Abstract

The presbytery pavement of Novara Cathedral in Piedmont, which dates from the early twelfth century, includes the symbols of the four Evangelists on either side of where the altar once stood. The fourteenth-century ordinal for the cathedral indicates that these symbols were used as markers for participants in the prebaptismal ceremony known as the aurium apertio, in particular during the reading of the initial passages of the Gospels . This rare mention of the liturgical use of images in a figurative floor mosaic challenges our preconceptions of what it might have meant to stand on an image and poses the question whether the pavement could have been designed with such a use in mind. However, several factors complicate the matter. Most important is the substantial gap in time between the laying of the floor and the writing of the manuscript, which means that the liturgical custom might equally have responded to the design of the floor. Secondly, there is the position of Novara as a suffragan diocese within the archdiocese of Milan, when the traditio evangeliorum was not part of the Milanese rite. Thirdly, there is the location of the symbols on the presbytery pavement, where they may not have been visible to the laity, although a central aspect of the rite is the explanation of the Evangelist symbols to the baptismal candidates. Taking these points into consideration, this article attempts to elucidate the relationship between pavement and ceremony. It traces the place of the traditio evangeliorum within the history of prebaptismal liturgy and considers the significance of the rite for those who took part in it, before examining the audience and function of both the readings of the Gospel initia and the mosaic symbols themselves