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I. THE START, AND ROVIGNO OUR FIRST PORT 15
II. POLA, THE QUARNERO, AND THE TWO LUSSINS 33
III. SELVE, AND THE TREASURES OF ZARA 50
IV. MORE TREASURES OF ZARA 70
V. SEBENICO AND HER FAMOUS "GIORGIO" 86
VI. TRA Uuml;, AND HER PATRON SAINT 111
VII. SPALATO, AND DIOCLETIAN'S PALACE 133
VIII. THE "PALATIUM" OF YESTERDAY, THE CITY OF TO-DAY 153
IX. A PRESENTIMENT AND A DRIVE TO ALMISSA 173
X. A DRIVE TO THE JADER AND SALONA 190
XI. A GLIMPSE OF LESINA AND CANNOZA'S FAMOUS PLANE-TREES 207
XII. RAGUSA: A CHRISTIAN LIGHTHOUSE IN A MOSLEM SEA 288
XIII. RAGUSA: THE SPONZA, ORLANDO'S COLUMN, AND CABOGA 249
XIV. RAGUSA: ST. BIAGIO, THE DOMINICAN CHURCH AND CONVENT, AND THE DUOMO 272
XV. RAGUSA: THE RECTOR'S PALACE, AND ITS STORY 286
XVI. GLIMPSES OF ST. GIACOMO, LACROMA, AND THE BOCCHE 306
XVII. CATTARO: THE DUOMO, ST. LUKA, AND A DISGUSTED AMERICAN 327

Georgian theories of proportion and symmetry governing the design of the façade were developed in the early eighteenth century and derived from the classical temples of Ancient Greece and Rome. Adapting Palladio’s principles, the Neo-Palladians created a system of proportions and ratios based on the square and circle (or cube and sphere). The square, in particular was considered the key to architectural beauty: and Robert Morris (1703-54) in his ‘Lectures on Architecture’ of 1734 and 1736 established seven ideal proportions, all based on the cube. Proportions based on squares were used to determine window openings and the system of window openings relative to wall areas, thus if the house was three bays wide (the usual width of the Georgian town house) then the space occupied by the first and second floor windows would usually be made roughly a square. Picture shows Dowry Square, Bristol, c1750.

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