The sarcophagi of the Brač-Salonitan Type are known for their simple design. These sarcophagi feature a singular ornament: variations of the cross motif centred on the rectangular box. This dissertation introduces a new typological classification for these sarcophagi, considering the different cross types, their placement within various compositional frameworks, the relationship between the cross and the framework, and the connection between the framework and the moulding on the sarcophagus's frontal panel. Based on these criteria, four primary groups with corresponding subtypes have been identified: IA and IB, IIA and IIB, IIIA and IIIB, and IV. Additionally, there are two sarcophagi that do not fit into any of these groups, as they combine elements from multiple groups and subtypes. These sarcophagi confirm the simultaneous production of different Brač-Salonitan sarcophagus types within the relatively short period during which they were made. The spatial distribution of this type of sarcophagi is presented. Of the eighty-seven sarcophagi, twenty-two were found on the western coast and sixty-five on the eastern coast of the Adriatic. Among the sixty-five sarcophagi from the eastern coast, only two were found slightly further inland. Conversely, on the western coast of the Adriatic, only three out of the twenty-two were found deeper inland. The highest concentration of finds is in the broader area around Salona, with thirty-three specimens discovered. When considering the remaining specimens found on the eastern coast of the Adriatic, we observe that, with only a few exceptions, they are distributed along the main ancient sea route Salona – Jader – Pola – Aquileia. Adriatic navigation did not conclude in Aquileia; an equally significant destination was Ravenna, where twelve specimens were found. This makes Ravenna, following Salona and Brač, the location with the most Brač-Salonitan Type of the sarcophagi discovered. The sarcophagi of the Brač-Salonitan Type were mass-produced, and due to similarity in dimensions, shape, and decoration on the frontal panel, workshops likely produced them using common templates. Upon examining the measurements of the sarcophagi, their balanced proportions become apparent. A modular scheme can be identified based on how their dimensions were measured. Out of the fifty-three sarcophagi for which we have measurements, when comparing their three dimensions, it becomes evident that twenty-five of them adhered to a module defined by the so-called Byzantine foot in at least one dimension during production. The sarcophagi were not the exclusive product of the Brač-Salona workshops. The workshops stationed in Salona and on Brač could fully equip a sacred building. The stone church furniture from Lovrečina and Mirje on Brač, Brzet near Omiš, Bijaći, and Srima was made in the local Brač-Salona workshops. Similarities in the floor plans of the mentioned buildings and the specificity in the craftsmanship of the furniture that adorned these churches indicate the same origin. Sarcophagi of the Brač-Salonitan Type represent merely a reduced reflection of the artistic trends in the more significant cultural and artistic centres of the Eastern Empire. By identifying indicative structural, performative, and iconographic similarities – as well as undeniable differences – the dissertation demonstrates how this group of sarcophagi represents a stylistic reflection of general artistic currents at a provincial level. The transfer of iconographic and morphological solutions from the capital of the Empire to other centres in the west was observed through the contemporary production of sarcophagi and stone sculpture. The difficulty in determining the chronological attribution of this type of sarcophagus was posed by the fact that the vast majority of sarcophagi of the Brač-Salonitan Type were not found in their original locations, nor within an archaeological context. However, by comparing the archaeological material found in sarcophagi from Treviso and Split, and especially through the presentation of the Basilica of St. Agatha in Ravenna as a case study of the chronological stratification of this group of sarcophagi, a more precise time frame in which this group of sarcophagi can be situated has been determined.