Pietro Laurato (it is in the corridor
near the entrance), may be seen a small figure of a galley with the oars
also very distinctly coupled.[15] Casoni has engraved, after Cristoforo
Canale, a pictorial plan of a Venetian trireme of the 16th century, which
shows the arrangement of the oars in triplets very plainly.
The following cut has been sketched from an engraving of a picture by
Domenico Tintoretto in the Doge's palace, representing, I believe, the
same action (real or imaginary) as Spinello's fresco, but with the costume
and construction of a later date. It shows, however, very plainly, the
projecting opera-morta and the arrangement of the oars in fours, issuing
through row-ports in high bulwarks.
[Illustration: Part of a Sea Fight, after Dom. Tintoretto]
[Sidenote: Fighting Arrangements.]
28. Midships in the mediaeval galley a castle was erected, of the width of
the ship, and some 20 feet in length; its platform being elevated
sufficiently to allow of free passage under it and over the benches. At
the bow was the battery, consisting of mangonels (see vol. ii. p. 161
seqq.) and great cross-bows with winding gear,[16] whilst there were
shot-ports[17] for smaller cross-bows along the gunnels in the intervals
between the benches. Some of the larger galleys had openings to admit
horses at the stern, which were closed and caulked for the voyage, being
under water when the vessel was at sea.[18]
