Ejnar Dyggve in his 1933 Eigentümlichkeiten und Ursprung der frühmittelaterlichen Architektur in Dalmatien gives a sketchy, yet comprehensive picture of his archaeological research in Salona. According to Dyggve, early medieval architecture in Dalmatia was characterized by oddities (Eigentümlichkeiten) and its origin (Ursprung). After about 300, Oriental and Syrian styles took a firm hold in early Dalmatian architecture. Simultaneously, a Late Antique “Byzantine” art was present, which gives rise to Dyggve’s concept of several phenomena fused together, and what he calls ‘Adrio-Byzantinism’. In 1951 he associates his ‘Adrio-Byzantine’ term with the baptistery at Salona. He singles out for special mention its two-zone protome capitals, presumably imported from Contantinople (Gerber had already published two of the capitals in 1917). However, little attempt has been made to present the two-zone protome capitals in a broader perspective. It is the purpose of this paper to discuss the figured motifs and foliage in so far it is possible on the basis of other forms of architectural sculpture and the sacred space as a vision of Paradise.