the sight of Rome and of the world Jovius Augustus was more than this. Alike in the history of politics and in the history of art, he has left his mark on all time that has come after him, and it is on his own Spalato that his mark has been most deeply stamped. The polity of Rome and the architecture of Rome alike received a new life at his hands. In each alike he cast away shams and pretenses, and made the true construction of the fabric stand out before men's eyes. Master of the Rome world, if not King, yet more than King, he let the true nature of his power be seen, and, first among the Cæsars, arrayed himself with the outward pomp of sovereignty.

In a smaller man we might have deemed the change a mark of weakness, a sign of childish delight in gewgaws, titles, and trappings. Such could hardly have been the motive in the man who, when he deemed that his work was done, could cast away both the form and the substance of power, and could so steadily withstand all temptations to take them up again. It was simply that the change was fully wrought; that the chief magistrate of the commonwealth had gradually changed into the sovereign of the Empire; that Imperator, Cæsar, and Augustus, once titles lowlier than that of King, had now become, as they have ever since remained, titles far loftier. The change was wrought, and all that Diocletian did was to announce the fact of the change to the world.

Nor did the organizing hand of Jovius confine its sphere to the polity of the Empire only. He built himself a house, and, above all builders, he might boast himself of the house that he had builded. Fast by his own birthplace—a meaner soul might have chosen some distant spot—Diocletian reared the palace which marks a still greater epoch in Roman art than his political changes mark in Roman polity. On the inmost shore of one of the lake-like inlets of the Hadriatic, an inlet guarded almost from sight by the great island of Bua at its mouth, lay his own Salona, now desolate, then one of the great cities of the Roman world. But it was not in the city, it was not close under its walls, that Diocletian fixt his home. An isthmus between the bay of Salona and the outer sea cuts off a peninsula, which again throws out two horns into the water to form the harbor which has for ages supplanted Salona.

There, not on any hill-top, but on a level spot by the coast, with the sea in front, with a background of more distant mountains, and with one peaked hill rising between the two seas like a watch-tower, did Diocletian build the house to which he withdrew when he deemed that his work of empire was over. And in building that house, he won for himself, or for the nameless genius whom he set at work, a place in the history of art worthy to rank alongside of Iktinos of Athens and Anthemios of Byzantium, of William of Durham and of Hugh of Lincoln.

And now the birthplace of Jovius is forsaken, but his house still abides, and abides in a shape marvelously little shorn of its ancient greatness. The name which it still bears comes straight from the name of the elder home of the Cæsars. The fates of the two spots have been in a strange way the converse of one another. By the banks of the Tiber the city of Romulus became the house of a single man: by the shores of the Hadriatic the house of a single man became a city. The Palatine hill became the Palatium of the Cæsars, and Palatium was the name which was borne by the house of Cæsar by the Dalmatian shore. The house became a city; but its name still clave to it, and the house of Jovius still, at least in the mouths of its own inhabitants, keeps its name in the slightly altered form of Spalato….

We land with the moon lighting up the water, with the stars above us, the northern wain shining on the Hadriatic, as if, while Diocletian was seeking rest by Salona, the star of Constantine was rising over York and Trier. Dimly rising above us we see, disfigured indeed, but not destroyed, the pillared front of the palace, reminding us of the Tabularium of Rome's own capitol. We pass under gloomy arches, through dark passages and presently we find ourselves in the center of palace and city, between those two renowned rows of arches which mark the greatest of all epochs in the history of the building art. We think how the man who reorganized the Empire of Rome was also the man who first put harmony and consistency into the architecture of Rome. We think that, if it was in truth the crown of Diocletian which passed to every Cæsar from the first Constantius to the last Francis, it was no less in the pile which rose into being at his word that the germ was planted which grew into Pisa and Durham, into Westminster and Saint Ouen.

There is light enough to mark the columns put for the first time to their true Roman use, and to think how strange was the fate which called up on this spot the happy arrangement which had entered the brain of no earlier artist—the arrangement which, but a few years later, was to be applied to another use in the basilica of the Lateran and in Saint Paul Without the Walls. Yes, it is in the court of the persecutor, the man who boasted that he had wiped out the Christian superstition from the world, that we see the noblest forestalling of the long arcades of the Christian basilica.

It is with thoughts like these, thoughts pressing all the more upon us where every outline is clear and every detail is visible, that we tread for the first time the Court of Jovius—the columns with their arches on either side of us, the vast bell-tower rising to the sky, as if to mock the art of those whose mightiest works might still seem only to grovel upon earth. Nowhere within the compass of the Roman world do we find ourselves more distinctly in the presence of one of the great minds of the world's history; we see that, alike in politics and in art, Diocletian breathed a living soul into a lifeless body. In the bitter irony of the triumphant faith, his mausoleum has become a church, his temple has become a baptistery, the great bell-tower rises proudly over his own work; his immediate dwelling-place is broken down and crowded with paltry houses; but the sea-front and the Golden Gate are still there amid all disfigurements, and the great peristyle stands almost unhurt, to remind us of the greatest advance that a single mind ever made in the progress of the building art.

At the present time the city into which the house of Diocletian has grown is the largest and most growing town of the Dalmatian coast. It has had to yield both spiritual and temporal precedence to Zara, but, both in actual population and all that forms the life of a city, Spalato greatly surpasses Zara and all its other neighbors. The youngest Dalmatian towns, which could boast neither of any mythical origin nor of any Imperial foundation, the city which, as it were, became a city by mere chance, has outstript the colonies of Epidauros, of Corinth, and of Rome.

The palace of Diocletian had but one occupant; after the founder no Emperor had dwelled in it, unless we hold that this was the villa near Salona where the deposed Emperor Nepos was slain, during the patriciate of Odoacer. The forsaken palace seems, while still almost new, to have become a cloth factory, where women worked, and which therefore appears in the "Notitia" as a Gynæcium. But when Salona was overthrown, the palace stood ready to afford shelter to those who were driven from their homes. The palace, in the widest sense of the word—for of course its vast circuit took in quarters for soldiers and officials of various kinds, as well as the rooms actually occupied by the Emperor—stood ready to become a city.

It was a chester ready made, with its four streets, its four gates, all but that toward the sea flanked with octagonal towers, and with four greater square towers at the corners. To this day the circuit of the walls is nearly perfect; and the space contained within them must