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The inscriptions accompanying the mosaics and the numerous Old and New
Testament figures are a little known aspect of the church's decoration
but they are extremely important because they comment on and complete
each of the very many scenes, broadening their spiritual meaning.
Almost all of the mosaic inscriptions are in Latin.
There are a very few in Greek, among which the monograms of Christ and
the Virgin which accompany all images of them almost as if to underline
their superiority; the names next to some images of St. Peter, St. Paul,
St. John the Evangelist, the archangels Michael and Gabriel and some of
the Fathers of the Eastern Church, and the title of the Anastasis, the
descent to the infernal regions, on the west vault of the Ascension cupola.
There are few others.
All the Latin inscriptions come under one of the following classifications:
1) biblical passages, quoted textually or summarised in prose or verse,
illustrating individual scenes or written on the prophets' scrolls;
2) mediaeval texts in verses that express prayers or invocations; appearing
on arches, semi-domes and vaulted ceilings, they are very often addressed
to St. Mark and composed specially for the church;
3) prose texts illustrating individual scenes;
4) names of prophets and saints next to each individual image.
By way of example let us analyse the central portal area that leads into
the church from the atrium.
Around this portal there are four niches containing figures of the four
evangelists in canonical order: Matthew, Mark, Luke and John, considered
to be among the oldest mosaic creations of the late 11th century.
On the upper part of the niches four hemistichs recite: Ecclesiae Christi
vigiles / sunt quattuor isti / quorum dulce melos / sonat et movet udique
coelos (these four are "sentinels" of the church of Christ, their sweet
song resounds and everywhere moves the heavens).
Above, set in a smaller register, the images of eight apostles, these
too of very ancient date, surrounding the Virgin to whom the horizontal
inscription refers, rendering her a symbolic figure of the Church: Sponsa
Deo gigno natos ex virgine virgo / quos fragiles firmo fortes super aethera
mitto (Bride of God, virgin always, I generate children whom I fortify
in their weakness and send safely to heaven).
On the front of the great semi-dome over the portal , the prayer is addressed
directly to Mark, Holy Evangelist and patron saint of the city, depicted
in a 16th century mosaic. In liturgical vestments he welcomes the faithful
to his church: Alapis Marce delicta precantibus arce / ut surgant per
te factore suo miserante (O Mark, banish sins from those who pray to you
with clasped hands; through your intervention and God's mercy they may
achieve salvation).
Above the same portal, on the inside, a 13th century mosaic lunette shows
the Virgin Mary and St. Mark in the act of interceding on man's behalf
with Jesus who is portrayed as Christ Pantocrator, lord and judge of the
universe. The words of the Gospel of St. John are clearly visible in the
book and give us the right interpretative key to the figure of Jesus who
says of himself: Ego sum ostium, si quis per me introierit salvabitur
et pasqua inveniet (I am the gate; whomsoever enters through me shall
find the pastures of salvation). So the opening through which one passes
from outside to inside the church is a clear symbol of the true "gate"
to the Kingdom of God, the person of Jesus himself.
Observing, lastly, the numerous figures of prophets, apostles and saints
one notes that each one's name is inscribed, in accordance with a practice
typical of oriental icons painted on wood in which the name had to appear
together with the figure. Once again the inscriptions are in Latin, demonstrating
that Venice, though open to Byzantine influence, was firmly rooted in
a western cultural environment.
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