Salona

Welcome to the gateway to the story that shaped Dalmatia and the entire Adriatic coast. Salona began as an Illyrian settlement of the Delmata tribe, who are believed to have been the first Illyrians in this area. However, what set it apart was its strategic position on the Adriatic Sea and its port at the mouth of the Jadro River – a perfect place for trade with the Greeks, which accelerated the development of this city. Interestingly, in addition to the Illyrians and Greeks, numerous Italics also lived here, making Salona one of the most diverse cities in the ancient world. After the dramatic war between Caesar and Pompey, the Romans conquered Salona in the 1st century BC and turned it into a Roman colony – Colonia Martia Iulia Salona. Since then, Salona has become the capital of Illyricum, and later of the Roman province of Dalmatia. Not everything went smoothly: the conquest caused rebellions, but over time the city entered a period of peace and incredible urban prosperity – an amphitheater, thermal baths, a forum, temples and imposing city walls were built, including the famous Porta Caesarea gate, through which merchants, soldiers and residents from all over the Empire passed. Salona was so large that the latest archaeological discoveries have shown that it was actually almost three times larger than previously thought – larger even than Pompeii! Some experts claim that Salona is better preserved than the famous Italian city, which makes it a real archaeological sensation. In the 3rd century, Salona became the center of Christianity in the region. The city was full of churches and martyrs' sites, and Saint Duje, the patron saint of Split, was buried here. After the Edict of Milan in 313, Christianity became the official religion, and the city center moved to the east, where basilicas and the bishop's palace were built. However, the history of Salona is not just a story of rise. In the 7th century, under the onslaught of the Avars and Slavs, the city was destroyed, and the surviving inhabitants fled to the nearby Diocletian's Palace. This exodus was the beginning of a new city – Split, which still carries the spirit of Salona today. And one more thing: Salona was the birthplace of Emperor Diocletian, one of the most important Roman rulers, who built his magnificent palace right here, nearby. Today, as you walk through the ruins, you can see the remains of an amphitheater that could accommodate as many as 18,000 spectators, traces of ancient roads with ruts from carts, early Christian basilicas and the graves of martyrs – every stone carries its own story, and every story draws you deeper into history. Can't wait to step further? And you should – because every step through the ruins of Salona reveals a new secret, and perhaps even an as yet undiscovered story that awaits you.

In front of you is the grave of Don Frane Bulić – one of the most important Croatian archaeologists, historians and priests. He was born on October 4, 1846 in Vranjic, and after his education and theology studies in Zadar, he became a priest. However, that same year, he decided to make a change: he enrolled in classical philology and archaeology at the University of Vienna, where he acquired knowledge that would later change the understanding of Croatian history. Upon his return to Croatia, he taught at grammar schools in Split and Dubrovnik. He soon received the responsible role of conservator of cultural and historical monuments in Dalmatia, and then the position of director of the Archaeological Museum in Split. That was when his most important work began – archaeological research in ancient Salona. Bulić was the first to document in detail the urban planning of Salona, finding the forum, thermae and early Christian basilicas. His discoveries changed history: in 1891, he found the Trpimir inscription in Rižinice, the oldest written evidence of the Croatian ruling dynasty and the Benedictine monastery in Dalmatia. In 1898, he reconstructed the sarcophagus of Queen Jelena on Gospin otok in Solin from 109 fragments and deciphered an inscription that revealed valuable information about the rulers of the 10th century. He also found the Basilica in Manastirine, the place where the martyr St. Dujam was buried, which confirmed Salona as an important Christian center. Don Frane was not only a scientist. He published more than 400 scientific papers, was politically active and advocated the unification of Dalmatia with Croatia. He was also one of the founders of the Society for Yugoslav History and the editor of the journal "Vjesnik za arheologiju i historiju dalmatinsku". He died on July 29, 1934 in Zagreb. He designed his sarcophagus himself, and on it is written: "I have begun the work, let others continue." His research is still the foundation of Croatian archaeology today, and his name is often mentioned in scientific papers and at archaeological sites. Interestingly, Don Frane was known for his persistence and dedication to his work. When he came across a new archaeological trail, he would stay in the field until he had explored every detail, regardless of weather conditions or fatigue. His energy and curiosity continue to inspire new generations of researchers today.

The first chapters of the Manastirin were written by the Romans as early as the 1st century. They formed a large pagan cemetery at this site, and the graves were often decorated with reliefs and inscriptions in Latin. Interestingly, hortuses – fenced burial plots, which were a status symbol of wealthier families – were also found. Some sarcophagi bear scenes from Greek mythology, which reveals how much the Romans liked to combine beliefs and art. However, the real turning point came after the Edict of Milan in 313, when Christianity became permitted. The necropolis was then fundamentally changed – the old pagan tombs gave way to Christian ones, and two basilicas were built on the cemetery. The Basilica of St. Venantius is known for its mosaics with the motif of a fish, a symbol of early Christians, while the Basilica of St. Domnius was built over the grave of a martyr from Diocletian’s persecutions. This grave became so important that people literally competed to see who would be buried as close to the saint as possible – believing that this would bring them closer to heaven. This practice, known as ad sanctos, was so popular that the graves around the apse became the most sought-after in all of Salona. Manastirine has also been the scene of dramatic events over the centuries. In the 5th century, after the Goths attacked Salona, a large three-nave basilica was built here, and in the 7th century, with the fall of the city, the basilica was plundered and destroyed. However, the Christian community did not disappear - on the contrary, stećak and fragments with Glagolitic inscriptions appear in Manastirine, the first traces of Croats and their literacy in this area. One of the most important archaeological finds is the mausoleum of Bishop Ezihije, who led the Salonitan church through difficult times in the 5th century. There is also the sarcophagus of Queen Jelena, known from legend as the "mother of kings and protector of the poor", and the famous Trpimir inscription from the 9th century - the first mention of a Croatian name on stone in Dalmatia. This inscription confirms that life continued here, even after the fall of Salona, and that the Christian tradition survived all the storms of history. Interestingly, the latest research, conducted with ground-penetrating radar between 2015 and 2020, has revealed underground structures that were previously unknown. Scientists believe that there may be undiscovered graves or even entire rooms hidden beneath the basilicas, which means that Manastirine has not yet said its last word. Manastirine was named after the monasteries (monasteries) that existed here in a later period, and today it is an indispensable stop for anyone who wants to understand how the pagan, Roman, Christian and Croatian worlds intertwined. Here you can literally walk through the centuries and feel how history and religion changed, but also remained connected. If you are interested in how the first Christians in Salona celebrated worship in secret, also explore the story of the "First Christian Oratory" - because it was here, in Manastirine, that the first Christian masses were held, often in converted private houses, far from the eyes of the Roman authorities.

You are near Tusculum, the place where Don Frane Bulić realized his vision at the end of the 19th century: an archaeological center that is not only a laboratory for scientists, but also a living school for all those who want to know. The name Tusculum is not accidental – it was inspired by Cicero's villa, where the Roman orator peacefully created his most important works. Bulić wanted just such a quiet corner for science, far from the hustle and bustle of the city. But Tusculum was more than just a base from the very beginning. In 1894, the First International Congress of Early Christian Archaeology was held here, an event that brought the European scientific elite to Split and Solin. That was the moment when Salona once again became the center of world archaeology, and Tusculum its main stage. The uniqueness of Tusculum also lies in its construction: it was built from ancient parts from Salona and the old bell tower of the Split Cathedral, demolished at the end of the 19th century. Don Frane wanted every detail of the interior to tell a story – the guest room is painted in Pompeian reds, the ceiling is decorated with a motif of the Good Shepherd, and the wall is decorated with verses inspired by Horace that celebrate the beauty of Solin. Interestingly, in letters to artists from Split, Bulić personally chose the motifs and colors, wanting to create a space that would take every visitor on a journey through time. But Tusculum was also a real little world of its own: it had a temple, a promenade, a rich personal library, an apiary, an orchard, and even a stable for the horse Parvulus and Bergamasco sheep. Parvulus, Bulić’s favorite horse, was known for often accompanying archaeologists on excavations. Today, Tusculum houses the Don Frane Bulić Memorial Room, with original furniture, photographs, and tools from his time.

At this moment, you are at the place where the first Christian oratory was built almost two thousand years ago. It was not a monumental church, but a modest room in a private house, hidden right next to the northwestern walls of ancient Salona. This is where the first Christians gathered in secret, at a time when their faith was forbidden, and every meeting could end disastrously for their lives. Danish architect Ejnar Dyggve believed that this “house of community” was located right here, where believers gathered to pray and celebrate the liturgy, far from the eyes of the Roman authorities. Interestingly, researchers have found the remains of a hall with a semicircular apse and a stone bench for priests, which is a clear sign of early Christian architecture. Not far from that place, to the south, another, smaller oratory was discovered, but much less is known about it. Everything changed in 313, when the Edict of Milan brought freedom of religion. Christians no longer had to hide their gatherings – they moved from secret oratories to public basilicas, and Salona soon gained its own religious center: the Basilica Urbana, the largest Dalmatian basilica of that time. Here, with monumental columns and rich mosaics, a new era of Christian culture was born that would shape the Mediterranean. Did you know that a mosaic was found in the floor of this basilica with an inscription testifying to the construction of the church, and is kept in the Archaeological Museum in Split? Or that in the adjacent room, the catechumenate, a mosaic depicted two deer drinking water, with a verse from Psalm 42: “As the deer pants for the water fountain, so my soul pants for you, O God” – a symbol of longing for faith and baptism? From the first hidden oratories, through the public Kapljuč, to the monumental basilicas, Salona became a bridge between secret resistance and open faith, a place where history, culture and spirituality intertwined.

Before you is the Basilica of Urban – the largest and most important church of ancient Salona, the place where Christianity first shone in its full glory in this part of the world. Construction began in the 4th century, and it acquired its recognizable appearance with a three-aisled floor plan, massive columns made of Brač stone and Corinthian capitals at the beginning of the 5th century. 58 meters long and 28 meters wide, it ended in a semicircular apse with a marble railing behind which the bishop and clergy led the rites, while the faithful filled the central nave. The floor of the apse was decorated with a mosaic with the names of bishops Sympherius and Exychius, who together with the people built this impressive building. The basilica was not just a place of prayer. It had special rooms such as a sacristy for storing liturgical objects and a prothesis for preparing the Eucharist. To the west was the narthex – a vestibule where catechumens and penitents waited for their moment, because they were not yet allowed to enter the main space. What makes this church even more special is its influence: its architectural model became a model for later churches in the eastern Adriatic, including the famous basilicas in Zadar and Poreč. Bishops, saints and emperors gathered here, and important church councils were held in Salona in this very church. Of particular interest: north of the basilica was the baptistery, known for its mosaic depicting two deer and the inscription from Psalm 42 – “As the deer pants for the water springs, so my soul pants for you, O God”. Although today this mosaic and inscription are no longer preserved on the site, we know of their existence thanks to old drawings and records. They still bear witness to the wealth and spiritual strength of this place, which is still one of the most important archaeological sites of early Christianity in the Adriatic.

You are in the area of the Episcopal Center. In Salona, then the capital of Roman Dalmatia, after the legalization of Christianity in 313, Salona becomes the key center of the new religion, and its eastern part turns into the heart of Christian Dalmatia. However, the beginning was not at all glamorous. The first Christians gathered secretly, in private houses, far from the curious pagan gaze. The oratories were hidden, and each prayer was said quietly, with a touch of caution, but also excitement. Only when the persecutions stopped, the city breathed its full strength - and the construction of monumental basilicas began. The first step was taken by Bishop Simferius, who erected the northern basilica, known as the Basilica Urbana. His successor, Bishop Exychius, expanded the complex: he added the southern basilica and the bishop's palace, transforming this place into the real brain and heart of the city. The northern basilica was an architectural attraction: three-nave, with a semicircular apse, and the floors sparkled with mosaics with the names of donors – a kind of “sponsorship tiles” of the ancient era. Next to it was an octagonal baptistery with a pool for baptism by immersion – which was a sign of complete devotion to the faith at the time. Interestingly, baptisteries of this shape were quite rare in this area! The bishop’s palace, located immediately to the north, had private chapels and meeting rooms, and it is believed that important church councils were held here. The episcopal center replaced the pagan forum as the new center of social life, and its location next to Porta Caesarea was no coincidence – it was near this gate that the first secret services took place. Another interesting fact: the entire complex was connected to the city’s water supply, and fountains and sewage systems ensured a high standard of daily life.

You are currently looking at the Episcopal Baptistery. The Episcopal Baptistery of Salona was another key part of the episcopal complex, dedicated to the rite of baptism and the preparation of new believers. Located north of the main basilica, this building underwent several phases of construction, reflecting changes in liturgical practices and architectural styles. Originally built in the 5th century, the baptistery had a rectangular plan with a hexagonal baptismal font lined with marble slabs. In the 6th century, under the influence of Byzantine architecture, it was remodeled into an octagonal shape with a cruciform font in the center. The interior was circular in plan, with semicircular niches and marble columns supporting the dome. The cruciform font was intended for baptism by immersion. The rite was performed by the bishop, which emphasizes the importance of the sacrament. The floors were paved with multi-colored marble, and the walls were decorated with frescoes and gold mosaics, of which only fragments remain. The capitals of the columns were carved with motifs of birds of prey, and are today kept in the Archaeological Museum in Split. Next to the baptistery was the catechumenium, a square hall with a semicircular bench, where the catechumens were taught the faith before baptism. On the floor was a mosaic depicting two deer drinking from a bucket. This mosaic, now missing, is documented in old drawings. After baptism, the newly baptized entered the Basilica Urbana through a vestibule with marble columns, symbolizing their entry into full membership of the church community. This passage was a physical and spiritual bridge between the secular and the sacred. Today, the foundations of the baptistery and the catechumenium are visible, while fragments of the mosaic, capitals and inscriptions are kept in the Archaeological Museum in Split. The octagonal shape and cross-shaped font testify to the complexity of baptismal rites and the symbolic depth of early Christian liturgy. For the inhabitants of Salona, the baptistery was a symbolic bridge between the secular and the sacred, where humanity was renewed through baptism. Its design influenced later baptisteries throughout the Mediterranean, setting the standard for sacral architecture in late antiquity.

You are currently in the area of the Forum, which was the main city square and a symbol of Roman power in Dalmatia. It is located in the oldest part of Salona, and served as a place for political meetings, trade and religious ceremonies. Its location reflected the classical Roman urban logic, where the forum was a node where the main roads intersected. The forum was located in the western part of Salona, near the amphitheater and the port. It was connected to two main directions: the cardo (a north-south street) and the decumanus (an east-west street). These roads formed the backbone of the city network, and the forum was located at their intersection, making it accessible from all parts of the city. The center of the forum was made up of temples dedicated to Roman deities, the most important of which was the Capitol, a temple dedicated to Jupiter, Juno and Minerva. Around the square were stoae (shaded colonnades) with shops, where commercial activities took place. In addition to them, the forum also had a basilica (a building for judicial and administrative affairs) and public monuments such as statues of Roman emperors. The forum was a multifunctional space, in addition to holding political assemblies, legal decisions were made and trade was carried out. It was also used for religious ceremonies, especially in the temples facing the square. After Christianity became the official religion in the 4th century, the forum gradually lost its importance, and the new center of city power became the episcopal complex with basilicas. The decline in importance of the forum after the 4th century symbolizes the social transformation from paganism to Christianity, which led to the creation of new centers of power such as the episcopal complex.

You are standing in front of the remains of the city baths of Salona, a place where luxury, politics and the ordinary everyday life of the Roman world intertwined on a daily basis. People didn’t come here just to bathe – the baths were a social epicenter, a place where the latest news was conveyed, business was negotiated and friendships were built, but also where social differences were refracted. The largest thermal complex, located next to the main city gate, was a true marvel of ancient architecture: rooms with cold, lukewarm and hot water, a courtyard for socializing and exercising, floors covered with mosaics, and walls later decorated with Christian symbols – every detail reveals how far ahead of its time Salona was. Particularly intriguing is the fact that remains of exotic spices and oils were found in one of the baths, which suggests that the inhabitants of Salona enjoyed the luxury that was reserved for the elite of the Roman Empire. The water reached the baths via an aqueduct almost ten kilometers long, and the sophisticated system of heating the floors and walls was a real technological sensation. The baths were active from the 1st century BC BC until the 7th century, when they were abandoned after the Avar-Slavic invasions. Today, fragments of mosaics and ceramic pipes are kept in the Archaeological Museum in Split. Throughout its existence, Salona not only provided hygienic services but also reflected social hierarchy, from public spaces for all classes to exclusive baths for the elite. These complexes remain a testament to the high level of urbanization and engineering expertise of the ancient era.

In front of you is the main eastern city gate of ancient Salona, Porta Caesarea, located in the oldest part of the city walls (Urbs vetus). Today it is the best preserved entrance complex in Salona and an important example of Roman urban architecture. The gate was built at the beginning of the 1st century, probably during the reign of Emperor Augustus, named after the emperor and served as the starting point for roads to the interior of Dalmatia and the Adriatic coast. The entrance is in three parts, the two side ones were for pedestrians, while the central part was for chariots. The upper floor served as a promenade for guards, with towers for catapults. Also included are two octagonal towers on the outside, built of cut stone, over 10 meters high, and today visible up to 5 meters. Two main roads led from the gate, to the north and south. The traces of chariots, deep furrows are visible in the stone pavement. In the 4th century, under Constantius II. was renovated, and decorative elements were added. During this period, they lost their defensive function and became symbolic triumphal arches. In the Middle Ages, they were used as a source of stone for Diocletian's Palace. Archaeologists are still debating whether the Tyche relief, depicting a female personification of the city with a crown in the form of walls and the inscription "MARTIA IVLIA VALERIA SALONA FELIX", present on the gate originally belonged to the gate or was transferred from a city fountain. Porta Caesarea is a portal to the past that preserves the story of the people who entered and exited here 2,000 years ago.

You are at the destination of Five bridges, a Roman bridge from the 1st century BC, located approximately 100m east of Porta Caesarea, over one of the branches of the Jadro River. The name “Five bridges” comes from the fact that the bridge has five arches on which a road was laid. The road across the bridge was a continuation of the decumanus maximus (the main city street). The structure of the bridge is made of well-carved limestone, and deep wheel grooves can be seen on the stone slabs, which shows how much traffic there was. Mosaics with the image of Orpheus and another with the image of Triton were found nearby. Interesting fact: a similar bridge with five arches is located in Rome itself - the famous Angel Bridge, built in 134 AD, also has five arches and connects the city center with the famous Angel Fortress. Apparently, the Romans knew how to give bridges both functionality and lasting beauty! Likewise, the name "Five Bridges" confuses many visitors, but it is only one bridge with five arches, not separate structures.

You are now looking at the city walls, which have protected the inhabitants of Salona for centuries. These walls are not just defensive walls, but a living monument to the rich history and urban development of one of the most important ancient cities on the eastern Adriatic. As the city and the culture of its inhabitants changed over the centuries, so did the city walls. In the earliest stages, in the 2nd century BC, the first walls of Salona were built in the Hellenistic style, using large, unhewn limestone blocks. These megalithic walls protected the then old part of the city, known as Urbs vetus, which was located along the harbor. The first obvious changes came with the Roman expansion between the 1st century BC and the 1st century AD. As the city grew, the walls were extended east and west. The most famous gate from this period is the Porta Caesarea, with its octagonal towers, which served as the main entrance to the city. In the 2nd century, due to the threat of Germanic tribes, Salona further strengthened its walls, building over 90 towers, thus forming an elongated elliptical defensive belt about 1,600 meters long. During the invasions of the Huns and Goths in the 5th century, the walls were renovated and extended, and some were even integrated into the urban structure, losing their exclusively defensive function. If we look at the structure of the walls, we can single out a few parts that stand out the most, and these are: Porta Caesarea with its strict control of entrances and exits from the city, Porta Andetria which connected Salona with the interior of Dalmatia, and Megalithic segments, the oldest parts of the walls built of massive stone blocks that represent the pinnacle of Hellenistic construction techniques. The walls of Salona were crucial for the defense of the city until 614, when the Avars and Slavs broke through the defenses and destroyed the city. Afterwards, the stone from the walls was used to build medieval buildings in the surrounding towns, including Diocletian's Palace in Split. The city walls are not just remains of stones, but tell the story of the development of the city over the centuries, of its strength, the dangers it survived and the people who defended it. They are an archaeological layer that connects the Illyrian, Hellenistic, Roman and Late Antique periods, making Salona a unique witness to ancient history on the Adriatic.

At this moment you are standing in front of the Amphitheatre, which was one of the most impressive buildings in the area of Roman Dalmatia. Built during the reign of Emperor Aurelius in the 2nd century, the Amphitheatre is located in the northwestern part of the city, and is integrated into the city's defense system, with its northern and western walls leaning against the city fortress. The amphitheatre had an elliptical layout with a length of approximately 125 meters and a width of approximately 100 meters. The arena, measuring approximately 65x40 meters, was the site of gladiatorial fights and fights with beasts. The auditorium could accommodate 15,000–18,000 people, and was divided into three zones, two for sitting and one for standing. The main entrances were located on the east and west sides, while an underground corridor at the end of the 3rd century was used to carry away the dead. In April 304, during the Diocletianic persecutions, Christian martyrs were executed in the arena, including the priest Asterius and four soldiers. After Justinian's ban on gladiatorial combat in the 6th century, the underground rooms were converted into Christian chapels dedicated to the martyrs. Throughout the Middle Ages, the amphitheater was used as a quarry for the construction of Split and Trogir. In 1647, during the Candian War, the Venetians partially demolished the structure so that the Turks would not use it as a fortress. Today, the amphitheater stands as an archaeological site and a cultural reminder of Salona's rich history. In addition to attracting numerous tourists and history buffs, the amphitheater is occasionally used for cultural events and open-air musical and theatrical performances, thus reviving the spirit of ancient times and connecting the past with modern life.

Kapljuč was the northern necropolis of Salona, originally a pagan cemetery with tiled graves, amphorae and brick tombs that testify to the lives and customs of the inhabitants from the 1st to the 3rd century. Namely, 16 sarcophagi from the 3rd century, neatly lined up one next to the other – a sight that so fascinated Don Frano Bulić that the site was named the “graveyard of 16 sarcophagi”. The real drama begins in 304, when during Diocletian’s persecutions, five martyrs were buried here: the priest Asteria and four soldiers – Antiochian, Gaian, Paulinian and Tellius. Their sacrifice was not forgotten: the Basilica of the Five Martyrs was soon built over their graves, one of the oldest Christian buildings in this area, which turned Kapljuč into a place of pilgrimage and worship. Of particular interest is a 4th-century tomb, discovered in 1909, with a large stone slab decorated with unusual symbols – four circles and a rectangular recess. Scholars are still debating its role: it may have been used for pagan rituals, but it later became part of the Christian liturgy, showing how customs and religions intertwined on this land. Kapljuč was included in the tentative list of World Heritage Sites in 2018 as part of the serial property “Early Christian Monuments of Salona”.

Marusinac is one of the three largest early Christian cemeteries in Salona, located northeast of the city walls, and was dedicated to martyrs, especially Saint Anastasius, a deacon from Aquileia. According to tradition, he suffered during the persecutions of Diocletian in the early 4th century, and his relics were then transferred to Salona, where they became a center of devoted worship and pilgrimage. Saint Anastasius, as a symbol of unwavering Christian loyalty, remained permanently etched in the history of this place, as confirmed by the epitaph of the priest John, in which Anastasius is designated as the protector of this sacred space, testifying to the continuity of Christian practice until the fall of Salona in the 7th century. The Marusinac complex includes three main parts: the Basilica discopertum, named after the discovered architectural traces; the Basilica of Anastasius, which was particularly important for the veneration of martyrs; and the mausoleum and accompanying tombs, which demonstrate the complexity of the Christian cemetery of that period. The first systematic research of this archaeological site was carried out by Frano Carrara in 1850, discovering tombs with the remains of sarcophagi, while in the late 19th century, Don Frane Bulić continued to study Marusinac, identifying key architectural elements and inscriptions that further shed light on the significance of this site. What particularly highlights Marusinac is its role as a transitional site between pagan burial traditions and the adoption of Christian symbolism, which testifies to the changes in religious customs in Salona during the ancient and early medieval periods.