THE BASILICA OF SAN MARCO

Saint Mark's Cathedral is the principal church in Venice. It is located in Venice's main square, the Piazza San Marco, and adjoins the north wing of the Doge's Palace. Until 1807 it was regarded as the Doge's private chapel. It only came under the direct control of the Roman Catholic church after the Austrian Empire absorbed Venice. Since then it has been the seat of the Patriarch of Venice.

The first church on the site was completed in 832 AD in order to house Saint Mark's relics, which had recently been brought from Alexandria by Venetian merchants. It was destroyed by fire in 976 AD. Work on a new church commenced in the same year but was not completed until 1094 AD.

The design for Saint Mark's Cathedral was based on the Church of the Holy Apostles in Constantinople. This church, which was destroyed in 1452, had been completed in the mid-6th century. Thus the new church copied a Byzantine architectural style which was already five hundred years old.

The principal facade of the Basilica di San Marco. Photo by Filip Maljikovic 4.7.04

The church is laid out in the form of Greek cross with five domes. The two-tiered principal facade possesses five portals. The three central portals lead to the narthex (entrance hall).

The arches of the portals are decorated with mosaics and Romanesque carvings. Many of the exterior mosaics were added by Titian and Tintoretto during the 15th century. The sculptures above the portals date from the 13th century and depict amongst other things the Venetian guilds, the signs of the Zodiac, and various allegorical virtues.

The 17th century mosaic above the central portal shows the relics of Saint Mark being smuggled past Muslim guards under a slice of pork.

Mosaic above central portal depicting the theft of Saint Mark's relics

The arches of the portals on the  first tier are repeated on the second tier. The apex of the huge arch directly above the central portal is crowned by 15th century statues of Saint Mark and the Angels.

Statues of Saint Mark and the Angels on the apex of the principal arch above the central portal © Sebastian Green - FOTOLIA

The "Four Horses of Saint Marks" (also known as the "Quadriga"), located on the second tier gallery directly above the central portal, are copies of the original statues, now in the Marciano Museum. The original statues, formerly part of Trajan's triumphal arch in Rome, are over 2,000 years old. They were taken to Constantinople in the 4th century and adorned the city's hippodrome until plundered by Venetian crusaders in 1204.

The gilded statues are not made from bronze but from a copper alloy which better enables the application of a gold coating.

The Quadriga (Four Horses of Saint Marks). Photo by Aleister Crowley. Image published under the GNU Free Documentation License, Version 2.1 or later

The narthex, which is entered through the three central portals, is approximately 60 metres long and 6 metres wide. Its ceiling is 7 metres high.

The narthex is decorated with 13th century mosaics featuring biblical scenes. The mosaics are made from panels of coloured molten glass instead of from small painted stones as in Roman times. A gold or silver film has been smelted into the panels in places.

The Genesis cupola above the narthex is decorated by a concentric-patterned mosaic depicting the Creation.

The Baptistery, located in the southern part of the Narthex, is decorated with a 14th century mosaic featuring Salome, who wields John the Baptist's head as she performs a dance after his execution.

The Baptistery also houses the Treasury, the strong room where several particularly valuable objects taken from Italy and Constantinople are still stored.

A stairwell from the Narthex leads to the church museum (the Museo Marciano)whose gallery provides a splendid view of the interior of the basilica.

The interior of the Basilica as seen from the gallery of the Museo Marciano © Dirk Paessler - FOTOLIA

The gallery allows an appreciation of the huge architectural space created by the domes and multiple choir lofts.

The cathedral's  acoustics led to the development of a Venetian polychoral style of music which exploited the sound delay between opposing choir lofts.

When opposing choirs sang contrasting phrases of music they created a stereo effect which evolved into the concertato style so popular throughout Europe during the late renaissance period.

In addition to the original horses of Saint Marks, the marciano museum exhibits mosaics, tapestries, ancient manuscripts and sculptures.

The actual interior of the cathedral, which is accessed through the narthex, is divided into three naves by a series of columns which support the five cupolas.

The walls and marble floors of the naves are decorated by mosaics, which include depictions of birds and beasts. These mosaics are arranged in complex geometrical patterns and incorporate an enormous variety of stones. The hollows of the cupolas are also encrusted with literally thousands of gems.

The central cupola, which is 28 metres high, features a 13th century mosaic of Christ and his Angels ascending to Heaven.

The Pentecost Dome, the first to be decorated with mosaics in the early 12th century, depicts the Holy Ghost ascending to Heaven as a dove.

The Pala d'Oro. Photo by Aleister Crowley

The high altar, the Pala d'Oro, is generally considered to be one of the best surviving examples of Byzantine craftsmanship.

The lower part of the altarpiece was constructed  in 1102 by Byzantine craftsmen as an antependium (i.e. a covering for the front of the altar).

 It illustrates the story of Saint Mark and incorporates a portrait of the then doge, Ordelaffo Falieri, as well as an iconic depiction of Christ. 

The upper section, whose central image is of the Archangel Michael, was seized from Constantinople in 1204.

In 1343 the two parts were joined within a single Gothic frame which incorporates 1,927 precious stones.

The altar canopy, the baldacchino, is also decorated with intricate carvings depicting New Testament scenes.

The altar itself contains the remains of Saint Mark which were lost in the fire of 976 AD, but which were miraculously rediscovered prior to the consecration of the new cathedral in 1094.

The cathedral's other notable treasures include the Madonna di Nicopeia, an icon looted from Constantinople in 1204, which was formerly carried at the head of Byzantine armies.

Indeed both the interior and exterior of the cathedral possess numerous columns, sculptures and other treasures.

The exterior of the cathedral, built in plain brick, has been almost entirely obscured by the countless marble tablets and other decorations plundered from numerous Greek cities.

The Four Tetrarchs: Image published under GNU Free Documentation License Version 1.2 or later

The Four Tetrarchs, a 4th century porphyry statue, was taken from Syria and placed on the exterior of the cathedral, at the corner where it adjoins the Porta della Carta, the main entrance to the Doge's Palace.

The statue portrays Diocletian and his three fellow Roman emperors: Maximian, Constantius I and Galerius. By the time Diocletian became Emperor (284 AD) the empire was incapable of being ruled from Rome as a single unit. He therefore split it into four constituent parts, and designated a ruler for each part, thus fundamentally changing its constitutional and administrative basis.

This is reflected by the style of the sculpture which abandons the traditional representation of Roman rulers as majestic Godlike creatures. The Four Tetrarchs are instead mere mortals, dependent on their own mutual cooperation.

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