denominated the Golden Gate. The approach was terminated by a peristylium of granite columns, on one side of which we discover the square temple of Æsculapius, on the other the octagon temple of Jupiter. The latter of those deities Diocletian revered as the patron of his fortunes, the former as the protector of his health. By comparing the present remains with the precepts of Vitruvius, the several parts of the building, the baths, bedchamber, the atrium, the basilica, and the Cyzicene, Corinthian, and Egyptian halls have been described with some degree of precision, or at least of probability. Their forms were various, their proportions just; but they all were attended with two imperfections, very repugnant to our modern notions of taste and conveniency. These stately rooms had neither windows nor chimneys. They were lighted from the top, (for the building seems to have consisted of no more than one story,) and they received their heat by the help of pipes that were conveyed along the walls. The range of principal apartments was protected towards the south-west by a portico five hundred and seventeen feet long, which must have formed a very noble and delightful walk, when the beauties of painting and sculpture were added to those of the prospect.
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[ Constantin. Orat. ad Coetum Sanct. c. 25. In this sermon, the emperor, or the bishop who composed it for him, affects to relate the miserable end of all the persecutors of the church.]
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[ Constantin. Porphyr. de Statu Imper. p. 86.]
Had this magnificent edifice remained in a solitary country, it would have been exposed to the ravages of time; but it might, perhaps, have escaped the rapacious industry of man. The village of Aspalathus, [120] and, long afterwards, the provincial town of Spalatro, have grown out of its ruins. The Golden Gate now opens into the market-place. St. John the Baptist has usurped the honors of Æsculapius; and the temple of Jupiter, under the protection of the Virgin, is converted into the cathedral church.
For this account of Diocletian’s palace we are principally indebted to an ingenious artist of our own time and country, whom a very liberal curiosity carried into the heart of Dalmatia. [121] But there is room to suspect that the elegance of his designs and engraving has somewhat flattered the objects which it was their purpose to represent. We are informed by a more recent and very judicious traveller, that the awful ruins of Spalatro are not less expressive of the decline of the art than of the greatness of the Roman empire in the time of Diocletian. [122] If such was indeed the state of architecture, we must naturally believe that painting and sculpture had experienced a still more sensible decay. The practice of architecture is directed by a few general and even mechanical rules. But sculpture, and, above all, painting, propose to themselves the imitation not only of the forms of nature, but of the characters and passions of the human soul. In those sublime arts the dexterity of the hand is of little avail, unless it is animated by fancy, and guided by the most correct taste and observation.