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Ciborium When after a long period of crisis and fatigue Poreč began to recover for a short time, in the 13th century, this can be felt in the cathedral as well. Seven centuries after Euphrasius, one new masterpiece was placed in his basilica. In 1277 a great marble ciborium was built, ordered by Otto, Bishop of Poreč. The high canopy is placed on four slender pillars that belonged to the previous ciborium with capitals from the 6th century. The new canopy too is covered with mosaics, and on the frontal side it has the same iconographic motif as already exists on the wall of the apse – the Annunciation. The different time, of course, has brought in a number of variations in form. The fact that the figures of Mary and Gabriel are in different spaces, now in triangular sectors above the arch, must have entailed other compositional procedures as well. On the left side is the angel, his arm raised high in greeting, a herald’s staff thrown over his shoulder. He now steps more forcefully, and this is shown by the numerous folds in the robe and the angle of the wings. The space between the angel and Mary, on both sides, is filled with a bent tree. Mary now stands in front of the throne behind which once again buildings go on. The expression of her face, head completely bent in confusion, is followed by the gesture of her right hand, palm opened and raised high. The new time attempts to express psychological states with much more rhetoric. Bishop Otto, in a way, to a lesser extent, was to repeat the process that his great predecessor had carried out much earlier. This was the process through which one set of cultural traces was encouraged to grow into another. The early Byzantine pillars and capitals hold the construction of the new Gothic baldachin covered with mosaics that clearly show that one tradition is ending and another appearing, in which the signs of Byzantium are increasingly atrophied, soon to disappear entirely. As in the middle of the 6th century Euphrasius brought the spirit of Byzantium to Poreč and thus gave the city a clear orientation, political, cultural and artistic, for numbers of centuries to come, so in Otto’s new ciborium we can unambiguously read a new time. The mosaics and the pointed arches of the ciborium clearly show their Venetian origin. However, they are in a way more advanced than the taste that ruled Venice at the time. More advanced in that they reveal references characteristic of the paleological renewal of painting in Byzantium.
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Ciborij Kada se nakon dugog razdoblja krize i umora, u XIII. stoljeću grad Poreč ponovno počinje nakratko oporavljati, to se osjeća i u katedrali. Sedam stoljeća nakon Eufrazija u prostor njegove bazilike smješta se jedno novo remek djelo. Godine 1277. izgrađen je veliki mramorni ciborij, a dao ga je izvesti porečki biskup Oton. Visoki je baldahin postavljen na četiri tanka stupa koja su pripadala prijašnjem ciboriju s kapitelima iz VI. stoljeća. I novi je baldahin prekriven mozaicima, a na čeonoj strani donosi isti ikonografski motiv kakav već postoji na zidu apside. To je Navještenje. Različito vrijeme, dakako, unijelo je niz formalnih preinaka. činjenica da se likovi Marije i Gabrijela nalaze u drugačijim prostorima, sada u trokutastim isječcima iznad luka, sigurno da je nametala i drugačije kompozicijske postupke. Na lijevoj je strani anđeo, visoko uzdignute ruke na pozdrav i preko ramena zabačenim glasničkim štapom. Njegov je iskorak sada silovitiji, a to prikazuju i brojni nabori odjeće, te odmaknuta krila. Prostor između anđela i Marije, s jedne i druge strane, ispunjava povijeno drvo. Marija sada stoji ispred prijestolja iza koga se opet nastavljaju zgrade. Izraz njezina lica, glave potpuno nagnute u znak zbunjenosti, prati gesta desne ruke: otvorena dlana i uzdignute visoko gore. Duševna stanja novo vrijeme nastoji iskazati s mnogo više retorike. Biskup Oton će, na neki način, u manjem mjerilu ponoviti proces što ga je mnogo ranije provodio njegov veliki prethodnik. To je proces uraštanja kulturnih tragova jedan u drugi. I sada se, naime, kao i u VI. stoljeću preuzimaju elementi ranijeg vremena i ugrađuju u novo. Ranobizantski stupovi i kapiteli pridržavaju konstrukciju novoga gotičkog baldahina prekrivenog mozaicima koji jasno daju na znanje da završava jedna tradicija i nastupa nova u kojoj znakovi Bizanta sve više atrofiraju da bi uskoro potpuno iščezli. Kao što je sredinom VI. stoljeća Eufrazije u Poreč unio duh Bizanta i tako za niz nadolazećih stoljeća tom gradu odredio jasan politički, kulturni i umjetnički smjer, tako i s Otonova ciborija nedvosmisleno odčitavamo novo vrijeme. Ti mozaici i zašiljeni lukovi ciborija odaju svoje venecijansko podrijetlo. Međutim, oni su na neki način napredniji od ukusa koji tih godina gospodari Venecijom. Napredniji stoga što odaju i reference svojstvene paleološkoj obnovi slikarstva u Carigradu.