Scientific discourse related to the pulpits of the cathedral of St. Domnius in Split and St. Lawrence in Trogir in the last hundred years has been marked by numerous discussions and different perspectives. Due to the lack of historical sources, concrete conclusions about the context of origin, dating and their interrelation are still not clearly defined. However, their belonging to the group of sculptural works from the 13th century, which consists of the aforementioned two pulpits and fragmentary or completely preserved examples of liturgical furniture from the Trogir Cathedral, the Church of St. Mary in Bribir and the ruined Romanesque cathedral of Dubrovnik. Through a comparative analysis of the fundamental components of Dalmatian pulpits and ciboriums, the artistic dialogues of the opposite shores of the Adriatic were revealed and stylistic similarities with certain Apulian sculptural works were established. The key point of the analysis was the convergence of the way of designing and design elements of that liturgical furniture, especially the performance of the motif of the capital. Finally, this thesis summarizes the previous reflections on the two pulpits, but also opens up some new questions that may be answered by future research.