From all that one now sees it is clear that the architecture, though impressive as a whole, is shabby when examined in detail. The exquisite finish of the Greek is, of course, lacking. But even compared with some other Roman work it is seen to have been hastily done. Its nearest parallel is found in Palmyra, which was restored by Diocletian.
The enclosing wall has half columns of the Doric order in a lower story and Ionic half columns in a second. Of the buildings inside, the "peristyle" in front of the royal residence makes the best impression, because the space enclosed by it was thoroughly cleared out by the Emperor Francis I. of Austria, nearly a century ago, a benefaction duly recorded on a tablet inserted in an adjacent wall. Many of the columns of the peristyle itself, however, are still half embedded in the walls of buildings too important to be torn down. A building which is now generally identified with the mausoleum of Diocletian forms the present cathedral, the campanile of which caused the destruction of a portion of a peristyle enclosing the mausoleum. This mausoleum is a round building like the Pantheon, and like the latter has a perfectly preserved dome which, unlike that of the Pantheon, was not open at the top. About a quarter of a century ago the interior was restored under the auspices of the ill-matched and ill-fated Rudolf and Stephanie, who are mentioned on a conspicuous tablet, not as furnishing any cash for the enterprise, but as _presentibus et opus admirantibus_. The interior, forty-two feet in diameter, with eight large columns framing four niches and bearing eight smaller columns superimposed, makes a fine impression, although the space seems rather small for a cathedral. A sculptured frieze encircling the dome at the bottom, and containing, among other things, hunting scenes, must be catalogued as "shapeless sculpture."
After being _presens_ and _admirans_ for half a day, wherever I could enter and climb, I sought out Father Bulich, the director of the museum as well as supervisor of all the archæological interests and undertakings of Spalato and Salona, in order to get him to show me the things that were under lock and key. I found him at his house dickering with some visitors for antiquities, and the last I saw of him, two days later, he was engaged in the same occupation. Nothing could exceed his cordiality and his active help. As soon as he could get rid of his visitors he brought out all the best works on Spalato, some of them loaded with illustrations, and sent them around to my hotel. Unfortunately, I could not get half time, even by sitting up all night, to read any large part of them. Then he took me over three of his five or six small museums with which he has to put up instead of the large one for which he prays as well as labors. But though he has done much to bring order out of the chaos which he found, some luckier man than he will probably be the arranger of the museum of Spalato worthy of the name. Amid much that is common and uninteresting, and yet too good to throw away, are objects of great value and importance. Nearly everything is from Salona. He has catalogued and published nearly two thousand seven hundred inscriptions. Gems are strongly represented, as well as coins and other small objects. Sculpture, aside from some good fragments, is represented mostly by sarcophagi, very few of which rise above mediocrity. It is interesting to see here, as elsewhere, a sarcophagus with the representation of Phædra and Hippolytos spared by the Christians, who took Hippolytos as the "chaste Joseph." The oldest object in any of the museums is a sphinx shown by an inscription to belong to Amenophis III., the Memnon of the Greeks, of about 1500 B.C. In one museum is a cast of a really fine head of Herakles, found in the neighborhood but kept by the monks at Sinj.