At a later period we have many names of artists who crossed the sea in one direction or the other. In 1319 Uros II. of Servia sent Abiado di Dessislavo from Cattaro to make the silver altar at S. Nicola, Bari. Michelozzo of Florence was at Ragusa in 1463; George of Sebenico was at Ancona rather earlier; Onofrio de La Cava did work at Ragusa; before his time, George of Sebenico's friend, Giovanni Dalmatico, was working in Rome, in the third quarter of the fifteenth century. Bartolommeo da Mestre was _protomagister_ at Sebenico between 1517 and 1525, and many artists of different kinds bore the name "Schiavone" in Venice during the fifteenth and sixteenth centuries, where the chapel of the Illyrian colony, S. Giorgio degli Schiavoni, was decorated by Vittore Carpaccio with subjects from the life of S. Jerome (a Dalmatian by birth), S. George, patron of Dalmatia, and S. Trifone, venerated at Cattaro. Sigismond Malatesta is credited with the design of part of the fortifications of Ragusa, where artists of many nationalities were employed, one of the bells bearing the names of two Dutchmen, Willem Corper Cornelis and Jacob Vocor. The building on the eastern shore which had the most effect upon the western, and indeed upon the whole of the Occident, is the Palace of Diocletian, in which, for the first time in Europe, the arch appears springing directly from the capital without the interposition of the entablature, a building which was almost certainly constructed by Syro-Greeks, probably brought by the emperor from Antioch. All the masons' marks are Greek letters, and many of the combinations of architectural forms are found in the dead cities of Central Syria, in buildings dating from the end of the second century. The method of construction of the domes, the great bearing-arches which relieve the architrave, the exterior niches which decorate the walls, and the architrave turned into an archivolt over the tympana of the pediments all occur at about this period. At Laodicea, Baalbek, Palmyra, and Petra, _motifs_ which were in use till the end of the Byzantine period appear. Tesseræ of mosaic have been found in one of the vaults at Spalato, showing that it played a part in the decoration, as might be expected in so magnificent a building. Dr. Stmygowski says: "What we have in Spalato grew in that corner of Central Syria which we call Hittite, and in the hinterland of Asia Minor, which communicated with the sea by way of Antioch." In Khorsabad a glazed brick frieze has been found in which the horizontal member became an arch over the door. The new thing was the putting it on pillars ranged before the façade, which he thinks was probably done at Seleucia on the Tigris. The plan of the palace at Spalato, with projecting towers, and the soldiers' quarters against the walls, is Syrian, of which examples may be cited at Kasr-el-Abjad and Deir-el-Khaf (which is dated 306). The colonnaded streets are a well-known Syrian town feature, and the plan resembles that of Antioch, as described by the rhetorician Libanios, scarcely fifty years after the death of Diocletian. Dr. Strzygowski concludes that the emperor had seen the palace at Antioch, which was commenced by Gallienus, and possibly was completed. He wished it copied, and therefore brought over Antiochenes to do it.