The Shores of the Adriatic / The Austrian Side, The Küstenlande, Istria, and Dalmatia

by F. Hamilton Jackson

POLA

The town and arsenal of Pola lie at the head of one of those convenient inlets which provide the Austrian coast so plentifully with fine harbours. As the steamer passes between Cape Compare and Monte Grosso the naval port appears to the right with many powerful ships-of-war anchored in the bay: beyond and above the island of Olivi, occupied by part of the arsenal, rises the town, its buildings climbing the hill towards the castle which crowns the summit. To the left is the ample commercial port with its long quays stretching towards the railway station, the imposing mass of the amphitheatre dominating the whole of that side of the picture. These two structures, the amphitheatre and the arsenal, show the chief interests of Pola—the glory of antiquity, and modern utility devoted to defence; for the monuments of mediæval times are few in the city, and the destruction wrought alternately by Venice and Genoa left it poor, and in many parts ruinous, till the modern revival, with the transference of the headquarters of the Austrian navy from Venice in 1861. The mouth of the harbour is less than half a mile across and is over 100 ft. deep. The eastern portion has a depth of 20 ft. against the quays, which are all constructed on made ground. The quarries on the Brioni Islands have afforded excellent material close at hand for the buildings and fortifications both in antiquity and in modern times.

The castle hill was the capitol of the Roman city, and the streets ran round it, with others diverging like the ladders of a spider's web. A canal isolating the city from the land existed to the east. Of the land gates two still remain—the Porta Gemina (anciently the Porta Jovia) and the Porta Ercole; the arch of the Sergii formed the interior face of a third (of which a portion of the lower courses remain), the Porta Aurea, so called probably from its having had grilles of gilded bronze. There were also seven gates in the walls towards the sea. The forum was twice the size of the present piazza, which occupies part of its site, and had twin temples at one end, with the comitium between them, of which one remains in good preservation, and a portion of the back part of the other. There was a temple of Jupiter Conservatorius, upon the site of which the cathedral stands; and one to Minerva, afterwards the site of the destroyed basilica of S. Maria in Canneto. The theatre was near the Porta Aurea, and is now marked only by the excavation of its curve in the hillside and a few ruined arches in a private garden. The destruction of ancient Pola is largely due to Venice, who appeared to think that when the communes gave themselves to her she acquired the right of removing any of the monuments to beautify herself; and it even went so far as for a patrician to seriously propose to bear the cost of transporting the amphitheatre to Venice, and re-erecting it on the site of the present public gardens!

ARCH OF SERGII, POLA

The Porta Gemina consists of twin arches, beneath a simple frieze and more elaborate cornice supported by modillions, which rest upon three engaged composite columns raised upon pedestal blocks. The key-stones are flat, and the piercing of some holes in them suggests that metal enrichments were affixed. It was an important gate, being the direct way to the amphitheatre from the Capitol, and also the starting-point of the military road towards the Arsa and Albona. By it also the aqueduct passed into the city. The Porta Ercole is simpler, and probably older; it bears the names of two duumvirs, Lucius Cassius Longinus and Lucius Calphurnius Piso, and some rough carving. Of the Porta Aurea itself, which had a central gate for chariots and two side gates for pedestrians, little remains. Beneath the arch of the Sergii the ancient pavement has been uncovered, bearing wheelmarks made many centuries ago, and the lower courses of the gateway adjacent, but all the part above the present street-level has disappeared. The carving on the arch of the Sergii shows a curious economy. Since the gate was so close to it only a portion of the coupled Corinthian columns could be seen; the fluting, therefore, was carried only a third of the way round, and the capitals were left merely roughed out, as were also the mouldings of the attic which would be hidden by the cornice, except in the portions visible from the external sides. The soffit of the arch is carved, and the face of the pilaster below has a very rich and graceful vine arabesque upon it. The other side is fully decorated with victories in the spandrils, festoons and chariot-races on the frieze, and the attic develops three pedestals for statues, inscribed to members of the family of Salvia Postumia, who erected it in honour of her husband, Lucius Sergius, his father of the same name, and his uncle Cnæus Sergius. Lucius Sergius was tribune of the 29th Legion. The work is probably of the time of Augustus.

The finely proportioned temple was erected at a later period during his lifetime by the grateful Polese; such adulation could be tolerated only in Asia, and Augustus declined to allow the dedication without the addition of "Rome." The façade has four Corinthian columns, and at the angles of the cella are four channelled pilasters; between these and the four columns of the façade is a similar column on each side. The roof is modern. Within it and around are collected numerous sculptured fragments, antique and of the early mediæval period for the most part, which would be the better for spacing and arranging. The other temple is of a later date. They both stood upon a platform twelve steps above the forum, themselves raised further by seven steps and a stylobate. The rostra were on the forum side of the comitium.

THE AMPHITHEATRE, POLA

Till 1875 the amphitheatre—which was built in 198-211 in honour of Septimius Severus (who had been governor of Illyria) and of Caracalla—lay open to the street. It was then railed round, and since that time systematic excavations have disclosed the plan of the sub-structures. The circuit, which is nearly perfect, consists of seventy-two arches, and the elevation has a basement and a principal story, with an attic of square windows to light the promenade, and a finishing cornice through which the masts for the Velarium passed, resting upon stone blocks above the cornice of the main story. The arches at the extremities of the long diameter are wider than the rest, and therefore cut into the frieze above, an unusual licence. There are four towers, two towards the sea and two towards the hill, which probably contained double staircases, but no sign of them remains, though the doorways and grilles of pierced stone testify to their usefulness. Excavations have brought to light forty or fifty pieces of the steps of the auditorium, upon some of which the seats are marked by dividing lines and by letters. The podium of the arena shows by its lowness that fights with wild beasts did not take place in it. Until the fourteenth century the interior remained nearly complete, the patriarch having forbidden the removal of stones. At that time the seats were taken to repair the town walls, and a great deal of the material was subsequently sold to Venice. The stone of which the amphitheatre is built has taken on a beautiful warm colour from the suns of centuries, and glows in the sunset light as if it were the marble which makes so many Italian buildings lovely in colour.