The campanile must have been built by Poppo, although the base looks like Roman masonry, since the mosaics go right under it, but it was added to later, and the octagonal bell-chamber is inscribed: "MD · XLVIII TADEVS · LVRANVS · HOC · O · FECIT." It is 39 ft. square and the walls are over 7 ft. thick. The entrance is approached by 27 steps. It is 70 ft. to the floor of the bell-chamber.
The narthex has three thick antique pillars, part granite and part marble, with heavy early Christian Corinthian caps and super-abaci with crosses upon them. The baptistery lies to the west of the narthex, united to it by a building known as the Chiesa dei Pagani. This consists of three bays with a descent of three steps from the first, over which there was once a cupola. The other bays are cross-vaulted, and there are several round-headed windows. In the pavement is a curious pierced stone. It has a cross with the Agnus Dei in the centre (pierced), and four little window shapes in the angles with round-headed tympana and oblong piercings below. There was a second story; part of the wall of this remains, constructed of ancient tiles, which were much used in Aquileia in the Middle Ages; an inscription records a restoration in 1738. The baptistery was originally a Roman building, square externally and octagonal within, with four niches, one of which is partially preserved. Remains of the others have been found outside the octagon. There was an hexagonal font in the centre, and in the angles of the walls are the springings of vaults; there are also six pillar-stumps of different thicknesses. Most of the present building is modern, the result of several restorations. On each side of the baptistery and Chiesa dei Pagani were halls with mosaic floors of the Christian period, of which that to the south was least damaged when discovered; it had three patterned fields, with borders. The open hall between was stone-paved—a bit of the paving was found a foot deeper than the original floor of the baptistery.
STATUE OF VENUS, MUSEUM. AQUILEIA
ANTIQUE STATUE IN THE MUSEUM, AQUILEIA
The museum contains a quantity of exceedingly interesting objects, the fruit of excavations, which the director, Signor Maionica, most kindly piloted me through, calling attention to the various objects of special interest and giving me details about them of which otherwise I should have been ignorant. The collection of objects in amber, many of them stained a fine red, is the finest in existence, though the most splendid examples have gone to the British Museum, to Udine and Görz. The sculptured objects include a very beautiful youthful Venus, a girl apparently of about 17, a draped statue of the Emperor Claudius in Greek costume, one of Tiberius as Pontifex Maximus (both found near the theatre), one of Livia, showing the arrangement of the back hair, and marble wigs to place upon the heads of statues to keep them in the fashion. There is also a draped Venus with a Cupid hiding beneath her robe, a copy of the Aura (Spring-rain) of Scopas, of which another is in the museum at Trieste, and a most interesting sculptor's model for use in the studio, showing how arms and legs of other pieces of marble were affixed to statues. A pedestal shows the life of Priapus, from his birth in the spring to his winter's inactivity; others have winged Cupids bearing torches and bestriding dolphins, the idea being of a voyage to the Islands of the Blest. A panel shows Bacchanalian Cupids; one desires to drink, one is drinking from a crater, another, supported away, inebriated; the robed master of the feast bears a sceptre and is playing the Pan-pipes. Another relief represents a banquet in a triclinium. One man sounds a double pipe, another carries food to the guests, one of whom is singing an obscene song, which disgusts the women, who make the sign of displeasure at him. In a relief of the time of Heliogabalus a meteoric stone is seen carried in procession, preceded by duumvirs, lictors, &c.—an evidence of an Oriental cult practised in Aquileia. Five great medallions from the same building show busts in very high relief of Jupiter, Mercury, Vulcan, Venus, and Minerva. A stone table with a sundial and windrose engraved upon it has a low seat on three sides, but the fourth free, so that the hour may be seen at all times of the day without the annoyance of dodging one's shadow. The letters of the inscription point to the second century A.D. as the date of its production. Many sarcophagi come from the north-east of Aquileia near Columbara, where a monument was found much resembling those of Petra and Baalbek in its forms. Inscriptions name clothiers, fullers, joiners, linen-weavers, builders and servants, purple-dyers, pikesmiths, a silver-worker, an Oriental pearl merchant with a sign of the city of Rome, &c. In the eighteenth century the Mint was discovered, with bars of silver and baskets of coin. A fine plate of beaten silver, with the story of Triptolemus, found here is now at Vienna.
Many pieces of ornament are preserved, often very finely modelled and also with traces of colour. The larger pieces, many of which are coarse in workmanship, are housed under a long shed in the open; among them are slabs of ninth-century ornament, lead coffins, and pipes with pointed covers to keep the sand out, urns for ashes, &c. There appears to have been a Roman rococo at Aquileia, earlier than at Spalato or Florence. Here, too, are some of the early Christian mosaics found during the excavations in and around the cathedral. Especially beautiful are the fragments with peacocks and other birds, and lambs, with freely growing scrolls of vine. An asbestos net, found at Monastero, used to wrap round the body during cremation and so keep the bones together, is interesting, as are lachrymatories misshapen by the flames, small bottles of rock-crystal beautifully cut, a few enamelled objects and carvings in ivory, principally children's toys. Rings set with gems were made of gold for the nobles and of iron for the citizens, who at a later period used silver and even gold. Over 40,000 coins have been found in the course of the excavations, and lamps bearing no less than 800 different makers' marks. The marks are the same as those found all through Istria, Dalmatia, and the islands, proving a large export trade. The most important were those of C. Vibio Pansa, whose stamp (or those of his successors) is found in conjunction with imperial names till the time of Constantine. In the delta of the Isonzo, near Monfalcone, a portion was called "Insula Pansiana" even in the Middle Ages. A river in the bay of Monfalcone is still called Panzano, and near there is a place of the same name. There were also glass works at S. Stefano, Aquileia, where fragments of coloured glass have been found.