Venice - Basilica of St Mark Basilica di San Marco

The mosaics (14th century) on the ceiling of the Baptistery depict the sending out of the Apostles ("Go out into the world and baptize all the peoples") and those on the walls show scenes from the life of St John the Baptist.

The font, thought to be by Sansovino, has bronze reliefs also showing the life of St John the Baptist. The figure of the Apostle comes from Segala (1556). Opposite the entrance is the tomb of Andrea Dandolo, the last Doge to be buried in San Marco.

The chapel houses the tomb of Cardinal Giambattista Zen. The bronze Madonna (1515) between St Mark and St John, called the "Madonna with the Shoe", is outstanding. According to the legend a poor man presented the Madonna with his left shoe which then turned to gold as a sign of heavenly gratitude.

The two red marble lions (c. 1200), Lombardy work, are also of interest.

The chapel was originally a room opening on to the Piazzetta and was the main entrance in the south facade.

Noteworthy features in the former chapel of the Doge are the dividing wall of columns (late 14th century), the mosaic of St Clement in the apse (12th century) and the Holy Virgin on the altar.

After seven years of restoration work, the crypt was reopened to the public in 1994. The hall of the crypt was built in the 11th century and lies below sea level.

The three huge cedar flagpoles in front of the facade were erected here in 1376 and their rich bronze bases were cast by Alessandre Leopardi in 1505.

The base of the middle flagpole has reliefs depicting Justice, Strength (an elephant) and Plenty. The southern flagpole base represents Venice's hegemony on land, and the northern one represents the Republic's hegemony at sea.

Until 1981 the four world-famous bronze horses stood on the gallery of the Basilica of St Mark in Venice. The horses were once part of a quadriga in the Hippodrome (ancient racecourse) of Constantinople. The date of their origin is still questionable; formerly they were thought to be the work of the fourth or third centuries B.C. (sculpted by Lysippos?). Recent research by British scientists ascribes them to the third or fourth centuries A.D. In 1204 they formed part of the booty brought to Venice by the Doge, Enrico Dandolo after the fall of Constantinople. In 1797 Napoleon carried them off to Paris and they were returned to Venice in 1815. They can now be seen in the Museo Marciano.

The basic shape of the Basilica di San Marco is Byzantine, yet it is an astonishing mixture of styles containing elements of nearly every architectural from from classical to 19th century. Its form of building and its art treasures, acquired by such a diversity of means, have made the Basilica di San Marco one of the most important works of art in the world.

Four huge pillars bearing the domes and six columns with gilded capitals divide it into a nave and two aisles. Each of the five domes is almost 13m/43ft in diameter and has 16 windows. The sumptuous mosaics that cover the domes (over a total surface area of 4,240 sq.m/45,622 sq.ft) fully justify its being popularly know as the "Basilica d'Oro"(Golden Basilica).

Before beginning to look round the church it is worth pausing to look at the dome mosaics, most of which date from between 1160 and 1200. Their chronological order begins in the east (above the choir), runs above the nave and finishes in the domes in the transept. The best view of the mosaics is from the galleries (anyone who is especially interested should take a telescope or binoculars). Access is from the inner portal.

The Emanuel Dome shows Christ, surrounded and venerated by Mary and the Prophets, giving a blessing.

The Ascension Dome shows Christ surrounded by stars; below, Mary between two cherubim and the Apostles.

The Pentecost Dome shows the dove of the Holy Ghost in the center of a halo which extends to the Apostles around the edge of the dome; it symbolizes the Holy Ghost entering into the Disciples.

In the Cappella di San Giovanni (north transept) are mosaics showing the life of St John (1180).

The Dome of St Leonard (south transept) has mosaics depicting SS Leonard, Clement, Blasius and Nicholas (13th century). The basilica had altars dedicated to these four saints.

The Museum of San Marco (Museo Marciano) is entered by a small door near the main entrance to the church. Among the numerous exhibits in the church museum are: magnificent Gobelin tapestries (13th-16th centuries), most of which are by Flemish artists; 12th century Byzantine sculptures; mosaic fragments from the Baptistery (early 14th century), as well as a very fine cover for the Pala d'Oro, made in 1345 by Paolo Veneziano and his sons, showing scenes from the life of St Mark. The four gilded copper horses previously on the gallery of San Marco are now housed in this museum.

The north facade of the Basilica of St Mark, facing the Piazzetta dei Leoncini, contains in the last arch the Porta dei Fiori, the Door of the Flowers, which merits close examination. Its relief depicts the Nativity (13th century), framed by foliage, angels and Prophets.

Also worth noting are two other reliefs (towards the Piazza): the Etoimasia (seventh-eighth century) depicts the throne of the Judge with six sheep on each side (symbolizing the Twelve Apostles). The other relief shows Alexander the Great whose chariot is being drawn upwards by two griffins (10th century).

The "Stone of Banishment" at the southwest corner of the facade is a spoil of conquest; from this stump of porphyry column the decrees of the Republic were promulgated.

The Presbytery was where the clergy, the Doge and the highest officials of Venice met on holy days (the basilica was a city church). The Doge's seat is no longer present however, and the original stalls have been replaced.

Choir platforms

The bronze reliefs by Jacopo Sansovino (1537-41) show scenes from the story of St Mark.

High Altar

The High Altar (1834-36) houses the relics of St Mark. Of interest are the four columns supporting the baldachin which are decorated with 324 reliefs (13th century) showing scenes from the life of Jesus and Mary.

In front of the choir (near the sacramental altar) is the intricate rood-screen. The lectern with the silver Crucifix and the statues of the Madonna and St Mark and the Apostles was the work of Jacopello and Pierpaolo delle Massegne (1394-1404). The rood-screen pulpit (right) was where the newly elected Doge was traditionally presented to the people.

The altar dates from 1617. In front of it is the place (marked by a mosaic in the floor) where the relics of St Mark were rediscovered after they had been lost in the fire of 976.

The bronze door to the Sacristy is a masterpiece by Jacopo Sansovino (1486-1570). The reliefs show the Resurrection (top) the Entombment (bottom) and Saints and Prophets (at the sides). The heads are thought to be those of the artists Titian, Aretino, Palladio, Veronese and the Sansovino brothers.

Until 1503, when this facade was enclosed, it was intended to be an imposing ceremonial entrance facing the lagoon, with a large door leading into the atrium (left) and the Baptistery (right).

Besides the two griffins (in the first arch) it is worth noting a Byzantine mosaic of the Virgin (13th century) between the arches of the upper floor, in front of which nowadays two lamps are kept burning; at the time of the Republic black tallow candles were lit to comfort those under sentence of death who were executed in front of the Colonne di Marco e Teodora on the Molo.

Pilastri Acritani

In front of the facade are two marble pilasters with magnificent reliefs (sixth century) Also the spoils of war, these were carried off by the Venetians in 1256 from the port of Acre.

Tetrarchs

The sculpture of the Tetrarchs (on the corner adjoining the Doge's Palace) is also world-famous. It was hewn from porphyry, probably in Egypt in the fourth century, and is thought to depict the Tetrarchs Diocletian, Maximilian, Constantius and Valerius, who together ruled the Roman Empire in A.D. 285.

Porch

Like all Byzantine basilicas St Mark's has a porch (narthex). The mosaics of the domes and arches are 13th century (1220-1300); the only later addition was the "St Mark" inserted in the vaulting above the portal recess in 1545. Starting near the Zen Chapel and going north they depict the Creation, the story of Cain and Abel, the Building of Noah's Ark, the Building of the Tower of Babel, the stories of Abraham, Joseph and Moses.

Three portals lead to the interior of the church. All three are flanked by marble columns with richly ornamented capitals (sixth-ninth centuries). The left portal shows Abraham with the three angels; the right portal has a bronze door covered in silver with an inscription in Greek (10th century).

The middle portal, Venetian 12th century work, was the main entrance to the church until 1064.

In the outer wall of the narthex are 12th century tombs of the Doges.

Columned aedicula

The hexagonal columned aedicula has a pyramidal marble roof crowned by precious Oriental agate.

Another treasure is the Byzantine Crucifix from Constantinople

Cappella della Madonna dei Máscoli

The Chapel of the Madonna of Single Men has a fine stoup (12th century) and Gothic altar sculptures which, like the mosaics of the vault ("The Death of Mary", etc.), date from the 15th century.

Cappella di Sant'Isidoro

The remains of the Saint were acquired by the unusual form of purchase in Chios in 1125 and interred in the chapel. The wall sarcophagus and the mosaics (mid 14th century) depicting the life of St Isidore are worth seeing.

Cappella della Madonna Nicopeia

The most valuable item of decoration of the altar on the east side of the transept is the Byzantine icon of the Madonna Nicopeia ("the Bearer of Victory"). The icon, set with jewels, pearls and previous stones and in a delicate Byzantine enamel frame, was booty from Constantinople in 1204. The Madonna is greatly venerated by the Venetians.

Cappella di San Pietro

From the chapel there is a good view of the choir and the High Altar, and of the mosaics in the arches on the opposite side.

The main façade on the Piazza is divided into five huge doorways. Over the portals is a terrace with a balustrade and above that five blind arches decorated with mosaics and topped by the Evangelists in gilded towers. Late Gothic ornamentation and figures. Above the central arch the so-called "Angel Staircase" leads up to the Patron Saint, St Mark. Behind the façade are the lead-covered domes.

The most remarkable of the mosaics decorating the portals is the one in the portal on the extreme left which dates from the 13th century and depicts the Translation of the Body of St Mark to the Basilica.

The other mosaics are from the 17th and 18th centuries and the Last Judgment over the center portal dates only from 1836.

The central arch and the panels of the doors are richly decorated with reliefs and sculptures.