In my edition of this piece, there's very specific (Ped) (*) markings, which suggests to me that the composer is laying out all the pedalling.
However, a bit after the Forte/fermata in the long section without measure bars, he seems to have slacked off, or forgotten a 'simile' -- there are eight arpeggios apparently without lifting the pedal. This seems a bit hard to believe.
Also in this piece, I wonder what musical distinction is to be drawn between a comma and a fermata over a bar line.
+
in front of a note, indicating an alternate tuning.,
comma, which is used for a short pause (it's a breath mark in choral music, at least).