Edit filter log

'{{short description|Cathedral church in Venice, Italy}} {{for|the racehorse|St Mark's Basilica (horse)}} {{Other uses|Saint Mark's Cathedral (disambiguation)|Basilica di San Marco LOL (disambiguation){{!}}Basilica di San Marco}} {{Use dmy dates|date=September 2020}} {{Infobox |name = |bodystyle = |titlestyle = |abovestyle = background:#; |subheaderstyle = background:#FFCC99; |title = |above = |subheader = <big>'''St Mark's Basilica'''</big> |imagestyle = |captionstyle = |image1 = [[File: Venezia Basilica di San Marco Fassade 2.jpg|270px]] |caption1 = Main façade |headerstyle = background:#FFCC99; |labelstyle = background:#; |datastyle = |header1 = | label1 = Location | data1 = Venice, Italy | label2 = Denomination | data2 = Roman Catholic | label3 = Consecrated | data3 = 8 October 1094 | label4 = Relics held | data4 = Mark, Peter, John, Matthew, Luke, Bartholomew, Isidore&nbsp;of&nbsp;Chios | header5 = Current status | label6 = Designation | data6 = Cathedral (minor basilica)<br />1807–present | label7 = Episcopal see | data7 = Patriarchate of Venice | header8 = Prior status | label9 = Designation | data9 = Ducal chapel<br />{{circa|836|lk=yes}}–1797 | label10 = Tutelage | data10 = Doge of Venice | header11 = [[File: St Marks Basilica Ceiling 2 (7236759984).jpg|270px]] | header12 = Construction | label13 = Built | data13 = {{circa|829|lk=yes}}–{{circa|836|lk=yes}} | label14 = Rebuilt | data14 = {{circa|1063|lk=yes}}–1094 | label15 = Styles | data15 = Byzantine, Romanesque, Gothic | header16 = Specifics | label17 = Length | data17 = {{convert|76.5|m|ft}} | label18 = Width | data18 = {{convert|62.5|m|ft}} | label19 = Dome height (outer) | data19 = {{convert|43|m|ft}} | label20 = Dome height (inner) | data20 = {{convert|28.15|m|ft}} }} {{multiple image | align = right | direction = vertical | width = 272 | caption_align = left | header = Saint Mark's Square | image1 = Diagram-Piazza San Marco.jpg | alt1 = | caption1 = {{legend|#DCC476|a. '''{{ font color | #333333 | St Mark's Basilica}}''' {{legend|#DA9F8E|b. [[Doge's Palace]]}} {{legend|#9D9084|c. [[St. Mark's Campanile|Bell tower]] and [[Loggetta del Sansovino|Loggetta]]}} {{legend|#689255|d. [[Biblioteca Marciana|Marciana Library]]}} {{legend|#BF8255|e. [[Zecca of Venice|Mint]]}} {{legend|#7F94A8|f. [[Procuratie#Procuratie Nuove|Procuratie Nuove]]}} {{legend|#BF877E|g. [[Procuratie#Procuratie Nuovissime (Napoleonic Wing)|Napoleonic wing]]}} {{legend|#7F94A8|h. [[Procuratie#Procuratie Vecchie|Procuratie Vecchie]]}} {{legend|#D3A99D|i. [[St Mark's Clocktower|Clock tower]]}} }}}} The '''Patriarchal Cathedral Basilica of Saint Mark''' ({{lang-it|Basilica Cattedrale Patriarcale di San Marco}}), commonly known as '''St Mark's Basilica''' ({{lang-it|Basilica di San Marco}}; {{lang-vec|Baxéłega de San Marco}}), is the [[cathedral]] church of the [[Patriarchate of Venice|Roman Catholic Patriarchate of Venice]] in northern Italy. It is the most famous of the city's churches and one of the best known examples of Italo-Byzantine architecture. It lies at the eastern end of the [[Piazza San Marco]], adjacent and connected to the [[Doge's Palace]]. Originally it was the chapel of the Doge, and has been the city's cathedral only since 1807, when it became the seat of the [[Patriarch of Venice]],<ref>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], p.&nbsp;1</ref> archbishop of the [[Roman Catholic Archdiocese of Venice]], formerly at [[San Pietro di Castello (church)|San Pietro di Castello]].<ref>{{Cite web|url =http://www.basilicasanmarco.it/WAI/eng/basilica/architettura/interne/fasi_costrutt.bsm|title =Basilica di San Marco|access-date =10 February 2016|url-status =dead|archive-url =https://web.archive.org/web/20150305102304/http://www.basilicasanmarco.it/WAI/eng/basilica/architettura/interne/fasi_costrutt.bsm|archive-date =5 March 2015}}</ref> The building's structure dates back to the later part of the 11th century, and the most likely influence on its architecture and design was the Church of the Holy Apostles in Constantinople. Much work has gone toward embellishing this, and the famous main façade has an ornamented roofline that is mostly [[Venetian Gothic architecture|Gothic]]. The [[gold ground]] [[mosaic]]s that now cover almost all the upper areas of the interior took centuries to complete. In the 13th century the external height of the domes was greatly increased by hollow drums raised on a wooden framework and covered with metal; the original ones are shallower, as can be seen on the inside.<ref>[[#Howard-History|Howard, ''The Architectural History of Venice'']], pp.&nbsp;19–21; [[:File:A history of architecture in Italy from the time of Constantine to the dawn of the renaissance (1901) (14597449730).jpg|Elevation drawing showing the dome structure</ref> This change makes the domes visible from the piazza. Many of its rich artifacts and relics were plundered from [[Constantinople]] in the [[Fourth Crusade]] in 1204, including many artifacts from the [[Hagia Sophia]].<ref name="GCT">{{cite web |title=HISTORY OF HAGIA SOPHIA CHURCH IN CONSTANTINOPLE |url=https://greekcitytimes.com/2016/09/17/history-of-hagia-sophia-of-constantinople/ |website=Greek City Times |access-date=29 July 2020}}</ref> The famous Madonna Nicopeia, also known as the icon of the Virgin Nicopeia, was looted from the [[Monastery of Stoudios]] and was one of the city's most precious icons, carried into battle by various Byzantine emperors. The icon was brought to Venice by [[Enrico Dandolo]] (d. 1205) and the altar of the Virgin Nicopeia remains in St. Mark's Basilica until today. To the Venetians, the icon was a symbol that God had transferred His blessing from Constantinople to Venice by military conquest.<ref name="Barcham">{{cite book |last1=Barcham |first1=William L. |last2=Tiepolo |first2=Giovanni Battista |title=The Religious Paintings of Giambattista Tiepolo: Piety and Tradition in Eighteenth-century Venice |year=1989 |publisher=Clarendon Press |isbn=978-0-19-817501-8 |page=108 |url=https://www.google.com/books/edition/The_Religious_Paintings_of_Giambattista/hLfqAAAAMAAJ?hl=en&gbpv=0 |access-date=29 July 2020 }}</ref><ref name="Belting">{{cite book |last1=Belting |first1=Hans |title=Likeness and Presence: A History of the Image Before the Era of Art |year=1994 |publisher=University of Chicago Press |isbn=978-0-226-04215-2 |page=204 |url=https://www.google.com/books/edition/Likeness_and_Presence/kuWm7jVWFiEC?hl=en&gbpv=0 |access-date=29 July 2020 }}</ref><ref>{{cite web |title=San Mark's Nicopeia loot from Constantinople 1204 - Hagia Sophia History |url=https://www.pallasweb.com/deesis/nicopeia-icon-san-marco-loot-from-constantinople-1204-crusade |website=www.pallasweb.com |access-date=29 July 2020}}</ref><ref name="SaveVenice">{{cite web |title=Madonna Nicopeia |url=https://www.savevenice.org/project/madonna-nicopeia |website=Save Venice Inc. {{!}} Dedicated to preserving the artistic heritage of Venice |access-date=29 July 2020 }}</ref> For its opulent design, gold ground mosaics, and its status as a symbol of Venetian wealth and power, from the 11th century on the building has been known by the nickname '''Chiesa d'Oro''' (Church of Gold).<ref>{{cite book|url=https://books.google.com/books?id=h7ZNOt6-N0MC&q=Chiesa+d'Oro&pg=PA190|title=Fodor's Italy 2011 |publisher= Random House Digital, Inc.|date= 31 May 2011|page=190|isbn=9780307928528 }}</ref> It achieves an Oriental feeling of exoticism, has all the elements of the Venetian style of the Renaissance Art, remains unique, and essentially a product of Italian workers of all sorts.<ref>[[#Howard-History|Howard, ''The Architectural History of Venice'']], p.&nbsp;28</ref> ==Background== ===Aquileia, Grado, and Venice=== {{See also|Schism of the Three Chapters}} Legends that associate the foundation of important [[episcopal see]]s with the missionary activities of the [[Apostles in Christianity|apostles]] or their immediate disciples were common in the early [[Middle Ages]]: for Milan, a link was made to [[Bartholomew the Apostle|Saint Bartholomew]], while in Ravenna the first bishop [[Apollinaris of Ravenna|Apollinaris]] was made a follower of [[Saint Peter]] as were [[Euprepius of Verona|Euprepius]], the first bishop of Verona, and [[Prosdocimus]], the first bishop of Padua.<ref name=Demus-31>[[#Demus-Church|Demus, ''The Church of San Marco in Venice'']], p.&nbsp; 31</ref> For the [[Patriarchate of Aquileia]], located on the northern shore of the [[Adriatic Sea]], such an association was made by Patriarch [[Paulinus II of Aquileia|Paulinus II]] in the late eighth century when he claimed [[Mark the Evangelist|Saint Mark]] as its founder.<ref>[[#D'Antiga-Origini|D'Antiga, 'Origini del culto marciano…']], p.&nbsp;224–225</ref><ref>[[#Muir-Ritual|Muir, ''Civic Ritual in Renaissance Venice'']], p.&nbsp;80</ref> The assertion was aimed at enhancing the prestige of Aquileia, elevating it to the rank of those [[patriarchate]]s that traditionally traced their origins to the apostles, and even at claiming historical precedence over the [[Patriarch of Alexandria|Patriarchate of Alexandria]] in Egypt, long believed to have been similarly founded by Mark.<ref name=Demus-31/> No historical evidence exists to support the claim, nor do any of the early writings about the Aquileian church mention it. The first literary account of Saint Mark's presence in the region and of his evangelization of Aquileia is found in [[Paul the Deacon]]'s {{lang|la|Gesta episcoporum Mettensium}}, written between 783 and 786. The tradition is narrated, however, in the {{lang|la|Passio Sanctorum Hermagorae episcopi et Fortunati diaconi}}, which may have been written as early as the fifth century, and it must have already been widely accredited by 628/630 when the Byzantine Emperor [[Heraclius]] donated the so-called throne of Saint Mark, now in St Mark’s treasury, to the rival Patriarch of Grado.<ref>[[#Demus-Church|Demus, ''The Church of San Marco in Venice'']], p.&nbsp;10, 16</ref><ref>[[#Fedalto-SanMarco|Fedalto, 'San Marco tra Babilonia, Roma e Aquileia…']], pp.&nbsp;44–45</ref> [[File:Maritime Venetia c 600 AD.jpg|thumb|left|The territory of Venetia circa 600 AD ''(Aquileia, Grado, and Venice (Rivoalto) are shown as underlined)'']] To Grado, a small island located along the northern shore of the Adriatic, the seat of the Aquileian church had effectively been transferred in 568 when Bishop [[Paulinus I of Aquileia|Paulinus I]] sought refuge there, escaping from the [[Lombards]] at the time of the [[Byzantine–Lombard wars]]: the territory of the episcopal see still encompassed Aquileia which was sacked and occupied by the Lombards, but the bishop now resided in Grado which remained a part of the [[Byzantine Empire]]. Subsequently, in 607, the Lombard duke of Friuli [[Gisulf I of Friuli|Gisulf]] and the Byzantine esarch of Ravenna [[Smaragdus]] backed rival candidates to succeed Bishop Severus after his death, and two bishops were elected. The original episcopal see was then formally divided in 716 between the patriarch of Aquileia, who resided in [[Cormons]] under the protection of the Lombards, and the patriarch of New Aquileia (Grado), who resided in Grado with the backing of Byzantium.<ref>[[#Demus-Church|Demus, ''The Church of San Marco in Venice'']], p.&nbsp;32–33</ref> This delicate balance changed after the [[Franks]] defeated the Lombards and gained control of the mainland in 774. Anxious to exert influence over Venetia, the Byzantine territories along the coast, the Franks looked with favour upon the initiatives of Patriarch [[Maxentius of Aquileia|Maxentius]] of Aquileia to re-establish the original ecclesiastical jurisdiction of the patriarchate in its entirety and to subjugate Grado, which meant extending his authority over Venetia. At the [[Synod of Mantua (827)]], convened with the support of the Franks, Maxentius once again appealed to the tradition that Saint Mark, the disciple of Saint Peter, had preached in Aquileia and founded the patriarchate.<ref name=D'Antiga-Origini-231>[[#D'Antiga-Origini|D'Antiga, 'Origini del culto marciano…']], p.&nbsp;231</ref> In consequence, he argued, Aquileia was second only to Rome in all of Italy, and Grado was merely a parish. With the backing of the Franks and Rome, the conclusion of Mantua was foregone: Aquileia was recognized as the rightful metropolitan bishop over Venetia.<ref>[[#Demus-Church|Demus, ''The Church of San Marco in Venice'']], p.&nbsp;34</ref><ref group="note">Despite Patriarch Maxentius's desire to subject Grado, Pope Gregory IV recognized Grado's episcopal status. See Renato D'Antiga, [[#D'Antiga-Origini|'Origini del culto marciano…']], p.&nbsp;232.</ref> For the Venetians, to fall under the ecclesiastical jurisdiction of an archbishop who resided outside of their territory and whose principal loyalties lay with the Franks raised grave concerns: the Venetian bishops would have to vow obedience to the Patriarch of Aquileia and undertake a formal act of homage to the Frankish emperor.<ref name=D'Antiga-Origini-231/> The adoption as their patron of Saint Mark, the source of Aquileia’s legitimacy, consequently became a political expediency, and the acquisition of his [[Relic#Christianity|relics]] would ensure his protection. Not only would this undermine Aquileia’s principal argument and counter Frankish influence, it would also create a unifying symbol for the nascent [[Venetian Republic]].<ref>[[#Demus-Church|Demus, ''The Church of San Marco in Venice'']], pp.&nbsp;34–35</ref><ref>[[# Nicol-Byzantium|Nicol, '' Byzantium and Venice…'']], p.&nbsp;24</ref><ref>[[#Scarabello-Guida|Scarabello, ''Guida alla civiltà di Venezia'']], p.&nbsp;171</ref> ===St Mark’s relics=== ===='' 'Translatio' ''==== {{multiple image | align = right | direction = vertical | width = 220 | header = | image1 = 0 Venise, mosaïque du portail de la chapelle Zen - Basilique St-Marc.JPG | alt1 = mosaic | caption1 = [[Pietro della Vecchia]] ([[Cartoon#Fine_art|cartoons]]), mosaics on the western façade ({{circa|lk=no|1660}}): the removal of the body of Saint Mark from Egypt (above) and the arrival of the body in Venice (below) | image2 = 0 Venise, mosaïque extérieure de la basilique Saint-Marc.JPG | alt2 = mosaic | caption2 = }} The relics of Saint Mark are recorded in Venice as early as the ninth-century in both the will of Doge [[Giustiniano Participazio]] ({{reign|label=in office|827|829}}) and the travelogue of a Frankish monk on return from a pilgrimage to the Holy Land.<ref>[[#Muir-Ritual|Muir, ''Civic Ritual in Renaissance Venice'']], p.&nbsp;82.</ref> However, the oldest surviving written account of the {{lang|la|translatio}}, the transfer of the relics from [[Alexandria]] in Egypt to Venice, dates only to the eleventh century, although earlier writings evidently existed and were used as sources.<ref>[[#Demus-Church|Demus, ''The Church of San Marco in Venice'']], p.&nbsp;9</ref> [[File:Paolo veneziano Marc.jpg|thumb|left|[[Paolo Veneziano]], panel from the Pala Feriale: Saint Mark appears to avert the impending shipwreck]] As narrated, a fleet of ten Venetian trading vessels seeks shelter in the Muslim-controlled city of Alexandria during a storm. This is said to be "by the will of God"; hence there is no intentional violation of the edict of Emperor [[Leo V the Armenian|Leo V]] that forbids commercial contact with the Muslims. In Alexandria, two of the Venetian merchants, Buono da [[Malamocco]] (Metamaucum) and Rustico da [[Torcello]], go daily to pray at the tomb of Saint Mark, located in a church near the port, and there, they make the acquaintance of Theodore and Stauracius, a priest and monk respectively. Theodore, fearful for the dwindling Christian community under Islamic rule, makes it known that the Caliph [[Al-Ma'mun]] has ordered the demolition of the church in order to recover building materials for new mosques, and it is suggested that the body of the saint be safely removed to Venice. To avoid raising suspicion, the body is first substituted with the remains of Saint Claudia, which are present in the church. The relics, placed into a basket and covered in pork, are then successfully smuggled past the Muslim customs officials and embarked on the Venetians' ship, which is preserved from shipwreck during the voyage by Saint Mark who appears and warns the sailors. Other miracles occur, confirming the authenticity of the relics, until finally the ship arrives in Venice where the body is received by the [[Roman Catholic Diocese of Castello|Bishop of Olivolo]] and then taken in solemn procession to the doge.<ref>[[#Demus-Church|Demus, ''The Church of San Marco in Venice'']], pp.&nbsp;8–9</ref><ref>[[#Muir-Ritual|Muir, ''Civic Ritual in Renaissance Venice'']], pp.&nbsp;80–81.</ref><ref>[[#Tramontin-SanMarco|Tramontin, 'San Marco']], pp.&nbsp;54–55</ref><ref group="note">Beginning in the eleventh century, the {{lang|la|translatio}} was commemorated in the Venetian liturgical calendar on 31 January. See John Muir, [[#Muir-Ritual|''Civic Ritual in Renaissance Venice'']], p.&nbsp;84. It is also recorded in three mosaic cycles: on the western façade of the basilica, in the Zen Chapel, and above the right choir. See Michela Agazzi, [[#Agazzi-cappella|'San Marco…']], p.&nbsp;25.</ref> Independently of the miraculous details and pious inventions, the overall narration serves to justify the right of Venice to possess the relics. It simultaneously affirms the primacy of the Venetian church, the rightful successor of the Patriarchate of Aquileia, even over the ancient metropolitan see of Alexandria. As Buono and Rustico declare, evoking the tradition of Mark’s having preached in northern Italy, the Venetians are the "first-born sons" ({{lang|la|"primogeneti filii"}}) of the Evangelist. The translation of the relics to Venice is therefore a return of Mark to his rightful resting place. ===='' 'Praedestinatio' ''==== With the {{lang|la|praedestinatio}} (also {{lang|la|vaticinatio}}), traceable to [[Martino da Canal]]'s thirteenth century {{lang|fr|Cronique des Veniciens}}, the possession of the relics is further legitimized, in this case as the fulfillment of a divine plan. The legend in its definitive form narrates that Saint Mark, after his mission to northern Italy and the evangelization of Aquileia, returns to Rome. Passing through the [[Venetian Lagoon]], he beaches his boat for the night, and he has a vision on the very site of the future city of Venice in which an angel appears, greeting him "Peace be to you Mark, my Evangelist” ({{lang|la|"Pax tibi Marce evangelista meus"}}). A prophecy follows announcing that his body will one day find rest in Venice ({{lang|la|"Hic requiescet corpus tuum"}}) and that it will be venerated by a virtuous and pious people who will build a glorious and eternal city.<ref>[[#Demus-Church|Demus, ''The Church of San Marco in Venice'']], p.&nbsp;14</ref><ref>[[#Muir-Ritual|Muir, ''Civic Ritual in Renaissance Venice'']], p.&nbsp;79</ref> ===='' 'Inventio' ''==== The {{lang|la|inventio}} (also {{lang|la|apparitio}}) confirms the special bond between Saint Mark and the Venetians. The legend concerns the rediscovery of the body at the time of the reconstruction of the church in the eleventh century. Although it is found no earlier than Martino da Canal's thirteenth-century {{lang|fr|Cronique des Veniciens}}, it may derive from the actual public exposition of Saint Mark's relics prior to their entombment in the new crypt.<ref>[[# Demus-Church|Demus, ''The Church of San Marco in Venice'']], pp.&nbsp;13–14</ref><ref>[[#Muir-Ritual|Muir, ''Civic Ritual in Renaissance Venice'']], p.&nbsp;87</ref><ref group="note">The {{lang|la|inventio}} was consistent with medieval hagiography which often narrated three events for important saints: the martyrdom, the translation of the body, and the miraculous rediscovery of the relics. See Edward Muir, [[#Muir-Ritual|''Civic Ritual in Renaissance Venice'']], p.&nbsp;87. The relics of Saint Luke were similarly rediscovered at the Church of Saint Justine in Padua on 14 April 1117. See Joseph M. Holden, ''The Harvest Handbook of Apologetics'' (Eugene, Oregon: Harvest House Publishers, 2018), pp. 207–208 {{ISBN|9780736974288}}.</ref> As narrated, the body of Saint Mark was hidden to prevent theft during work on the church. Its hiding place was known to only the doge and a few trusted officials, and after years, all knowledge of the location was lost. Finally, after three days of fasting and prayer, an earthquake breaks open a pillar, revealing the body, which in later variations reaches out to the pious Venetians. ==History== ===Participazio church ({{circa|lk=no|829}}–976)=== The medieval [[Chronicon Venetum et Gradense|Chronicon Venetum]] by [[John the Deacon (Venetian chronicler)|John the Deacon]] narrates that the relics of Saint Mark were initially placed in a corner tower of the ''castrum'' (also ''castellum''), the fortified residence of the doge and seat of government located on the site of the present [[Doge’s Palace]].<ref>[[#Demus-Church|Demus, ''The Church of San Marco in Venice'']], p.&nbsp;63</ref><ref group="note">The tower is traditionally identified with the structure, now incorporated into the basilica, that houses the treasury of St Mark's. See John Warren, [[#Warren-chiesa|'La prima chiesa di san Marco…']], p.&nbsp;190.</ref> Doge Giustiniano Participazio subsequently stipulated in his will that his widow Felicita and his younger brother and successor [[Giovanni I Participazio|Giovanni]] ({{reign|label=in office|829|832}}) were to erect a church dedicated to Saint Mark wherein the relics of the Evangelist would ultimately be housed. Giustiniano further specified that the new church was to be built between the ''castrum'' and the Church of Saint Theodore to the north, on property that served as the garden of the [[San Zaccaria, Venice|monastery of San Zaccaria]].<ref group="note">The property, donated to the monastery around 824 by Doge [[Agnello Participazio]] ({{reign|label=in office|810|827}}), was partially ceded back for the purpose. See John Warren, [[#Warren-chiesa|'La prima chiesa di san Marco…']], p.&nbsp;189.</ref> Provisions were also made to utilize some of the stones and building materials that Giustiniano had recuperated from Roman ruins on the mainland and destined for a family house on the island of Torcello and for the {{ill|Abbey of Sant'Ilario|it|Abbazia di Sant'Ilario}} on the edge of the Venetian Lagoon.<ref>[[#Demus-Church|Demus, ''The Church of San Marco in Venice'']], p.&nbsp;64</ref><ref>[[#Warren-chiesa|Warren, 'La prima chiesa di san Marco…']], p.&nbsp;188</ref><ref group="note">Samples extracted from the crypt and some pillasters suggest that the Participazio church was primarily constructed in brick and local stones, including {{ill|Rosso ammonitico|it|Rosso ammonitico}} from Verona, [[trachyte]] from the [[Euganean Hills|Euganean hills]], [[sandstone]] from the foothills of the Alps, and {{ill|Marble of Aurisina|it|Marmo di Aurisina}}. These were likely spolia from Altino, Oderzo, Conordia, Padua, and Ravenna and perhaps more distant ruins around the Adriatic and Mediterranean. Some rare marbles, such as [[cipollino marble]] and {{ill|Proconnesian marble|it|Marmo proconnesio}}, were imported to adorn doorframes, architraves, and cornices. See Lorenzo Lazzarini, [[#Lazzarini-pietre|'Le pietre e i marmi colorati della basilica di San Marco a Venezia']], p.&nbsp;310.</ref> Construction of the new church may have already been underway during Giustinian’s lifetime, as attested by John the Deacon, and was completed by 836 when the relics of Saint Mark were transferred.<ref>[[#Demus-Church|Demus, ''The Church of San Marco in Venice'']], p.&nbsp;12</ref><ref group="note">The date is recorded by John the Deacon in the Chronicon Venetum.</ref> [[File:Saint Mark's Basilica Inside.jpg|thumb|right|The entry to St Mark's, believed to date to the Participazio church]] Although the Participazio church was long believed to have been a rectangular structure with a single apse and a wooden roof, comparable to the [[Basilica of Sant' Apollinare in Classe]] in Ravenna and the local cathedrals of [[Basilica di Santa Maria Assunta, Aquileia|Santa Maria Assunta]] in Aquileia, [[Basilica of Sant'Eufemia, Grado|Sant'Eufemia]] in Grado, and [[Torcello Cathedral|Santa Maria Assunta]] in Torcello, soundings and excavations conducted in 1950 demonstrated that St Mark's was from the beginning a cruciform church with at least a central [[dome]], likely in wood.<ref>[[#Demus-Church|Demus, ''The Church of San Marco in Venice'']], p.&nbsp;66</ref><ref name=Howard-28–29>[[#Howard-History|Howard, ''The Architectural History of Venice'']], p.&nbsp;28–29</ref><ref group="note">No traces of foundations to support lateral walls or [[colonnade]]s exist at the juncture of the [[nave]] and [[transept]], indicating that the walls and colonnades were not continuous and that the nave of the Participazio church was in fact intersected by a transept. Further, building materials and techniques indicate that the transept walls are contemporary to the walls of the nave. With regard to the foundation stones of the pillars that support the central dome, which are similar to the foundations of the ninth-century [[St Mark's Campanile|campanile]], the Roman workmanship suggests that they are ancient [[spolia]]. See Otto Demus, [[#Demus-Church|''The Church of San Marco in Venice'']], pp.&nbsp;65–66.</ref> It has not been unequivocally established if each of the four arms of the church had a similar dome or were instead covered with [[Gable roof|gabled wooden roofs]]. The prototype was the [[Church of the Holy Apostles]] (demolished 1461) in [[Constantinople]], the structure erected by [[Justinian]] that served as the imperial mausoleum.<ref name=Howard-29>[[#Howard-History|Howard, ''The Architectural History of Venice'']], p.&nbsp;29</ref> This radical break with the local architectural tradition of a rectangular plan in favour of a centrally planned Byzantine model reflected the growing commercial presence of Venetian merchants in the imperial capital as well as Venice’s political ties with Byzantium, which were renewed in the early ninth century as a means of countering [[Carolingian Empire|Carolingian]] influence.<ref group="note">Otto Demus notes that the rapprochement of Venice and Byzantium was manifest in the interest of Byzantine emperors to found and build churches in Venice, many of which were dedicated to eastern saints. See Otto Demus, [[#Demus-Church|''The Church of San Marco in Venice'']], pp.&nbsp;5 and 67.</ref> More importantly, it underscored that the Church of St Mark was intended not as an ecclesiastical seat but as a state sanctuary, the symbol of the republic.<ref>[[#Demus-Church|Demus, ''The Church of San Marco in Venice'']], p.&nbsp;67</ref> Remnants of the Participazio church likely survive and are generally believed to include the foundations and lower parts of several of the principle walls, including the western wall between the nave and the [[narthex]], which underneath the subsequent marble encrustation shows signs of prolonged exposure to the outside. The great entry portal in the narthex may also date to the early church as well as the western portion of the crypt, under the central dome, which seems to have served as the base for a raised dais upon which the original altar was located.<ref name=Howard-28–29/><ref>[[#Demus-Church|Demus, ''The Church of San Marco in Venice'']], pp.&nbsp;66, 68</ref><ref group="note">Wladimiro Dorigo alternatively hypothesizes that the Participizio church corresponded only to the crypt, including the section, now walled, under the central dome, which Dorigo interprets as the remains of an early [[westwork]]. See Wladimiro Dorigo, [[#Dorigo-Venezia| ''Venezia romanica''…]], I, pp.&nbsp;20–21.</ref> ===Orseolo church (976–{{circa|lk=no|1063}})=== The Participazio church was severely damaged in 976 during the popular uprising against Doge [[Pietro IV Candiano]] ({{reign|label=in office|959|976}}) when the fire that angry crowds had set to drive the doge from the ''castrum'' spread to the adjoining church. Although the structure was not completely destroyed, it was compromised to the point that the [[Concio]], the general assembly, had to alternatively convene in the cathedral of [[San Pietro di Castello (church)|San Pietro]] to elect Candiano’s successor, [[Pietro I Orseolo]] ({{reign|label=in office|976|978}}).<ref>[[#Rendina-dogi|Rendina, ''I dogi'']], p.&nbsp;54</ref> Within two years, the church was repaired and at the sole expense of the Orseolo family, indications that the actual damage to the structure was relatively limited. Most likely, the wooden components had been consumed, but the walls and supports remained largely intact.<ref>[[#Demus-Church|Demus, ''The Church of San Marco in Venice'']], pp.&nbsp;69–70</ref><ref group="note">That the work was limited in scope seems confirmed in several chronicles which refer to "reintegrate" (''redintegrare''), "rebuild" (''redifichar''), "repair" (''reparare''), "restore" (''restaurare''), "complete" (''complere''). See Otto Demus, [[#Demus-Church| ''The Church of San Marco in Venice'']], p.&nbsp;69.</ref> Nothing certain is known of the appearance of the Orseolo church. But given the short duration of time involved for the reconstruction, it is probable that work was limited to repairing damage with little innovation.<ref name=Howard-29/><ref>[[#Demus-Church|Demus, ''The Church of San Marco in Venice'']], p.&nbsp;70</ref> It was at this time, however, that the tomb of Saint Mark, located in the main apse, was surmounted with brick vaults, creating the semi-enclosed shrine that would later be incorporated into the crypt when the floor of the [[chancel]] was raised.<ref>[[#Parrot-Genius|Parrot, ''The Genius of Venice'']], p.&nbsp;37</ref> ===Contarini church ({{circa|lk=no|1063}}–present)=== ====Construction==== {{multiple image | align = right | direction = vertical | width = 220 | header = | image1 = San Marko (reconstruction).JPG | alt1 = Main façade of the original Contarini church | caption1 = Antonio Pellanda, reconstruction of the western façade of the Contarini church (1881) | image2 = Pianta san marco.jpg | alt2 = Floorplan of the Basilica of Saint Mark | caption2 = Floorplan of the Contarini church, showing the earlier walls. '''(A)''' Altar of Nicopeia, '''(B)''' Chapel of St Isidore, '''(C)''' Mascoli Chapel, '''(D)''' Zen Chapel, '''(E)''' Baptistery, '''(F)''' Treasury, '''(G)''' Altar of St Leonard, '''(H)''' Altar of St Clement, '''(I)''' Presbytery, '''(J)''' Altar of St Peter, '''(K)''' Sacristy }} Civic pride led many Italian cities in the mid-eleventh century to begin erecting or rebuild their cathedrals on a grand scale.<ref>[[#Demus-Church|Demus, ''The Church of San Marco in Venice'']], p.&nbsp;71</ref> Venice was similarly interested in demonstrating its growing commercial wealth and power, and probably in 1063, under Doge [[Domenico I Contarini]] ({{reign|label=in office|1043|1071}}), Saint Mark's was substantially rebuilt and enlarged to the extent that the resulting structure appeared entirely new.<ref name=Demus-Church-72>[[#Demus-Church|Demus, ''The Church of San Marco in Venice'']], p.&nbsp;72</ref><ref group="note">The date is given in the sixteenth-century chronicle of Stefano Magno, which derives from earlier annals. See Otto Demus, [[#Demus-Church|''The Church of San Marco in Venice'']], p.&nbsp;72</ref> Under the direction of an anonymous Greek architect from Constantinople, the church was once again modelled after the Holy Apostles, but more closely than had been possible in the early ninth century when Venice lacked the technical and financial means necessary to equal the great church of the imperial capital.<ref>[[#Demus-Church|Demus, ''The Church of San Marco in Venice'']], pp.&nbsp;89–90, 97</ref><ref group="note">The identification of the Church of the Holy Apostles as the model for Saint Mark's is recorded in the early twelfth-century ''Translatio Sci Nicolai'', composed by a monk from the [[Monastery of San Nicolò al Lido]]. See Otto Demus, [[#Demus-Church|''The Church of San Marco in Venice'']], p.&nbsp;90</ref> The northern transept was lengthened, likely by incorporating the southern lateral nave of the Church of Saint Theodore to create the Chapel of Saint Isidore and the Mascoli Chapel.<ref>[[#Dorigo-Venezia|Dorigo, ''Venezia romanica''…]], I, p.&nbsp;45</ref><ref group="note">The wall that separates the northern crossarm from the Chapel of Saint Isidore is generally believed to have been the southern wall of the Church of Saint Theodore. It contains two barred windows under the marble incrustation. The Church of Saint Theodore was built on the site corresponding to the Piazzetta dei Leoncini in the early years of the ninth century, probably 810–819, and served as the first ducal chapel. It was demolished at the time that the Contarini church was built, and space was annexed to Saint Mark's. See Otto Demus, [[#Demus-Church|''The Church of San Marco in Venice'']], p.&nbsp;73 and Wladimiro Dorigo, [[#Dorigo-Fabbriche|'Fabbriche antiche del quartiere marciano']], p.&nbsp;40–42</ref> Similarly, the southern transept was extended, perhaps by integrating a corner tower of the ''castrum''. Most significantly, the wooden domes were rebuilt in brick. This required strengthening the walls and [[Pier (architecture)|pier]]s in order to support the new heavy [[Barrel vault|barrel vault]]s, which in turn were reinforced by [[Arcade (architecture)|arcade]]s along the sides of the northern, southern, and western arms. The vaults of the eastern arm were supported instead by inserting single arches that also served to divide the presbytery from the chapels in the lateral apses.<ref>[[#Demus-Church|Demus, ''The Church of San Marco in Venice'']], p.&nbsp;74</ref><ref>[[#Howard-History|Howard, ''The Architectural History of Venice'']], pp.&nbsp;19–22</ref> In front of the western façade, a narthex was built. To accommodate the height of the existing great entry, likely dating to the ninth-century Participazio church, the vaulting system of the new narthex had to be interrupted in correspondence to the portal, thus creating the shaft that opens above to the interior of the church.<ref group="note">John Warren alternatively hypothecizes that the shaft dates to the ninth-century Participazio church and that it was part of a sentry post to protect the entry to the Doge’s chapel. See John Warren, [[#Warren-chiesa|'La prima chiesa di san Marco…']], pp.&nbsp;190–191.</ref> Of the [[mosaic]]s made at this time to adorn the entry, the [[four evangelists]] flanking the portal survive and are the oldest in the church.<ref>[[#Demus-Church|Demus, ''The Church of San Marco in Venice'']], pp.&nbsp;81–82</ref> The crypt was also enlarged to the east, and the high altar was moved from under the central dome to the raised presbytery, which was supported by a network of fifty-six columns and vaults in the underlying crypt.<ref>[[#Demus-Church|Demus, ''The Church of San Marco in Venice'']], pp.&nbsp;74, 88</ref> By 1071, work had progressed far enough that the investiture of Doge [[Domenico Selvo]] ({{reign|label=in office|1071|1084}}) could take place in the unfinished church.<ref name= Demus-Church-72/> Work on the interior began under Selvo who collected fine marbles and stones for the embellishment of the church and personally financed the mosaic decoration, hiring skilled mosaicists from [[Ravenna]].<ref>[[#Demus-Church|Demus, ''The Church of San Marco in Venice'']], pp.&nbsp;74–75</ref><ref>[[#Parrot-Genius|Parrot, ''The Genius of Venice'']], p.&nbsp;53</ref> The [[Pala d'Oro]] (golden altarpiece), ordered from Constantinople, was installed on the high altar in 1105.<ref>[[#Demus-Church|Demus, ''The Church of San Marco in Venice'']], p.&nbsp;75</ref> For the [[consecration]] under Doge [[Vitale Faliero|Vitale Falier Dodoni]] ({{reign|label=in office|1084|1095}}), various dates are recorded, most likely reflecting a series of consecrations of different sections.<ref>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], p.&nbsp;3</ref> The consecration on 8 October 1094 is considered to be the dedication of the church and is commemorated as such in the Venetian [[Liturgical year|liturgical calendar]].<ref>''Messe proprie della Chiesa patriarcale di Venezia'', Prot. CD 1165/52 (Venezia, Patriarcato di Venezia, 1983), p.&nbsp;74–77</ref> On that day, the relics of Saint Mark were also placed into the new crypt.<ref>[[#Muir-Ritual|Muir, ''Civic Ritual in Renaissance Venice'']], p.&nbsp;87</ref> ====Embellishment==== As built, the Contarini church was a severe brick structure. Adornment inside was limited to the columns of the arcades, the [[baluster]]s and [[parapet]]s of the galleries, and the [[Latticework|lattice]] altar screens. The wall surfaces were decorated with moulded arches that alternated with engaged [[brickwork]] columns as well as niches and a few cornices in relief and inlay. With the exception of the outside of the apse and the western façade that faced [[Piazza San Marco|Saint Mark's Square]], the stark brick exterior was enlivened only by receding concentric arches in contrasting brick around the windows.<ref>[[#Demus-Church|Demus, ''The Church of San Marco in Venice'']], pp.&nbsp;88–89</ref> The western façade, comparable to Byzantine churches erected in the tenth and eleventh centuries such as [[Bodrum Mosque|Myrelaion]] in Constantinople or [[Church of Panagia Chalkeon|Panagia Chalkeon]] in Thessalonica, was characterized by a series of arches set between protruding piers.<ref>[[#Demus-Church|Demus, ''The Church of San Marco in Venice'']], p.&nbsp;98</ref> The walls were pierced by windows set in larger [[Blind arch|blind arches]], while the intervening piers were adorned with niches and circular [[Patera (architecture)|''patere'']] made of rare marbles and stones.<ref>[[#Demus-Church|Demus, ''The Church of San Marco in Venice'']], p.&nbsp;89</ref> [[File:Basilica San Marco south-west corner.jpg|thumb|left|The juncture of the southern and western crossarms, showing the original brickwork and the subsequent embellishment]] With few exceptions, most notably the juncture of the southern and western crossarms, both the exterior and interior of the church were subsequently sheathed with [[wikt:revetment|revetments]] of marble and precious stones and enriched with columns, reliefs, and sculptures.<ref>[[#Howard-History|Howard, ''The Architectural History of Venice'']], p.&nbsp;32</ref> Many of these ornamental elements were [[spolia]] taken from ancient or Byzantine buildings.<ref>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], p.&nbsp;6</ref> Particularly in the period of the [[Latin Empire]] (1204–1261), following the [[Fourth Crusade]], the Venetians pillaged the churches and palaces of Constantinople and stripped them of polychrome columns and stones, including black and white [[Aquitanian marble]], both red and green [[Cipollino marble]], {{ill|Proconnesian marble|it|Marmo proconnesio}} from the Sea of Marmara, [[Pavonazzo marble]] from Anatolia, precious dark green [[Lapis Lacedaemonius|Verde antico]], found exclusively in the Peloponnese, both red and black [[Porphyry (geology)|porphyry]] from Egypt, {{ill|Portasanta marble|it|Marmo portasanta}} from Chios, and [[Hereke puddingstone]].<ref>[[#Lazzarini-pietre|Lazzarini, 'Le pietre e i marmi colorati della basilica di San Marco a Venezia']], p.&nbsp;313</ref> As was customary, these artefacts could be used as [[ballast]] on board the Venetian trading vessels that were carrying lightweight merchandise back from the Eastern Mediterranean.<ref>[[#Lazzarini-pietre|Lazzarini, 'Le pietre e i marmi colorati della basilica di San Marco a Venezia']], p.&nbsp;313</ref> Once in Venice, some of the columns were sliced for revetmets and ''patere''; others were paired and spread across the façades or used as altars.<ref>[[#Demus-Church|Demus, ''The Church of San Marco in Venice'']], p.&nbsp;101</ref><ref group="note">See Lorenzo Lazzarini, [[#Lazzarini-pietre|'Le pietre e i marmi colorati della basilica di San Marco a Venezia']], pp.&nbsp;317–326 for the catalogue of the stones used in St Mark's.</ref> Despoliation continued in later centuries:<ref>[[#Demus-Church|Demus, ''The Church of San Marco in Venice'']], p.&nbsp;120</ref> the Venetian architect [[Tommaso Temanza]] attests in ''Vite dei più celebri architetti e scrittori veneziani'' (1778) that from the dilapidated Basilica of [[Santa Maria del Canneto (Pula, Croatia)|Santa Maria del Canneto]] in Pola, [[Jacopo Sansovino]] removed columns and marbles in 1550 and 1551 for Saint Mark's and the Doge's Palace.<ref>Temanza, ''Vite dei più celebri architetti, e scultori veneziani che fiorirono nel secolo decimosesto'', 2 vols (Venezia: C. Palese, 1778), vol.&nbsp;I, p.&nbsp;244</ref> In addition, Venetian sculptors copied the Byzantine capitals and friezes so effectively that some of their work can only be distinguished with difficulty from the originals.<ref>[[#Howard-History|Howard, ''The Architectural History of Venice'']], p.&nbsp;34</ref> ====Later modifications==== [[File:Interior de la basílica de sant Marc de Venècia.JPG|thumb|The lateral aisle of the western crossarm, showing the arcade that strengthens the vault and the walkways above which were created with the removal of the galleries]] In addition to the sixteen windows in each of the five domes, the church was originally lit by three or seven windows in the apse and probably eight in each of the [[lunette]]s of the eleven walls which, together with the apse, form the four crossarms.<ref>[[#Demus-Church|Demus, ''The Church of San Marco in Venice'']], p.&nbsp;88</ref> But many of these windows were later walled up to create more surface space for the mosaic decoration, with the result that the interior received insufficient sunlight, particularly under the galleries which remained in relative darkness. The galleries were consequently reduced to narrow walkways with the exception of the ends of the northern, southern, and western crossarms where the galleries remain.<ref group="note">No gallery existed in the apse where there was an external passage that made it possible to walk around the entire perimeter of the church. See Otto Demus, [[#Demus-Church|''The Church of San Marco in Venice'']], p.&nbsp;88</ref> These walkways maintain the original relief panels of the galleries on the side facing the central section of the church. On the opposite side, new balustrades were erected. These contain either [[Romanesque architecture|Romanesque]] or [[Gothic architecture|Gothic]] [[protome]]s, suggesting that the reduction of the galleries occurred in two stages towards the end of the twelfth and the beginning of the thirteenth centuries.<ref>[[#Demus-Church|Demus, ''The Church of San Marco in Venice'']], pp.&nbsp;83–87</ref> With the removal of the wooden floors of the galleries, the holes in the walls that once supported the beams were covered with [[frieze]]s and [[Corbel#Corbel tables|corbel table]]s that were later integrated into the marble incrustation.<ref>[[#Demus-Church|Demus, ''The Church of San Marco in Venice'']], p.&nbsp;84</ref> Direct observation of the underlying masonry made during several restorations as well as stylistic considerations indicate that the narthex of the Contarini church was originally limited to the western side. As with other Byzantine churches, it extended laterally beyond the façade on both sides and terminated in niches, of which the northern remains. The southern terminus was separated by a wall in the early twelfth century, thus creating a vestibule that opened on the southern façade toward the Doge’s Palace and the waterfront.<ref>[[#Demus-Church|Demus, ''The Church of San Marco in Venice'']], pp.&nbsp;76–82</ref> In the early thirteenth century, the narthex was extended along the northern and southern sides to completely surround the western crossarm. A baptismal font may have been situated in the southern portion early on, but a section was partitioned off under Doge Giovanni Soronzo ({{reign|label=in office|1312|1328}}) to create the baptistery. Between 1503 and 1515, the southern entrance was closed, and the vestibule was transformed into the funerary chapel of [[Giovanni Battista Zeno|Giovanni Battista Cardinal Zen]].<ref>[[#Demus-Church|Demus, ''The Church of San Marco in Venice'']], pp.&nbsp;78–79</ref> Also, in the first half of the thirteenth century, the original low-lying brick domes, typical of Byzantine churches, were surmounted with higher, outer shells supporting bulbous [[Roof lantern|lanterns]] with crosses.<ref>[[#Howard-History|Howard, ''The Architectural History of Venice'']], p.&nbsp;30</ref><ref group="note">The higher domes built in the early thirteenth century were replaced with the current domes after the fire of 6 March 1419, which destroyed the entire roof of the church. See Mario Piana,[[#Piana-sovracupole|'Le sovracupole lignee di San Marco']], p.&nbsp;189</ref> These wooden frames covered in lead provided more protection from weathering to the actual domes below and gave greater visual prominence to the church, necessary after Saint Mark's Square was enlarged in the late twelfth century.<ref>[[#Piana-sovracupole| Piana, 'Le sovracupole lignee di San Marco']], p.&nbsp;189</ref><ref>[[#Demus-Church|Demus, ''The Church of San Marco in Venice'']], p.&nbsp;103</ref><ref>[[#Scarabello-Guida|Scarabello, ''Guida alla civiltà di Venezia'']], pp.&nbsp;174–175</ref><ref group="note">Chronicles date the enlargement of the square alternatively to the reigns of [[Vitale II Michiel]] (1156–1172) or [[Sebastiano Ziani]] (1172–1178). See [[#Agazzi-Platea|Agazzi, ''Platea Sancti Marci…'']], p.&nbsp;79.</ref> Various Near-Eastern models have been suggested as sources of inspiration and construction techniques for the heightened domes, including the [[Al-Aqsa Mosque|Al-Aqsa]] and [[Dome of the Rock|Qubbat aṣ-Ṣakhra]] mosques in Jerusalem and the conical frame erected over the dome of the [[Church of the Holy Sepulchre]] in the early thirteenth century.<ref>[[#Piana-sovracupole| Piana, 'Le sovracupole lignee di San Marco']], pp.&nbsp;195–196</ref> The latest structural additions include the [[Isidore of Chios|St Isidor's]] Chapel (1300s), the carvings on the upper facade, and the Sacristy (1400s). ==Architecture== ===Exterior=== [[File:Basilica San Marco facciata sud Venezia.jpg|thumb|upright=1.5|Detail of the south facade]] The exterior of the west facade of the basilica is divided in three registers: lower, upper, and [[dome]]s. In the lower register of the façade, five round-arched [[Portal (architecture)|portals]], enveloped by polychrome marble columns, open into the narthex through bronze-fashioned doors. The upper level of mosaics in the lunettes of the lateral ogee arches has scenes from the [[Life of Christ in art|''Life of Christ'']] (all post-Renaissance replacements) culminating in a 19th-century replacement ''[[Last Judgment]]'' lower down over the main portal that replaced a damaged one with the same subject (during the centuries many mosaics had to be replaced inside and outside the basilica, but subjects were rarely changed). Mosaics with scenes showing the history of the relics of Saint Mark from right to left fill the [[lunette]]s of the lateral portals; the first on the left is the only one on the façade still surviving from the 13th century. The formal subject is the ''Deposition of the Relics'', but it is probably depicted as the crowd leaving San Marco after the ceremonial installation of a new doge. The four bronze horses are shown in their place on the façade. We can for once get a good idea of the original compositions of the mosaics from paintings and other depictions, especially [[Gentile Bellini]]'s very large ''Procession in Piazza San Marco'' in the [[Gallerie dell'Accademia]].<ref>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], pp.&nbsp;183–187</ref> The stone sculpture is relatively limited at the lower level, where a forest of columns and patterned marble slabs are the main emphases. It includes relatively narrow bands of [[Romanesque art|Romanesque]] work on the portals, richly carved borders of foliage mixed with figures to the ogee arches and other elements, and large shallow [[relief]] saints between the arches. Along the roofline, by contrast, there is a line of statues, many in their own small pavilions, culminating in Saint Mark flanked by six angels in the centre, above a large gilded winged lion (his symbol, and that of Venice). In the upper register, from the top of ogee [[arch]]es, statues of [[Theological virtues|Theological]] and [[Cardinal virtues|Cardinal Virtues]], four [[Military saint|Warrior Saints]], [[Constantine the Great|Constantine]], [[Demetrius of Thessaloniki|Demetrius]], [[Saint George|George]], [[Theodore of Amasea|Theodosius]] and St Mark<ref>{{cite web |url=http://www.basilicasanmarco.it/eng/basilica_scult/coronamento_appr.bsm# |title=The Gothic Crowning|publisher=basilicasanmarco.it |access-date=2012-08-20}}</ref> watch over the city. Above the large central window of the façade, under St Mark, the Winged Lion (his symbol) holds the book quoting ''"Pax Tibi Marce Evangelista Meus" (Peace to you Mark my evangelist) ''. In the centre of the balcony the famous bronze horses face the square. On the railing at the southwestern corner of the balcony is an imperial [[Porphyry (geology)|porphyry]] head, possibly of [[Justinian]], traditionally known as ''[[Carmagnola (Venice)|Carmagnola]]''. ====Horses of Saint Mark-Lysippos==== {{multiple image | align = right | direction = horizonal | total_width = 400 | header = Spoils from the Fourth Crusade | image1 = Venice – The Tetrarchs 03.jpg | alt1 = Portrait of the Four Tetrachs | caption1 = | image2 = Venezia Basilica di San Marco Innen Quadriga 2.jpg | alt2 = Quadriga | caption2 = | footer = Statue of the Four Tetrarchs, possibly from the Philadelphion in Constantinople (left), and Quadriga from the Hippodrome (right) }} The [[Horses of Saint Mark]] were installed on the balcony above the portal of the basilica in about 1254. They date to [[Classical Antiquity]], though their date remains a matter of debate, and presumably were originally the team pulling a [[quadriga]] chariot, probably containing an emperor. By some accounts they once adorned the Arch of [[Trajan]]{{clarify|date=November 2016 |reason=Which one?}}. The horses were long displayed at the [[Hippodrome of Constantinople]], and in 1204 Doge [[Enrico Dandolo]] sent them back to Venice as part of the loot [[Siege of Constantinople (1204)|sacked from Constantinople]] in the [[Fourth Crusade]]. They were taken to Paris by [[Napoleon]] in 1797 but returned to Venice in 1815. They were moved temporarily to the Palazzo Venezia in Rome during the first World War for safekeeping. During World War II, they were hidden in Praglia Abbey, a Benedictine monastery in Teolo. After a long restoration, since the 1970s the copper mercury-gilded originals have been kept in St Mark's Museum inside the basilica and the horses now on the facade of the cathedral are bronze replicas. ====The Tetrarchs==== In an attempt to stabilise the Roman Empire after the crisis of the third century, the Emperor [[Diocletian]] imposed a new Imperial office structure: a four co-emperor ruling plan called The [[Tetrarchy]]. The famous [[Porphyry (geology)|porphyry]] statue [[Portrait of the Four Tetrarchs|of the Four Tetrarchs]] represents the interdependence of the four rulers. It was taken from [[Constantinople]], during the [[Fourth Crusade]] in 1204, and set into the south-west corner of the basilica (the above-mentioned low tower) at the level of the Piazza San Marco. Part of the missing foot of one of the figures was discovered in Istanbul (near the [[Bodrum Mosque]]) in the 1960s, where it is still on display, clarifying the original location of the work.{{Citation needed|date=September 2020}} ===Interior=== [[File:Мозаици цркве Светог Марка у Млецима, Италија.jpg|thumb|upright= 1.25|View from the altar crossing dome to the western side]] The basic shape of the church has a mixture of Italian and Byzantine features, notably "the treatment of the eastern arm as the termination of a basilican building with main apse and two side chapels rather than as an equal arm of a truly centralized structure".<ref>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], p.&nbsp;5</ref> The interior is based on a [[Christian cross variants|Greek cross]], with each arm divided into three naves with a dome of its own as well as the main dome above the crossing. The dome above the crossing and the western dome are bigger than the other three. This is based on the [[Church of the Holy Apostles]] in Constantinople. The marble floor (12th century, but underwent many restorations) is entirely tessellated in geometric patterns and animal designs. One particular panel in the pavement shows two [[rooster|cock]]s carrying a trussed-up fox,<ref>{{cite web|url=https://www.flickr.com/photos/39911172@N08/3715513816/|title=Venice Basilica San Marco interior 07 Mural 2 cocks carrying a fox|date=May 1996|publisher=[[Flickr]]|access-date=22 July 2012}}</ref> has been interpreted politically by some, as a reference to the French conquest of [[Milan]] in the [[Italian Wars]].<ref>{{cite book|url=https://books.google.com/books?id=ZaHt76Uk2m8C&q=church+two+cocks&pg=PA397|title=Venice: A Documentary History, 1450–1630|first1=David|last1=Sanderson|last2=Chambers|first2=Jennifer|last3=Fletcher|first3=Brian S. Pullan|publisher=Renaissance Society of America|page=397|isbn=9780802084248|year=2001}}</ref> Others see it as a sacred symbol of the faithful wish for immortality, with the victory of the cross, and "analogous to the hope of resurrection, the victory of the soul over death".<ref>The Theme of Cockfighting in Burgundian Romanesque Sculpture, Ilene H. Forsyth&nbsp;– Speculum: A Journal of Medieval Studies Vol. 53, No. 2 (Apr., 1978), pp. 252–282&nbsp;– Publisher: Medieval Academy of America</ref> The techniques used were [[opus sectile]] and [[opus tessellatum]]. The lower register of walls and [[Column|pillars]] is completely covered with polychrome [[marble]] slabs. The transition between the lower and the upper register is delimited all around the basilica by passageways which largely substituted the former galleries. ====Left transept==== On the left of the screen is the platform for readings from Scripture; on the right aisle are [[St Peter]]'s chapel and the [[commons:File:Nicopeia.jpg|Madonna Nicopeia]], a venerated Byzantine icon. On the northern side are St Isidor's chapel and the Mascoli chapel. ====Presbytery==== The eastern arm has a raised [[presbytery (architecture)|presbytery]] with a [[crypt]] beneath. The presbytery is separated by an [[Rood screen|altar screen]] formed by eight red marble columns crowned with a high Crucifix and statues by [[Pier Paolo Dalle Masegne|Pier Paolo]] and Jacobello Dalle Masegne, masterpiece of [[Gothic art|Gothic]] sculpture (late 14th century). Behind the screen, marble banisters with Sansovino's bronze statues of the Evangelists and [[Girolamo Paliari|Paliari]]'s of the Four Doctors mark the access to the high [[altar]], which contains St Mark's relics. Above the high altar is a canopy ("[[ciborium (architecture)|ciborium]]") on columns decorated with fine [[relief]]s. The [[altarpiece]] is the famous [[Pala d'Oro]], a masterpiece of Byzantine craftsmanship, originally designed for an [[antependium]]. This masterpiece incorporates 1,300 pearls, 300 sapphires, 300 emeralds, and 400 garnets. They are all original and highly polished, unfaceted gems. The original altar frontal is now in the treasury. The choir stalls are embellished with inlay by Fra [[Sebastiano Schiavone]], and above them on both sides are three [[relief]]s by Sansovino. Behind the presbytery are the [[sacristy]] and a 15th-century church consecrated to [[Theodore of Amasea|St Theodore]] (the first patron saint of Venice) where is displayed a painting (Child's Adoration) by [[Giovanni Battista Tiepolo]]. ====Right transept==== On the right of the screen is the platform from which the newly elected doge appeared. In the left aisle are [[Clement of Metz|St Clement]]'s chapel and the Holy Host altar. Here is the pillar where St Mark's relics were rediscovered in 1094, as depicted in the interesting mosaics of the right aisle (where the entrance to St Mark's Treasure is). ====Treasury==== [[File:Meister der Ikone des Erzengels Michael 001 adjusted.jpg|thumb|10th-century gold and enamel Byzantine [[icon]] of [[St Michael]], in the treasury]] The treasury contains what is now a unique collection of Byzantine portable objects in metalwork, enamel and [[hardstone carving]], most looted from Constantinople after the Fourth Crusade (although there was a serious fire in the treasury in 1231), with probably a new influx after the "Franks" were expelled in 1261.<ref>Buckton, 65–66, 73–75</ref> Thereafter most objects were made locally, though there are also important Islamic works, especially in [[rock crystal]], and some from Northern Europe. Selections have toured internationally. The treasury is in the basilica until today; the <ref>Encyclopaedia Britannica</ref> objects in an inventory ordered by the Austrians in 1816, many in materials that could not be recycled for cash.<ref>Buckton, 67</ref> The group of Byzantine hardstone vessels in various semi-precious stones is by the most important to survive.<ref>Buckton, 73–75</ref> A glass [[situla (vessel)|situla]] or bucket carved with [[Dionysus|Bacchic]] figures been dated to either the 4th or 7th centuries.<ref>Buckton, 77–78</ref> The 6th-century "throne-reliquary" in rather crudely carved [[alabaster]], the ''Sedia di San Marco'', was moved from the high altar to the Treasury in 1534. It would only fit a bishop with a slight figure, and has a large compartment for relics below the seat. It may have functioned as a "throne-lectern" or resting place for a [[gospel book]], making actual the [[hetoimasia]] ("empty throne") images with open books that are found in art of the period.<ref>Buckton, 98–105</ref> The treasury "now houses the best single collection of Byzantine metalwork, and particularly of enameling, that survives", including two imperial chalices of antique [[sardonyx]] with Byzantine gold and enamel mounts, marked "Romanos", the name of four emperors.<ref>Buckton, 105</ref> ===Mosaics=== Unlike most Italian churches, San Marco never made the transition to [[fresco]] wall paintings around the 13th century, and continued to add mosaics until the 19th century. This was probably partly due to a wish to support the local [[Murano glass]] industry, which supplied the [[tesserae]], and also to Venetian conservatism.<ref>[[#Howard-History|Howard, ''The Architectural History of Venice'']], p.&nbsp;16</ref> The upper levels of the interior are completely covered with bright [[mosaic]]s covering an area of about 8000 m². The great majority use the traditional background of [[gold glass]] tesserae, creating the shimmering overall effect. Unfortunately, the Doge retained a workshop of mosaicists until the late 18th century, and in the 19th century contracted a mosaic workshop run by the [[Salviati (glassmakers)|Salviati]] glassmaking firm, and the majority of the medieval mosaics have been "restored" by removing and resetting, usually with a considerable loss of quality, so that "only about one-third of the mosaic surface can be regarded as original".<ref>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], pp.&nbsp;6–11, 10 quoted</ref> The earliest surviving work, in the main porch, perhaps dates to as early as 1070, and was probably by a workshop that had left Constantinople in the mid-11th century and worked at [[Torcello Cathedral]].<ref>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], pp.&nbsp;15–19</ref> They are in "a fairly pure Byzantine style" but in succeeding phases of work Byzantine influence reflecting the latest style of the capital was reduced by stages, disappearing altogether by about the 1130s, after which the style was Italian in essentials, reflecting "a change from a colonial to a local art".<ref>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], pp.&nbsp;37–38, 189 (quoted)</ref> The main period of decoration was the 12th century, a period of deteriorating relations between Venice and Byzantium, but very little is known about the process or how it was affected by politics.<ref>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], pp.&nbsp;5–6</ref> [[File:Veneza118.jpg|thumb|Overview of mosaics, looking east]] [[File:Mosaico traslazione San Marco Venezia.JPG|thumb|Mosaic of the translation of the body of Saint Mark]] [[File:Part of the Entrance to St Mark's Basilica in Venice.jpg|250px|thumb|Part of the mosaic at the entrance to St Mark's Basilica.]] The main work on the interior mosaics was apparently complete by the 1270s, with work on the atrium continuing into the 1290s. After that the St Marks workshop seems to have been disbanded, so that when a fire in 1419 caused serious damage, the only Venetian capable of the work had just died and the [[Signoria of Florence]] had to be asked for help; they sent [[Paolo Uccello]].<ref>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], pp.&nbsp;6–7</ref> Around this time, [[Michele Giambono]] and Greek Byzantine painter [[Nikolaos Philanthropinos]] from Constantinople also completed mosaics at Saint Marks. Philanthropinos was referred to in archives as the '''prothomagister''' which means teacher of the style. The archives are dated between 1430-1435.<ref>{{cite book |last= Angold |first= Michael |author-link= |date= 2014 |title=The Fall of Constantinople to the Ottomans Context and Consequences |url= https://books.google.com/books?id=dmHJAwAAQBAJ&pg=PT48&dq=philanthropenos+joseph+ii&hl=en&newbks=1&newbks_redir=0&source=gb_mobile_search&sa=X&ved=2ahUKEwiOyLX-hvfyAhUDneAKHZKKAb0Q6AF6BAgFEAM|location=New York, New York |publisher= Taylor & Francis |pages=50-51|isbn= 9781317880516 }}</ref><ref>{{cite book |last= Jones |first= Lynn |author-link= |date= 2014 |title=Byzantine Images and Their Afterlives Essays in Honor of Annemarie Weyl Carr |url= https://books.google.com/books?id=0MWoDQAAQBAJ&pg=PT276&dq=philanthropenos+joseph+ii&hl=en&newbks=1&newbks_redir=0&source=gb_mobile_search&sa=X&ved=2ahUKEwiOyLX-hvfyAhUDneAKHZKKAb0Q6AF6BAgJEAM |location=London, United Kingdom |publisher= Ashgate Publishing Limited |page=172|isbn= 9781409442912 }}</ref> Initially, the restorations tried to retain the medieval compositions and replicate a medieval style, but from 1509 the policy changed and further work was in contemporary styles. From the 1520s a series of Venetian painters were able to get commissions for the replacement of undamaged areas in what was considered to be superior modern style, until from 1610 a number of conservation-minded decrees attempted to restrain the process.<ref>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], pp.&nbsp;7–9</ref> The large and complicated programme of the decoration centres on the seated large [[Christ Pantocrator]] in the main apse (now a 15th-century recreation) above patron saints of Venice. The East dome over the high altar has a bust of Christ in the centre surrounded by standing prophets and the Virgin Mary, with the [[Four Evangelists]] in the [[pendentive]]s. A large and comprehensive cycle of the [[Life of Christ in art|''Life of Christ'']] occupies much of the roof, with usually extensive coverage for the Middle Ages of his miracles, originally shown in 29 scenes in the transepts. It includes the [[Ascension of Christ]] in the central dome and [[Pentecost]] in the west dome. The centre is an [[etimasia]] ("empty throne") with book and dove, with the [[twelve apostles]] seated round the outer rims, with flames on their heads and rays connecting them to the central throne. Below the apostles pairs of figures representing the "nations", with ''tituli'', stand between the windows. Similar images are found in the [[Chludov Psalter]] and elsewhere.<ref>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], pp.&nbsp;55–57, and plate 13; also Parani, 196. See [https://books.google.com/books?id=LAUMM3cU_UoC&lpg=RA1-PA240&ots=hD-45Z7Svh&dq=Hetoimasia%20Hagia%20Sophia&pg=RA1-PA241#v=onepage&q=Hetoimasia%20Hagia%20Sophia&f=false here] for further details]</ref> As well as the miracles the transepts contain cycles of the [[Life of the Virgin]] before and during the Infancy of Christ. As well as many saints, church fathers, virtues and angels, there are scenes from the lives of Saints Mark, Clement, Peter, and John (with many scenes in post-Renaissance versions). The west wall has a 13th-century [[deesis]] below a [[Last Judgement]] in the vault, and a huge [[Tree of Jesse]] was added to the end wall of the north transept in 1548.<ref>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], pp.&nbsp;10–11 for summary, full coverage in later chapters.</ref> The narthex prepares the visitors' eyes for the atmosphere of the gilded interior, just as the [[Old Testament]] stories represented in its 13th-century mosaic ceiling prepare them for the New Testament decoration in the interior. The main subjects are [[Book of Genesis|Genesis]] and the life of [[Noah]], [[Abraham]], Joseph, and [[Moses]].<ref>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], chapter 18</ref> It has long been recognised that the compositions are very close to those of the [[Cotton Genesis]], an important 4th- or 5th-century Greek luxury [[illuminated manuscript]] copy of the Book of Genesis, now in the [[British Library]], though very badly damaged in a fire of 1731. About a hundred of the 359 miniatures in the manuscript are used. It is presumed that this reached Venice after the Fourth Crusade.<ref>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], pp.&nbsp;155–157</ref> n the wall above and at the sides of the main doorway are the [[Four Evangelists]] and saints, 11th-century mosaics, the oldest in the building, that decorated the old facade to St Mark's even before the narthex was built.<ref>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], pp.&nbsp;15–19</ref> Similar relationships have been traced for parts of the interior mosaics, in particular with the cycle of the Life of the Virgin and Infancy of Christ sharing a common Byzantine model with a [[fresco]] cycle in the cathedral at the [[Mirozhsky Monastery]] in [[Pskov]] in Russia.<ref>Dodwell, 186</ref> As mentioned above, restorations and replacements were often necessary thereafter, or done even when not necessary, and great painters such as [[Paolo Uccello]], [[Andrea del Castagno]], [[Paolo Veronese]], [[Jacopo Tintoretto]] and his son [[Domenico Tintoretto|Domenico]] were among those who produced the designs for the mosaicists. [[Titian]] and the [[Padovanino]] prepared the [[cartoon]]s for the sacristy, built in the late 15th century. Other mosaics decorate the Baptistery, the Mascoli Chapel, St Isidor Chapel and the Zen Chapel, which has scenes from the life of St Mark, perhaps from the 1270s, and among the latest work of the original programme to be done.<ref>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], pp.&nbsp;179–182</ref> In 2017, it was completed the mapping of all the mosaics surfaces of the Basilica through [[photogrammetry]] and [[orthophoto]]s. It was realized a web navigable path providing 2D and 3D high resolution images, ordered into a continuous plane of light, devoid of any shadow zone.<ref>{{cite journal | author = Adami, Andrea | author2 = Fassi, Francesco | author3= Fregonese, Luigi | author4 = Piana, Mario | title= Image-based techniques for the survey in the St Mark's Basilica in Venice| journal = Virtual Archaeology Review | volume= 9 | issue = 19 | date = 20 July 2018 | pages = 16–17 | oclc = 1138331883 | url = https://polipapers.upv.es/index.php/var/article/view/9087/10377 | via = [http://archive.is/wip/UVfQW archive.is] | issn = 1989-9947 | doi = 10.4995/var | publisher = Spanish Society of Virtual Archaeology | archive-url = https://web.archive.org/web/20190807192057/https://polipapers.upv.es/index.php/var/article/view/9087/10377 | archive-date = 7 August 2019 | url-status = live| doi-access = free }}</ref> ==Administration== During the 13th century, the emphasis of the church's function seems to have changed from being the private chapel of the Doge to that of a "state church", with increased power for the procurators. It was the location for the great public ceremonies of the state, such as the installation and burials of Doges, though as space ran out and the demand for grander tombs increased, from the 15th century [[Santi Giovanni e Paolo, Venice|Santi Giovanni e Paolo]] became the usual burial place. The function of the basilica remained the same until 1807, after the end of the [[Venetian Republic]], when the basilica finally became subject to the local [[bishop]], the [[Patriarch of Venice]], though from the 12th century he had had a throne there, opposite the doge's.<ref>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], pp.&nbsp;1–2</ref> The transfer of the see was ordered by [[Napoleon]] during his period of control of Venice.<ref>Buckton, 68</ref> Before this, Venice's cathedral from 1451 was the much less grand [[San Pietro di Castello (church)|San Pietro di Castello]]. The ''procurators'', an important organ of the [[Republic of Venice]], were in charge of administration;{{Citation needed|date=September 2020}} their seats were the [[Procuratie]], in St Mark's Square. All building and restoring works were directed by the ''protos'': great [[architect]]s such as [[Jacopo Sansovino]] and [[Baldassarre Longhena]] held the office.{{Citation needed|date=September 2020}} The doge himself appointed a special group of clergy led by the ''primero''.{{Citation needed|date=September 2020}} Procurators and protos still exist and perform the same tasks for the Patriarchate. ==Music== [[File:Venice SMarco Vault2.jpg|thumb|Dome with an [[Hetoimasia|etimasia]] ("empty throne"), surrounded by apostles and supported by [[pendentive]]s with angels]] {{main|Cappella Marciana}} The spacious interior of the building with its multiple choir lofts was the inspiration for the development of a [[Venetian polychoral style]] among the composers appointed [[maestro di cappella]] at the [[Cappella Marciana|choir of St Mark's]]. The style was first developed by a foreigner, [[Adrian Willaert]], and was continued by Italian organists and composers: [[Andrea Gabrieli]], his nephew [[Giovanni Gabrieli]], and [[Claudio Monteverdi]]. Their music took advantage of the spacious architecture and led to the development of [[polychoral]] and [[antiphonal]] textures. An example of this technique is found in [[In Ecclesiis]] by Giovanni Gabrieli. ==In scientific discourse== One of the most well-known and widely cited<ref>{{cite web|url=https://scholar.google.ca/scholar?cites=8886524888381702203&as_sdt=2005&sciodt=0,5&hl=en|title=Google Scholar|publisher=Scholar.google.ca|access-date=22 July 2012}}</ref> papers in biology is "[[The_Spandrels_of_San_Marco_and_the_Panglossian_Paradigm|The Spandrels of San Marco and the Panglossian Paradigm: A Critique of the Adaptationist Programme]]".<ref>{{cite journal|last=Gould|first=S.J.|author2=Lewontin, R.C. |author-link2=Richard Lewontin|author-link=Stephen Jay Gould|title=The spandrels of San Marco and the Panglossian paradigm: A critique of the adaptationist programme|year=1979|journal=Proceedings of the Royal Society of London B|volume=205|issue=1161|pages=581–598|doi=10.1098/rspb.1979.0086|pmid=42062|bibcode=1979RSPSB.205..581G|s2cid=2129408}}</ref> It is based on an analogy between the beautifully decorated [[spandrel]]s spaced around the domes in the basilica, which sit on four arches (technically, the structures are [[pendentive]]s rather than spandrels), and various biological traits and features. The authors, [[Stephen Jay Gould]] and [[Richard Lewontin]], argue that the spandrels are the inevitable spaces that exist when a dome is placed above arches rather than design elements and that many biological traits are similarly the side effects of functional traits rather than adaptive traits in themselves. ==See also== * [[Italian Gothic architecture]] *[[History of medieval Arabic and Western European domes]] *[[John Wharlton Bunney]] *[[Late Antique and medieval mosaics in Italy]] *[[:File:Parabolic julia set c=-0.75.png|San Marco Fractal]] ==Notes== {{Reflist|group=note|30em}} == References == {{Reflist|30em}} ==Bibliography== * {{wikicite | ref = Agazzi-Platea| reference = Agazzi, Michela, ''Platea Sancti Marci: i luoghi marciani dall'11. al 13. secolo e la formazione della piazza'' (Venezia: Comune di Venezia, Assessorato agli affari istituzionali, Assessorato alla cultura and Università degli studi, Dipartimento di storia e critica delle arti, 1991) {{OCLC|889434590}}}} * {{wikicite | ref = Agazzi-cappella| reference = Agazzi, Michela, 'San Marco: Da cappella palatina a cripta contariana', in Manuela Zorzi, ed., ''Le cripte di Venezia: Gli ambienti di culto sommersi della cristianità medievale'' (Treviso: Chartesia, 2018), pp.&nbsp;26–51 {{ISBN|9788899786151}}}} * {{wikicite | ref = Buckton-Treasury| reference = Buckton, David, et al., [http://www.metmuseum.org/research/metpublications/The_Treasury_of_San_Marco_Venice ''The Treasury of San Marco Venice''], Metropolitan Museum of Art (Milano: Olivetti, 1984)}} * {{wikicite | ref = D'Antiga-Origini| reference = D'Antiga, Renato, 'Origini del culto marciano e traslazione delle reliquie a Venezia', ''Antichità Altoadriatiche'', LXXV (2013), 221–241 {{ISSN|1972-9758}}}} * {{wikicite | ref = Demus-Church| reference = [[Otto Demus|Demus, Otto]], ''The Church of San Marco in Venice: History, Architecture, Sculpture'' (Washington: Dumbarton Oaks Research Library and Collection, 1960) {{OCLC|848981462}}}} * {{wikicite | ref = Demus-Decoration| reference = [[Otto Demus|Demus, Otto]], ''The Mosaic Decoration of San Marco Venice'' (Chicago: University of Chicago Press, 1988) {{ISBN|0226142922}}}} * {{wikicite | ref = Dodwell-arts| reference = Dodwell, C.R., ''The Pictorial arts of the West, 800–1200'' (New Haven, Yale University Press, 1993) {{ISBN|0300064934}}}} * {{wikicite | ref = Dorigo-Fabbriche| reference = Dorigo, Wladimiro, 'Fabbriche antiche del quartiere marciano', in Renato Polacco, ed., ''Storia dell’arte marciana: l’architettura'', Atti del Convegno internazionale di studi, Venezia 11–14 ottobre 1994 (Venezia: Marsilio, 1997), pp.&nbsp;39–66 {{ISBN|8831766457}}}} * {{wikicite | ref = Dorigo-Venezia| reference = Dorigo, Wladimiro, ''Venezia romanica: la formazione della città medioevale fino all'età gotica'', 2 vols (Venezia: Istituto veneto di scienze, lettere ed arti, 2003) {{ISBN|9788883142031}}}} * {{wikicite | ref = Fedalto-SanMarco| reference = Fedalto, Giorgio, 'San Marco tra Babilonia, Roma e Aquileia: nuove ipotesi e ricerche', in Antonio Niero, ed., ''San Marco: aspetti storici e agiografici'', Atti del Convegno internazionale di studi, Venezia 11–14 ottobre 1994 (Venezia: Marsilio, 1996), pp.&nbsp;35–50 {{ISBN|8831763695}}}} * {{wikicite | ref = Finlay-Cloth| reference = Finlay, Robert, 'The Altar Cloth of the Doge: Piety, Pride, and Politics in Renaissance Venice', ''Studies in Medieval and Renaissance History'', Series 3, Vol. 10 (2013), 143–172 {{ISSN|0081-8224}}}} * {{wikicite | ref = Geary-Furta| reference = Geary, Patrick J., ''Furta Sacra: Thefts of Relics in the Central Middle Ages'' (Princeton: Princeton University Press, 1978) {{ISBN|9780691052618}}}} * {{cite book|title=Guida D'Italia del Touring Club Italiano–Venezia|edition=3rd|publisher=[[Touring Club Italiano]]|location= Milano|isbn=978-8836543472|language=it|year=2007}} * {{wikicite | ref = Hopkins- Architecture| reference = Hopkins, Andrew, 'Architecture and Infirmitas: Doge Andrea Gritti and the Chancel of San Marco', ''Journal of the Society of Architectural Historians'', Vol. 57, No. 2 (June 1998), 182–197 {{ISSN|0037-9808}}}} * {{wikicite | ref = Howard-History| reference = [[Deborah Howard|Howard, Deborah]], ''The Architectural History of Venice'' (London: B. T. Batsford, 1980) {{ISBN|9780300090291}}}} * {{wikicite | ref = Lazzarini-pietre| reference = Lazzarini, Lorenzo, 'Le pietre e i marmi colorati della basilica di San Marco a Venezia', in Renato Polacco, ed., ''Storia dell’arte marciana: l’architettura'', Atti del Convegno internazionale di studi, Venezia 11–14 ottobre 1994 (Venezia: Marsilio, 1997), pp.&nbsp;309–328 {{ISBN|8831766457}}}} * {{wikicite | ref = Muir-Ritual| reference = [[Edward Wallace Muir Jr.|Muir, Edward]], ''Civic Ritual in Renaissance Venice'' (Princeton: Princeton University Press, 1981) {{ISBN|0691102007}}}} * {{wikicite | ref = Nicol-Byzantium| reference = Nicol, Donald M., ''Byzantium and Venice: a study in diplomatic and cultural relations'' (Cambridge: Cambridge University Press, 1988) {{ISBN|0521341574}}}} * {{wikicite | ref = Parrot-Genius| reference = Parrot, Dial, ''The Genius of Venice: Piazza San Marco and the Making of the Republic'' (New York: Rizzoli, 2013) {{ISBN|9780847840533}}}} * {{wikicite | ref = Piana-sovracupole| reference = Piana, Mario, 'Le sovracupole lignee di San Marco', in Ettore Vio, ed., ''San Marco, la Basilica di Venezia: arte, storia, conservazione'', vol. 1 (Venezia: Marsilio, 2019), pp.&nbsp;189–200 {{OCLC|1110869334}}}} * {{wikicite | ref = Rendina-dogi| reference = Rendina, Claudio, ''I dogi: storia e segreti'' (Roma: Newton, 1984) {{ISBN|9788854108172}}}} * {{wikicite | ref = Scarabello-Guida| reference = Scarabello, Giovanni and Paolo Morachiello, ''Guida alla civiltà di Venezia'' (Milano: Mondadori, 1987) {{ISBN|9788804302018}}}} * {{cite video|title=St. Marco|url=http://djustd.blogg.se/2010/june/st-marco.html|archive-url=https://archive.is/20121225053425/http://djustd.blogg.se/2010/june/st-marco.html|url-status=dead|archive-date=25 December 2012|medium=Video|publisher=DjustD|date=15 June 2010}} * {{wikicite | ref = Tramontin-SanMarco| reference = Tramontin, Silvio, 'San Marco', in ''Culto dei Santi a Venezia'' (Venezia: Studium Cattolico Veneziano, 1965)}} * {{cite book|last=Vianello|first=Sabina|title=Le Chiese Di Venezia|year=1993|publisher=Electa|location=Milano|isbn=978-8843540488|language=it}} * {{cite book|last=Vio|first=Ettore|title=Lo Splendore Di San Marco|year= 2001|publisher=Idea Libri|location=Rimini|isbn=978-8870827279|language=it}} * Elena Ene D-Vasilescu, “The church of San Marco in the [Byzantine] eleventh century”, Mirabilia, vol. 31/2 (2020), pp. 695-740; https://www.revistamirabilia.com › pdfs › 29._vasilescu_0.pdf. * {{wikicite | ref = Warren-chiesa| reference = Warren, John, 'La prima chiesa di san Marco Evangelista a Venezia', in Renato Polacco, ed., ''Storia dell’arte marciana: l’architettura'', Atti del Convegno internazionale di studi, Venezia 11–14 ottobre 1994 (Venezia: Marsilio, 1997), pp.&nbsp;184–200 {{ISBN|8831766457}}}} == External links == {{commons|Basilica di San Marco|St Mark's Basilica}} *{{official website|http://www.basilicasanmarco.it/}} *[http://goo.gl/maps/n44NN Satellite image from Google Maps] *[http://www.pallasweb.com/deesis/nicopeia-icon-san-marco-loot-from-constantinople-1204-crusade The Nicopeia Icon of San Marco] *[http://www.columbia.edu/cu/arthistory/faculty/Klein/SanMarco-offprint.pdf ''San Marco, Byzantium, and the Myths of Venice"] PDF of parts (71 pages) of book, Dumbarton Oaks Byzantine Symposia and Colloquia, "Introduction" and "Refashioning Byzantium in Venice, ca. 1200–1400" {{Piazza San Marco}} {{Venice landmarks}} {{Maestri di cappella at Saint Mark's Basilica}} {{Authority control}} {{Coord|45|26|04|N|12|20|23|E|type:landmark|display=title}} {{DEFAULTSORT:Saint Marks Basilica}} [[Category:St Mark's Basilica| ]] [[Category:Churches completed in 1093]] [[Category:11th-century Roman Catholic church buildings in Italy]] [[Category:Byzantine sacred architecture]] [[Category:Roman Catholic cathedrals in Italy|Venice]] [[Category:Church buildings with domes]] [[Category:Gothic architecture in Venice]] [[Category:Venetian Gothic architecture]] [[Category:Piazza San Marco]] [[Category:Cathedrals in Veneto]] [[Category:Minor basilicas in Veneto]]'