The Late Antiquity period can be regarded as a concept that tries to elucidate the tumultuous cultural and political affairs of the Roman world during the time frame between the 3rd and 7th century. One approach to observing these events is through material cultural heritage, such as mosaics. When speaking of mosaics, one is talking about an art form that, during the period of Late Antiquity, primarily the Christian communities used. They were utilized as a means of visual expression for their theology and as a visual guide towards the mystery of the Christian faith and liturgy. With regard to the eastern Adriatic coast and the Roman province of Dalmatia, its coastal area in its own right is rich with archaeological sites containing Late Antiquity floor mosaics in different stages of research and preservation. Furthermore, the studied mosaics are ordinarily embedded into the interior of basilical complexes, and they, so to speak, represent a form of rhythmical template for liturgy. In addition, it is worth noting that the basilica was the principal form of sacral architecture in Late Antiquity. The mosaics and the space they occupy in the basilica need to be viewed in conjunction with each other. Correspondingly, in order to grasp the symbolic nature of the visual representations on the mosaics, one has to acquire an understanding of the architectural space of the basilical complex itself. Such exemplary cases of basilical complexes with preserved mosaics can be found in the city of Solin. While once known as Salona and the capital of the Roman province of Dalmatia, it was the at the same time the base of operations of a mosaic academy-workshop. Although some other cities produced their own mosaic tiles, Salona solely offered education on an artisanal and academic level for its craftsmen alongside its own production. As a result, the mosaic craftsmen of Salona left their mark on the overall Late Antiquity mosaic production in the province. Nonetheless, there is an abundance of other archeological sites, such as Stari Grad on the island of Hvar, Zadar, Baška on the island of Krk, and others, that offer equally distinguished mosaic achievements. As is usual in archaeology, almost all the researched sites suffer from the same unknowns that originate from lost material or incomplete research. All things considered, in the case of almost all the presented sites in this paper, one can piece together a story that itself is pieced together in the tiles of every mosaic floor.