Archaeological Museum in Split

The Archaeological Museum in Split (Arheološki muzej u Splitu), located at Zrinsko-Frankopanska 25, is Croatia’s oldest museum, established in 1820 by a decree of the Dalmatian government in Zadar. Situated a 10-minute walk north of Split’s city center, it houses an extensive collection of approximately 150,000 artifacts from prehistoric times to the early Middle Ages, with a focus on the Roman city of Salona (modern Solin), Split, and nearby sites like Issa (Vis) and Narona (Vid). The museum, designed by Viennese architects August Kirstein and Friedrich Ohmann and opened in 1914, is a late historicist building with Viennese Secession elements, considered part of Croatia’s cultural heritage. Its serene garden, cloister, and exhibition halls make it a must-visit for history enthusiasts exploring Dalmatia’s past.

 

Architectural Features

Building Design: The two-story museum, constructed in 1914, features a harmonious blend of late historicist architecture with Viennese Secession influences. The exterior is elegant yet understated, surrounded by large trees and a walled garden that creates a tranquil oasis. The ground floor hosts exhibition halls, while the upper floor contains a library and study rooms.
Outdoor Courtyard: The museum’s cloister-like garden is a highlight, displaying large stone artifacts, including Roman sarcophagi, statues, and inscriptions from Salona and Diocletian’s Palace. This outdoor space, shaded and relaxing, is often praised as the museum’s most captivating feature, with artifacts arranged along the walls.
Interior Layout: The indoor galleries are compact but well-organized, showcasing smaller items like pottery, glassware, coins, and jewelry. The exhibitions are divided into thematic collections, with clear signage in Croatian and English, making the displays accessible to international visitors.

 

Historical and Cultural Significance

Founding and Development: The museum’s establishment followed Emperor Francis I’s 1818 visit to Split and Salona, which highlighted the region’s archaeological importance. Early collections began in the 16th century with humanists Dominik Papalić and Marko Marulić, who gathered Salona’s stone inscriptions. Frane Bulić, director from 1884 to 1926, was pivotal in expanding the museum and researching Salona, earning it a golden age of archaeological discovery.
Collections: The museum’s 150,000 artifacts are organized into several collections:
Prehistoric: Tools and artifacts from the Palaeolithic to Iron Age.
Greek-Hellenistic: Pottery from Issa (Vis) and other Adriatic colonies.
Roman-Provincial: Mosaics, glassware, lamps, and stone inscriptions from Salona, including sarcophagi and a possible fragment of Diocletian’s porphyry sarcophagus.
Early Christian and Medieval: Grave goods, jewelry, and coins from Salona’s Christian cemeteries and Croatian rulers’ era.
Underwater Archaeology: Amphoras and shipwreck finds from Dalmatia’s coast.
Numismatic and Epigraphic: Over 70,000 coins and extensive stone inscriptions.
Research and Publications: The museum conducts ongoing excavations at Salona and Issa, with regional centers in Solin (Tusculum) and Vis. Since 1878, it has published the Bullettino di archeologia e storia dalmata, a leading archaeological journal. Its library and archives are valuable resources for scholars.
Cultural Role: The museum offers workshops, educational programs, and temporary exhibitions, enriching Split’s cultural scene. It complements visits to Salona’s ruins, Diocletian’s Palace, and other local sites, providing context for Dalmatia’s Roman and early medieval heritage.

 

Surroundings and Atmosphere

The museum is located just outside Split’s bustling Old Town, near the National Theater and a short walk from the Riva waterfront and Diocletian’s Palace. Its tree-lined setting and quiet garden offer a peaceful contrast to the crowded Peristyle, with visitors often noting the museum’s uncrowded, contemplative atmosphere. The surrounding neighborhood is residential, with easy access to cafés and public transport, including buses from Trogir (30 minutes away). The museum’s proximity to Salona (5 km northeast) makes it an ideal stop for those exploring Roman ruins.

 

Visitor Information

Accessibility: Open Monday–Saturday, 9:00–14:00 and 15:00–20:00 (June–September); closed Sundays. Admission is €8 for adults, €4 for children, students, and disabled persons, with a combo ticket for Salona at €10. Free entry for pensioners and disabled visitors on Mondays, and for members of ICOM, ICOMOS, and similar organizations. A 50% discount card is available at Split’s tourist information centers. Guided tours cost €40–60 per group.
Experience: Visitors praise the museum’s outdoor courtyard for its Roman sarcophagi and mosaics, with the 3rd-century Salona mosaic and family headstones being highlights. The indoor exhibits, while smaller, impress with items like glass lamps, amber jewelry, and a rare glass boat for the afterlife. Some find the collection niche, focusing heavily on Salona, and a few note pricing inconsistencies or outdated displays, but most recommend it for archaeology buffs. The museum’s virtual tour and social media, including a playful Instagram account featuring its resident cat, Muse, enhance engagement.
Nearby Attractions: Diocletian’s Palace, a UNESCO site, is a 10-minute walk south, with its cathedral and peristyle. The Split City Museum in the Papalić Palace and the Ethnographic Museum are nearby. Salona’s ruins, Klis Fortress, and the Meštrović Gallery are short drives or bus rides away, complementing the museum’s exhibits.

 

Critical Perspective

The Archaeological Museum excels in preserving Dalmatia’s ancient heritage, particularly Salona’s Roman legacy, but its heavy focus on one site may limit its appeal for those seeking broader narratives. The outdoor courtyard overshadows the indoor galleries, which some visitors find modest or dated, suggesting a need for modernized curation. Its establishment under Habsburg and Venetian influences reflects colonial efforts to catalog Dalmatia’s past, potentially sidelining local Croatian agency—a nuance rarely explored in public narratives. Pricing critiques and occasional closure between 14:00–16:00 can frustrate visitors, but the museum’s research contributions and uncrowded setting are undeniable strengths. The reliance on Salona artifacts, while logical, underscores the need for more diverse temporary exhibitions to highlight lesser-known sites.