
Dalmatia
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Dalmatia
(Ger. Dalmatien; Ital. Dalmazia; Croatian, Dalmacija), A coastal region of Republic of Croatia extending roughly from the town of Karlobag to the Boka kotorska in Montenegro. Its area amounts to 12 157 km2. Chief Towns,---The chief towns are Split, the capital, with 207 000 inhabitants, Zadar (80 000), Šibenik (60 000), Trogir (12 000), Dubrovnik (50.000), Makarska (15 000).
The climate is warm and healthy, the mean temperature at Zadar being 14°C., at Hvar 16,7°, and at Dubrovnik 17,2°. The prevailing wind is the sirocco, (Jugo) on S.E.; but the terrible Bora, (Bura) on N.N.E., may blow at any season of the year. The average annual rainfall is about 71.12 cm, but a dry and a wet year usually alternate.
Fisheries.—No region of Europe is richer in its marine fauna and flora. Sponge and coral fisheries afford a valuable source of income to the peasantry, many of whom also go northward for the sardine and tunny fisheries of the Dalmatian coast, while salmon, trout and eels are caught in the Dalmatian rivers. Flora.—The olive, almond, fig, orange, palm, aloe, myrtle, locust-tree and other characteristic members of the Mediterranean flora thrive in the sheltered valleys of the Dalmatian littoral, where almond-blossoms appear in mid-winter, and the palm occasionally bears ripe fruit. The marasca, or wild cherry, is abundant, and yields the celebrated liqueur called maraschino. But at a little distance from the rivers and on the more exposed parts of the coast the aspect of the country changes entirely. Patches of thin grass, heather, juniper, thyme, tamarisks and mountain roses hardly relieve the bareness and aridity of the seaward slopes. Forests.—Oaks, pines and beeches still, in a few parts, clothe the landward slopes, but, as a rule, the forests for which Dalmatia was once famous were cut down for the Venetian shipyards or burned by pirates; while every attempt at replanting is frustrated by the shallowness of the soil, the drought and the multitude of goats that browse on the young trees. Antiquities—To the foreign visitor Dalmatia is chiefly interesting as a treasury of art and antiquities. The gravemounds of Korčula, Hvar and Pelješac have yielded a few relics of prehistoric man, and the memory of the early Celtic conquerors and Greek settlers is preserved only in a few placenames; but the monuments left by the Romans are numerous and precious. They are chiefly confined to the cities; for the civilization of the country was always urban, just as its history is a record of isolated city-states rather than of a united nation. Beyond the walls of its larger towns, little was spared by the barbarian Goths, Avars and Slavs; and the battered fragments of Roman. work which mark the sites of Salona, (Solin) near Split, and of many other ancient cities, are of slight antiquarian interest and slighter artistic value. Among the monuments of the Roman period, by far the most noteworthy in Dalmatia, and, indeed, in the whole Balkan Peninsula, is the Palace of Diocletian at Split. Dalmatian architecture was Byzantine in its general character from the 6th century until the close of the 10th. The oldest memorials of this period are the vestiges of three basilicas, excavated in Salona, and dating from the first half of the 7th century at latest. Byzantine art, in the latter half of this period and the two succeeding centuries, continued to flourish in those cities which, like Zadar, gave their allegiance to Venice; just as, in the architecture of Trail and other cities dominated by Hungary, there are distinct traces of German influence. The belfry of S. Maria, at Zadar, erected in 1105, is first in a long list of Romanesque buildings. At Arbe (Rab) there is a beautiful Romanesque campanile which also belongs to the 12th century; but the finest example in this style is the cathedral of Trogir. The 14th century Dominican and Franciscan convents in Dubrovnik are also noteworthy. Romanesque lingered on in Dalmatia until it was displaced by Venetian Gothic in the early years of the 15th century. The influence of Venice was then at its height. Even in the hostile republic of Dubrovnik the Romanesque of the custom-house and Rectors’ palace is combined with Venetian Gothic, while the graceful balconies and ogee windows of the Prijeki closely follow their Venetian models. Gothic, however, which had been adopted very late, was abandoned very early; for in 1441 Giorgio Orsini of Zara, summoned from Venice to design the cathedral of Šibenik, brought with him the influence of the Italian Renaissance. The new forms which he introduced were eagerly imitated and developed by other architects, until the period of decadence—which virtually concludes the history of Dalmatian art—set in during the latter half of the 17th century. Special mention must be made of the carved woodwork, embroideries and plate preserved in many churches. The silver statuette and the reliquary of St Biagio at Dubrovnik, and the silver ark of St Simeon at Zadar, are fine specimens of Byzantine and Italian jewellers’ work, ranging in date from the 11th or 12th to the 17th century.
The
name Today
the name "Dalmatia" indicates a region that stretches along the
edge of the easterncoast of the Adriatic Sea. |