One of the most valuable churches in the world, the Basilica of San Marco is home to over 4000 feet of mosaic artwork, covering every surface of the interior with rubies, diamonds, emeralds, precious marbles, and gold. No expense was spared in creating this final resting place for the patron saint of Venice.

Could it be that ancient Venetians were trying to pay for their crime? In 829, two merchants smuggled the remains of Saint Mark from his burial place in Alexandria, Egypt. To keep the Muslim border guards from inspecting their valuable cargo, the smugglers packed the saint’s corpse in pork which the Muslims would not touch. Their plan succeeded and Mark was transported to his new home in Venice. The then current Doge, Giustiniano Partecipazio, immediately appointed the church as St. Mark's official burial place, and proclaimed Saint Mark the Patron Saint of Venice, replacing their original patron saint, San Todaro (Saint Theodore). Mark’s symbol is the lion, and from this time on the lion became the official symbol of the Venetian state. Lion sculptures are omni-present in modern Venice.

But the Venetians are an honorable people, with a very strong sense of justice. They couldn't just claim St. Mark without some foundation. Pretty soon, a legend sprung up, justifying their actions. Allegedly in the 4th century, when Mark was visiting northern Italy, an angel appeared to him at the Venetian Lagoon and greeted him, "Peace to you, Mark my Evangelist." That Venice should become his final resting place was therefore warranted by divine intervention.

Nevertheless, the Venetians didn't just throw out San Todaro. They erected a statue of the former patron beside the new statue of San Marco and created a hallowed place of justice. Convicted criminals were executed between the two statues, prompting many parents to warn unruly children that their fate would end "between the saints."

Aside from riches and justice, the Basilica of San Marco is a pious holy place. The massive structure is a combination of various architectural styles used throughout the ages. Beautiful Renaissance paintings and sculpture adorn the interior, and the five arches above the entrance are inlayed with mosaics depicting the removal and arrival of Saint Mark's remains from Alexandria to Venice.
 

The original building burnt down in 927, but was rebuilt between 1043 and 1071 by Doge Domenico Contarini and remains standing to this day. When Mark Twain saw it for the first time he said it looked like a "giant water bug squatting in a swamp." The church was originally a combination of Byzantine and Romanesque styles; however, because of several additions and enhancements over the centuries, the present-day basilica is a mixture of Byzantine, Gothic, Renaissance, and Moorish styles. For example, the walls are now covered with mosaics and precious marbles, and the structure of the church has been refined by architectural designs from the Orient.

Approximately 52 meters long, the façade consists of five rounded arch portals, each supported by several columns. The central arch is larger than the other four, yet all are decorated with intricate mosaics. The mosaic farthest to the left portrays Transporting the Body of St. Mark to the Basilica. The mosaic to the left of the central arch displays The Venetians Pay Tribute to the Body of St. Mark. The mosaic to the right of the central arch represents Arrival of St. Mark's Body in Venice. The mosaic farthest to the right symbolizes Removal of St. Mark's Body from Alexandria. The central mosaic depicts the Last Judgement by L. Querena.

Byzantine bas-reliefs are located between all the arches, they illustrate: Hercules and the Boar, the , St. George, St. Demetrius, the Archangel Gabriel, and Hercules and the Deer. The arches are covered by a terrace, which is surrounded by a railing. Located on the terrace directly above the main arch, are the famous Greek horses. The original horses have been removed because of terrible damage from the weather. They have recently been restored and are on display in the Museum of the Basilica. Duplicates of the horses were created and took their place on the basilica's terrace.

The Atrium is decorated beautifully. It has slightly pointed arches, the earliest of its kind in Italy. The Atrium also supports six small domes. There are marble columns inside that are of various origin. Some of the columns are supposedly to have come from the Temple of Solomon in Jerusalem.

The Atrium is covered with golden mosaics. There are mosaics on the arches, lunette recesses, and domes illustrating scenes from both the Old and the New Testaments. The scenes were created during the 13th century by expert Venetian craftsmen.

The origin of the four horses is not well known, but it is believed that they came from Constantinople. Their heads were separated from the bodies to make the transportation easier. After arriving in Venice, the cuts between neck and head were hidden by collars. They were cast in almost pure copper, harder to melt but easier to gild.

In 1797 after Napoleon Bonaparte declared the official end of the Venetian Republic he sold the Venetian territories to Vienna but before leaving the city the French looted all that they could carry including the four horses. They were returned by the French Government only after 1815.

The interior of the church was designed to form a Greek cross. Each arm of the cross has three aisles separated from one another by round arches upon marble columns. There are five large domes held up by massive pillars. The floor is covered with mosaic designs. There is 4,000 meters of mosaic which cover every surface of the church. Most of the Mosaics were from the 12th to 14th centuries.

The main altar (above) has the remains of the evangelist Mark. Above the altar is the masterpiece, the Golden Altar Screen. This was commissioned by Doge Pietro Orseolo in 978. Later it was restructured in 1105 by Doge Ordelaffo Faliero. It was again embellished in 1209. The Golden Altar Screen measures 11 by 4 1/2 feet. It has eighty enamel plaques surrounded by diamonds, emeralds, rubies, and topazes. It is one beautiful piece of artwork.

St. Mark’s Square

                    THE PALAZZO DUCALE

The Palazzo Ducale (Doge's Palace) got its present form after radical changing during the 14^th and 16^th century. It was the Doge's residence and at the same time seat of many different political and social institutions. The first floor was occupied by minor institutions, such as the Avogaria or lawyers offices, where law cases were examined; the Chancellery; the Censors and Provveditori della Milizia del Mar (Naval Offices) which oversaw the care and equipping of ships.

The Four Tetrarchs are sculpted on the corner of the former entrance to the Doge's Palace.  They represent four rulers of the Roman Empire toward the end of its power. They appear huddled against the onslaught of the barbarian invasions.

Return to syllabus