EN 
Now, moving along the nave, we approach the presbytery area, made up of two levels; three steps lead up to the first raised level, where there are two ambos of questionable modern workmanship, each with two fragments of pre-Carolingian archaeological pieces taken from the nearby museum.
This arrangement was dictated by present-day liturgical needs after the Second Vatican Council.
In the centre is the tombstone of Giovanni De Filippi, formerly bishop of Zakynthos, transferred to the see of Caorle in 1718, who died here in 1738.
At the sides, two balustrades are what remains of the pre-conciliar balustrade, perhaps made partly from elements of the ancient iconostasis, according to recent hypotheses.
Three more steps lead up to the presbytery.
Here, on the left side in the recess of the pillar, note the so-called Greek marble hydria of the Wedding at Cana, according to charming local tradition, with the Greek inscription uddton (of the waters):
it is almost certainly a 6th-century holy water basin brought here from elsewhere, perhaps from the Middle East, stylistically close to a similar one at Torcello.
In this area stood the marble iconostasis, as at Torcello, St Mark’s and elsewhere, demolished between 1645 and 1648 for post-Tridentine liturgical reasons.
Before looking at the presbytery in detail, look up at the grand triumphal arch that dominates it, built with a double ring and decorated in fresco with floral palmette motifs.
From it now hangs a large wooden crucifix from the early 15th century, on a lobed cross.
Passing under the great arch we enter the bright apse, lit by three windows that let in the morning light, an obvious symbol of the Three Divine Persons of the Trinity and a reminder of Ravenna.
The upper part, the apse vault, had a series of frescoes, apparently from the second half of the 17th century, probably with stories of Caterina Cornaro, Queen of Cyprus, who landed at Caorle in 1489, reportedly after a storm at sea on her way back from Cyprus to Venice.
Very little of them remains now.
A light cornice of marble dentils separates the vault from the lower part, which was also painted, at least in part, judging by fragments of fresco recently uncovered on the lower right side.
More clearly, above the marble credence, you can make out the figures of the Madonna enthroned flanked by Mary Magdalene with her jar of ointment and Saints John the Evangelist and perhaps Stephen the Deacon.
Below, curious graffiti have emerged with symbolic signs, capital initials (B) followed by an X or Saint Andrew’s cross and short phrases that are hard to read. The most valuable detail is the scratched date 1387 in the top left corner of the panel: the year Caorle was destroyed by Simone de Gavardi, archdeacon of Koper, allied with the Paduans in the Carrara war against Venice.
As for the symbolic drawings, there is clearly a diamond topped by a cross, with a spearhead (or a shroud?) on the right and a lobed pectoral cross below.
Below the diamond you can decipher a Jh(esus) pro homin(e)s (Jesus for mankind).
A diamond like ours is not unusual in pilgrims’ graffiti at holy sites. Perhaps the letter B stands for B(on) and the X or Saint Andrew’s cross is cryptographic language for Andrea: so one could propose the reading Bon Andrea, bishop of Caorle in those years, supporting the idea of a bishop with the pectoral cross nearby.
