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'{{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 (disambiguation){{!}}Basilica di San Marco}} {{good article}} {{Use dmy dates|date=September 2020}} {{Infobox |abovestyle = background:#; |subheaderstyle = background:#FFCC99; |subheader = {{plainlist| * <big>'''St Mark's Basilica'''</big> * '''''Basilica di San Marco''''' }} |image1 = [[File:Venezia Basilica di San Marco Fassade 2.jpg|alt=main façade of St Mark's|frameless|upright= 1.23]] |caption1 = Main façade of St Mark's Basilica at Piazza San Marco |headerstyle = background:#FFCC99; |labelstyle = background:#; |datastyle = |header1 = | label1 = Location | data1 = [[Venice]], Italy | label2 = Denomination | data2 = [[Catholic Church]] | label3 = Consecrated | data3 = 8 October 1094 | label4 = Titular saint | data4 = Mark the Evangelist | header5 = History | data6 = {{Infobox | subbox = yes | headerstyle = background-color:#F8F9FA; | header1 = Current status }} | label7 = Designation | data7 = Cathedral (minor basilica)<br />1807–present | label8 = Episcopal see | data8 = Patriarchate of Venice | data9 = {{Infobox | subbox = yes | headerstyle = background-color:#F8F9FA; | header1 = Prior status }} | label10 = Designation | data10 = Ducal chapel<br />{{circa|836|lk=yes}}–1797 | label11 = Tutelage | data11 = Doge of Venice | header12 = Building details | data13 = {{Infobox | subbox = yes | headerstyle = background-color:#FFFFFF; | header1 = [[File:St Marks Basilica Ceiling 2 (7236759984).jpg|alt=dark interior with golden mosaics|frameless|upright= 1.23]] |below = Central nave looking east }} | data14 = {{Infobox | subbox = yes | headerstyle = background-color:#F8F9FA; | header1 = Construction }} | label15 = Built | data15 = {{circa|829|lk=yes}}–{{circa|836|lk=yes}} | label16 = Rebuilt | data16 = {{circa|1063|lk=yes}}–1094 | label17 = Styles | data17 = Byzantine, Romanesque, Gothic | data18 = {{Infobox | subbox = yes | headerstyle = background-color:#F8F9FA; | header1 = Specifications }} | label19 = Length | data19 = {{convert|76.5|m|ft}} | label20 = Width | data20 = {{convert|62.6|m|ft}} | label21 = Outer height<br/><small>(central dome)</small> | data21 = {{convert|43|m|ft}} | label22 = Inner height<br/><small>(central dome)</small> | data22 = {{convert|28.15|m|ft}}<ref>[[# Touring-Club-Venezia|Touring Club Italiano, ''Venezia'']], p.&nbsp;218</ref> | header23 = Map | data24 = {{Infobox | subbox = yes | header1 = {{infobox mapframe|coord={{coord}}|zoom=13|marker=religious-christian}} | data2=Click on the map for a fullscreen view }} }} 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]]; it became the episcopal seat of the [[Patriarch of Venice]] in 1807, replacing the earlier cathedral of [[San Pietro di Castello (church)|San Pietro di Castello]]. It is dedicated to and holds the [[Relic#Christianity|relics]] of [[Mark the Evangelist|Saint Mark the Evangelist]], the [[patron saint]] of the city. The church is located on the eastern end of [[Piazza San Marco|Saint Mark's Square]], the former political and religious centre of the [[Republic of Venice]], and is attached to the [[Doge's Palace]]. Prior to the [[Fall of the Republic of Venice|fall of the republic]] in 1797, it was the chapel of the [[Doge of Venice|Doge]] and was subject to his jurisdiction, with the concurrence of the [[procurators of Saint Mark]] ''de supra'' for administrative and financial affairs. The present structure is the third church, begun probably in 1063 to express Venice's growing civic consciousness and pride. Like the two earlier churches, its model was the sixth-century [[Church of the Holy Apostles]] in [[Constantinople]], although accommodations were made to adapt the design to the limitations of the physical site and to meet the specific needs of Venetian state ceremonies. [[Byzantine architecture|Middle-Byzantine]], [[Romanesque architecture|Romanesque]], and [[Islamic architecture|Islamic]] influences are also evident, and [[Venetian Gothic architecture|Gothic]] elements were later incorporated. To convey the republic's wealth and power, the original brick façades and interior walls were embellished over time with precious stones and rare marbles, primarily in the thirteenth century. Many of the columns, reliefs, and sculptures were spoils stripped from the churches, palaces, and public monuments of Constantinople as a result of the Venetian participation in the [[Fourth Crusade]]. Among the plundered artefacts brought back to Venice were the four ancient [[Horses of Saint Mark|bronze horses]] that were placed prominently over the entry. The interior of the domes, the vaults, and the upper walls were slowly covered with [[gold ground|gold-ground]] [[mosaic]]s depicting saints, prophets, and biblical scenes. Many of these mosaics were later retouched or remade as artistic tastes changed and damaged mosaics had to be replaced, such that the mosaics represent eight hundred years of artistic styles. Some of them derive from traditional Byzantine representations and are masterworks of [[Medieval art]]; others are based on preparatory drawings made by prominent [[Renaissance art]]ists from Venice and Florence, including [[Paolo Veronese]], [[Tintoretto]], [[Titian]], [[Paolo Uccello]], and [[Andrea del Castagno]]. {{TOC limit|4}} ==History== ===Participazio church ({{circa|lk=no|829}}–976)=== {{further|Saint Mark's relics}}gvjb ughghkjhjvgbhj [[File:Saint Mark's Basilica Inside.jpg|thumb|upright= 1.15|right|alt= semi-circular recess with entry door and semi-dome above|The entry to St Mark's, believed to date to the Participazio church]] Several medieval [[chronicle]]s narrate the {{lang|la|translatio}}, the removal of Saint Mark's body from [[Alexandria]] in Egypt by two Venetian merchants and its transfer to Venice in 828/829.<ref>[[#Demus-Church|Demus, ''The Church of San Marco in Venice'']], p.&nbsp;9</ref> The [[Chronicon Venetum et Gradense|Chronicon Venetum]] further recounts that the [[Saint Mark's relics|relics of Saint Mark]] were initially placed in a corner tower of the ''castrum'', 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> Doge [[Giustiniano Participazio]] ({{reign|label=in office|827|829}}) subsequently stipulated in his will that his widow 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 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. Construction of the new church may have actually been underway during Giustinian's lifetime 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> Although the Participazio church was long believed to have been a rectangular structure with a single apse, soundings and excavations have 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-History-28–29">[[#Howard-History|Howard, ''The Architectural History of Venice'']], p.&nbsp;28–29</ref> It has not been unequivocally established if each of the four crossarms of the church had a similar dome or were instead covered with [[Gable roof|gabled wooden roofs]].<ref>[[#D-Vasilescu-church|Draghici-Vasilescu, 'The Church of San Marco...']], pp.&nbsp;713–714</ref> The prototype was the [[Church of the Holy Apostles]] (demolished 1461) in [[Constantinople]].<ref name=Howard-History-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. More importantly, it underscored that St Mark's was intended not as an ecclesiastical seat but as a state sanctuary.<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 principal walls, including the western wall between the nave and the [[narthex]]. The great entry portal 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-History-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 di Castello]] 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 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> Nothing certain is known of the appearance of the Orseolo church. But given the short duration of the reconstruction, it is probable that work was limited to repairing damage with little innovation.<ref name=Howard-History-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 during the construction of the third church.<ref>[[#Parrot-Genius|Parrot, ''The Genius of Venice'']], p.&nbsp;37</ref> ===Contarini church ({{circa|lk=no|1063}}–present)=== ====Construction==== Civic pride led many Italian cities in the mid-eleventh century to begin erecting or rebuilding 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}}), St 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> [[File:San Marko (reconstruction).JPG|thumb|left|upright= 1.9|alt=Main façade of the original Contarini church, showing plain brick and limited decor|Antonio Pellanda, reconstruction of the western façade of the Contarini church (1881)]] The northern transept was lengthened, likely by incorporating the southern lateral nave of the Church of Saint Theodore.<ref>[[#Dorigo-Venezia|Dorigo, ''Venezia romanica''...]], I, p.&nbsp;45</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]]s, which in turn were reinforced by [[Arcade (architecture)|arcade]]s along the sides of the northern, southern, and western crossarms. The vaults of the eastern crossarm were supported by inserting single [[arch]]es that also served to divide the chancel from the choir 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, the vaulting system of the new narthex had to be interrupted in correspondence to the portal, thus creating the shaft above that was later opened to the interior of the church. The crypt was also enlarged to the east, and the high altar was moved from under the central dome to the chancel, which was raised, supported by a network of 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 a master mosaicist from Constantinople.<ref>[[#Demus-Church|Demus, ''The Church of San Marco in Venice'']], pp.&nbsp;74–75</ref><ref name="Dodwell-arts-184">[[#Dodwell-arts|Dodwell, ''The Pictorial arts of the West...'']], p.&nbsp;184</ref> The [[Pala d'Oro]] (golden [[altarpiece]]), ordered from Constantinople in 1102, was installed on the high altar in 1105.<ref>[[#Demus-Church|Demus, ''The Church of San Marco in Venice'']], p.&nbsp;75</ref><ref name=D-Vasilescu-704-note-32>[[#D-Vasilescu-church|Draghici-Vasilescu, 'The Church of San Marco...']], p.&nbsp;704, note 32</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.<ref>''Messe proprie della Chiesa patriarcale di Venezia'', Prot. CD 1165/52 (Venezia, Patriarcato di Venezia, 1983), pp.&nbsp;74–77</ref> On that day, the relics of Saint Mark were also placed into the new crypt.<ref name="Muir-Ritual-87">[[#Muir-Ritual|Muir, ''Civic Ritual in Renaissance Venice'']], p.&nbsp;87</ref> ====Embellishment==== [[File:Basilica San Marco south-west corner.jpg|thumb|upright= 1.15|The juncture of the southern and western crossarms, showing the original brickwork and the subsequent 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.<ref>[[#Demus-Church|Demus, ''The Church of San Marco in Venice'']], p.&nbsp;81</ref> 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 middle-Byzantine churches erected in the tenth and eleventh centuries, was characterized by a series of arches set between protruding pillars.<ref name="Demus-Church-98">[[#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]]es, while the intervening pillars were adorned with niches and circular [[Patera (architecture)|''patere'']] made of rare marbles and stones that were surrounded with ornamental frames.<ref>[[#Demus-Church|Demus, ''The Church of San Marco in Venice'']], p.&nbsp;89</ref> Other decorative details, including [[frieze]]s and [[Corbel#Corbel tables|corbel table]]s, reflected [[Romanesque architecture|Romanesque]] trends, an indication of the taste and craftsmanship of the Italian workers.<ref name="Demus-Church-99">[[#Demus-Church|Demus, ''The Church of San Marco in Venice'']], p.&nbsp;99</ref> 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 name=Howard-32>[[#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 name="Demus, p. 6">[[#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, palaces, and public monuments of Constantinople and stripped them of polychrome columns and stones. 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> Despoliation continued in later centuries, notably during the [[Venetian–Genoese Wars]].<ref>[[#Demus-Church|Demus, ''The Church of San Marco in Venice'']], p.&nbsp;120</ref><ref>[[#Howard-History|Howard, ''The Architectural History of Venice'']], p.&nbsp;33</ref> Venetian sculptors also integrated the spoils with local productions, copying 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==== {{See also|History of medieval Arabic and Western European domes}} [[File:Interior de la basílica de sant Marc de Venècia.JPG|thumb|upright= 1.15|alt=dark interior|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.<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 the areas 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 they remain. 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.<ref>[[#Demus-Church|Demus, ''The Church of San Marco in Venice'']], pp.&nbsp;83–87</ref> 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 an entry hall 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.<ref name="Demus-Decoration-128">[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], p.&nbsp;128</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> These wooden frames covered in lead provided more protection from weathering to the actual domes below and gave greater visual prominence to the church.<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> Various Near-Eastern models have been suggested as sources of inspiration and construction techniques for the heightened domes, including the [[Qibli 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> ==Architecture== ===Exterior=== The three exposed façades result from a long and complex evolution. Particularly in the thirteenth century, the exterior appearance of the church was radically altered: the patterned marble encrustation was added, and a multitude of columns and sculptural elements was applied to enrich the state church. It is probable that structural elements were also added to the façades or modified.<ref>[[#Jacoff-Unità|Jacoff, 'L'unità delle facciate di san Marco...']], p.&nbsp;78</ref> ====Western façade==== [[File:Basílica de S. Marcos - detalhe (483062853).jpg|thumb|upright=1.15|left|alt=western façade embellished with coloured marble columns|Western façade]] The exterior of the basilica is divided into two registers. On the western façade, the lower register is dominated by five deeply recessed [[Portal (architecture)|portals]] that alternate with large piers.<ref name="Demus-Church-98"/> The lower register was later completely covered with two tiers of precious columns, largely spoils from the Fourth Crusade.<ref name=Howard-32/> Consistent with Byzantine traditions, the sculptural elements are largely decorative: only in the arches that frame the doorways is there a functional use of sculpture that articulates the architectural lines.<ref>[[#Demus-Church|Demus, ''The Church of San Marco in Venice'']], pp.&nbsp;110–111</ref> In addition to the reliefs in the [[spandrel]]s, the sculpture at the lower level, relatively limited, includes narrow Romanesque bands, statues, and richly carved borders of foliage mixed with figures derived from Byzantine and Islamic traditions. The eastern influence is most pronounced in the [[Tympanum (architecture)|tympana]] over the northern-most and southern-most portals.<ref>[[#Demus-Church|Demus, ''The Church of San Marco in Venice'']], pp.&nbsp;114, 140–141, 147–148</ref> The iconographic programme is expressed primarily in the mosaics in the lunettes. In the lower register, those of the lateral portals narrate the {{lang|la|[[Saint Mark's relics#'Translatio'|translatio]]}}, the translation of Saint Mark's relics from Alexandria to Venice. From right to left, they show the removal of the saint's body from Egypt, its arrival in Venice, its veneration by the Doge, and its deposition in the church.<ref name="Demus, p. 184">[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], p.&nbsp;184</ref> This last mosaic is the only one on the façade that survives from the thirteenth century; the others were remade in the seventeenth, eighteenth, and nineteenth centuries.<ref>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], p.&nbsp;183</ref><ref>[[#Lorenzetti-Venezia|Lorenzetti, ''Venezia e il suo estuario...'']], pp.&nbsp;164, 166, 168</ref> The general appearance of the lost compositions is recorded in Gentile Bellini's ''[[Procession in St. Mark's Square|Procession in Piazza San Marco]]'' (1496), which also documents the earlier [[gilding]] on the façade.<ref name="Demus, p. 184"/> {{multiple image |perrow = 1/2 | align = right | direction = horizonal | total_width = 260 | header = Spoils from the Fourth Crusade | image1 = Venezia Basilica di San Marco Innen Quadriga 2.jpg | alt1 = four gilded horses | caption1 = | image2 = 0 Venise, pilier dit de Saint-Jean d'Acre 2.JPG | alt2 = pillar with intricate relief carving from the Church of St Polyeuctus in Constantinople | caption2 = | image3 = Venice – The Tetrarchs 03.jpg | alt3 = porphyry statue of four figures embracing one another | caption3 = | footer = [[Horses of Saint Mark|Quadriga from the Hippodrome]] (above), one of two pillars from the Church of St Polyeuctus (lower left), [[Portrait of the Four Tetrarchs|statue of the 'Four Tetrarchs']], possibly from the Philadelphion (lower right)<ref>[[#Nelson-Justice|Nelson, ''High Justice...'']], pp.&nbsp;148–149</ref> }} The upper register is enriched with an elaborate Gothic crowning, executed in the late-fourteenth/early-fifteenth centuries. The original lunettes, transformed into [[Ogee|ogee arch]]es, are outlined with foliage and topped with statues of four military saints over the lateral lunettes and of Saint Mark flanked by angels over the central lunette, the point of which contains the winged [[lion of Saint Mark]] holding a book with the angelic salutation of the {{lang|la|[[Saint Mark's relics#'Praedestinatio'|praedestinatio]]}}: "Peace to you Mark, my Evangelist" ({{lang|la|"Pax tibi Marce evangelista meus"}}).<ref group="note">The current statues were carved by Girolamo Albanese in 1618 in substitution of the originals, destroyed in the earthquake of 1511. See Giulio Lorenzetti, [[#Lorenzetti-Venezia|''Venezia e il suo estuario...'']], p.&nbsp;167</ref> The intervening [[aedicula]]e with [[pinnacle]]s house figures of the [[Four Evangelists]] and on the extremities, facing one another, the Virgin and the Archangel Gabriel in allusion to Venice's legendary foundation on the 25 March 421, the feast of the Annunciation.<ref>[[#Lorenzetti-Venezia|Lorenzetti, ''Venezia e il suo estuario...'']], pp.&nbsp;167–168</ref> Culminating in the [[Last Judgment]] over the main portal, the sequence of mosaics in the lateral lunettes of the upper register present scenes of Christ's victory over death: from left to right, the [[Descent from the Cross]], the [[Harrowing of Hell]], the [[Resurrection of Jesus|Resurrection]], and the [[Ascension of Jesus|Ascension]].<ref name="Demus, p. 184"/> The central lunette was originally blind and may have been pierced by several smaller windows; the present large window was inserted after the fire of 1419 destroyed the earlier structure.<ref>[[#Lorenzetti-Venezia|Lorenzetti, ''Venezia e il suo estuario...'']], p.&nbsp;167</ref> The reliefs of Christ and the Four Evangelists, now inserted into the northern façade, may also survive from the original decoration of the central lunette.<ref name=Jacoff-84>[[#Jacoff-Unità|Jacoff, 'L'unità delle facciate di san Marco...']], p.&nbsp;84</ref> The [[Horses of Saint Mark|four gilded bronze horses]] were among the early spoils brought from Constantinople after the Fourth Crusade.<ref>[[# Perry-Trophies|Perry, 'Saint Mark's Trophies...']], pp.&nbsp;27–28</ref> They were part of a [[quadriga]] adorning the [[Sultanahmet Square|Hippodrome]] and are the only equestrian team to survive from [[classical Antiquity]].<ref>[[#Vlad-Borrelli-Ipotesi|Vlad Borrelli, 'Ipotesi di datazione per i cavalli di San Marco']], p.&nbsp;39–42, 45</ref> In the mid-thirteenth century, they were installed prominently on the main façade of St Mark's as symbols of Venice's military triumph over Byzantium and of its newfound imperial status as the successor of the Byzantine Empire.<ref>[[# Perry-Trophies|Perry, 'Saint Mark's Trophies...']], p.&nbsp;28</ref> Since 1974 the original four horses are preserved inside, having been substituted with copies on the balcony over the central portal.<ref name="Touring-Club-Venezia-248">[[# Touring-Club-Venezia|Touring Club Italiano, ''Venezia'']], p.&nbsp;248</ref> ====Northern façade==== The aediculae on the northern façade contain statues of the four original Latin [[Doctor of the Church|Doctors of the Church]]: [[Jerome]], [[Augustine of Hippo|Augustine]], [[Ambrose]], and [[Pope Gregory I|Gregory the Great]]. [[Allegorical sculpture|Allegorical figures]] of [[Prudence]], [[Temperance (virtue)|Temperance]], [[Faith]], and [[Charity (Christian virtue)|Charity]] top the lunettes.<ref>[[#Lorenzetti-Venezia|Lorenzetti, ''Venezia e il suo estuario...'']], p.&nbsp;172</ref> ====Southern façade==== The Gothic crowning continues in the upper register of the southern façade, the lunettes being topped with the allegorical figures of [[Justice]] and [[Courage|Fortitude]] and the aediculae housing statues of [[Anthony the Great|Saint Anthony Abbot]] and [[Paul of Thebes|Saint Paul the Hermit]].<ref>[[#Lorenzetti-Venezia|Lorenzetti, ''Venezia e il suo estuario...'']], p.&nbsp;169</ref> The southern façade is the most richly encrusted façade with rare marbles, spoils, and trophies, including the so-called pillars of Acre, the [[Portrait of the Four Tetrarchs|statue of the four tetrarchs]] embedded into the external wall of the treasury, and the [[Carmagnola (Venice)|porphyry imperial head]] on the south-west corner of the balcony, traditionally believed to represent [[Justinian II]] and popularly identified as [[Francesco Bussone da Carmagnola]].<ref name="Demus, p. 112">[[#Demus-Church|Demus, ''The Church of San Marco in Venice'']], p.&nbsp;112</ref><ref>[[#Lorenzetti-Venezia|Lorenzetti, ''Venezia e il suo estuario...'']], pp.&nbsp;167, 169–170</ref> After a section of the narthex was partitioned off between 1100 and 1150 to create an entry hall, the niche that had previously marked the southern end of the narthex was removed, and the corresponding arch on the southern façade was opened to establish a second entry.<ref>[[#Demus-Church|Demus, ''The Church of San Marco in Venice'']], p.&nbsp;80</ref> Like the entry on the western façade, the passage was distinguished with precious porphyry columns.<ref>[[#Lazzarini-pietre|Lazzarini, 'Le pietre e i marmi colorati della basilica di San Marco a Venezia']], pp.&nbsp;318–319</ref> On either side, [[Attitude (heraldry)#Couchant|couchant]] lions and [[griffin]]s were placed. Presumably, the southern entry was also flanked by the two carved pillars long believed to have been brought to Venice from the Genoese quarter in St Jean d'Acre as booty of [[War of Saint Sabas|the first Venetian–Genoese war (1256–1270)]] but actually spoils of the Fourth Crusade, taken from the [[Church of St Polyeuctus]] in Constantinople. [[File:Venice city scenes - in St. Mark's square - St Mark's Basilica (11002371183).jpg|thumb|upright=1.15|right|alt=former entry blocked with marble altar seen from back|Former southern entry]] Between 1503 and 1515, the entry hall was transformed into the funerary chapel of [[Giovanni Battista Zeno|Giovanni Battista Cardinal Zen]], bishop of Vicenza, who had bequeathed a large portion of his wealth to the Venetian Republic, asking to be entombed in St Mark's.<ref>[[#Demus-Church|Demus, ''The Church of San Marco in Venice'']], pp.&nbsp;79–80</ref> The southern entrance was consequently closed, blocked by the altar and a window above, and although the griffins remain, much of the decoration was transferred or destroyed.<ref>[[#Demus-Church|Demus, ''The Church of San Marco in Venice'']], p.&nbsp;113</ref> The pillars were moved slightly eastward.<ref>[[#Jacoff-Unità|Jacoff, 'L'unità delle facciate di san Marco...']], p.&nbsp;80</ref> ===Entry hall (Zen Chapel)=== The decoration of the southern entry hall to the church was redone in the thirteenth century in conjunction with work in the adjoining narthex; of the original appearance of the entry hall, nothing is known. The present mosaic cycle in the barrel vault forms the prelude to the mosaic cycle on the main façade, which narrates the translation of Saint Mark's relics from Alexandria in Egypt to Venice. The events depicted include the {{lang|la|praedestinatio}}, the angelic prophecy that Mark would one day be buried in Venice, which affirms Venice's divine right to possess the relics. The authority of Saint Mark is demonstrated in the scenes that show the writing of [[Gospel of Mark|his Gospel]] which is then presented to Saint Peter. Particular relevance is also given to the departure of Saint Mark for Egypt and his miracles there, which creates continuity with the opening scene on the façade, depicting the removal of the body from Alexandria.<ref>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], pp.&nbsp;179–181</ref> Although largely redone in the nineteenth century, the apse above the doorway that leads into the narthex probably maintains the overall aspect of the decoration from the first half of the twelfth century with the Virgin flanked by angels, a theme common in middle-Byzantine churches.<ref>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], p.&nbsp;23</ref> ===Interior=== Although St Mark's was modelled after the Church of the Holy Apostles in Constantinople, ceremonial needs and limitations posed by the pre-existing walls and foundations made it necessary to adapt the design.<ref>[[#Demus-Church|Demus, ''The Church of San Marco in Venice'']], p.&nbsp;97</ref> The cruciform plan with five domes was maintained. However the Holy Apostles was a true centrally planned church: the central dome, larger than the others, was alone pierced with windows, and the altar was located underneath. There was no distinction between the four crossarms: no apse existed and double-tiered arcades surrounded the interior on all sides. In contrast, the longitudinal axis was emphasized to create a space appropriate for processions associated with state ceremonies. Both the central and western domes are larger, accentuating the progression along the nave, and by means of a series of increasingly smaller arches, the nave visually narrows towards the raised chancel in the eastern crossarm, where the altar stands.<ref name="Demus-Church-99"/> The crossarms of the transept are shorter and narrower. Optically, their height and width are further reduced by the insertion of arches, supported on double columns within the barrel vaults. The domes of the transept and the chancel are also smaller.<ref>[[#Demus-Church|Demus, ''The Church of San Marco in Venice'']], pp.&nbsp;92–94</ref> As with the Holy Apostles, each dome rests on four barrel vaults, those of the central dome rising from quadripartite (four-legged) piers. But the two-tiered arcades that reinforced the vaults in the Holy Apostles were modified. In St Mark's there are no upper arcades, and as a result the aisles are less isolated from the central part of the church. The effect is of more unified sense of space and an openness that have parallels in other Byzantine churches constructed in the eleventh century, an indication that the chief architect was influenced by middle-Byzantine architectural models in addition to the sixth-century Church of the Holy Apostles.<ref name="Demus-Church-98"/><ref>[[#Bouras-tipo|Bouras, 'Il tipo architettonico di san Marco']], p.&nbsp;170</ref> ====Chancel and choir chapels==== [[File:St Mark's Basilica-presbytery.jpg|thumb|upright= 1.15|right|alt=marble altar screen with statues on top|Entry to the chancel with the Dome of Immanuel above the high altar]] The chancel is enclosed by a [[Gothic art|Gothic]] [[Rood screen|altar screen]], dated 1394. It is surmounted by a bronze and silver [[Crucifix]], flanked by statues of the Virgin and Saint Mark, together with the Twelve Apostles.<ref>[[#Lorenzetti-Venezia|Lorenzetti, ''Venezia e il suo estuario...'']], pp.&nbsp;183–184</ref> On the left of the screen is the [[Ambon (liturgy)|ambo]] for readings from Scripture, while the on the right is the platform from which the newly elected Doge was presented to the people.<ref name="Lorenzetti-Venezia-183">[[#Lorenzetti-Venezia|Lorenzetti, ''Venezia e il suo estuario...'']], p.&nbsp;183</ref> Behind, marble banisters mark the limit of the choir, which after the reorganization by Doge Andrea Gritti ({{reign|label=in office|1523|1538}}) was utilized by the Doge, civic leaders, and foreign ambassadors.<ref>[[#Hopkins-Architecture|Hopkins, 'Architecture and Infirmitas...']], pp.&nbsp;189–190</ref><ref>[[#Howard-Sound|Howard, ''Sound and Space in Renaissance Venice...'']], p.&nbsp;35</ref> Prior to the sixteenth century, the Doge's throne was located near the choir chapel of [[Pope Clement I|Saint Clement I]], whose doorway opened to the courtyard of the Doge's Palace. The chapel was reserved for the Doge's private use.<ref>[[#Demus-Church|Demus, ''The Church of San Marco in Venice'']], pp.&nbsp;47–48</ref> From the window above, which communicates with his private apartments, it was also possible for the Doge to assist at mass in the church. The tribunes on either side of the chancel are faced with bronze reliefs that portray events in the life of Saint Mark and his miracles.<ref name=Lorenzetti-184>[[#Lorenzetti-Venezia|Lorenzetti, ''Venezia e il suo estuario...'']], p.&nbsp;184</ref> Beyond the banisters is the presbytery, reserved for the clergy, with the high altar which since 1835 contains the relics of Saint Mark, previously located in the crypt.<ref name=Lorenzetti-184/> The [[ciborium (architecture)|ciborium]] above the altar is supported by four intricately carved columns with scenes that narrate the lives of Christ and the Virgin. The age and provenance of the columns is disputed, with proposals ranging from sixth-century Byzantium to thirteenth-century Venice.<ref>[[#Weigel-colonne|Weigel, Thomas, ''Le colonne del ciborio dell'altare maggiore di san Marco a Venezia...'']], pp.&nbsp;5–6</ref> The [[altarpiece]], originally designed as an [[antependium]], is the [[Pala d'Oro]], a masterpiece of [[Byzantine enamel]]s on gilded silver.<ref>[[#Lorenzetti-Venezia|Lorenzetti, ''Venezia e il suo estuario...'']], pp.&nbsp;186–187</ref><ref>[[#Klein-Byzantium|Klein, 'Refashioning Byzantium in Venice...']], pp.&nbsp;197–199</ref> The two choir chapels, located on either side of the chancel, occupy the space corresponding to the lateral aisles in the other crossarms. They are connected to the chancel through archways which also serve to reinforce the barrel vaults supporting the dome above.<ref>[[#Demus-Church|Demus, ''The Church of San Marco in Venice'']], p.&nbsp;93</ref> The choir chapel on the northern side is dedicated to Saint Peter. Historically, it was the principal area for the clergy.<ref>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], pp.&nbsp;28, 96</ref><ref>[[#Dorigo-Fabbriche|'Fabbriche antiche del quartiere marciano']], pp.&nbsp;46–55</ref> The mosaic decoration in the vaults above the chapels largely narrates the life of Saint Mark, including the events of the {{lang|la|translatio}}. They constitute the oldest surviving representation of the transfer of Saint Mark's relics to Venice.<ref>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], pp.&nbsp;28, 30–31, 33</ref> ====Side altars and chapels==== The side altars in the transept were used primarily by the faithful. In the northern crossarm, the altar was originally dedicated to Saint John the Evangelist: the mosaics in the dome above show the aged figure of Saint John, surrounded by five scenes of his life in [[Ephesus]].<ref>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], pp.&nbsp;39–40</ref> The stone relief of Saint John, placed on the eastern wall of the crossarm in the thirteenth century, was later moved to the northern façade of the church, probably when the altar was rededicated in 1617 to the Madonna Nicopeia, a venerated Byzantine icon from the late-eleventh/early-twelfth century.<ref name="Demus, p. 112"/><ref>[[#Lorenzetti-Venezia|Lorenzetti, ''Venezia e il suo estuario...'']], pp.&nbsp;189–191</ref> {{multiple image | align = left | direction = horizonal | total_width = 260 | header = | image1 = Venice 0O3A9726 (10246444176).jpg | alt1 = Altar of the Nicopeia in St Mark's Basilica | caption1 = | image2 = Madonna Nicopeia San Marco interior.png | alt2 = Icon of the Madonna Nicopeia | caption2 = | footer = Altar and icon of the Madonna Nicopeia }} The date and the circumstances of the icon's arrival in Venice are not documented.<ref>[[# Samerski-Nikopeia|Samerski, ''La Nikopeia...'']], pp.&nbsp;9, 14</ref> Most likely one of many sacred images taken from Constantinople at the time of the Latin Empire, it was deposited in St Mark's treasury, with no specific importance associated.<ref name=Samerski-Nikopeia-11>[[#Samerski-Nikopeia|Samerski, ''La Nikopeia...'']], p.&nbsp;11</ref> It began to acquire significance for the Venetians in the fourteenth century when it was framed with Byzantine enamels looted from the Pantokrator in Contantinople. At that time, it may have been first carried in public procession to invoke the Virgin's [[Intercession of saints#Catholic view|intercession]] in ridding the city of the [[Black Death]].<ref>[[# Samerski-Nikopeia|Samerski, ''La Nikopeia...'']], pp.&nbsp;15–18</ref> The icon acquired a political role as the [[Palladium (classical antiquity)|palladium]] of Venice in the sixteenth century when it came to be identified as the sacred image that had been carried into battle by various Byzantine emperors.<ref name=Samerski-Nikopeia-11/><ref>[[#Belting-Likeness|Belting, ''Likeness and presence...'']], pp.&nbsp;203–204</ref> In 1589, the icon was transferred to the small Chapel of Saint Isidore where it was made accessible to the public, and subsequently it was placed on the side altar in the northern crossarm.<ref>[[#Samerski-Nikopeia|Samerski, ''La Nikopeia...'']], p.&nbsp;32</ref> It was first referred to as the Madonna Nicopeia (''Nikopoios'', Bringer of Victory) in 1645.<ref name=Samerski-Nikopeia-11/> The altar in the southern crossarm was initially dedicated to [[Leonard of Noblac|Saint Leonard]], the sixth-century Frankish saint who became widely popular at the time of the [[Crusades]] as his intercession was sought to liberate prisoners from the Muslims. He is shown in the dome above, together with other saints particularly venerated in Venice: Blaise, Nicholas, and Clement I.<ref>[[#Tramontin-santi|Tramontin, 'I santi dei mosaici marciani']], p.&nbsp;142</ref> The altar was rededicated in 1617 to the [[True Cross]], and since 1810, it has been the Altar of the [[Blessed Sacrament]].<ref>[[#Lorenzetti-Venezia|Lorenzetti, ''Venezia e il suo estuario...'']], p.&nbsp;181</ref> The long-neglected relics of Saint [[Isidore of Chios]], brought to Venice in 1125 by Doge [[Domenico Michiel]] ({{reign|label=in office|1117|1130}}) on return from his military expedition in the [[Aegean Sea|Aegean]], were rediscovered in the mid-fourteenth century, and upon the initiative of Doge [[Andrea Dandolo]] ({{reign|label=in office|1343|1354}}), the Chapel of Saint Isidore was constructed between 1348 and 1355 to house them.<ref>[[#Tomasi-cappella|Tomasi, 'Prima, dopo, attorno la cappella...']], pp.&nbsp;16–17</ref> An annual feast (16 April) was also established in the Venetian liturgical calendar.<ref>[[#Tomasi-cappella|Tomasi, 'Prima, dopo, attorno la cappella...']], p.&nbsp;15</ref> The Mascoli Chapel, utilized by the homonymous [[confraternity]] after 1618, was decorated under Doge [[Francesco Foscari]] ({{reign|label=in office|1423|1457}}) and dedicated in 1430.<ref>[[#Demus-Church|Demus, ''The Church of San Marco in Venice'']], p.&nbsp;43</ref><ref>[[#Lorenzetti-Venezia|Lorenzetti, ''Venezia e il suo estuario...'']], p.&nbsp;191</ref> Against the piers that support the central dome, on either side of the chancel, Doge [[Cristoforo Moro]] ({{reign|label=in office|1462|1471}}) erected at his personal expense two altars dedicated to Saint Paul and Saint James. The pier behind the Altar of Saint James is where the relics of Saint Mark are said to have been rediscovered in 1094: the miraculous event is depicted in the mosaics on the opposite side of the crossarm.<ref>[[#Lorenzetti-Venezia|Lorenzetti, ''Venezia e il suo estuario...'']], pp.&nbsp;181, 202</ref> ====Baptistery==== The date of construction of the baptistery is not known, but it is likely to have been under Doge [[Giovanni Soranzo]] ({{reign|label=in office|1312|1328}}), whose tomb is located in the baptistery, an indication that he was responsible for the architectural adaptation. Similarly entombed in the baptistery is Doge [[Andrea Dandolo]] who carried out the decorative programme at his personal expense.<ref name="Demus-Church-79">[[#Demus-Church|Demus, ''The Church of San Marco in Venice'']], p.&nbsp;79</ref> The mosaics present scenes from the life of Saint John the Baptist on the walls and, in the ante-baptistery, the infancy of Christ.<ref>[[#Pincus-Geografia|Pincus, 'Geografia e politica nel battistero di san Marco...']], p.&nbsp;461, note 12</ref> Directly above the bronze font, designed by Sansovino, the dome contains the [[dispersion of the Apostles]], each shown in the act of baptizing a different nationality in reference to Christ's command to preach the Gospel to all people.<ref>[[#Pincus-Geografia|Pincus, 'Geografia e politica nel battistero di san Marco...']], p.&nbsp;461</ref> The second dome, above the altar, presents Christ in glory surrounded by the [[Christian angelology|nine angelic choirs]]. The altar is a large granite rock, which according to tradition was brought to Venice from Tyre following the [[Venetian Crusade|Venetian conquest]]. It is said to be the rock upon which Christ stood to preach to the people of Tyre.<ref>[[#Lorenzetti-Venezia|Lorenzetti, ''Venezia e il suo estuario...'']], p.&nbsp;207</ref> ====Sacristy==== In 1486, [[Giorgio Spavento]], as ''proto'' (consultant architect and buildings manager), designed a new [[sacristy]], connected to both the presbytery and the choir chapel of Saint Peter; the location of the earlier sacristy is not known. It was Spavento's first project and the only one he oversaw to completion. Decoration began in 1493. The cabinets, used for storing [[Reliquary|reliquaries]], [[monstrance]]s, [[vestment]]s, and liturgical objects and books, were inlaid by [[Antonio della Mola]] and his brother Paolo and show scenes from the life of Saint Mark. The mosaic decoration of the vault, depicting Old-Testament prophets, was designed by [[Titian]] and executed between 1524 and 1530.<ref>[[#Schmidt-Arcangeli-iconografia|Arcangeli, 'L'iconografia marciana nella sagrestia della Basilica di san Marco']], pp.&nbsp;227–228</ref><ref>[[#Bergamo-Codussi|Bergamo, 'Codussi, Spavento & co....']], p.&nbsp;90</ref> Behind the sacristy is the church, also by Spavento, dedicated to Saint Theodore, the first patron saint of Venice. Constructed between 1486 and 1493 in an austere Renaissance style, it served as the private chapel for the [[Canon (priest)|canon]]s of the basilica and, later, as the seat of the [[Venetian Holy Inquisition|Venetian Inquisition]].<ref>[[#Bergamo-Codussi|Bergamo, 'Codussi, Spavento & co....']], pp.&nbsp;87–88</ref> ===Influence=== As the state church, St Mark's was a point of reference for Venetian architects. Its influence during the [[Venetian Gothic architecture|Gothic period]] seems to have been limited to decorative patterns and details, such as the portal and painted wall decoration in the Church of [[Santo Stefano, Venice|Santo Stefano]] and the portal of the Church of the [[Madonna dell'Orto]], consisting of an ogee arch with flame-like relief sculpture reminiscent of the [[crocket]]s on St Mark's.<ref>[[#Howard-History|Howard, ''The Architectural History of Venice'']], pp.&nbsp;76–77</ref> In the early Renaissance, despite the introduction of classical elements into [[Venetian Renaissance architecture|Venetian architecture]] by Lombard stonecutters, faithfulness to local building traditions remained strong.<ref>[[#Wolters-SanMarco|Wolters, 'San Marco e l'architettura del Rinascimento veneziano']], p.&nbsp;248</ref> In the façades of [[Palazzo Dario|Ca' Dario]] and the Church of [[Santa Maria dei Miracoli, Venice|Santa Maria dei Miracoli]], surface decoration in emulation of St Mark's is the principal characteristic, and the overall effect derives from the rich encrustation of shimmering coloured marbles and the circular patterns, derived from the basilica.<ref>[[#Howard-History|Howard, ''The Architectural History of Venice'']], pp.&nbsp;108, 114, 163</ref> Similarly, the Foscari Arch in the courtyard of the Doge's Palace is based on ancient [[triumphal arch]]es but owes its detailing to the basilica: the [[Superposed order|superimposed columns]] clustered together, the Gothic pinnacles, and the crowning statuary.<ref>[[#Howard-History|Howard, ''The Architectural History of Venice'']], p.&nbsp;108</ref><ref>[[#Wolters-SanMarco|Wolters, 'San Marco e l'architettura del Rinascimento veneziano']], pp.&nbsp;249–250</ref> At the [[Scuola Grande di San Marco]], the reference to St Mark's is made in the series of lunettes along the roofline which recalls the profile of the basilica.<ref>[[#Howard-History|Howard, ''The Architectural History of Venice'']], p.&nbsp;121</ref> <gallery mode="packed" heights="160px"> Venezia Chiesa di Santo Stefano Innen Langhaus Süd 2.jpg|alt=photo of lateral nave of Santo Stefano|Santo Stefano Madonna dell'Orto Portail.jpg|alt=photo ot entry of Madonna dell'Orto|[[Madonna dell'Orto]] Palazzo Dario Cropped.jpg|alt=photo of facade of Ca' Dario|[[Palazzo Dario|Ca' Dario]] Santa Maria dei Miracoli facciata sud Venezia notte.jpg|alt=photo of facade of Santa Maria dei Miracoli|[[Santa Maria dei Miracoli, Venice|Santa Maria dei Miracoli]] Arc Foscari, pati del Palau Ducal de Venècia.JPG|alt=photo of Foscari Arch|Foscari Arch Scuola Grande di San Marco Ospedale di Venezia facciata.jpg|alt=photo of facade of the Scuola Grande di San Marco|[[Scuola Grande di San Marco]] </gallery> ==Mosaics== {{See also|Late Antique and medieval mosaics in Italy}} ===Decorative programme=== ====Interior==== [[File:St Mark's Basilica-Pantocrator.jpg|thumb|upright= 1.15|alt=gold-ground mosaic of Christ enthroned|Petrus F., mosaic of Christ Pantocrator in the semi-dome of the apse with the [[Christogram#ICXC|Christogram ICXC]] (1506)]] The location of the main altar within the apse necessarily affected the decorative programme.<ref>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], pp.&nbsp;87–88</ref> The [[Christ Pantocrator]], customarily located in the central dome over the altar, was placed in the [[semi-dome]] of the apse.<ref>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], p.&nbsp;20</ref> Below, interspersed with three windows, are late-eleventh and early-twelfth-century mosaics that portray [[Saint Nicholas|Saint Nicholas of Myra]], Saint Peter, Saint Mark, and [[Hermagoras of Aquileia|Saint Hermagoras of Aquileia]] as the protectors and patrons of the state, Saint Nicholas being specifically the protector of seafarers.<ref>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], pp.&nbsp;21, 23</ref> Over the high altar in the eastern crossarm is the Dome of [[Immanuel]] (God with us). It presents a young Christ in the centre, surrounded by stars. Radially arranged underneath are standing figures of the Virgin and Old-Testament prophets, the latter bearing scrolls with passages that largely refer to the [[Incarnation (Christianity)|Incarnation]].<ref>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], p.&nbsp;58</ref> Rather than [[seraph]]im as was customary in middle-Byzantine churches, the [[pendentive]]s of the dome show the [[Four Evangelists#Symbols|symbols of the Four Evangelists]].<ref name=Demus-Decoration-89>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], p.&nbsp;89</ref> An extensive cycle narrating the [[Life of Christ in art|Life of Christ]] covers much of the interior, with the principal events located along the longitudinal axis. The eastern vault, between the central dome and the chancel, contains the major events of the infancy ([[Annunciation]], [[Adoration of the Magi]], [[Presentation of Jesus at the Temple|Presentation in the Temple]]) along with the [[Baptism of Jesus|Baptism of Christ]] and the [[Transfiguration of Jesus|Transfiguration]]. The western vault depicts the events of the [[Passion of Jesus]] on one side (the [[kiss of Judas]], the [[Pilate's court|trial before Pilate]], and the [[Crucifixion of Jesus|Crucifixion]]) and the [[Resurrection of Jesus|Resurrection]] on the other side (the [[Harrowing of Hell]] and the [[Resurrection of Jesus#Biblical accounts|post-resurrection appearances]]). A secondary series illustrating Christ's miracles is located in the transepts.<ref>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], p.&nbsp;49</ref> The series seems to have derived from an eleventh-century Byzantine Gospel.<ref>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], p.&nbsp;50</ref> The transepts also contain a detailed cycle of the [[Life of the Virgin]]: these scenes were probably derived from an eleventh-century [[illuminated manuscript]] of the [[Gospel of James|Protogospel of James]] from Constantinople.<ref>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], p.&nbsp;53</ref><ref name="Dodwell-arts-186">[[#Dodwell-arts|Dodwell, ''The Pictorial arts of the West...'']], p.&nbsp;186</ref> As a prelude, a [[Tree of Jesse]] showing the ancestors of Christ was added to the end wall of the northern crossarm between 1542 and 1551.<ref>[[#Lorenzetti-Venezia|Lorenzetti, ''Venezia e il suo estuario...'']], p.&nbsp;201</ref> Throughout the various narrative cycles, Old-Testament prophets are portrayed holding texts that relate to the New-Testament scenes nearby.<ref>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], p.&nbsp;90</ref> The Dome of the Ascension occupies the central position, whereas in the Church of the Holy Apostles it was located over the southern crossarm.<ref name=Demus-Decoration-88>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], p.&nbsp;88</ref> The dome, executed in the late twelfth century, is exemplary of middle-Byzantine prototypes in Constantinople.<ref>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], p.&nbsp;65</ref> In the centre Christ ascends, accompanied by four angels and surrounded by standing figures of the Virgin, two angels, and the [[Apostles in the New Testament|Twelve Apostles]]. As customary for the central dome in middle-Byzantine churches, the pendentives contain the Four Evangelists, each with his [[Gospel#Canonical gospels|gospel]].<ref name=Demus-Decoration-89/> As in the Church of the Holy Apostles, the Dome of Pentecost is located over the western crossarm.<ref>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], p.&nbsp;87</ref> In the centre is an [[hetoimasia]], an empty throne with a book and dove. Radiating outward are silver rays which fall on the heads of the Apostles seated around the outer rim of the dome, each with a flame on his head. In keeping with Pentecost, as the institution of the Church, the side vaults and walls of the western crossarm largely illustrate the subsequent missionary activities of the Apostles and their deaths as [[Christian martyr|martyrs]].<ref name=Demus-Decoration-88/> The specific events in the lives of the various Apostles and the manner of their deaths adhere to Western traditions, as narrated in Latin [[Martyrology|martyrologies]] that derive in part from the Book of Acts but to a greater extent from [[apocrypha]]l sources. However, the single representations and the overall concept of presenting the lives of the saints in a composition that combines several events together in one scene have their parallels in Greek manuscript illustrations of the middle-Byzantine period.<ref>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], pp.&nbsp;80, 82</ref> The western vault illustrates [[Book of Revelation|Saint John's vision]] of the [[Apocalypse]] and the Last Judgement. On the wall below there is a thirteenth-century [[deesis]] with Christ enthroned between the Virgin and Saint Mark.<ref>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], pp.&nbsp;123–126</ref> ====Narthex==== The decorative programme of the western and northern wings of the narthex seems to have been planned in its entirety in the thirteenth century when the eleventh-century narthex was extended along the northern and southern sides of the western crossarm. However, a stylistic change in the mosaics is evident in the northern wing, indicating that the execution of the programme was interrupted, presumably to await the completion of the vaulting system.<ref name="Demus-Decoration-128"/> [[File:Venice 0O3A9661 (10247145413).jpg|thumb|upright=1.15|right|alt=golden-ground mosiacs in dome|The Dome of the Creation in the narthex (thirteenth century)<ref name="Demus, p. 6"/>]] Unlike in middle-Byzantine churches where the theme of the Last Judgement is often represented in the narthex, the decorative programme narrates the stories of [[book of Genesis|Genesis]] and [[book of Exodus|Exodus]]: the main subjects are the [[Genesis creation narrative|Creation]] and the [[Tower of Babel]] along with the lives of [[Noah]], [[Abraham]], [[Joseph (Genesis)|Joseph]], and [[Moses]].<ref>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], pp.&nbsp;91, 130–151</ref> Special emphasis is given to the stories of the [[Abel|sacrifice of Abel]] and the [[Abraham#Three visitors|hospitality of Abraham]], located prominently in the lunettes on either side of the entry to the church, due to the analogies with Christ's death and the [[Eucharist|Eucharistic meal]].<ref>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], pp.&nbsp;157, 159</ref> It has long been recognized that the individual scenes are very close to those of the [[Cotton Genesis]], an important fourth or fifth-century Greek [[illuminated manuscript]] copy of the Book of Genesis: about a hundred of the 359 [[Miniature (illuminated manuscript)|miniatures]] in the manuscript were used. Of Egyptian origin, the manuscript may have reached Venice as a result of the commercial relations of the Venetians in the Eastern Mediterranean or as booty of the Fourth Crusade.<ref>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], p.&nbsp;156</ref> The sixth-century [[Vienna Genesis]] was also in Venice in the early thirteenth century and may have influenced artistic choices.<ref>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], p.&nbsp;155</ref> With regard to the Dome of Moses, the scenes most closely resemble [[Byzantine art#Palaeologan age|Palaeologan art]], suggesting an unknown manuscript from the third quarter of the thirteenth century as the iconographic source.<ref>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], p.&nbsp;175</ref> While the Byzantine renderings of the Old-Testament stories in illuminated manuscripts provided suitable models, Byzantine churches themselves did not generally give importance to the Old Testament in their decoration, considering the stories to be shadows of the history of salvation, inferior to the reality of the New Testament. The impetus for the Venetians to choose the Old Testament as the theme of the narthex was instead of western derivation and reflected an interest that had developed in Rome beginning in the late eleventh century.<ref>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], pp.&nbsp;155–156</ref> The narration begins in correspondence to the former southern entry of the church with the Dome of the Creation, which opens with the spirit of God hovering above the waters and concludes with [[Adam]] and [[Eve]] cast out from the [[Garden of Eden]]. As in the Cotton Genesis, Christ is portrayed as the agent of creation.<ref>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], p.&nbsp;164</ref> Underneath, the pendentives contain [[cherub]]im, the guardians of Eden, and the lunettes illustrate the story of [[Cain and Abel]].<ref>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], p.&nbsp;165</ref> The stories of Noah and of the Tower of Babel with the [[Tower of Babel#Confusion of tongues|confusion of tongues]] and the dispertion of the nations occupy the vaults on either side of the entry to the church.<ref>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], pp.&nbsp;159, 165</ref> The story of Abraham, from the [[Abraham#Origins and calling|calling of the patriarch]] to the [[Religious male circumcision#Abrahamic religions|circumcision]] of [[Isaac]], is narrated in a single dome and the two lunettes underneath, whereas the story of Joseph, the most extensive, occupies the next three domes.<ref>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], pp.&nbsp;138–146</ref> The story of Moses, until the [[Crossing the Red Sea|Crossing of the Red Sea]], is limited to the final [[Bay (architecture)|bay]].<ref>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], p.&nbsp;151</ref> ===Style=== {{multiple image | align = right | direction = horizontal | total_width = 260 | header = | image1 = Dome of Immanuel in St Mark's Basilica-Jeremiah.jpg | alt1 = mosaic | caption1 = | image2 = Dome of Immanuel in St Mark's Basilica-Isaiah.jpg | alt2 = mosaic | caption2 = | footer = Mosaics in the Dome of Immanuel: the prophet [[Jeremiah]], dating to the first quarter of the twelfth century, (left) and the prophet [[Isaiah]], probably executed between 1170 and 1180 (right)<ref>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], pp.&nbsp;26, 61</ref> }} The oldest mosaics in St Mark's, located in the niches of the entry porch in the narthex, may date to as early as 1070.<ref>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], pp.&nbsp;18, 188</ref> Although Byzantine in style, they are somewhat antiquated with respect to contemporary trends in Byzantium. Most likely, they were executed by mosaicists who had left Constantinople in the mid-eleventh century to work on the cathedral of Torcello and then remained in the local area.<ref>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], pp.&nbsp;17–19</ref> More modern but still archaic in style are the figures in the main apse which were done in the late-eleventh and early-twelfth centuries.<ref>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], pp.&nbsp;23, 188–189</ref> The most important period of decoration was the twelfth century when Venice's relations with Byzantium alternated between political tensions that limited artistic influence from the East and moments of intense trade and cooperation that favoured the Venetians' awareness of eastern prototypes as well as the influx of Byzantine mosaicists and materials.<ref>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], pp.&nbsp;5–6</ref> The three figures in the Dome of Immanuel that date to the first quarter of the century ([[Jeremiah]], [[Hosea]], and [[Habakkuk]]) are the work of highly skilled mosaicists, likely Greek-trained. They demonstrate the greater classicism and realism of middle-Byzantine painting in Constantinople but also local trends in the harsher and broken lines.<ref>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], pp.&nbsp;25–26, 189</ref> In succeeding phases of work in the choir chapels and the transept, Byzantine miniatures were copied more or less faithfully for the mosaics, but any eastern influence that could reflect the latest artistic developments in Constantinople is hardly traceable.<ref>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], pp.&nbsp;189–190</ref> A new and direct awareness of artistic developments in Constantinople is indicated in the Dome of Pentecost, executed sometime in the first half of the twelfth century.<ref>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], pp.&nbsp;57, 190</ref> {{multiple image | align = left | direction = vertical | total_width = 260 | header = | image1 = Prayer in the Garden of Olives (San Marco).jpg | alt1 = mosaic | caption1 = Mosaic in the right lateral nave depicting the [[Agony in the Garden]] (early thirteenth century)<ref>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], p.&nbsp;193</ref> | image2 = Andrea del castagno, Dormition of the Virgin.jpg | alt2 = mosaic | caption2 = [[Andrea del Castagno]], attributed (cartoon), mosaic in the Mascoli Chapel depicting the [[Dormition of the Mother of God|Dormition of the Virgin]] (1448?)<ref>[[#Scarpa-cappella|Scarpa, 'La cappella dei Mascoli...']], pp.&nbsp;230, 232</ref> | footer = }} In the last third of the twelfth century, a large portion of the mosaics in the Dome of Immanuel and the entirety of the Dome of the Ascension and of several vaults in the western crossarm had to be completely redone in consequence of a catastrophic event, the nature and date of which are not known.<ref>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], pp.&nbsp;190–191</ref> Local influence is evident. But the more vigorous poses, agitated draperies, expressiveness, and heightened contrast show the partial assimilation of the developing dynamic style in Constantinople.<ref>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], pp.&nbsp;60–61, 191</ref> The mosaics in the Dome of the Ascension and those depicting the Passion in the nearby vault represent the maturity of the Venetian mosaic school and are one of the great achievements of [[Medieval art]].<ref>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], p.&nbsp;191</ref> After the removal of the galleries, the mosaic decoration was extended onto the lower walls, beginning in the thirteenth century. The first mosaic, depicting the [[Agony in the Garden]], represents a synthesizing of various traditions, both eastern and western. Traces remain of the complicated patterns of the late Komnenian period. But the statuesque quality of the figures, which are also more rounded, reflect contemporary developments in Byzantine art such as can be seen at [[Studenica Monastery]]. Concurrently, an elegance associated with western Gothic appears and is fused with the Byzantine traditions. The Gothic influence becomes more pronounced in later mosaics of the period with patterned backgrounds that derive from the [[Stained glass|stained-glass windows]] in French churches.<ref>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], pp.&nbsp;193–194, 199</ref> The interior mosaics were apparently complete by the 1270s, with work on the narthex continuing into the 1290s. Although some activity must have still been underway in 1308 when the [[Great Council of Venice|Great Council]] allowed a glass furnace on [[Murano]] to produce mosaic material for St Mark's during the summer, by 1419 no competent mosaicist remained to repair the extensive damage to the main apse and western dome caused by a fire that year. The Venetian government had to consequently seek assistance from the [[Signoria of Florence]] which sent [[Paolo Uccello]].<ref>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], pp.&nbsp;6–7</ref> Other Florentine artists, including [[Andrea del Castagno]], were also active in St Mark's in the mid-fifteenth century, introducing a sense of [[Perspective (graphical)#Renaissance|perspective]] largely achieved with architectural settings. In this same period, [[Michele Giambono]] executed mosaics.<ref>[[#Lorenzetti-Venezia|Lorenzetti, ''Venezia e il suo estuario...'']], p.&nbsp;193</ref> By the time a new fire in 1439 made repairs once again necessary, a number of Venetian mosaicists had been trained. Some of the replacement mosaics they created show a Florentine influence; others reflect Renaissance developments in the detailing and the modelling of the figures. But overall the replacement mosaics in this period closely imitated the design of the damaged works and were intended to look medieval.<ref>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], p.&nbsp;7</ref> [[File:Domenico Tintoretto - Presentation of Christ in the Temple - WGA19639.jpg|thumb|upright=1.15|right|alt=mosaic|Tintoretto workshop (cartoon), mosaic in the central nave depicting the [[Presentation of Jesus at the Temple]] (sixteenth century)<ref name=Lorenzetti-203>[[#Lorenzetti-Venezia|Lorenzetti, ''Venezia e il suo estuario...'']], p.&nbsp;203</ref>]] Efforts to maintain the stylistic integrity of the medieval works whenever repairs and restorations became necessary were largely abandoned in the sixteenth century. Often in the absence of any need to restore mosaics but under the sole pretense of replacing old mosaics with [[Renaissance art|Renaissance]] and [[Mannerism|Mannerist]] ones, renowned artists such as Titian, Tintoretto, Paolo Veronese, Giuseppe Salviati, Palma Giovane increasingly competed for work in the church, preparing preliminary sketches for 'modern' mosaics, considered artistically superior, with little attempt to stylistically integrate the new figures and scenes into the older compositions.<ref>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], p.&nbsp;8</ref> In addition to damage from fire and earthquake as well as from the vibrations that resulted whenever cannon were fired in salute from ships in the lagoon, the normal decay of the underlying masonry made it necessary to repeatedly repair the mosaics.<ref name=Demus-Decoration-9>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], p.&nbsp;9</ref> In 1716, Leopoldo dal Pozzo, a mosaicist from Rome, was commissioned to assume responsibility for the repair and maintenance of the mosaics in St Mark's, the local craftsmen having once again largely died out. Dal Pozzo also executed a few new mosaics based on preliminary drawings by [[Giovanni Battista Piazzetta]] and [[Sebastiano Ricci]].<ref name=Demus-Decoration-9/> An exclusive contract for restoration was stipulated in 1867 with the mosaic workshop run by the [[Salviati (glassmakers)|Salviati glassmaking firm]], whose highly criticized restoration work often involved removing and resetting the mosaics, usually with a considerable loss of quality. Although the original iconographic programme has been largely preserved, despite centuries of restoration and renewal, and roughly three-fourths of the mosaics maintain their earlier compositions and styles, only about a third can be considered original.<ref>[[#Demus-Decoration|Demus, ''The Mosaic Decoration of San Marco Venice'']], p.&nbsp;10</ref> ===Floor mosaics=== [[File:Venice 0O3A9724 (10247435403).jpg|thumb|upright= 1.15|right|alt=intricately patterned floor with coloured marbles|Detail of the floor, executed in ''opus sectile'' and ''opus tessellatum'' (in the corners)]] The floor, executed primarily in ''[[opus sectile]]'' and to a lesser extent in ''[[opus tessellatum]]'', dates to either the late eleventh century or first half of the twelfth century.<ref>[[# Farioli-pavimento|Farioli Campanata, 'Il pavimento di san Marco a Venezia...']], p.&nbsp;11</ref> It consists of geometric patterns and animal designs made from a wide variety of coloured limestones and marbles.<ref>[[# Farioli-pavimento|Farioli Campanata, 'Il pavimento di san Marco a Venezia']], p.&nbsp;12</ref><ref>[[#Florent-Goudouneix-pavimenti|Florent-Goudouneix, 'I pavimenti in «opus sectile» nelle chiese di Venezia e della laguna']], p.&nbsp;20</ref> The animals represented, including lions, eagles, griffons, deer, dogs, peacocks, and others, largely derive from medieval [[Bestiary|bestiaries]] and have symbolic meanings.<ref>[[#Barral-I-Altet-Genesi|Barral I Altet, 'Genesi, evoluzione e diffusione dei pavimenti romanici']], pp.&nbsp;48–49</ref> Although it has similarities with Romanesque floors, the inclusion of large slabs of marble surrounded with decorative cornices also suggests an influence from eastern prototypes.<ref>[[# Farioli-pavimento|Farioli Campanata, 'Il pavimento di san Marco a Venezia...']], pp.&nbsp;12–13</ref><ref>[[#Barral-I-Altet-Genesi|Barral I Altet, 'Genesi, evoluzione e diffusione dei pavimenti romanici']], p.&nbsp;47</ref> The frequent use of intertwined circles also recalls medieval Italian [[cosmatesque]] floors.<ref>[[# Farioli-pavimento|Farioli Campanata, 'Il pavimento di san Marco a Venezia']], p.&nbsp;14</ref> {{clear}} ==Administration== {{Further|Procurators of Saint Mark}} {{See also|Treasury of St Mark's Basilica}} Under the Venetian Republic, St Mark's was the private chapel of the Doge. The {{lang|la|primicerius}}, responsible for the religious functions, was nominated by the Doge personally, and despite several attempts by the [[Roman Catholic Diocese of Castello|Bishop of Olivolo/Castello]] (after 1451 [[Patriarch of Venice]]) to claim jurisdiction over St Mark's, the {{lang|la|primicerius}} remained subject to the Doge alone.<ref>[[#Demus-Church|Demus, ''The Church of San Marco in Venice'']], pp.&nbsp;44–45</ref><ref>[[#Cozzi-giuspatronato|Cozzi, 'Il giuspatronato del doge su san Marco']], p.&nbsp;731</ref> Beginning in the ninth century, the Doge also nominated a [[Procurators of Saint Mark|procurator]] {{lang|la|operis ecclesiae Sancti Marci}}, responsible for the financial administration of the church, its upkeep, and its decoration.<ref>[[#Demus-Church|Demus, ''The Church of San Marco in Venice'']], pp.&nbsp;52–53</ref> By the mid-thirteenth century there were two procurators in charge of the church, denominated {{lang|la|de supra (Ecclesiam sancti Marci)}}. Elected by the Great Council, they supervised the church {{lang|la|in temporalibus}}, limiting the authority of the Doge. In 1442, there were three procurators {{lang|la|de supra}} who administered the church and its [[Treasury of St Mark's Basilica|treasury]].<ref>Tiepolo, Maria Francesca, 'Venezia', in ''[http://www.maas.ccr.it/PDF/Venezia.pdf La Guida generale degli Archivi di Stato],'' {{Webarchive|url=https://web.archive.org/web/20210604013443/http://www.maas.ccr.it/PDF/Venezia.pdf}}, IV (Roma: Ministero per i beni culturali e ambientali, Ufficio centrale per i beni archivistici, 1994), p.&nbsp;886 {{ISBN|9788871250809}}</ref><ref>Da Mosto, Andrea, ''[https://www.icar.beniculturali.it/biblio/pdf/damosto_testo/screenDamosto.pdf L'Archivio di Stato di Venezia, indice generale, storico, descrittivo ed analitico],'' {{Webarchive|url= https://web.archive.org/web/20211113193256/https://www.icar.beniculturali.it/biblio/pdf/damosto_testo/screenDamosto.pdf|date=}} (Roma: Biblioteca d'Arte editrice, 1937), p.&nbsp;25</ref> The procurators also hired and paid the ''proto'', directly responsible for overseeing construction, maintenance, and restoration.<ref>[[#Howard-Sansovino|Howard, ''Jacopo Sansovino...'']], pp.&nbsp;8–9</ref> St Mark's ceased to be the private chapel of the Doge as a result of the [[fall of the Republic of Venice]] to the French in 1797, and the {{lang|la|primicerius}} was required to take an oath of office under the provisional municipal government. At that time, plans began to transfer the seat of the Patriarch of Venice from San Pietro di Castello to St Mark's.<ref>[[#Scarabello-primiceriato|Scarabello, 'Il primiceriato di San Marco...']], pp.&nbsp;153–154</ref> However, no action was taken before Venice passed under Austrian control in 1798. During the first period of Austrian rule (1798–1805), it was alternatively suggested that the episcopal seat be moved to the [[San Salvador, Venice|Church of San Salvador]], but again no action was taken until 1807 when, during the [[Kingdom of Italy (Napoleonic)|second period of French domination]] (1805–1814), St Mark's became the patriarchal cathedral. The new status was confirmed by Emperor [[Francis II, Holy Roman Emperor|Francis I]] of Austria in 1816 during the [[Kingdom of Lombardy–Venetia|second period of Austrian rule]] (1814–1866) and by Pope [[Pope Pius VII|Pius VII]] in 1821.<ref>[[#Scarabello-primiceriato|Scarabello, 'Il primiceriato di San Marco...']], pp.&nbsp;155–156</ref> ==See also== * [[Venetian School (music)]] * [[Cappella Marciana]] * [[List of buildings and structures in Venice]] * [[List of churches in Venice]] ==References== ===Notes=== {{Reflist|group=note|30em}} ===Citations=== {{Reflist|30em}} ===Bibliography=== * {{wikicite | ref = Adami-Techniques|reference = Adami, Andrea and others, [https://polipapers.upv.es/index.php/var/article/view/9087/10377 'Image-based Techniques for the Survey of Mosaics in the St Mark's Basilica in Venice'], ''Virtual Archaeology Review'', 9(19) (2018), 1–20 {{ISSN|1989-9947}}}} * {{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 = Barral-I-Altet-Genesi|reference = Barral I Altet, Xavier, 'Genesi, evoluzione e diffusione dei pavimenti romanici', in Renato Polacco, ed., ''Storia dell'arte marciana: i mosaici'', Atti del Convegno internazionale di studi, Venezia 11–14 ottobre 1994 (Venezia: Marsilio, 1997), pp.&nbsp;46–55 {{ISBN|8831768328}}}} * {{wikicite | ref = Belting-Likeness|reference = [[Hans Belting|Belting, Hans]], ''Likeness and presence: a history of the image before the era of art'', trans. by Edmund Jephcott (Chicago: The University of Chicago Press, 1994) {{ISBN|9780226042145}}}} * {{wikicite | ref = Bergamo-Codussi|reference = Bergamo, Maria, 'Codussi, Spavento & co.: building the Sacristy of St Mark's Basilica in Venice', ''San Rocco Collaborations'', 6 (Spring 2013), 86–96 {{ISSN|2038-4912}}}} * {{wikicite | ref = Bernabei-Grottesco|reference = Bernabei, Franco, 'Grottesco magnifico: fortuna critica di san Marco', 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;207–234 {{ISBN|8831766457}}}} * {{wikicite | ref = Betto-Chiesa|reference = Betto, Bianca, 'La chiesa ducale', in Silvio Tramontin, ed., ''Patriarcato di Venezia'', Storia Religiosa del Veneto (Padova: Gregoriana Libreria, 1991), pp.&nbsp;333–366 {{ISBN|9788877060938}}}} * {{wikicite | ref = Bouras-tipo|reference = [[Charalambos Bouras|Bouras, Charalambos]], 'Il tipo architettonico di san Marco', 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;164–175 {{ISBN|8831766457}}}} * {{wikicite | ref = Cozzi-giuspatronato|reference = [[Gaetano Cozzi|Cozzi, Gaetano]], 'Il giuspatronato del doge su san Marco', 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;727–742 {{ISBN|8831763695}}}} * {{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 = [[Charles Reginald Dodwell|Dodwell, Charles 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 = D-Vasilescu-church|reference = Draghici-Vasilescu, Elena Ene, '[https://www.revistamirabilia.com/sites/default/files/pdfs/29._vasilescu_0.pdf The Church of San Marco in the [Byzantine<nowiki>]</nowiki> eleventh century'], ''Mirabilia'', 31/2 (2020), 695–740}} * {{wikicite | ref = Farioli-pavimento|reference = Farioli Campanata, Raffaela , 'Il pavimento di san Marco a Venezia e i suoi rapporti con l'Oriente', in Renato Polacco, ed., ''Storia dell'arte marciana: i mosaici'', Atti del Convegno internazionale di studi, Venezia 11–14 ottobre 1994 (Venezia: Marsilio, 1997), pp.&nbsp;11–19 {{ISBN|8831768328}}}} * {{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 = Florent-Goudouneix-pavimenti|reference = Florent-Goudouneix, Yvette, 'I pavimenti in «opus sectile» nelle chiese di Venezia e della laguna', in Renato Polacco, ed., ''Storia dell'arte marciana: i mosaici'', Atti del Convegno internazionale di studi, Venezia 11–14 ottobre 1994 (Venezia: Marsilio, 1997), pp.&nbsp;20–29 {{ISBN|8831768328}}}} * {{wikicite | ref = Geary-Furta|reference = [[Patrick J. Geary|Geary, Patrick J.]], ''Furta Sacra: Thefts of Relics in the Central Middle Ages'' (Princeton: Princeton University Press, 1978) {{ISBN|9780691052618}}}} * {{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'', 57.2 (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 = Howard-Sansovino|reference = [[Deborah Howard|Howard, Deborah]], ''Jacopo Sansovino: architecture and patronage in Renaissance Venice'' (New Haven: Yale University Press, 1975) {{ISBN|9780300018912}}}} * {{wikicite | ref = Howard-Sound|reference = [[Deborah Howard|Howard, Deborah]] and Laura Moretti, ''Sound and Space in Renaissance Venice: architecture, music, acoustics'' (New Haven: Yale University Press, 2009) {{ISBN|9780300148749}}}} * {{wikicite | ref = Jacoff-Unità|reference = Jacoff, Michael, 'L'unità delle facciate di san Marco del XIII secolo', 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;77–87 {{ISBN|8831766457}}}} * {{wikicite | ref = Klein-Byzantium|reference = Klein, Holger A., '[https://arthistory.columbia.edu/sites/default/files/content/faculty/pdfs/klein/SanMarco-offprint.pdf Refashioning Byzantium in Venice, ca. 1200–1400'], in Henry Maguire and Robert S. Nelson, ed., ''San Marco, Byzantium, and the Myths of Venice'', (Washington: Dumbarton Oaks Research Library, 2010) pp.&nbsp;193–226 {{ISBN|9780884023609}}}} * {{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 = Lorenzetti-Venezia|reference = Lorenzetti, Giulio, ''Venezia e il suo estuario: guida storico-artistico'' (Venezia: Bestetti & Tumminelli, 1926; repr. Trieste: Lint, 1974-1994) {{OCLC|878738785}}}} * {{wikicite | ref = Morelli-Concorsi|reference = Morelli, Arnaldo, 'Concorsi organistici a san Marco e in area veneta nel Cinquecento', in Francesco Passadore and Franco Rossi, ed., ''La cappella musicale di San Marco nell'età moderna'', Atti del convegno internazionale di studi, Venezia, Palazzo Giustinian Lolin, 5–7 settembre 1994 (Venezia: Edizioni Fondazione Levi, 1998), pp.&nbsp;259–278 {{ISBN|9788875520182}}}} * {{wikicite | ref = Moretti-Spaces|reference = Moretti, Laura, 'Architectural Spaces for Music: Jacopo Sansovino and Adrian Willaert at St Mark's', ''Early Music History'', 23 (2004), 153–184 {{ISSN|0261-1279}}}} * {{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 = Nelson-Justice|reference = Nelson, Robert S., '[https://www.academia.edu/3624676/High_Justice_Venice_San_Marco_and_the_Spoils_of_1204 High Justice: Venice, San Marco, and the Spoils of 1204]', in Panayotis L. Vocotopoulos, ed., ''Byzantine Art in the Aftermath of the Fourth Crusade: the Fourth Crusade and Its Consequences'', Acts of the International Congress, Athens 9–12 March 2004 (Athens: Academy of Athens, Research Centre for Byzantine and Post-Byzantine Art, 2007), pp.&nbsp;143–151 {{ISBN|9789604041114}}}} * {{wikicite | ref = Nicol-Byzantium|reference = [[Donald Nicol|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 = Perry-Trophies|reference = Perry, Marilyn, 'Saint Mark's Trophies: Legend, Superstition, and Archaeology in Renaissance Venice', '' Journal of the Warburg and Courtauld Institutes'', Vol. 40 (1977), 27–49 {{ISSN|0075-4390}}}} * {{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 = Pincus-Geografia|reference = Pincus, Debra, 'Geografia e politica nel battistero di san Marco: la cupola degli apostoli', 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;459–473 {{ISBN|8831763695}}}} * {{wikicite | ref = Rendina-dogi|reference = Rendina, Claudio, ''I dogi: storia e segreti'' (Roma: Newton, 1984) {{ISBN|9788854108172}}}} * {{wikicite | ref = Rosand-Myths|reference = [[David Rosand|Rosand, David]], ''Myths of Venice: the Figuration of a State'' (Chapel Hill: University of North Carolina Press, 2001) {{ISBN|0807826413}}}} * {{wikicite | ref = Samerski-Nikopeia|reference = Samerski, Stefan, ''La Nikopeia: immagine di culto, Palladio, mito veneziano'' (Roma: Viella, 2012) {{ISBN|9788883347016}}}} * {{wikicite | ref = Scarabello-primiceriato|reference = Scarabello, Giovanni, 'Il primiceriato di San Marco tra la fine della Repubblica e la soppressione', 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;152–160 {{ISBN|8831763695}}}} * {{wikicite | ref = Scarabello-Guida|reference = Scarabello, Giovanni and Paolo Morachiello, ''Guida alla civiltà di Venezia'' (Milano: Mondadori, 1987) {{ISBN|9788804302018}}}} * {{wikicite | ref = Scarpa-cappella|reference = Scarpa, Giulia Rossi, 'La cappella dei Mascoli: il trionfo dell'architettura', in Renato Polacco, ed., ''Storia dell'arte marciana: i mosaici'', Atti del Convegno internazionale di studi, Venezia 11–14 ottobre 1994 (Venezia: Marsilio, 1997), pp.&nbsp;222–234 {{ISBN|8831768328}}}} * {{wikicite | ref = Schmidt-Arcangeli-iconografia|reference = Schmidt Arcangeli, Catarina, 'L'iconografia marciana nella sagrestia della Basilica di san Marco', 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;223–239 {{ISBN|8831763695}}}} * {{wikicite | ref = Tomasi-cappella|reference = Tomasi, Michele, 'Prima, dopo, attorno la cappella: il culto di Sant'Isidoro a Venezia', in ''La cappella di Sant'Isidoro'', Quaderni della Procuratoria: arte, storia, restauri della Basilica di san Marco a Venezia, Anno 2008 (Venezia: Procuratoria di san Marco, 2008) {{OCLC| 878712543}}}} * {{wikicite | ref = Touring-Club-Venezia|reference = Touring Club Italiano, ed., ''Venezia'', 3rd edn (Milano: Touring Club Italiano, 1985) {{ISBN|9788836500062}}}} * {{wikicite | ref = Tramontin-santi|reference = Tramontin, Silvio, 'I santi dei mosaici marciani', in ''Culto dei Santi a Venezia'' (Venezia: Studium Cattolico Veneziano, 1965), pp.&nbsp;133–154 {{OCLC|799322387}}}} * {{wikicite | ref = Tramontin-SanMarco|reference = Tramontin, Silvio, 'San Marco', in ''Culto dei Santi a Venezia'' (Venezia: Studium Cattolico Veneziano, 1965), pp.&nbsp;41–74 {{OCLC|799322387}}}} * {{wikicite | ref = Veludo-Pala|reference = Veludo, Giovanni, ''La Pala d'oro della Basilica di San Marco in Venezia'' (Venezia: F. Ongania, 1887)}} * {{wikicite | ref = Vianello-Chiese|reference = Vianello, Sabina, ''Le chiese di Venezia'' (Milano, Electa, 1993) {{ISBN|9788843540488}}}} * {{wikicite | ref = Vio-Splendore|reference = Vio, Ettore, ''Lo splendore di san Marco'' (Rimini: Idea, 2001) {{ISBN|9788870827279}}}} * {{wikicite | ref = Vlad-Borrelli-Ipotesi|reference = Vlad Borrelli, Licia, 'Ipotesi di datazione per i cavalli di San Marco', in Renato Polacco, ed., ''Storia dell'arte marciana: sculture, tesoro, arazzi'', Atti del Convegno internazionale di studi, Venezia 11–14 ottobre 1994 (Venezia: Marsilio, 1997), pp.&nbsp;34–49 {{ISBN|8831768522}}}} * {{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}}}} * {{wikicite | ref = Weigel-colonne|reference = Weigel, Thomas, ''Le colonne del ciborio dell'altare maggiore di san Marco a Venezia: nuovi argomenti a favore di una datazione in epoca protobizantina'', Quaderni - Centro tedesco di studi veneziani, 54, (Venezia: Centro tedesco di studi veneziani, 2000) {{ISBN|9783799547543}}}} * {{wikicite | ref = Wolters-SanMarco|reference = Wolters, Wolfgang, 'San Marco e l'architettura del Rinascimento veneziano', 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;248–254 {{ISBN|8831766457}}}} * [[Antonio Zatta|Zatta, Antonio]], ''Basilica di San Marco'' (Gregg Press, 1964), reprinted from the original edition of 1761 == 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] *{{Wikivoyage inline|Venice|St Mark's Basilica}} {{Sequence | prev = [[Santi Giovanni e Paolo, Venice|Santi Giovanni e Paolo]] | list = Venice landmarks | curr = St Mark's Basilica | next = [[Venetian Arsenal]] }} <!--"Venetian Arsenal" as the next landmark and "Santi Giovanni e Paolo" as the previous one are taken from the navbox "Venice landmarks" that is placed below. A navbox is invisible in mobile view. The addition enables mobile users to click at least the next landmark or the previous one. --> {{Venice landmarks}} {{Piazza San Marco}} {{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: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]]'