Diocletian's Palace

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Diocletian's Palace (Croatian: Dioklecijanova palača, pronounced [diokletsijǎːnova pǎlatʃa]; Latin: Palatium Diocletiani) is an ancient Roman palace and fortress complex in Split, Croatia. It was built at the end of the third century AD by the Roman Emperor Diocletian as his retirement residence. About half of the complex was for Diocletian's personal use, with the rest housing the military garrison. The complex was built on a peninsula six kilometres (3.7 mi) southwest from Salona, the former capital of Dalmatia, one of the largest cities of the late empire with 60,000 people and the birthplace of Diocletian. Today the palace forms about half of the old town of Split, with 3,000 inhabitants and numerous shops, boutiques, cafes, bars, and restaurants. In 1979, it was listed by UNESCO as a World Heritage Site.

Diocletian had ordered the construction of the heavily fortified compound near his hometown of Spalatum in preparation for his retirement on 1 May 305 AD. The site chosen was near Salona, the provincial administrative centre of Dalmatia, on the southern side of a short peninsula. Based on Roman map data (known through the medieval parchment copy of the Tabula Peutingeriana ), there was already a Spalatum settlement in that bay, the remains and size of which have not yet been established.

The beginning of the construction of Diocletian's palace has not exactly been established. It is assumed to have begun around 295, after the introduction of the Tetrarchy (the rule of four). Yet ten years after that decision, when Diocletian abdicated in 305, the palace seems to have still been unfinished, and there are indications that some works were taking place while the emperor was residing at the Palace. It is unknown under whose architectural ideas the palace was built and who its builders were. The complex was modelled on Roman forts of the 3rd-century era, examples of which can be seen across the limes, such as the bridgehead fort of Castrum Divitia across the Rhine from Cologne.

However, the engraved Greek names Zotikos and Filotas, as well as many Greek characters, indicate that a number of builders were originally from the eastern part of the empire, i.e. Diocletian brought with him masters from the East. Still, a large part of the workforce was likely of local origin. The basic materials came from close proximity. The white limestone comes from Brač and some of Seget near Trogir ; tufa was extracted from nearby riverbeds, and bricks were made in Spalatum and other workshops located nearby.

At Carnuntum, people begged Diocletian to return to the throne in order to resolve the conflicts that had arisen through Constantine 's rise to power and Maxentius's usurpation. Diocletian famously replied:

If you could show the cabbage that I planted with my own hands to your emperor, he definitely wouldn't dare suggest that I replace the peace and happiness of this place with the storms of a never-satisfied greed.

Diocletian lived on for four more years, spending his days in his palace gardens. He saw his tetrarchic system fail, torn by the selfish ambitions of his successors. He heard of Maximian's third claim to the throne, his forced suicide, and his damnatio memoriae. In his palace, statues and portraits of his former companion emperor were torn down and destroyed. Deep in despair and illness, Diocletian may have committed suicide. He died on 3 December 312.

With the death of Diocletian, the life of the palace did not end, and it remained an imperial possession of the Roman court, providing shelter to the expelled members of the Emperor's family. In 480, Emperor Julius Nepos was murdered by one of his own soldiers, reportedly stabbed to death in his villa near Salona. Since Diocletian's palace was in the area, it might have been the same building.

Its second life came when Salona was largely destroyed in the invasions of the Avars and Slavs in the 7th century, though the exact year of the destruction still remains an open debate between archaeologists. Part of the expelled population, now refugees, found shelter inside the palace's strong walls and with them a new, organized city life began. Since then, the palace has been continuously occupied, with residents making their homes and businesses within the palace basement and directly in its walls. St Martin's Church is an example of this trend. Today many restaurants and shops, and some homes can still be found within the walls.

In the period of the free medieval commune, between the 12th and 14th centuries, there was a greater architectural development when many medieval houses filled not only Roman buildings but also a large part of the free space of streets and docks. Also completed in this period was the construction of the Romanesque bell tower of the Cathedral of Saint Domnius, which inhabits the building that was originally erected as Jupiter's temple and then used as the Mausoleum of Diocletian.

After the Middle Ages, the palace was virtually unknown in the rest of Europe until the Scottish architect Robert Adam had the ruins surveyed. Then, with the aid of French artist and antiquary Charles-Louis Clérisseau and several draughtsmen, Adam published Ruins of the Palace of Emperor Diocletian at Spalatro in Dalmatia (London, 1764).

Diocletian's palace was an inspiration for Adam's new style of Neoclassical architecture and the publication of measured drawings brought it into the design vocabulary of European architecture for the first time. A few decades later, in 1782, the French painter Louis-François Cassas created drawings of the palace, published by Joseph Lavallée in 1802 in the chronicles of his voyages.

Today, the Palace is well preserved with all the most important historical buildings, in the centre of the city of Split, the second-largest city of modern Croatia. Diocletian's Palace far transcends local importance because of its degree of preservation. The Palace is one of the most famous and complete architectural and cultural features on the Croatian Adriatic coast. As the world's most complete remains of a Roman palace, it holds an outstanding place in Mediterranean, European, and world heritage.

In November 1979, UNESCO, in line with the international convention on cultural and natural heritage, adopted a proposal that the historic city of Split built around the Palace should be included in the register of World Cultural Heritage.

In November 2006, the city council decided to permit over twenty new buildings within the palace (including a shopping and garage complex), although the palace had been declared a World Heritage Site. It is said that this decision was politically motivated and largely due to lobbying by local property developers. Once the public 2007 became aware of the project, they petitioned against the decision and won. No new buildings, shopping centres or underground garages were built.

The World Monuments Fund has been working on a conservation project at the palace, including surveying structural integrity and cleaning and restoring the stone and plasterwork.

The palace was depicted on the reverse of the Croatian 500 kuna banknote, issued in 1993.

The ground plan of the palace is an irregular rectangle measuring east: 214.97 m, north: 174.74 m, south: 181.65 m (adjusting for the terrain), with sixteen towers projecting from the western, northern, and eastern facades on the facades facing the mainland. There are four towers on the corners of the square, giving the palace a characteristic of the legionary forts similar to those on the Danube.

Two of the six octagonal ground-floor towers were framed by three landing entrances, the six rectangular ground floors of the rectangular floor being between the corner and the octagonal. To date, three corner towers (except the southwestern) have been preserved, and only the remains of octagonal and rectangular ones. Three well-preserved landings have been architecturally fragmented, especially the northern one, which was the main approach from Salona. The south, seaside gate, is small, simple and well-preserved. The facade walls of the palace in their lower parts are massive and simple without openings, and in the upper part, there are large arches that face the land, i.e. on the west, north and east facades. Subterranean portions of the palace feature barrel vaulted stonework.

Anne Hunnell Chen proposes that Sasanian palace design may have been a significant influence on Diocletian's Palace, particularly given that Diocletian and his co-rulers had personally campaigned on Persian soil before the palaces were constructed. Chen observes that the spatial arrangement of the palace, while mirroring Roman military camp layouts, also closely aligns with the characteristic spatial organization of early Sasanian royal palaces. The pitched brick dome construction technique was unprecedented in Roman imperial architecture prior to the late 3rd century and had roots in Mesopotamian building tradition. Chen suggests it may have reached the Roman world through architects and engineers who accompanied troops on the Persian campaigns. She concludes that the adoption of Persian architectural elements resulted from Rome's decisive victories over the Sasanians in the late 3rd century. In their aftermath, the imperial administration opted to incorporate recognizable markers of Eastern palaces to project power in a visual language legible to both domestic and international audiences.