THE INNER SIDE OF THE LUNETTE ABOVE THE MAIN PORTAL OF THE TROGIR CATHEDRAL

Tema rada je unutarnja strana lunete glavnog portala Trogirske katedrale. U središtu Junete je križ s natpisom što je djelo majstora Radovana.The inner side of the lunette above the main portal in the Trogir Cathedral is hidden by the organ, therefore, it is impossible to take a full photograph of it. Photos and drawings are published here for the first time. A cross with a Latin inscription in leonine hexameters is shown on the reverse of the same stone block of the lunette on whose outer side in 1240 master Radovan sculptured the Birth of Christ. The verses must have been composed by the learned Bishop Treguan who was mentioned on the front side of the lunette together with master Radovan. The cross which is inscribed inside the circle, rises on a two-tiered base under which there is a horizontal fascia. In the middle of the cross there is a vague trace of a chisei mark indicating a hardly visible cross. The cross with curved arms topped with three circles, that is, small balls, is called croix de Toulouse. Since its bifurcated arm endings are reminiscent of the jagged teeth of a key the expression clechee is also used. The cross is known as " croix omee de trois points pomelees". The cross with sharper arm ends, but also with three circles or balls, is called croce pisana, di Pisa o a chiave. The most numerous analogies for this cross can be found in Venice, especially on the facade of St Mark\u27s. In its interior a relief of a cross is placed above the side door (St Peter\u27s door) leading into the vestibule. This is the closest parallel to Trogir\u27s cross as far as its position and symbolism are concerned. It is true that in St Mark\u27s the cross is not in the middle of the lunette and has a different shape. It is not three but only two-armed; it is not inside the circle; a ball or circle is placed between its bificurated arms and not at the ends. There is a wreath on the wall under the cross. But, in contrast to that in Trogir the cross is not fixed to its tiered base, but floats above it. The position of the cross in the western side of the interior awakes apocalyptic themes. The cross is the central symbol on the inner side of the lunette, but the lunette as a whole with its flat surface symbolizes spaciousness. The background recalls apocalyptic visions of Gad\u27s great white throne from throne whose face the earth and heaven fled away (Rev. 20:11). The empty space undoubtedly indicates infinity, and together with other figures serves to represent intelligible realities and truths which cannot be grasped by senses but only by spiritual eyes. That is why the lunette is free from all spacial signs and everything that is accidental. A gold semicircle above the Gad\u27s throne showing ethoimasia -Gad\u27s throne in the dome of the baptistery in Ravenna -has a similar shape. The curviture of the lunette may be reminiscent of the tabernacle above the aItar of celestial liturgy. The horizontal, elongated fascia in the base might represent the foot, earth, horizon or a new heaven above a new earth (efr. Rev. 21:1). It is also reminiscence of the mensa on the altar in celestial liturgy. The tiered base most probably suggests "a great and high mountain" and the "Holy city of Jerusalem descending out of heaven from God" (Rev. 21:10), but it might also be the throne in holy Jerusalem. The stick under the cross serves to fasten the cross to the base, but its symbolic meaning is doubtless. Does it not show the strength of religion, of the heavenly church and holy Jerusalem? The representation of the cross as a central motif fits the theme of holy, divine visions-teophaneia. Crosses shown in the circle with the stars probably indicate parousia, the second coming of Christ. It might be connected with the glittering circle around the throne, similar to the rainbow or emeraid as mentioned in the Apocalypse (Rev. 4: 3). The crosses inside the circles or wreathes, which is a late Antique, early Byzantine motif, also appear on the reliefs in St Mark\u27s in Venice. The cross as the sign of Logos-The Word of God has always been impressed in every creation as Irenee of Lyon wrote. The cross constructed inside the circle seems to have celestial connotations. The cross is from time immemorial. It will appear at the end of time as such is shown in the scenes of the Last Judgement. The center of the cross furrowed by Radovan\u27s tool has a symbolic meaning. Two furrows are analogous to small holes for inserting a pair of compasses on the outer side of the same block under the Nativity. The spot marking the beginning, the starting point is shown. The cross with its bifurcated taps is reminiscent of the jagged teeth of a key. The key, according to St Augustine is the key of the Old Testament (Serrna 301 : 3 In Natali Apostolorum). The New Testament explains The Old Testament with it. What was hidden became revealed on it (Sermo 161:6 De Verbis Apostol, I Cor. 6). According to St Augustine the apostles are lights of the Lord "le are the light of the world" (Matt. 5:14). The light in the candelabrum refers to the Apostles, they are that candelabrum and he links the candelabrum and the cross and introduces the idea of the cross as a large candelabrum: "Crux Christi est magnum candelabrum" (Sermo 290:6 In Natali Joannis Baptistae). This type of cross can be really considered as the cross-candelabrum-crux candelabrum. This type of cross is best suited for the text on the Trogir cross which mentions "via lucis". The cross taken as the candelabrum can aJso enlighten those who might sin against this sign. The inscription alludes to 13th century heretics who could be found in Trogir. The twelve circles on the top of the cross turn our thoughts to holy Jerusalem. They are also reminiscent of the apost les whose names were written in twelve foundations (Rev. 21:14). The cirdes point to twelve pearls, on 12 gates of holy Jerusalem (Rev. 21:12) in whose foundation the number twelve is written. But the cross itself recalls divine Jerusalem. In the lunette the letters are arranged on both sides of arms of the cross like unwrapped scralIs thus suggesting The Book of Life shown on the throne in the theme of ethoimasia. The letters are also written on the gates of holy Jerusalem and on the foundation with the names of the twelve apostles (Rev. 21:14). Anyway the representation on the inner lunette side has eshatological, apocalyptic meaning and warns of the second coming of the Lord and of eternity in holy Jerusalem. As if several related and successive apocalyptic and eshatologic themes were condensed in one scene. Since the outer, visible side of the lunette is an eloquent illustration of the Nativity scene with baby Jesus as an incarnation of Logos, the inner side with the cross might be the representation of Logos in its abstract form. If Christ\u27s first coming is shown on the face, is his second coming and what follows after it shown on the reverse? With its simplicity, rhythms and balance the inner side satisfies the criteria for showing abstract, intelligible reality on the other side of space and time. The inner lunette side is conceived for contemplation, for spiritual eyes. Master Radovan, who created figured compositions dazzled by visual aspect of the world, was able to create abstract ones as well. The inner side of the lunette seems to be a kind of visual poetry, some kind of cannen figuratum rather than relief in the literal meaning of the word. The inner side coincides with the aspirations in 13th century Venetian art marked by the return to early Christian, that is, early Byzantine themes