Salona Branch Collection and Site


Historical overview

Salona, the capital of the Roman province of Dalmatia, emerged on the shore of one of the loveliest bays in the Eastern Adriatic, next to the delta of the river Salon (today the Jadro). This favourable geographic position at the very centre of the Adriatic coast with sound transport links to the hinterland via the Klis Pass facilitated the city’s rapid and unfettered growth.

According to Strabo, Salona was originally the coastal stronghold and port of the Illyrian Delmataeans (epίneion...tvn Dalmatέwn), who, according to recent archaeological finds, had their fort (oppidum) on the slopes of Kozjak. It developed in the immediate vicinity of Tragurium and Epetium, cities established in the 3rd century BC by the Issaean Greeks.

During the Roman campaigns against the Illyrians for supremacy in the Eastern Adriatic seaboard, Roman Proconsul Lucius Caecilius Metellus wintered in Salona in 119 BC with his army. He was later given the name Delmaticus in honour of his victories over the Illyrians. These events were described by the historian Appian of Alexandria in his work Roman History. At that time, many Italians lived in the city in addition to the native Illyrians and Greek settlers.

During the civil war between Caesar and Pompey, which was waged in the mid-1st century BC and shook the Roman state to its foundations, Salona was granted the status of Roman colony because it fought on the side of the eventual winner, Caesar. It was formally named COLONIA MARTIA IVLIA SALONA and became the centre of Illyricum, later the province of Dalmatia, and also the seat of one of the province’s three judicial districts. After the final Illyrian revolt (the Bato uprising, 6-9 AD) was quelled, a period of peace and prosperity (the Pax Romana) began for Salona.

The old city centre was trapezoidal, surrounded by ramparts and fortified with towers. The eastern rampart wall with a monumental city gate is all that is preserved from that oldest section of the Roman city. There were two main communication routes in that old section. The first, also called the via principalis, ran from east to west (decumanus) and connected the eastern and western city gates. The other route (cardo) ran from north to south, abutting the main urban centre, the forum with the Capitolium, in the south-eastern section of the city. From the beginning of the 1st century onward, the city began to gradually expand east and west outside the walls.

At around 170 AD, the city’s suburbs were also fortified due to the threat of invasion by the Germanic Quadi and Marcomanni tribes. As an urban complex, Salona acquired an oblong shape, as already seen in the 1st century by the Roman poet Lucan, who called it “longae Salonae” in his epic Pharsalia.

A particularly significant period in the city’s development was the reign of Emperor Diocletian (284-305), who built a magnificent palace not far from Salona, where he retired after his abdication in 305. Salona received the honorary title of Valeria after the emperor’s gentilicium. At that time Salona was a crowded city, which, together with the surrounding area, probably had around 60,000 inhabitants and a vigorously pulsating cosmopolitan spirit. Its favourable location attracted many settlers, who brought new customs and beliefs. The official Roman religion in Salona coexisted side by side with various oriental beliefs, such as the cults of Isis and Cybele, and the worship of Mithras, the Anatolian sun deity, whose sanctuaries were found in several places inside and outside the city, was particularly widespread. There was also a Jewish religious community in the city.

By the mid-3rd century, a Christian community began to grow in Salona, which is associated with the activity of the first Salonitan bishop, Venantius, who came from Rome with the task of organizing the church in Salona and spreading the Christian faith in the provincial interior of Dalmatia. His mission was cut short by his martyrdom in the last years of Emperor Valerian’s reign. His successor was Bishop Domnius, a Syrian from Antioch, who headed the Christian community during the reign of Diocletian. This great reformer, who wanted to restore peace and stability to the Empire, was remembered as the last Roman emperor who relentlessly persecuted Christians. Thus, many Christians were executed in the Salonitan amphitheatre in 304, among them Bishop Domnius, the most respected member of the Christian community.

In 313 AD, Diocletian’s successor Constantine issued the so-called Edict of Milan, which allowed Christians to practice their religion freely, while at the end of the 4th century Emperor Theodosius the Great declared Christianity the only permitted religion. These decisions had far-reaching consequences not only for the spread of Christianity, but also for the urban development of every city in the Empire, including Salona. The city’s centre moved from the forum to its eastern section, where the Episcopal Centre was built at the beginning of the 5th century with double basilicas, a baptistery and the bishop’s palace. During the 5th and 6th centuries, numerous other church buildings were built inside and outside the city walls, thus changing the urban appearance of the city. For the needs of the growing religious community, spacious, triple-nave longitudinal buildings with prominent apses were built, including a triple-nave basilica with a baptistery in the city’s eastern section. Between them the shape of the church in Gradina stands out, a building with a central floor plan dedicated to the Mother of God. The importance of Salona as the hub of Christianity is confirmed by the fact that at the beginning of the 5th century the Salonitan bishop became the metropolitan of Dalmatia, and two major synods of all Dalmatian bishops were held in Salona in 530 and 533.

After the division of the Empire in 395, the province of Dalmatia belonged to the western half. Frequent incursions by barbarians caused a further weakening of the central government, which was also reflected in the political situation in the province of Dalmatia. In Salona, the distinguished patrician Marcellinus declared himself king of an independent Dalmatia in 461. He was succeeded by his nephew Julius Nepos, who ruled as the last Roman emperor after the fall of the Western Roman Empire. He was killed in Diocletian’s Palace in 480 AD. Thereafter Dalmatia came under the rule of Odoacer, king of Italy, and as of 493 it recognized Ostrogothic rule.

In 535 AD, at the beginning of the twenty-year Gothic War between the Byzantine Empire and the Ostrogothic kingdom, Salona was conquered by the Byzantine general Mundus. The city became an important military stronghold for Byzantium in further actions against the Ostrogoths. The period of Eastern Roman rule in Salona, and especially the Justinian era, was the last glorious period in the city’s history. The construction activity in Salona during the 6th century bore the strong stamp of the Justinian style and was not solely limited to the area and buildings inside the city walls, but also included those located outside the walls, with emphasis on the remodelled basilica within the Early Christian cemeterial complexes.

In the mid-7th century, after the penetration of the Avars and Slavs, life in Salona began to dwindle and it ceased to exist as an ancient urban agglomeration. The population fled from the city and found salvation on the islands and the nearby Diocletian’s Palace, which became the core of medieval Split. The cult of the Salonitan martyrs did not disappear, but rather moved to Split together with their corporeal remains. This city became the successor of Salona from the ecclesiastical standpoint.

According to historical sources, after Salona’s fall Pope John IV sent Abbot Martin to Dalmatia and Istria to bolster the faith and redeem Christians who had become slaves, and to collect the remains of Christian martyrs and transfer them to Rome. So the relics of the Salonitan martyrs were laid to rest in the Chapel of St. Venantius, which the pope had built inside the Basilica of St. John Lateran.

Croats settled along the eastern ramparts of the former Roman metropolis of Salona and built one of the most important centres of the medieval Croatian state there.

 

Sarcophagus of Abbess Joanna

Sarcophagus of Abbess Joanna

  • May 12, 612

  • Salona, Manastirine

  • limestone

  • length 2.07 m, width 0.63 m, height 0.80 m

    The chest of the sarcophagus of Abbess Joanna was found in situ north of the apse of the early Christian basilica in Manastirine. According to Frane Bulić’s interpretation, she came to Salona as a girl from Sirmium, after that city had been captured by the Avars in 582.

    The front side of the chest has an inscription carved in six lines.

    Restoration: Hic quiescit in pace / sanct(a) abtissa Ioh(a)nna / Sermenses qui bixit annus XL. / Die Veneres exiit de corpore / IIII idus maias, indictione qu[in] / ta decim(a). 

    Translation: The holy Abbess Joanna from Sirmium, who lived for 40 years, here rests in peace. She left her body on the day of Venus [Friday], the fourth day of the Ides of May, fifteenth indiction.

Sarcophagus of Bishop Primus

Sarcophagus of Bishop Primus

  • Salona, Manastirine
  • limestone
  • chest: length 2.05 m, width 0.90 m, height 0.82 m
  • lid: length 2.16 m, width 0.96 m, height 0.56 m

The sanctuary of the basilica, south of the tomb of Bishop Domnius, houses the in situ sarcophagus of his successor, Bishop Primus. An inscription carved in three lines is on the front of the sarcophagus. It indicates that Primus was the nephew of Domnius.

Restoration: Depositus Primus epi / scopus XII kal(endas) febr(uarias). Ne / pos Domniones martores.

Translation: Bishop Primus was here interred on the twelfth day prior to calends of February [21 January]. The nephew of Bishop Domnius.

Sarcophagus of Valerius Felix and his wife Viventia

Sarcophagus of Valerius Felix and his wife Viventia

  • first half of 4th century

  • Salona, Manastirine

  • Proconnesian marble

  • chest: length 2.20 m, width 1.20 m, height 1.58 m

An architectural-type sarcophagus chest is located in situ east of the basilica, in chapel V. The chest is almost entirely preserved but has been partially reconstructed. It is located above the burial vault that belonged to the sarcophagus. An inscription that has not been completely preserved is carved onto its front inside an aedicule with Syrian pediment. Free fields are on each side of the aedicule containing a male and female figure on a high pedestal. The male figure, wearing a pallium and holding a scroll in his left hand, is better preserved. Aediculae with Syrian pediments also adorn the sides of the chest, while the rear side is unadorned. The corners of the sarcophagus terminate in elegant columns with capitals.

Restoration: [...] Viventiae, / [coniugi suae dil] ectissimae, / et sibi Val[er]ius Felix. /

Depositus VII idus nov(embres), qui vixit an / nos LXV. Quod si quis eam arc[am] post / obit(um) eius aperire voluer(it), inf(erre) d(e)b(ebit) Ec / clesiae de(nariorum)fol(les) mille. In qua sunt / [filiae Grae?]cina et Proculina. 

Translation: Valerius Felix (places the sarcophagus) for his beloved wife Viventia and himself. He was buried on the seventh day before the Ides of November [7 November], at the age of 65. Should anyone wish to open this sarcophagus after his death, they shall pay the church 1,000 denarii folles. The daughters Graecina and Proculina are [also] here.

 

Lintel above the main entrance to the basilica in Manastirine

Lintel above the main entrance to the basilica in Manastirine

  • mid-5th – 6th century

  • Salona, Manastirine

  • limestone

  • length 2.60 m, height 0.4 m

The lintel above the main entrance to the basilica has a carved inscription in two lines with Latin crosses having flayed ends on each side. This same type of cross can be seen in the middle of the inscription. Each word of the inscription is separated by an ivy leaf (hedera distinguens). The lintel was found in two pieces at the end of the 19th century in the atrium of the basilica. After the completion of the conservation and restoration procedure in 2004, it was installed at its current location. The inscription on the lintel testifies to the difficult and unstable times for the Roman Empire, which was subject to brutal onslaughts by Germanic tribes near the end of its existence. The inscription invokes God’s aid for the preservation of the Roman state.

Restoration: Deus noster, propitius es[to] / Rei Publicae Romanae.

Translation: Our God, have mercy on the Roman state!

Lintel with image of Christ as the Lamb of God (Agnus Dei)

Lintel with image of Christ as the Lamb of God (Agnus Dei)

  • 5th – first half of 6th century

  • Salona, Episcopal Center - Basilica Urbana

  • limestone

  • length 1.92 m, width 0.55 m, height 0.33 m

    Above the side door in the northern wall of the basilica was A lintel with an image of Christ as the Lamb of God (Agnus Dei) inside a doubly moulded circle whence two ribbons extend. The lamb is depicted with a halo around its head and a cross with flayed bars. Ewes in profile are to each side facing the centrally depicted symbol of Jesus Christ.

Capital with Bishop Peter’s monogramom

Capital with Bishop Peter’s monogramom

  • 554-562 AD

  • Salona, Episcopal Center - Bishop's Palace (Episcopium)

  • limestone

  • length 1.92 m, width 0.55 m, height 0.33 m

    The capital is a massive inverted dome adorned by double spiral volutes at the ends and a shallow abacus with a protruding rib. The monogram of Bishop Peter is engraved on the front. It was found in the so-called Petrova street, near the Episcopium, together with two more similar pieces that are not as well preserved. The capitals are components of the covered monumental ceremonial entrance to the Bishop’s Palace, which had been built at the behest of Bishop Peter. The ceremonial entrance was formed by marble columns placed on four high pedestals, which ended in capitals.

Column adorned by plant motifs

Column adorned by plant motifs

  • 5th-6th century

  • Salona, Marusinac – southern basilica (exhibited in the Don Fran Bulić Memorial Room in the Tusculum)

  • white marble

  • height 0.76 m, diameter 0.18-0.21 m

    A fragment of a richly decorated ciborium column that was found in the sanctuary of the Basilica of St. Anastasius. Its entire surface is filled with plant motifs rendered in relief with notable plasticity. The lower part of the column is adorned with large acanthus leaves, which are followed by grape vines with outspread leaves having accentuated veins and hanging grape bunches, and branched ivy tendrils. The discovery of this column demonstrated the richness of the southern basilica’s interior.

Grave altar of Gaius Julius Mara

Grave altar of Gaius Julius Mara

  • latter half of 1st century

  • Salona, Zvonimirova street, in the heart of Solin (exhibited in the Tusculum Garden)

  • limestone

  • height 1.44 m

The gravestone of Gaius Julius Mara, a veteran of the second Cyrrhestica cohort, a unit that was transferred to Dalmatia to quell the Pannonian-Dalmatian revolt from 6 to 9 AD. The altar is simple in shape and consists of a cube and a crown. It was most likely in the south-eastern Salonitan necropolis. An inscription field with a carved epitaph is on the front of the cube, framed by a simple S-mould. The inscription is composed in six lines.

Restoration: C(aius) Iulius Mara / veter(anus) coh(ortis) II / Cyrrhestar(um) (qui vixit) ann(orum) XC / dom(o) Berea t(estamento) f(ieri) i(ussit) / Magnus lib(ertus) idemque / heres posuit

Translation: Gaius Julius Mara, a veteran of the Cohors II Cyrrhestarum (who lived) for 90 years, originally from Beroea, had it installed by his testament. It was erected by his freedman and heir Magnus.

Mosaic with image of deer

Mosaic with image of deer

  • 4th-5th century

  • Salona, eastern part of the city (displayed in the Tusculum’s reception area)

  • height 1.70 m

    During archaeological rescue excavations prior to construction of the Solin bypass in 1986 and 1987, part of a multi-coloured floor mosaic with an image of a deer in licking dew from a tree leaf was found. In addition to the deer’s head and antlers, part of its neck and part of the border in the form of a braid that framed the entire scene have been preserved. The deer is depicted very realistically and sculpturally and demonstrates the high-quality work of the Salonitan mosaic workshop. Since the depiction has only been partially preserved, it cannot be attributed to an Early Christian context with any certainty.

Monumental inscription from the amphiteatre

Monumental inscription from the amphiteatre

  • latter half of 2nd century

  • Salona, amphitheatre

  • limestone

A monumental inscription carved in classical Roman capitals was on the upper part of a stone rail in the corridor (iter) encircling the amphitheatre. Although the inscription has not been preserved in its entirety, it can be discerned that it had referred to the amphitheatre’s construction, which was facilitated or supported by a wealthy donor, which was common in the imperial era. The inscription runs in a single line, and ivy leaves (hedera distingues) are carved in the spaces between the words. Over twenty inscription fragments have been preserved, which have been partially assembled.

Restoration: [...]VS R(ei) P(ublicae) DONO DEDIT [...]CTVM [...]DVS [...]SVN [...]TIX [P]VBLIC[O] SAX [...]NTE [...]LT[...]

Translation: ... he donated to the State ...