St Mark's Basilica

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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. 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.

1248: 2276: 1652: 1718: 1027: 958: 900: 1692: 1706: 2170:) 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. 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. 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. 2122: 218: 1016: 2131: 2179: 2197: 732: 74: 1036: 2322: 1395: 911:. 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. 1404: 559: 1800: 1982: 1305: 805: 1664: 1678: 6177: 992:, 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. 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. The general appearance of the lost compositions is recorded in Gentile Bellini's 2313:, 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. 1941:, 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 640:. 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. 2217:

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. 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

1133:. 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. Since 1974 the original four horses are preserved inside, having been substituted with copies on the balcony over the central portal. 1296:

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.

1259:, bishop of Vicenza, who had bequeathed a large portion of his wealth to the Venetian Republic, asking to be entombed in St Mark's. 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. The pillars were moved slightly eastward. 1114:. 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. 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. 6165: 2349:, dates to either the late eleventh century or first half of the twelfth century. It consists of geometric patterns and animal designs made from a wide variety of coloured limestones and marbles. The animals represented, including lions, eagles, griffons, deer, dogs, peacocks, and others, largely derive from medieval 1633:, 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. Similarly, the Foscari Arch in the courtyard of the Doge's Palace is based on ancient 1386:. 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. 2300:

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. In 1716, Leopoldo dal Pozzo, a mosaicist from Rome,

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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. 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

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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

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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.

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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

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It is a small organ of the Neapolitan school, from 1779, the work of the organ builder Fabrizio Cimmino; it was recovered by Giorgio and Cristian Carrara in 1999 and placed in the Basilica in 2014, next to the altar of the Madonna Nicopeia. With mechanical transmission, it is equipped with a 45-note

1740:

On the choir loft to the left of the presbytery, there is the main organ of the basilica. This, built by Gaetano Callido in 1766, was enlarged by William George Trice in 1893 and by the Tamburini company in 1972 (opus 638). The instrument, with two keyboards of 58 notes each and a pedal board of 30,

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The date and the circumstances of the icon's arrival in Venice are not documented. 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. It began to acquire significance for the

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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

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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,

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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

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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

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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. 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

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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. Like the entry on the western

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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

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The Dome of the Ascension occupies the central position, whereas in the Church of the Holy Apostles it was located over the southern crossarm. The dome, executed in the late twelfth century, is exemplary of middle-Byzantine prototypes in Constantinople. In the centre Christ ascends, accompanied by

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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. 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

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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

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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. It was at this time, however, that the tomb of Saint Mark, located in the main apse, was surmounted

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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. However, no action was taken before Venice passed under Austrian control in 1798. During the first

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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. The choir chapel on the northern

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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

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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

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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. The cruciform plan with five domes was maintained. However the Holy Apostles was a true

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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

2228:, 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 922:

with crosses. These wooden frames covered in lead provided more protection from weathering to the actual domes below and gave greater visual prominence to the church. Various Near-Eastern models have been suggested as sources of inspiration and construction techniques for the heightened domes,

1509:) 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. 503:

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

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It is a small positive organ of the Neapolitan school, from 1720, the work of the organ builder Tommaso de Martino; it was restored by Franz Zanin in 1995 and placed in the apse niche of the epistle. With mechanical transmission, it is equipped with a 45-note manual and has no pedal.

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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.

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The Callido organ has an entirely mechanical transmission, has a single 57-note keyboard with a first octave and a lectern-style pedal, constantly connected to the manual. The case is no longer the original baroque one, but a wooden one with simpler shapes and without decorations.

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On the choir loft to the right of the presbytery, there is the Gaetano Callido opus 30 pipe organ, built in 1766. In 1909 the instrument was removed (to make room for a new organ, built by the Mascioni company) and in 1995 relocated after a restoration conducted by Franz Zanin.

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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

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who carried out the decorative programme at his personal expense. The mosaics present scenes from the life of Saint John the Baptist on the walls and, in the ante-baptistery, the infancy of Christ. Directly above the bronze font, designed by Sansovino, the dome contains the

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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

796:), various dates are recorded, most likely reflecting a series of consecrations of different sections. The consecration on 8 October 1094 is considered to be the dedication of the church. On that day, the relics of Saint Mark were also placed into the new crypt. 2247:

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

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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.

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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. The

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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. By 1071, work had progressed far enough that the investiture of Doge

691:). 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. 1562:, 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 1278:

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.

719:

Civic pride led many Italian cities in the mid-eleventh century to begin erecting or rebuilding their cathedrals on a grand scale. Venice was similarly interested in demonstrating its growing commercial wealth and power, and probably in 1063, under Doge

1338:, whose doorway opened to the courtyard of the Doge's Palace. The chapel was reserved for the Doge's private use. From the window above, which communicates with his private apartments, it was also possible for the Doge to assist at mass in the church. 2356:

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. The frequent use of intertwined circles also recalls medieval Italian

977:, 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 915:

thus creating an entry hall that opened on the southern façade toward the Doge's Palace and the waterfront. In the early thirteenth century, the narthex was extended along the northern and southern sides to completely surround the western crossarm.

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showing the ancestors of Christ was added to the end wall of the northern crossarm between 1542 and 1551. Throughout the various narrative cycles, Old-Testament prophets are portrayed holding texts that relate to the New-Testament scenes nearby.

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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. In addition to the reliefs in the

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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.

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in the mid-eleventh century to work on the cathedral of Torcello and then remained in the local area. 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.

1834:(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 1447:

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. The altar was rededicated in 1617 to the

2232:. 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 2301:

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

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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

648:. 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. 2048:

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. The sixth-century

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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. The walls were pierced by windows set in larger

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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

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and the Church of Saint Theodore to the north. Construction of the new church may have actually been underway during Doge Giustiniano's lifetime and was completed by 836 when the relics of Saint Mark were transferred.

885:. 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. 2520:

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

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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

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side is dedicated to Saint Peter. Historically, it was the principal area for the clergy. The mosaic decoration in the vaults above the chapels largely narrates the life of Saint Mark, including the events of the

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The northern transept was lengthened, likely by incorporating the southern lateral nave of the Church of Saint Theodore. Similarly, the southern transept was extended, perhaps by integrating a corner tower of the

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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. The

1274:, 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 1905:). A secondary series illustrating Christ's miracles is located in the transepts. The series seems to have derived from an eleventh-century Byzantine Gospel. The transepts also contain a detailed cycle of the 643:

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

1534:, each shown in the act of baptizing a different nationality in reference to Christ's command to preach the Gospel to all people. The second dome, above the altar, presents Christ in glory surrounded by the 877:, 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 1061:, 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 6562: 1857:

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 (

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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

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The Mascioni organ (opus 284) was pneumatically driven, with two keyboards and pedals. In 1994 it was dismantled, restored and reassembled in the church of Santa Maria della Pace in Mestre.

2413:, responsible for the financial administration of the church, its upkeep, and its decoration. By the mid-thirteenth century there were two procurators in charge of the church, denominated 460:

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

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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

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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

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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

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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.

6927: 2100:, is narrated in a single dome and the two lunettes underneath, whereas the story of Joseph, the most extensive, occupies the next three domes. The story of Moses, until the 612:) 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 6555: 5227:(Venezia: Comune di Venezia, Assessorato agli affari istituzionali, Assessorato alla cultura and Università degli studi, Dipartimento di storia e critica delle arti, 1991) 1483:), the Chapel of Saint Isidore was constructed between 1348 and 1355 to house them. An annual feast (16 April) was also established in the Venetian liturgical calendar. 5761:, Acts of the International Congress, Athens 9–12 March 2004 (Athens: Academy of Athens, Research Centre for Byzantine and Post-Byzantine Art, 2007), pp. 143–151 1057:

The upper register is enriched with an elaborate Gothic crowning, executed in the late-fourteenth/early-fifteenth centuries. The original lunettes, transformed into

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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

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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

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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

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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

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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

1525:), whose tomb is located in the baptistery, an indication that he was responsible for the architectural adaptation. Similarly entombed in the baptistery is Doge 2053:

was also in Venice in the early thirteenth century and may have influenced artistic choices. With regard to the Dome of Moses, the scenes most closely resemble

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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

5706:, Atti del convegno internazionale di studi, Venezia, Palazzo Giustinian Lolin, 5–7 settembre 1994 (Venezia: Edizioni Fondazione Levi, 1998), pp. 259–278 969:

that alternate with large piers. The lower register was later completely covered with two tiers of precious columns, largely spoils from the Fourth Crusade.

894: 468:, 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. 6834: 2541:

The current statues were carved by Girolamo Albanese in 1618 in substitution of the originals, destroyed in the earthquake of 1511. See Giulio Lorenzetti,

1334:) was utilized by the Doge, civic leaders, and foreign ambassadors. Prior to the sixteenth century, the Doge's throne was located near the choir chapel of 5144: 1978:

evident in the northern wing, indicating that the execution of the programme was interrupted, presumably to await the completion of the vaulting system.

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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

625:, likely in wood. It has not been unequivocally established if each of the four crossarms of the church had a similar dome or were instead covered with 6594: 6858: 5975:, Quaderni della Procuratoria: arte, storia, restauri della Basilica di san Marco a Venezia, Anno 2008 (Venezia: Procuratoria di san Marco, 2008) 984:

The iconographic programme is expressed primarily in the mosaics in the lunettes. In the lower register, those of the lateral portals narrate the

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as the influx of Byzantine mosaicists and materials. The three figures in the Dome of Immanuel that date to the first quarter of the century (

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The southern façade is the most richly encrusted façade with rare marbles, spoils, and trophies, including the so-called pillars of Acre, the

6826: 1945:. The specific events in the lives of the various Apostles and the manner of their deaths adhere to Western traditions, as narrated in Latin 1717: 965:

The exterior of the basilica is divided into two registers. On the western façade, the lower register is dominated by five deeply recessed

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along the sides of the northern, southern, and western crossarms. The vaults of the eastern crossarm were supported by inserting single

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main façade, which narrates the translation of Saint Mark's relics from Alexandria in Egypt to Venice. The events depicted include the

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The Gothic crowning continues in the upper register of the southern façade, the lunettes being topped with the allegorical figures of

6301: 6110:

Le colonne del ciborio dell'altare maggiore di san Marco a Venezia: nuovi argomenti a favore di una datazione in epoca protobizantina

5702:

Morelli, Arnaldo, 'Concorsi organistici a san Marco e in area veneta nel Cinquecento', in Francesco Passadore and Franco Rossi, ed.,

881:; others were paired and spread across the façades or used as altars. Despoliation continued in later centuries, notably during the 1327:

for readings from Scripture, while the on the right is the platform from which the newly elected Doge was presented to the people.

1247: 2029:, located prominently in the lunettes on either side of the entry to the church, due to the analogies with Christ's death and the 1651: 6170: 6947: 6932: 6337: 1606:

seems to have been limited to decorative patterns and details, such as the portal and painted wall decoration in the Church of

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and the dispertion of the nations occupy the vaults on either side of the entry to the church. The story of Abraham, from the

1930:. As customary for the central dome in middle-Byzantine churches, the pendentives contain the Four Evangelists, each with his 828:

columns as well as niches and a few cornices. With the exception of the outside of the apse and the western façade that faced

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spread to the adjoining church. Although the structure was not completely destroyed, it was compromised to the point that the

6952: 6438: 5494:

Farioli Campanata, Raffaela , 'Il pavimento di san Marco a Venezia e i suoi rapporti con l'Oriente', in Renato Polacco, ed.,

2093: 1645:, the reference to St Mark's is made in the series of lunettes along the roofline which recalls the profile of the basilica. 812:

As built, the Contarini church was a severe brick structure. Adornment inside was limited to the columns of the arcades, the

5907:

Scarabello, Giovanni, 'Il primiceriato di San Marco tra la fine della Repubblica e la soppressione', in Antonio Niero, ed.,

5526:

Florent-Goudouneix, Yvette, 'I pavimenti in «opus sectile» nelle chiese di Venezia e della laguna', in Renato Polacco, ed.,

6942: 695:

with brick vaults, creating the semi-enclosed shrine that would later be incorporated into the crypt when the floor of the

5955:

Schmidt Arcangeli, Catarina, 'L'iconografia marciana nella sagrestia della Basilica di san Marco', in Antonio Niero, ed.,

6491: 2280: 1866: 1705: 865:

of marble and precious stones and enriched with columns, reliefs, and sculptures. Many of these ornamental elements were

5754: 2275: 2272:

replacement mosaics in this period closely imitated the design of the damaged works and were intended to look medieval.

1068: 6967: 2388: 2045: 1937:

As in the Church of the Holy Apostles, the Dome of Pentecost is located over the western crossarm. In the centre is an

1323:, flanked by statues of the Virgin and Saint Mark, together with the Twelve Apostles. On the left of the screen is the 994: 5121:, IV (Roma: Ministero per i beni culturali e ambientali, Ufficio centrale per i beni archivistici, 1994), p. 886 1819:

of the apse. Below, interspersed with three windows, are late-eleventh and early-twelfth-century mosaics that portray

728:), St Mark's was substantially rebuilt and enlarged to the extent that the resulting structure appeared entirely new. 6450: 6117: 6069: 6053: 5996: 5959:, Atti del Convegno internazionale di studi, Venezia 11–14 ottobre 1994 (Venezia: Marsilio, 1996), pp. 223–239 5932: 5911:, Atti del Convegno internazionale di studi, Venezia 11–14 ottobre 1994 (Venezia: Marsilio, 1996), pp. 152–160 5900: 5865: 5844:, Atti del Convegno internazionale di studi, Venezia 11–14 ottobre 1994 (Venezia: Marsilio, 1996), pp. 459–473 5801: 5766: 5711: 5663: 5627: 5608: 5589: 5554: 5474: 5364:, Atti del Convegno internazionale di studi, Venezia 11–14 ottobre 1994 (Venezia: Marsilio, 1996), pp. 727–742 5331: 5283: 5248: 5126: 2432: 2387:, responsible for the religious functions, was nominated by the Doge personally, and despite several attempts by the 2376: 1622: 832:, the stark brick exterior was enlivened only by receding concentric arches in contrasting brick around the windows. 6128:, Atti del Convegno internazionale di studi, Venezia 11–14 ottobre 1994 (Venezia: Marsilio, 1997), pp. 248–254 6096:, Atti del Convegno internazionale di studi, Venezia 11–14 ottobre 1994 (Venezia: Marsilio, 1997), pp. 184–200 5943:, Atti del Convegno internazionale di studi, Venezia 11–14 ottobre 1994 (Venezia: Marsilio, 1997), pp. 222–234 5840:

Pincus, Debra, 'Geografia e politica nel battistero di san Marco: la cupola degli apostoli', in Antonio Niero, ed.,

5674:, Atti del Convegno internazionale di studi, Venezia 11–14 ottobre 1994 (Venezia: Marsilio, 1997), pp. 309–328 5345:, Atti del Convegno internazionale di studi, Venezia 11–14 ottobre 1994 (Venezia: Marsilio, 1997), pp. 164–175 5310:, Atti del Convegno internazionale di studi, Venezia 11–14 ottobre 1994 (Venezia: Marsilio, 1997), pp. 207–234 5114: 987: 6080:, Atti del Convegno internazionale di studi, Venezia 11–14 ottobre 1994 (Venezia: Marsilio, 1997), pp. 34–49 5514:, Atti del Convegno internazionale di studi, Venezia 11–14 ottobre 1994 (Venezia: Marsilio, 1996), pp. 35–50 1697: 1630: 808:

The juncture of the southern and western crossarms, showing the original brickwork and the subsequent embellishment

5670:

Lazzarini, Lorenzo, 'Le pietre e i marmi colorati della basilica di San Marco a Venezia', in Renato Polacco, ed.,

5638:, Atti del Convegno internazionale di studi, Venezia 11–14 ottobre 1994 (Venezia: Marsilio, 1997), pp. 77–87 5530:, Atti del Convegno internazionale di studi, Venezia 11–14 ottobre 1994 (Venezia: Marsilio, 1997), pp. 20–29 5498:, Atti del Convegno internazionale di studi, Venezia 11–14 ottobre 1994 (Venezia: Marsilio, 1997), pp. 11–19 5453:, Atti del Convegno internazionale di studi, Venezia 11–14 ottobre 1994 (Venezia: Marsilio, 1997), pp. 39–66 5259:, Atti del Convegno internazionale di studi, Venezia 11–14 ottobre 1994 (Venezia: Marsilio, 1997), pp. 46–55 2466: 1428: 1221: 846:

made of rare marbles and stones that were surrounded with ornamental frames. Other decorative details, including

680: 412: 6922: 6478: 5482: 2057:, suggesting an unknown manuscript from the third quarter of the thirteenth century as the iconographic source. 1538:. The altar is a large granite rock, which according to tradition was brought to Venice from Tyre following the 6383: 6352: 6347: 6232: 6193: 6133: 6101: 6085: 5964: 5948: 5916: 5884: 5849: 5785: 5746: 5679: 5643: 5535: 5519: 5510:

Fedalto, Giorgio, 'San Marco tra Babilonia, Roma e Aquileia: nuove ipotesi e ricerche', in Antonio Niero, ed.,

5503: 5458: 5442: 5423: 5369: 5350: 5315: 5264: 5139: 2462: 2443: 2206: 1902: 1209: 1048: 443: 2076:. As in the Cotton Genesis, Christ is portrayed as the agent of creation. Underneath, the pendentives contain 6962: 2458: 2261: 1927: 1420: 581: 31: 2453:

period of Austrian rule (1798–1805), it was alternatively suggested that the episcopal seat be moved to the

1663: 1330:

Behind, marble banisters mark the limit of the choir, which after the reorganization by Doge Andrea Gritti (

899: 1603: 932: 485:

churches, palaces, and public monuments of Constantinople as a result of the Venetian participation in the

481: 148: 5255:

Barral I Altet, Xavier, 'Genesi, evoluzione e diffusione dei pavimenti romanici', in Renato Polacco, ed.,

1827:

as the protectors and patrons of the state, Saint Nicholas being specifically the protector of seafarers.

1602:

As the state church, St Mark's was a point of reference for Venetian architects. Its influence during the

2302: 633: 461: 6540: 1373:. They constitute the oldest surviving representation of the transfer of Saint Mark's relics to Venice. 744:. Most significantly, the wooden domes were rebuilt in brick. This required strengthening the walls and 6730: 6307: 6112:, Quaderni - Centro tedesco di studi veneziani, 54, (Venezia: Centro tedesco di studi veneziani, 2000) 5939:

Scarpa, Giulia Rossi, 'La cappella dei Mascoli: il trionfo dell'architettura', in Renato Polacco, ed.,

2497: 1998: 1835: 1723: 1642: 1531: 1178: 5808:

Perry, Marilyn, 'Saint Mark's Trophies: Legend, Superstition, and Archaeology in Renaissance Venice',

5290:

Bergamo, Maria, 'Codussi, Spavento & co.: building the Sacristy of St Mark's Basilica in Venice',

1625:

by Lombard stonecutters, faithfulness to local building traditions remained strong. In the façades of

1121:

were among the early spoils brought from Constantinople after the Fourth Crusade. They were part of a

6957: 6762: 6376: 6225: 5718:

Moretti, Laura, 'Architectural Spaces for Music: Jacopo Sansovino and Adrian Willaert at St Mark's',

2405: 2370: 1591: 882: 451: 6124:

Wolters, Wolfgang, 'San Marco e l'architettura del Rinascimento veneziano', in Renato Polacco, ed.,

2121: 2085: 1775:

manual with a short first octave and an 8-note lectern pedalboard, constantly linked to the manual.

6642: 6575: 6342: 6292: 5430: 2309:. An exclusive contract for restoration was stipulated in 1867 with the mosaic workshop run by the 1874: 957: 597: 5561:

Hopkins, Andrew, 'Architecture and Infirmitas: Doge Andrea Gritti and the Chancel of San Marco',

5204: 2130: 1811:

The location of the main altar within the apse necessarily affected the decorative programme. The

1517:

The date of construction of the baptistery is not known, but it is likely to have been under Doge

1229: 6690: 6462: 6076:

Vlad Borrelli, Licia, 'Ipotesi di datazione per i cavalli di San Marco', in Renato Polacco, ed.,

5734: 2482: 2461:(1805–1814), St Mark's became the patriarchal cathedral. The new status was confirmed by Emperor 2240: 1343: 1241: 1015: 978: 855: 824:

altar screens. The wall surfaces were decorated with moulded arches that alternated with engaged

605: 473: 5817: 5727: 5634:

Jacoff, Michael, 'L'unità delle facciate di san Marco del XIII secolo', in Renato Polacco, ed.,

5570: 5385: 5299: 5216: 1026: 592:, the fortified residence of the Doge and seat of government located on the site of the present 6754: 6698: 6531: 6457: 6413: 5306:

Bernabei, Franco, 'Grottesco magnifico: fortuna critica di san Marco', in Renato Polacco, ed.,

5239:

Agazzi, Michela, 'San Marco: Da cappella palatina a cripta contariana', in Manuela Zorzi, ed.,

2310: 2196: 2041: 1910: 1824: 1256: 1099: 585: 553: 469: 404: 161: 1741:

has mixed transmission: mechanical for the manuals and the pedal, electric for the registers.

1677: 6467: 5759:

Byzantine Art in the Aftermath of the Fourth Crusade: the Fourth Crusade and Its Consequences

2178: 2054: 1894: 1862: 1854: 1607: 1162: 1107: 966: 841: 753: 663:

The Participazio church was severely damaged in 976 during the popular uprising against Doge

6092:

Warren, John, 'La prima chiesa di san Marco Evangelista a Venezia', in Renato Polacco, ed.,

5971:

Tomasi, Michele, 'Prima, dopo, attorno la cappella: il culto di Sant'Isidoro a Venezia', in

949:

church. It is probable that structural elements were also added to the façades or modified.

6312: 2454: 2249: 2101: 1890: 1847: 1669: 1611: 1535: 1432:

the side altar in the northern crossarm. It was first referred to as the Madonna Nicopeia (

1142: 1118: 1044: 721: 604:) subsequently stipulated in his will that his widow and his younger brother and successor 490: 477: 217: 5225:

Platea Sancti Marci: i luoghi marciani dall'11. al 13. secolo e la formazione della piazza

5006:

Florent-Goudouneix, 'I pavimenti in «opus sectile» nelle chiese di Venezia e della laguna'

73: 8: 6738: 6586: 6571: 6486: 2392: 2257: 2229: 2225: 2202: 2185: 1213: 1170: 1130: 784:), ordered from Constantinople in 1102, was installed on the high altar in 1105. For the 745: 529: 420: 408: 116: 6810: 6746: 6650: 6322: 5449:

Dorigo, Wladimiro, 'Fabbriche antiche del quartiere marciano', in Renato Polacco, ed.,

5376:

D'Antiga, Renato, 'Origini del culto marciano e traslazione delle reliquie a Venezia',

5338: 2105: 1958: 1906: 1812: 1575: 1237: 1150: 1126: 1111: 1062: 804: 664: 435: 5205:'Image-based Techniques for the Survey of Mosaics in the St Mark's Basilica in Venice' 2036:

It has long been recognized that the individual scenes are very close to those of the

1403: 1228:

façade, the passage was distinguished with precious porphyry columns. On either side,

6722: 6682: 6674: 6666: 6626: 6129: 6113: 6097: 6081: 6065: 6049: 6024: 6008: 5992: 5976: 5960: 5944: 5928: 5912: 5896: 5880: 5861: 5845: 5829: 5813: 5797: 5781: 5762: 5742: 5723: 5707: 5691: 5675: 5659: 5639: 5623: 5604: 5585: 5566: 5550: 5531: 5515: 5499: 5470: 5454: 5438: 5419: 5400: 5381: 5365: 5346: 5327: 5311: 5295: 5279: 5260: 5244: 5228: 5212: 5122: 2487: 2260:, were also active in St Mark's in the mid-fifteenth century, introducing a sense of 2089: 1898: 1886: 1542:. It is said to be the rock upon which Christ stood to preach to the people of Tyre. 1501:

Against the piers that support the central dome, on either side of the chancel, Doge

1491: 1453: 1440: 1198: 1103: 735:

Antonio Pellanda, reconstruction of the western façade of the Contarini church (1881)

392: 5326:, Storia Religiosa del Veneto (Padova: Gregoriana Libreria, 1991), pp. 333–366 1035: 760:

that also served to divide the chancel from the choir chapels in the lateral apses.

496:

The interior of the domes, the vaults, and the upper walls were slowly covered with

6770: 6658: 6618: 6610: 6505: 6399: 6317: 6297: 6287: 6262: 6209: 5542: 2345: 2306: 2265: 2014: 1942: 1878: 1870: 1799: 1638: 1551: 1539: 1518: 1475:, were rediscovered in the mid-fourteenth century, and upon the initiative of Doge 1464: 1460: 1360: 1088: 928: 829: 684: 593: 439: 431: 382: 370: 6778: 6423: 5140:

L'Archivio di Stato di Venezia, indice generale, storico, descrittivo ed analitico

2439:, directly responsible for overseeing construction, maintenance, and restoration. 1926:

four angels and surrounded by standing figures of the Virgin, two angels, and the

1304: 1255:

Between 1503 and 1515, the entry hall was transformed into the funerary chapel of

6818: 6602: 6517: 6272: 6267: 5148: 5118: 2289: 1990: 1931: 1914: 1614:, consisting of an ogee arch with flame-like relief sculpture reminiscent of the 1502: 1324: 558: 509: 98: 6428: 5241:

Le cripte di Venezia: Gli ambienti di culto sommersi della cristianità medievale

2321: 2026: 1981: 1443:, the sixth-century Frankish saint who became widely popular at the time of the 1394: 1141:

The aediculae on the northern façade contain statues of the four original Latin

6786: 6634: 6497: 6277: 6180: 5615: 5596: 5577: 4136:

Arcangeli, 'L'iconografia marciana nella sagrestia della Basilica di san Marco'

3561:

Lazzarini, 'Le pietre e i marmi colorati della basilica di San Marco a Venezia'

2381:

Under the Venetian Republic, St Mark's was the private chapel of the Doge. The

2073: 2050: 2037: 2002: 1994: 1820: 1634: 1587: 1526: 1476: 1335: 1275: 1202: 1158: 874: 789: 765: 637: 513: 486: 465: 447: 200: 1804: 1803:

Petrus F., mosaic of Christ Pantocrator in the semi-dome of the apse with the

1621:

In the early Renaissance, despite the introduction of classical elements into

862: 580:

in Egypt by two Venetian merchants and its transfer to Venice in 828/829. The

270: 257: 250: 186: 6916: 6898: 6885: 6714: 6332: 6282: 6139: 5357: 5278:, trans. by Edmund Jephcott (Chicago: The University of Chicago Press, 1994) 2470: 2253: 2233: 2143:, dating to the first quarter of the twelfth century, (left) and the prophet 2081: 1918: 1882: 1683: 1626: 1487: 1356: 1216:

on the south-west corner of the balcony, traditionally believed to represent

1095: 869:

taken from ancient or Byzantine buildings. Particularly in the period of the

858:

trends, an indication of the taste and craftsmanship of the Italian workers.

851: 777: 731: 525: 489:. Among the plundered artefacts brought back to Venice were the four ancient 2425:, limiting the authority of the Doge. In 1442, there were three procurators 1815:, customarily located in the central dome over the altar, was placed in the 1641:

clustered together, the Gothic pinnacles, and the crowning statuary. At the

6794: 6433: 6327: 5872: 5833: 5773: 5690:(Venezia: Bestetti & Tumminelli, 1926; repr. Trieste: Lint, 1974-1994) 5271: 2339: 2218: 1858: 1217: 1047:(above), one of two pillars from the Church of St Polyeuctus (lower left), 924: 919: 870: 785: 749: 505: 424: 6176: 6028: 6012: 5980: 5695: 5467:

Venezia romanica: la formazione della città medioevale fino all'età gotica

5404: 5232: 2947:, Prot. CD 1165/52 (Venezia, Patriarcato di Venezia, 1983), pp. 74–77 416: 6570: 5109: 2442:

St Mark's ceased to be the private chapel of the Doge as a result of the

2358: 1946: 1424: 1352: 1316: 821: 679:, the general assembly, had to alternatively convene in the cathedral of 497: 5824:

Piana, Mario, 'Le sovracupole lignee di San Marco', in Ettore Vio, ed.,

5042:

Barral I Altet, 'Genesi, evoluzione e diffusione dei pavimenti romanici'

5018:

Barral I Altet, 'Genesi, evoluzione e diffusione dei pavimenti romanici'

2279:

Tintoretto workshop (cartoon), mosaic in the central nave depicting the

1965:

and the Last Judgement. On the wall below there is a thirteenth-century

931:

mosques in Jerusalem and the conical frame erected over the dome of the

6802: 6418: 5658:, (Washington: Dumbarton Oaks Research Library, 2010) pp. 193–226 5411: 5392: 1962: 1949:

that derive in part from the Book of Acts but to a greater extent from

1938: 1843: 1567: 1472: 1449: 1348: 1313: 837: 781: 626: 577: 517: 5469:, 2 vols (Venezia: Istituto veneto di scienze, lettere ed arti, 2003) 840:, while the intervening pillars were adorned with niches and circular 5794:

The Genius of Venice: Piazza San Marco and the Making of the Republic

5620:

Sound and Space in Renaissance Venice: architecture, music, acoustics

3779:

Le colonne del ciborio dell'altare maggiore di san Marco a Venezia...

2293: 2030: 1950: 1816: 1563: 825: 671:) when the fire that angry crowds had set to drive the Doge from the 567: 400: 144: 6368: 6217: 5399:(Washington: Dumbarton Oaks Research Library and Collection, 1960) 5397:

The Church of San Marco in Venice: History, Architecture, Sculpture

5360:, 'Il giuspatronato del doge su san Marco', in Antonio Niero, ed., 5276:

Likeness and presence: a history of the image before the era of art

2522: 2350: 2264:

largely achieved with architectural settings. In this same period,

2205:, attributed (cartoon), mosaic in the Mascoli Chapel depicting the 2167: 2159: 2140: 1831: 1571: 1559: 1444: 1320: 1308:

Entry to the chancel with the Dome of Immanuel above the high altar

1166: 1122: 1084: 1080: 974: 813: 562:

The entry to St Mark's, believed to date to the Participazio church

6158: 5778:

Byzantium and Venice: a study in diplomatic and cultural relations

5601:

Jacopo Sansovino: architecture and patronage in Renaissance Venice

2080:, the guardians of Eden, and the lunettes illustrate the story of 5341:, 'Il tipo architettonico di san Marco', in Renato Polacco, ed., 2010: 1615: 1383: 1233: 1194: 1190: 1154: 999: 908: 817: 696: 645: 450:

and was subject to his jurisdiction, with the concurrence of the

6146:(Gregg Press, 1964), reprinted from the original edition of 1761 4229:

Wolters, 'San Marco e l'architettura del Rinascimento veneziano'

4187:

Wolters, 'San Marco e l'architettura del Rinascimento veneziano'

3444:

Vlad Borrelli, 'Ipotesi di datazione per i cavalli di San Marco'

6510: 6248: 6007:(Venezia: Studium Cattolico Veneziano, 1965), pp. 133–154 2244: 2144: 2077: 1966: 1839: 1579: 1146: 866: 847: 676: 521: 500: 87: 5826:

San Marco, la Basilica di Venezia: arte, storia, conservazione

1909:: these scenes were probably derived from an eleventh-century 1439:

The altar in the southern crossarm was initially dedicated to

6023:(Venezia: Studium Cattolico Veneziano, 1965), pp. 41–74 5322:

Betto, Bianca, 'La chiesa ducale', in Silvio Tramontin, ed.,

4109:

Pincus, 'Geografia e politica nel battistero di san Marco...'

4097:

Pincus, 'Geografia e politica nel battistero di san Marco...'

2163: 2097: 2018: 1558:(consultant architect and buildings manager), designed a new 1174: 508:; others are based on preparatory drawings made by prominent 2457:, but again no action was taken until 1807 when, during the 1985:

The Dome of the Creation in the narthex (thirteenth century)

5030:

Farioli Campanata, 'Il pavimento di san Marco a Venezia...'

4982:

Farioli Campanata, 'Il pavimento di san Marco a Venezia...'

2419:. Elected by the Great Council, they supervised the church 2065: 2022: 2006: 1830:

Over the high altar in the eastern crossarm is the Dome of

1058: 757: 622: 2404:

Beginning in the ninth century, the Doge also nominated a

1240:

but actually spoils of the Fourth Crusade, taken from the

2084:. The stories of Noah and of the Tower of Babel with the 2069: 1969:

with Christ enthroned between the Virgin and Saint Mark.

1212:

embedded into the external wall of the treasury, and the

5893:

La Nikopeia: immagine di culto, Palladio, mito veneziano

5879:(Chapel Hill: University of North Carolina Press, 2001) 5547:

Furta Sacra: Thefts of Relics in the Central Middle Ages

5054:

Farioli Campanata, 'Il pavimento di san Marco a Venezia'

4994:

Farioli Campanata, 'Il pavimento di san Marco a Venezia'

3461: 2044:

copy of the Book of Genesis: about a hundred of the 359

699:

was raised during the construction of the third church.

5755:

High Justice: Venice, San Marco, and the Spoils of 1204

4422: 4420: 4314: 4312: 3921: 3919: 3917: 3194: 3192: 2911: 6003:

Tramontin, Silvio, 'I santi dei mosaici marciani', in

4947: 4945: 3695: 2639: 2637: 1319:, dated 1394. It is surmounted by a bronze and silver 6928:

11th-century Roman Catholic church buildings in Italy

5828:, vol. 1 (Venezia: Marsilio, 2019), pp. 189–200 895:

History of medieval Arabic and Western European domes

702: 78:

Main façade of St Mark's Basilica at Piazza San Marco

6037:

La Pala d'oro della Basilica di San Marco in Venezia

5151:(Roma: Biblioteca d'Arte editrice, 1937), p. 25 4417: 4309: 3914: 3189: 6078:

Storia dell'arte marciana: sculture, tesoro, arazzi

4942: 2669: 2667: 2634: 1842:as was customary in middle-Byzantine churches, the 1574:, and liturgical objects and books, were inlaid by 540: 434:, the former political and religious centre of the 5954: 5704:La cappella musicale di San Marco nell'età moderna 5688:Venezia e il suo estuario: guida storico-artistico 5563:Journal of the Society of Architectural Historians 4135: 3035: 3033: 3002: 3000: 2998: 2792: 2790: 2021:. Special emphasis is given to the stories of the 1735: 1065:holding a book with the angelic salutation of the 981:over the northern-most and southern-most portals. 5525: 5483:The Church of San Marco in the eleventh century' 5005: 4372: 3757: 3755: 2945:Messe proprie della Chiesa patriarcale di Venezia 2147:, probably executed between 1170 and 1180 (right) 1129:and are the only equestrian team to survive from 6914: 5991:, 3rd edn (Milano: Touring Club Italiano, 1985) 5652:Refashioning Byzantium in Venice, ca. 1200–1400' 4075: 3603:Jacoff, 'L'unità delle facciate di san Marco...' 3511: 3509: 3420:Jacoff, 'L'unità delle facciate di san Marco...' 3325: 3323: 3321: 3283:Jacoff, 'L'unità delle facciate di san Marco...' 2918:Draghici-Vasilescu, 'The Church of San Marco...' 2881: 2664: 2659:Draghici-Vasilescu, 'The Church of San Marco...' 1471:) on return from his military expedition in the 5810:Journal of the Warburg and Courtauld Institutes 5081:Cozzi, 'Il giuspatronato del doge su san Marco' 4912: 3030: 2995: 2787: 2184:Mosaic in the right lateral nave depicting the 1590:of the basilica and, later, as the seat of the 1486:The Mascoli Chapel, utilized by the homonymous 1452:, and since 1810, it has been the Altar of the 1051:, possibly from the Philadelphion (lower right) 651: 588:were initially placed in a corner tower of the 5780:(Cambridge: Cambridge University Press, 1988) 5741:(Princeton: Princeton University Press, 1981) 5654:, in Henry Maguire and Robert S. Nelson, ed., 5549:(Princeton: Princeton University Press, 1978) 3752: 3071: 3069: 2950: 1877:. The western vault depicts the events of the 6556: 6384: 6233: 5656:San Marco, Byzantium, and the Myths of Venice 5418:(Chicago: University of Chicago Press, 1988) 5188:Scarabello, 'Il primiceriato di San Marco...' 5176:Scarabello, 'Il primiceriato di San Marco...' 4025:Tomasi, 'Prima, dopo, attorno la cappella...' 4013:Tomasi, 'Prima, dopo, attorno la cappella...' 3675:Bouras, 'Il tipo architettonico di san Marco' 3506: 3318: 2139:Mosaics in the Dome of Immanuel: the prophet 2040:, an important fourth or fifth-century Greek 772:) could take place in the unfinished church. 493:that were placed prominently over the entry. 5923:Scarabello, Giovanni and Paolo Morachiello, 5906: 5187: 5175: 3807:Klein, 'Refashioning Byzantium in Venice...' 3053: 3051: 2395:) to claim jurisdiction over St Mark's, the 1637:but owes its detailing to the basilica: the 1427:. The icon acquired a political role as the 1299: 430:The church is located on the eastern end of 411:in 1807, replacing the earlier cathedral of 375:Basilica Cattedrale Patriarcale di San Marco 367:Patriarchal Cathedral Basilica of Saint Mark 5243:(Treviso: Chartesia, 2018), pp. 26–51 3271:Piana, 'Le sovracupole lignee di San Marco' 3229:Piana, 'Le sovracupole lignee di San Marco' 3066: 2447: 2426: 2420: 2414: 2408: 2396: 2382: 1368: 1269: 1074: 1066: 985: 571: 6563: 6549: 6391: 6377: 6240: 6226: 6075: 5877:Myths of Venice: the Figuration of a State 5254: 5041: 5017: 3849:'Fabbriche antiche del quartiere marciano' 3467: 3443: 2565: 2493:List of buildings and structures in Venice 2435:. The procurators also hired and paid the 1785:Late Antique and medieval mosaics in Italy 1376: 1262: 1238:the first Venetian–Genoese war (1256–1270) 457:for administrative and financial affairs. 216: 72: 6126:Storia dell'arte marciana: l'architettura 6094:Storia dell'arte marciana: l'architettura 5986: 5672:Storia dell'arte marciana: l'architettura 5636:Storia dell'arte marciana: l'architettura 5622:(New Haven: Yale University Press, 2009) 5603:(New Haven: Yale University Press, 1975) 5560: 5451:Storia dell'arte marciana: l'architettura 5437:(New Haven, Yale University Press, 1993) 5416:The Mosaic Decoration of San Marco Venice 5375: 5343:Storia dell'arte marciana: l'architettura 5308:Storia dell'arte marciana: l'architettura 4969:The Mosaic Decoration of San Marco Venice 4954:The Mosaic Decoration of San Marco Venice 4936:The Mosaic Decoration of San Marco Venice 4906:The Mosaic Decoration of San Marco Venice 4876:The Mosaic Decoration of San Marco Venice 4861:The Mosaic Decoration of San Marco Venice 4846:The Mosaic Decoration of San Marco Venice 4831:The Mosaic Decoration of San Marco Venice 4816:The Mosaic Decoration of San Marco Venice 4789:The Mosaic Decoration of San Marco Venice 4774:The Mosaic Decoration of San Marco Venice 4759:The Mosaic Decoration of San Marco Venice 4744:The Mosaic Decoration of San Marco Venice 4729:The Mosaic Decoration of San Marco Venice 4714:The Mosaic Decoration of San Marco Venice 4699:The Mosaic Decoration of San Marco Venice 4684:The Mosaic Decoration of San Marco Venice 4669:The Mosaic Decoration of San Marco Venice 4654:The Mosaic Decoration of San Marco Venice 4639:The Mosaic Decoration of San Marco Venice 4624:The Mosaic Decoration of San Marco Venice 4609:The Mosaic Decoration of San Marco Venice 4594:The Mosaic Decoration of San Marco Venice 4579:The Mosaic Decoration of San Marco Venice 4564:The Mosaic Decoration of San Marco Venice 4549:The Mosaic Decoration of San Marco Venice 4534:The Mosaic Decoration of San Marco Venice 4519:The Mosaic Decoration of San Marco Venice 4504:The Mosaic Decoration of San Marco Venice 4489:The Mosaic Decoration of San Marco Venice 4474:The Mosaic Decoration of San Marco Venice 4459:The Mosaic Decoration of San Marco Venice 4444:The Mosaic Decoration of San Marco Venice 4429:The Mosaic Decoration of San Marco Venice 4411:The Mosaic Decoration of San Marco Venice 4366:The Mosaic Decoration of San Marco Venice 4351:The Mosaic Decoration of San Marco Venice 4336:The Mosaic Decoration of San Marco Venice 4321:The Mosaic Decoration of San Marco Venice 4303:The Mosaic Decoration of San Marco Venice 4288:The Mosaic Decoration of San Marco Venice 4273:The Mosaic Decoration of San Marco Venice 4258:The Mosaic Decoration of San Marco Venice 4160:Bergamo, 'Codussi, Spavento & co....' 4148:Bergamo, 'Codussi, Spavento & co....' 3986:Tramontin, 'I santi dei mosaici marciani' 3878:The Mosaic Decoration of San Marco Venice 3863:The Mosaic Decoration of San Marco Venice 3836:The Mosaic Decoration of San Marco Venice 3717:Hopkins, 'Architecture and Infirmitas...' 3716: 3632:The Mosaic Decoration of San Marco Venice 3617:The Mosaic Decoration of San Marco Venice 3413: 3347:The Mosaic Decoration of San Marco Venice 3332:The Mosaic Decoration of San Marco Venice 3201:The Mosaic Decoration of San Marco Venice 3078:The Mosaic Decoration of San Marco Venice 3048: 2932:The Mosaic Decoration of San Marco Venice 998:(1496), which also documents the earlier 5957:San Marco: aspetti storici e agiografici 5909:San Marco: aspetti storici e agiografici 5842:San Marco: aspetti storici e agiografici 5512:San Marco: aspetti storici e agiografici 5435:The Pictorial arts of the West, 800–1200 5362:San Marco: aspetti storici e agiografici 5356: 5110:La Guida generale degli Archivi di Stato 5107:Tiepolo, Maria Francesca, 'Venezia', in 5080: 3731:Sound and Space in Renaissance Venice... 2320: 2274: 1980: 1798: 1303: 1246: 956: 898: 803: 730: 576:, the removal of Saint Mark's body from 557: 6018: 5685: 5480: 5305: 5053: 5029: 4993: 4981: 4918: 4888: 4393: 4120: 4066: 4051: 3997: 3940: 3905: 3890: 3791: 3761: 3701: 3686: 3530: 3497: 3482: 3404: 3389: 3359: 2917: 2658: 2542: 1789: 504:representations and are masterworks of 36:Saint Mark's Cathedral (disambiguation) 14: 6915: 5890: 5823: 5757:', in Panayotis L. Vocotopoulos, ed., 5493: 3970: 3925: 3270: 3228: 2256:. Other Florentine artists, including 1412:Altar and icon of the Madonna Nicopeia 1073:: "Peace to you Mark, my Evangelist" ( 888: 407:; it became the episcopal seat of the 355:Click on the map for a fullscreen view 6544: 6372: 6221: 6123: 5922: 5839: 5701: 5669: 5595: 5509: 5448: 5410: 5270: 5202: 5160: 4966: 4951: 4933: 4903: 4873: 4858: 4843: 4828: 4813: 4786: 4771: 4756: 4741: 4726: 4711: 4696: 4681: 4666: 4651: 4636: 4621: 4606: 4591: 4576: 4561: 4546: 4531: 4516: 4501: 4486: 4471: 4456: 4441: 4426: 4408: 4363: 4348: 4333: 4318: 4300: 4285: 4270: 4255: 4228: 4186: 4108: 4096: 3955: 3875: 3860: 3848: 3833: 3629: 3614: 3560: 3344: 3329: 3255: 3198: 3075: 2929: 1917:from Constantinople. As a prelude, a 1490:after 1618, was decorated under Doge 1197:and the aediculae housing statues of 6398: 6247: 6043: 6002: 5970: 5941:Storia dell'arte marciana: i mosaici 5938: 5772: 5649: 5528:Storia dell'arte marciana: i mosaici 5496:Storia dell'arte marciana: i mosaici 5289: 5257:Storia dell'arte marciana: i mosaici 5238: 4802:Scarpa, 'La cappella dei Mascoli...' 4801: 4159: 4147: 4024: 4012: 3985: 3806: 3455: 3431: 2431:who administered the church and its 2401:remained subject to the Doge alone. 2297:scenes into the older compositions. 1610:and the portal of the Church of the 1582:and executed between 1524 and 1530. 1463:, brought to Venice in 1125 by Doge 512:from Venice and Florence, including 6492:Columns of San Marco and San Todaro 6107: 6019:Tramontin, Silvio, 'San Marco', in 5807: 5752: 5717: 5582:The Architectural History of Venice 5576: 5464: 4243:The Architectural History of Venice 4240: 4216:The Architectural History of Venice 4213: 4201:The Architectural History of Venice 4198: 4174:The Architectural History of Venice 4171: 3776: 3374: 3216:The Architectural History of Venice 3213: 3138:The Architectural History of Venice 3135: 3123:The Architectural History of Venice 3120: 3060:The Architectural History of Venice 3057: 2845:The Architectural History of Venice 2842: 2811: 2676:The Architectural History of Venice 2673: 2646:The Architectural History of Venice 2643: 2526: 2281:Presentation of Jesus at the Temple 1459:The long-neglected relics of Saint 752:, which in turn were reinforced by 415:. It is dedicated to and holds the 24: 6938:Roman Catholic cathedrals in Italy 6091: 6059: 5791: 5739:Civic Ritual in Renaissance Venice 5222: 2959:Civic Ritual in Renaissance Venice 2763: 2459:second period of French domination 1769: 1760: 1744: 1184: 1136: 748:in order to support the new heavy 446:in 1797, it was the chapel of the 25: 6979: 6150: 5871: 5855: 5633: 5614: 5429: 5391: 5321: 5095:The Church of San Marco in Venice 5092: 5068:The Church of San Marco in Venice 5065: 4381:The Pictorial arts of the West... 4378: 4084:The Church of San Marco in Venice 4081: 4039:The Church of San Marco in Venice 4036: 3821:The Church of San Marco in Venice 3818: 3746:The Church of San Marco in Venice 3743: 3728: 3662:The Church of San Marco in Venice 3659: 3647:The Church of San Marco in Venice 3644: 3602: 3590:The Church of San Marco in Venice 3587: 3575:The Church of San Marco in Venice 3572: 3548:The Church of San Marco in Venice 3545: 3518:The Church of San Marco in Venice 3515: 3456:Perry, 'Saint Mark's Trophies...' 3432:Perry, 'Saint Mark's Trophies...' 3419: 3312:The Church of San Marco in Venice 3309: 3297:The Church of San Marco in Venice 3294: 3282: 3243:The Church of San Marco in Venice 3240: 3183:The Church of San Marco in Venice 3180: 3168:The Church of San Marco in Venice 3165: 3153:The Church of San Marco in Venice 3150: 3108:The Church of San Marco in Venice 3105: 3093:The Church of San Marco in Venice 3090: 3042:The Church of San Marco in Venice 3039: 3024:The Church of San Marco in Venice 3021: 3009:The Church of San Marco in Venice 3006: 2989:The Church of San Marco in Venice 2986: 2974:The Church of San Marco in Venice 2971: 2905:The Church of San Marco in Venice 2902: 2890:The Pictorial arts of the West... 2887: 2875:The Church of San Marco in Venice 2872: 2860:The Church of San Marco in Venice 2857: 2830:The Church of San Marco in Venice 2827: 2799:The Church of San Marco in Venice 2796: 2781:The Church of San Marco in Venice 2778: 2751:The Church of San Marco in Venice 2748: 2736:The Church of San Marco in Venice 2733: 2718: 2706:The Church of San Marco in Venice 2703: 2691:The Church of San Marco in Venice 2688: 2628:The Church of San Marco in Venice 2625: 2613:The Church of San Marco in Venice 2610: 2598:The Church of San Marco in Venice 2595: 2583:The Church of San Marco in Venice 2580: 2416:de supra (Ecclesiam sancti Marci) 2364: 2337:The floor, executed primarily in 2325:Detail of the floor, executed in 1853:An extensive cycle narrating the 1076:"Pax tibi Marce evangelista meus" 952: 935:in the early thirteenth century. 480:influences are also evident, and 27:Cathedral church in Venice, Italy 6175: 6166:Satellite image from Google Maps 6034: 5733: 5541: 5481:Draghici-Vasilescu, Elena Ene, ' 5337: 5181: 5169: 5154: 5131: 5101: 5086: 5074: 5059: 5047: 5035: 5023: 5011: 4999: 4987: 4975: 4960: 4927: 4897: 4882: 4867: 4852: 4837: 4822: 4807: 4795: 4780: 4765: 4750: 4735: 4720: 4705: 4690: 4675: 4660: 4645: 4630: 4615: 4600: 4585: 4570: 4555: 4540: 4525: 4510: 4495: 4480: 4465: 4450: 4435: 4402: 4387: 4357: 4342: 4327: 4294: 4279: 4264: 4249: 4234: 4222: 4207: 4192: 4180: 4165: 4153: 4141: 4129: 4114: 4102: 4090: 4060: 4045: 4030: 4018: 4006: 3674: 3315:, pp. 114, 140–141, 147–148 2956: 2316: 2195: 2177: 2129: 2120: 1716: 1704: 1690: 1676: 1662: 1650: 1402: 1393: 1034: 1025: 1014: 799: 5584:(London: B. T. Batsford, 1980) 5196: 3991: 3979: 3964: 3949: 3934: 3899: 3884: 3869: 3854: 3842: 3827: 3812: 3800: 3785: 3770: 3737: 3722: 3710: 3680: 3668: 3653: 3638: 3623: 3608: 3596: 3581: 3566: 3554: 3539: 3524: 3491: 3476: 3449: 3437: 3425: 3398: 3383: 3368: 3353: 3338: 3303: 3288: 3276: 3264: 3249: 3234: 3222: 3207: 3174: 3159: 3144: 3129: 3114: 3099: 3084: 3015: 2980: 2965: 2938: 2923: 2896: 2866: 2851: 2836: 2821: 2805: 2772: 2757: 2742: 2727: 2712: 2697: 2535: 2514: 2446:to the French in 1797, and the 1848:symbols of the Four Evangelists 1823:, Saint Peter, Saint Mark, and 1736:Callido-Trice-Tamburini's Organ 1436:, Bringer of Victory) in 1645. 1222:Francesco Bussone da Carmagnola 938: 714: 683:to elect Candiano's successor, 6451:Treasury of St Mark's Basilica 6439:National Archaeological Museum 6348:Santa Maria Gloriosa dei Frari 6171:The Nicopeia Icon of San Marco 2682: 2652: 2619: 2604: 2589: 2574: 2559: 2467:second period of Austrian rule 2465:of Austria in 1816 during the 2444:fall of the Republic of Venice 2377:Treasury of St Mark's Basilica 1957:The western vault illustrates 1257:Giovanni Battista Cardinal Zen 1049:statue of the 'Four Tetrarchs' 1008:Spoils from the Fourth Crusade 995:Procession in Piazza San Marco 18:Basilica di San Marco (Venice) 13: 1: 6948:Gothic architecture in Venice 6933:Byzantine sacred architecture 5925:Guida alla civiltà di Venezia 3258:Guida alla civiltà di Venezia 2503: 2410:operis ecclesiae Sancti Marci 1903:post-resurrection appearances 1794: 1512: 1312:The chancel is enclosed by a 704: 653: 542: 284:Byzantine, Romanesque, Gothic 6953:Venetian Gothic architecture 6302:History of the Doge's Palace 6183:travel guide from Wikivoyage 5987:Touring Club Italiano, ed., 5565:, 57.2 (June 1998), 182–197 4921:Venezia e il suo estuario... 4891:Venezia e il suo estuario... 4396:Venezia e il suo estuario... 4123:Venezia e il suo estuario... 4069:Venezia e il suo estuario... 4054:Venezia e il suo estuario... 4000:Venezia e il suo estuario... 3893:Venezia e il suo estuario... 3794:Venezia e il suo estuario... 3764:Venezia e il suo estuario... 3704:Venezia e il suo estuario... 3689:Venezia e il suo estuario... 3533:Venezia e il suo estuario... 3500:Venezia e il suo estuario... 3485:Venezia e il suo estuario... 3407:Venezia e il suo estuario... 3392:Venezia e il suo estuario... 3362:Venezia e il suo estuario... 2553: 2544:Venezia e il suo estuario... 2353:and have symbolic meanings. 1997:: the main subjects are the 1825:Saint Hermagoras of Aquileia 1597: 1351:, originally designed as an 1220:and popularly identified as 1210:statue of the four tetrarchs 1045:Quadriga from the Hippodrome 933:Church of the Holy Sepulchre 7: 6943:Church buildings with domes 6039:(Venezia: F. Ongania, 1887) 5973:La cappella di Sant'Isidoro 2476: 2303:Giovanni Battista Piazzetta 2243:allowed a glass furnace on 1545: 1423:in ridding the city of the 1286: 943: 873:(1204–1261), following the 634:Church of the Holy Apostles 462:Church of the Holy Apostles 337:28.15 metres (92.4 ft) 10: 6984: 6731:Giacomo Giuseppe Saratelli 5927:(Milano: Mondadori, 1987) 5796:(New York: Rizzoli, 2013) 5209:Virtual Archaeology Review 5203:Adami, Andrea and others, 2498:List of churches in Venice 2389:Bishop of Olivolo/Castello 2374: 2368: 2343:and to a lesser extent in 2188:(early thirteenth century) 2104:, is limited to the final 1972: 1867:Presentation in the Temple 1782: 1778: 1724:Scuola Grande di San Marco 1643:Scuola Grande di San Marco 1532:dispersion of the Apostles 892: 820:of the galleries, and the 584:further recounts that the 551: 535: 32:St Mark's Basilica (horse) 29: 6968:Minor basilicas in Veneto 6763:Giovanni Agostino Perotti 6582: 6526: 6477: 6406: 6258: 6062:Lo splendore di san Marco 6021:Culto dei Santi a Venezia 6005:Culto dei Santi a Venezia 5812:, Vol. 40 (1977), 27–49 5294:, 6 (Spring 2013), 86–96 2371:Procurators of Saint Mark 2311:Salviati glassmaking firm 1730: 1498:) and dedicated in 1430. 1300:Chancel and choir chapels 1119:four gilded bronze horses 452:procurators of Saint Mark 438:, and is attached to the 421:Saint Mark the Evangelist 354: 350: 346: 341: 329: 317: 313:62.6 metres (205 ft) 309: 305:76.5 metres (251 ft) 301: 292: 288: 280: 266: 246: 237: 233: 225:Central nave looking east 224: 215: 211: 206: 196: 180: 171: 167: 157: 140: 131: 127: 122: 112: 104: 94: 83: 71: 49: 6643:Giulio Cesare Martinengo 6343:Santa Maria della Salute 5858:I dogi: storia e segreti 5380:, LXXV (2013), 221–241 5378:Antichità Altoadriatiche 5292:San Rocco Collaborations 4204:, pp. 108, 114, 163 3958:Likeness and presence... 3866:, pp. 28, 30–31, 33 3365:, pp. 164, 166, 168 2525:. See Wladimiro Dorigo, 2508: 2469:(1814–1866) and by Pope 2111: 2090:calling of the patriarch 2005:along with the lives of 1698:Santa Maria dei Miracoli 1631:Santa Maria dei Miracoli 1523:in office 1312–1328 1507:in office 1462–1471 1496:in office 1423–1457 1481:in office 1343–1354 1469:in office 1117–1130 1332:in office 1523–1538 794:in office 1084–1095 770:in office 1071–1084 726:in office 1043–1071 598:Giustiniano Participazio 6691:Giovanni Battista Volpe 6468:Church of San Geminiano 6308:Gallerie dell'Accademia 6048:(Milano, Electa, 1993) 4864:, pp. 193–194, 199 3536:, pp. 167, 169–170 3468:Touring Club Italiano, 2566:Touring Club Italiano, 2483:Venetian School (music) 2207:Dormition of the Virgin 2102:Crossing of the Red Sea 1897:on the other side (the 1377:Side altars and chapels 1263:Entry hall (Zen Chapel) 1242:Church of St Polyeuctus 396: 325:43 metres (141 ft) 30:For the racehorse, see 6755:Bonaventura Furlanetto 6699:Gian Domenico Partenio 6532:Piazzetta dei Leoncini 6414:Loggetta del Sansovino 6353:Santi Giovanni e Paolo 6194:Santi Giovanni e Paolo 5489:, 31/2 (2020), 695–740 5324:Patriarcato di Venezia 5211:, 9(19) (2018), 1–20 4717:, pp. 23, 188–189 4507:, pp. 91, 130–151 4099:, p. 461, note 12 2920:, p. 704, note 32 2455:Church of San Salvador 2448: 2427: 2421: 2415: 2409: 2397: 2383: 2334: 2284: 2042:illuminated manuscript 2027:hospitality of Abraham 1986: 1911:illuminated manuscript 1821:Saint Nicholas of Myra 1808: 1369: 1309: 1270: 1252: 1214:porphyry imperial head 1100:Descent from the Cross 1075: 1067: 986: 962: 904: 809: 736: 689:in office 976–978 681:San Pietro di Castello 669:in office 959–976 632:The prototype was the 610:in office 829–832 602:in office 827–829 572: 563: 413:San Pietro di Castello 405:Patriarchate of Venice 386: 374: 162:Patriarchate of Venice 34:. For other uses, see 6899:45.43444°N 12.33972°E 6576:Saint Mark's Basilica 6293:Ca' Vendramin Calergi 6144:Basilica di San Marco 6064:(Rimini: Idea, 2001) 5895:(Roma: Viella, 2012) 5860:(Roma: Newton, 1984) 5722:, 23 (2004), 153–184 4834:, pp. 60–61, 191 4747:, pp. 25–26, 189 2369:Further information: 2324: 2278: 2234:stained-glass windows 1984: 1863:Adoration of the Magi 1846:of the dome show the 1802: 1623:Venetian architecture 1307: 1251:Former southern entry 1250: 1203:Saint Paul the Hermit 1143:Doctors of the Church 1087:house figures of the 960: 902: 883:Venetian–Genoese Wars 807: 734: 636:(demolished 1461) in 561: 552:Further information: 541:Participazio church ( 397:Baxéłega de San Marco 388:Basilica di San Marco 377:), commonly known as 62:Basilica di San Marco 40:Basilica di San Marco 6963:Cathedrals in Veneto 6463:St Mark's Clocktower 6338:San Giorgio Maggiore 6046:Le chiese di Venezia 5753:Nelson, Robert S., ' 5686:Lorenzetti, Giulio, 5465:Dorigo, Wladimiro, 2766:The Genius of Venice 2532:, I, pp. 20–21. 2250:Signoria of Florence 2236:in French churches. 2086:confusion of tongues 1915:Protogospel of James 1790:Decorative programme 1639:superimposed columns 1592:Venetian Inquisition 790:Vitale Falier Dodoni 722:Domenico I Contarini 652:Orseolo church (976– 586:relics of Saint Mark 444:fall of the republic 6895: / 6739:Baldassarre Galuppi 6587:Johannes de Quadris 6572:Maestri di cappella 6487:Biblioteca Marciana 6458:St Mark's Campanile 6203:St Mark's Basilica 5720:Early Music History 5650:Klein, Holger A., ' 5618:and Laura Moretti, 5431:Dodwell, Charles R. 5339:Bouras, Charalambos 5163:Jacopo Sansovino... 4804:, pp. 230, 232 4627:, pp. 159, 165 4522:, pp. 157, 159 4072:, pp. 181, 202 3446:, p. 39–42, 45 2393:Patriarch of Venice 2283:(sixteenth century) 2258:Andrea del Castagno 2230:Studenica Monastery 2226:Agony in the Garden 2203:Andrea del Castagno 2186:Agony in the Garden 1959:Saint John's vision 1887:trial before Pilate 1536:nine angelic choirs 1359:, a masterpiece of 1244:in Constantinople. 1199:Saint Anthony Abbot 1163:Allegorical figures 1131:classical Antiquity 1094:Culminating in the 1079:). The intervening 889:Later modifications 830:Saint Mark's Square 627:gabled wooden roofs 554:Saint Mark's relics 530:Andrea del Castagno 510:Renaissance artists 432:Saint Mark's Square 409:Patriarch of Venice 117:Mark the Evangelist 6923:St Mark's Basilica 6904:45.43444; 12.33972 6835:Gastone De Zuccoli 6811:Delfino Thermignon 6747:Ferdinando Bertoni 6651:Claudio Monteverdi 6446:St Mark's Basilica 6358:St Mark's Basilica 6323:Punta della Dogana 6181:St Mark's Basilica 6044:Vianello, Sabina, 6035:Veludo, Giovanni, 5891:Samerski, Stefan, 5856:Rendina, Claudio, 5190:, pp. 155–156 5178:, pp. 153–154 5147:2021-11-13 at the 5137:Da Mosto, Andrea, 5117:2021-06-04 at the 4819:, pp. 190–191 4777:, pp. 57, 190 4762:, pp. 189–190 4687:, pp. 18, 188 4642:, pp. 138–146 4582:, pp. 155–156 4492:, pp. 123–126 4231:, pp. 249–250 4138:, pp. 227–228 3961:, pp. 203–204 3896:, pp. 189–191 3809:, pp. 197–199 3797:, pp. 186–187 3719:, pp. 189–190 3692:, pp. 183–184 3620:, pp. 179–181 3563:, pp. 318–319 3395:, pp. 167–168 3380:, pp. 148–149 3300:, pp. 110–111 3273:, pp. 195–196 3261:, pp. 174–175 2661:, pp. 713–714 2335: 2285: 2268:executed mosaics. 2072:cast out from the 1987: 1907:Life of the Virgin 1813:Christ Pantocrator 1809: 1629:and the Church of 1576:Antonio della Mola 1363:on gilded silver. 1310: 1253: 1181:top the lunettes. 1063:lion of Saint Mark 963: 905: 810: 737: 703:Contarini church ( 665:Pietro IV Candiano 564: 436:Republic of Venice 379:St Mark's Basilica 55:St Mark's Basilica 6878: 6877: 6871: 6863: 6855: 6847: 6839: 6831: 6823: 6815: 6807: 6799: 6791: 6783: 6775: 6767: 6759: 6751: 6743: 6735: 6727: 6723:Antonio Pollarolo 6719: 6711: 6703: 6695: 6687: 6683:Giovanni Legrenzi 6679: 6675:Natale Monferrato 6671: 6667:Francesco Cavalli 6663: 6655: 6647: 6639: 6631: 6627:Baldassare Donato 6623: 6615: 6607: 6599: 6591: 6538: 6537: 6366: 6365: 6216: 6215: 6206:Succeeded by 5543:Geary, Patrick J. 5223:Agazzi, Michela, 4672:, pp. 26, 61 4477:, pp. 80, 82 4291:, pp. 21, 23 3839:, pp. 28, 96 2863:, pp. 74, 88 2709:, pp. 66, 68 2488:Cappella Marciana 2023:sacrifice of Abel 1899:Harrowing of Hell 1881:on one side (the 1871:Baptism of Christ 1869:) along with the 1670:Madonna dell'Orto 1612:Madonna dell'Orto 1540:Venetian conquest 1492:Francesco Foscari 1454:Blessed Sacrament 1361:Byzantine enamels 1159:Gregory the Great 1104:Harrowing of Hell 582:Chronicon Venetum 566:Several medieval 363: 362: 359: 358: 334: 322: 297: 296: 242: 241: 229: 228: 176: 175: 136: 135: 16:(Redirected from 6975: 6958:Piazza San Marco 6910: 6909: 6907: 6906: 6905: 6900: 6896: 6893: 6892: 6891: 6888: 6869: 6861: 6853: 6845: 6837: 6829: 6821: 6813: 6805: 6797: 6789: 6781: 6773: 6771:Antonio Buzzolla 6765: 6757: 6749: 6741: 6733: 6725: 6717: 6709: 6701: 6693: 6685: 6677: 6669: 6661: 6659:Giovanni Rovetta 6653: 6645: 6637: 6629: 6621: 6619:Gioseffo Zarlino 6613: 6611:Cipriano de Rore 6605: 6597: 6595:Pietro de Fossis 6589: 6565: 6558: 6551: 6542: 6541: 6400:Piazza San Marco 6393: 6386: 6379: 6370: 6369: 6318:Piazza San Marco 6242: 6235: 6228: 6219: 6218: 6210:Venetian Arsenal 6200:Venice landmarks 6190:Preceded by 6187: 6186: 6179: 6162: 6161: 6159:Official website 6136: 6120: 6108:Weigel, Thomas, 6104: 6088: 6072: 6056: 6040: 6031: 6015: 5999: 5983: 5967: 5951: 5935: 5919: 5903: 5887: 5868: 5852: 5836: 5820: 5804: 5788: 5774:Nicol, Donald M. 5769: 5749: 5730: 5714: 5698: 5682: 5666: 5646: 5630: 5611: 5592: 5573: 5557: 5538: 5522: 5506: 5490: 5477: 5461: 5445: 5426: 5407: 5388: 5372: 5353: 5334: 5318: 5302: 5286: 5267: 5251: 5235: 5219: 5191: 5185: 5179: 5173: 5167: 5158: 5152: 5135: 5129: 5105: 5099: 5098:, pp. 52–53 5090: 5084: 5078: 5072: 5071:, pp. 44–45 5063: 5057: 5051: 5045: 5039: 5033: 5032:, pp. 12–13 5027: 5021: 5020:, pp. 48–49 5015: 5009: 5003: 4997: 4991: 4985: 4979: 4973: 4964: 4958: 4949: 4940: 4931: 4925: 4916: 4910: 4901: 4895: 4886: 4880: 4871: 4865: 4856: 4850: 4841: 4835: 4826: 4820: 4811: 4805: 4799: 4793: 4784: 4778: 4769: 4763: 4754: 4748: 4739: 4733: 4724: 4718: 4709: 4703: 4702:, pp. 17–19 4694: 4688: 4679: 4673: 4664: 4658: 4649: 4643: 4634: 4628: 4619: 4613: 4604: 4598: 4589: 4583: 4574: 4568: 4559: 4553: 4544: 4538: 4529: 4523: 4514: 4508: 4499: 4493: 4484: 4478: 4469: 4463: 4454: 4448: 4439: 4433: 4424: 4415: 4406: 4400: 4391: 4385: 4376: 4370: 4361: 4355: 4346: 4340: 4331: 4325: 4316: 4307: 4298: 4292: 4283: 4277: 4268: 4262: 4261:, pp. 87–88 4253: 4247: 4238: 4232: 4226: 4220: 4211: 4205: 4196: 4190: 4184: 4178: 4177:, pp. 76–77 4169: 4163: 4162:, pp. 87–88 4157: 4151: 4145: 4139: 4133: 4127: 4118: 4112: 4106: 4100: 4094: 4088: 4079: 4073: 4064: 4058: 4049: 4043: 4034: 4028: 4022: 4016: 4015:, pp. 16–17 4010: 4004: 3995: 3989: 3983: 3977: 3968: 3962: 3953: 3947: 3946:, pp. 15–18 3938: 3932: 3923: 3912: 3911:, pp. 9, 14 3903: 3897: 3888: 3882: 3881:, pp. 39–40 3873: 3867: 3858: 3852: 3851:, pp. 46–55 3846: 3840: 3831: 3825: 3816: 3810: 3804: 3798: 3789: 3783: 3777:Weigel, Thomas, 3774: 3768: 3759: 3750: 3749:, pp. 47–48 3741: 3735: 3726: 3720: 3714: 3708: 3699: 3693: 3684: 3678: 3672: 3666: 3665:, pp. 92–94 3657: 3651: 3642: 3636: 3627: 3621: 3612: 3606: 3600: 3594: 3585: 3579: 3578:, pp. 79–80 3570: 3564: 3558: 3552: 3543: 3537: 3528: 3522: 3513: 3504: 3495: 3489: 3480: 3474: 3465: 3459: 3453: 3447: 3441: 3435: 3434:, pp. 27–28 3429: 3423: 3417: 3411: 3402: 3396: 3387: 3381: 3372: 3366: 3357: 3351: 3342: 3336: 3327: 3316: 3307: 3301: 3292: 3286: 3280: 3274: 3268: 3262: 3253: 3247: 3238: 3232: 3226: 3220: 3211: 3205: 3196: 3187: 3186:, pp. 76–82 3178: 3172: 3171:, pp. 83–87 3163: 3157: 3148: 3142: 3133: 3127: 3118: 3112: 3103: 3097: 3088: 3082: 3073: 3064: 3055: 3046: 3037: 3028: 3019: 3013: 3004: 2993: 2992:, pp. 88–89 2984: 2978: 2969: 2963: 2954: 2948: 2942: 2936: 2927: 2921: 2915: 2909: 2900: 2894: 2885: 2879: 2878:, pp. 74–75 2870: 2864: 2855: 2849: 2848:, pp. 19–22 2840: 2834: 2825: 2819: 2814:Venezia romanica 2809: 2803: 2794: 2785: 2776: 2770: 2761: 2755: 2746: 2740: 2739:, pp. 69–70 2731: 2725: 2716: 2710: 2701: 2695: 2686: 2680: 2671: 2662: 2656: 2650: 2641: 2632: 2623: 2617: 2608: 2602: 2593: 2587: 2578: 2572: 2563: 2548: 2539: 2533: 2528:Venezia romanica 2518: 2451: 2430: 2424: 2418: 2412: 2400: 2386: 2346:opus tessellatum 2333:(in the corners) 2331:opus tessellatum 2307:Sebastiano Ricci 2266:Michele Giambono 2199: 2181: 2133: 2124: 2031:Eucharistic meal 1879:Passion of Jesus 1805:Christogram ICXC 1720: 1708: 1694: 1680: 1666: 1654: 1635:triumphal arches 1552:Giorgio Spavento 1524: 1519:Giovanni Soranzo 1508: 1497: 1482: 1470: 1465:Domenico Michiel 1461:Isidore of Chios 1406: 1397: 1372: 1333: 1273: 1089:Four Evangelists 1078: 1072: 1038: 1029: 1018: 991: 929:Qubbat aṣ-Ṣakhra 795: 771: 727: 709: 706: 690: 685:Pietro I Orseolo 670: 658: 655: 611: 603: 575: 547: 544: 470:Middle-Byzantine 348: 347: 332: 320: 290: 289: 275: 262: 255: 235: 234: 220: 213: 212: 207:Building details 191: 169: 168: 129: 128: 76: 47: 46: 21: 6983: 6982: 6978: 6977: 6976: 6974: 6973: 6972: 6913: 6912: 6903: 6901: 6897: 6894: 6889: 6886: 6884: 6882: 6881: 6879: 6874: 6859:Roberto Micconi 6819:Umberto Ravetta 6603:Adrian Willaert 6578: 6569: 6539: 6534: 6522: 6473: 6402: 6397: 6367: 6362: 6268:Bridge of Sighs 6254: 6246: 6207: 6202: 6191: 6157: 6156: 6153: 5616:Howard, Deborah 5597:Howard, Deborah 5578:Howard, Deborah 5199: 5194: 5186: 5182: 5174: 5170: 5159: 5155: 5149:Wayback Machine 5136: 5132: 5119:Wayback Machine 5106: 5102: 5091: 5087: 5079: 5075: 5064: 5060: 5052: 5048: 5040: 5036: 5028: 5024: 5016: 5012: 5004: 5000: 4992: 4988: 4980: 4976: 4965: 4961: 4950: 4943: 4932: 4928: 4917: 4913: 4902: 4898: 4887: 4883: 4872: 4868: 4857: 4853: 4842: 4838: 4827: 4823: 4812: 4808: 4800: 4796: 4785: 4781: 4770: 4766: 4755: 4751: 4740: 4736: 4725: 4721: 4710: 4706: 4695: 4691: 4680: 4676: 4665: 4661: 4650: 4646: 4635: 4631: 4620: 4616: 4605: 4601: 4590: 4586: 4575: 4571: 4560: 4556: 4545: 4541: 4530: 4526: 4515: 4511: 4500: 4496: 4485: 4481: 4470: 4466: 4455: 4451: 4440: 4436: 4425: 4418: 4407: 4403: 4392: 4388: 4377: 4373: 4362: 4358: 4347: 4343: 4332: 4328: 4317: 4310: 4299: 4295: 4284: 4280: 4269: 4265: 4254: 4250: 4239: 4235: 4227: 4223: 4212: 4208: 4197: 4193: 4185: 4181: 4170: 4166: 4158: 4154: 4146: 4142: 4134: 4130: 4119: 4115: 4107: 4103: 4095: 4091: 4080: 4076: 4065: 4061: 4050: 4046: 4035: 4031: 4023: 4019: 4011: 4007: 3996: 3992: 3984: 3980: 3969: 3965: 3954: 3950: 3939: 3935: 3924: 3915: 3904: 3900: 3889: 3885: 3874: 3870: 3859: 3855: 3847: 3843: 3832: 3828: 3817: 3813: 3805: 3801: 3790: 3786: 3775: 3771: 3760: 3753: 3742: 3738: 3727: 3723: 3715: 3711: 3700: 3696: 3685: 3681: 3673: 3669: 3658: 3654: 3643: 3639: 3628: 3624: 3613: 3609: 3601: 3597: 3586: 3582: 3571: 3567: 3559: 3555: 3544: 3540: 3529: 3525: 3514: 3507: 3496: 3492: 3481: 3477: 3466: 3462: 3454: 3450: 3442: 3438: 3430: 3426: 3418: 3414: 3403: 3399: 3388: 3384: 3377:High Justice... 3373: 3369: 3358: 3354: 3343: 3339: 3328: 3319: 3308: 3304: 3293: 3289: 3281: 3277: 3269: 3265: 3254: 3250: 3239: 3235: 3227: 3223: 3212: 3208: 3197: 3190: 3179: 3175: 3164: 3160: 3149: 3145: 3134: 3130: 3119: 3115: 3104: 3100: 3089: 3085: 3074: 3067: 3056: 3049: 3038: 3031: 3020: 3016: 3005: 2996: 2985: 2981: 2970: 2966: 2955: 2951: 2943: 2939: 2928: 2924: 2916: 2912: 2901: 2897: 2886: 2882: 2871: 2867: 2856: 2852: 2841: 2837: 2826: 2822: 2818:, I, p. 45 2810: 2806: 2795: 2788: 2777: 2773: 2762: 2758: 2747: 2743: 2732: 2728: 2717: 2713: 2702: 2698: 2687: 2683: 2672: 2665: 2657: 2653: 2649:, p. 28–29 2642: 2635: 2624: 2620: 2609: 2605: 2594: 2590: 2579: 2575: 2564: 2560: 2556: 2551: 2540: 2536: 2519: 2515: 2511: 2506: 2479: 2422:in temporalibus 2379: 2373: 2367: 2319: 2214: 2213: 2212: 2211: 2210: 2200: 2191: 2190: 2189: 2182: 2151: 2150: 2149: 2148: 2136: 2135: 2134: 2126: 2125: 2114: 2055:Palaeologan art 1975: 1928:Twelve Apostles 1875:Transfiguration 1797: 1792: 1787: 1781: 1772: 1770:Cimmino's Organ 1763: 1761:Martino's Organ 1747: 1745:Callido's Organ 1738: 1733: 1726: 1721: 1712: 1709: 1700: 1695: 1686: 1681: 1672: 1667: 1658: 1655: 1600: 1548: 1522: 1515: 1506: 1503:Cristoforo Moro 1495: 1480: 1468: 1416: 1415: 1414: 1413: 1409: 1408: 1407: 1399: 1398: 1379: 1336:Saint Clement I 1331: 1302: 1289: 1265: 1187: 1185:Southern façade 1139: 1137:Northern façade 1055: 1054: 1053: 1052: 1041: 1040: 1039: 1031: 1030: 1021: 1020: 1019: 1010: 1009: 1002:on the façade. 955: 946: 941: 897: 891: 802: 793: 769: 725: 717: 712: 707: 688: 668: 661: 656: 609: 601: 556: 550: 545: 538: 442:. Prior to the 331: 319: 273: 260: 253: 189: 185: 152: 99:Catholic Church 79: 67: 57: 43: 28: 23: 22: 15: 12: 11: 5: 6981: 6971: 6970: 6965: 6960: 6955: 6950: 6945: 6940: 6935: 6930: 6925: 6876: 6875: 6873: 6872: 6864: 6856: 6848: 6840: 6832: 6824: 6816: 6808: 6800: 6792: 6787:Lorenzo Perosi 6784: 6776: 6768: 6760: 6752: 6744: 6736: 6728: 6720: 6712: 6704: 6696: 6688: 6680: 6672: 6664: 6656: 6648: 6640: 6635:Giovanni Croce 6632: 6624: 6616: 6608: 6600: 6592: 6583: 6580: 6579: 6568: 6567: 6560: 6553: 6545: 6536: 6535: 6530: 6528: 6524: 6523: 6521: 6520: 6515: 6514: 6513: 6503: 6502: 6501: 6498:Lion of Venice 6489: 6483: 6481: 6475: 6474: 6472: 6471: 6465: 6460: 6455: 6454: 6453: 6443: 6442: 6441: 6436: 6431: 6426: 6416: 6410: 6408: 6404: 6403: 6396: 6395: 6388: 6381: 6373: 6364: 6363: 6361: 6360: 6355: 6350: 6345: 6340: 6335: 6330: 6325: 6320: 6315: 6310: 6305: 6295: 6290: 6285: 6280: 6275: 6270: 6265: 6259: 6256: 6255: 6245: 6244: 6237: 6230: 6222: 6214: 6213: 6204: 6197: 6185: 6184: 6173: 6168: 6163: 6152: 6151:External links 6149: 6148: 6147: 6140:Zatta, Antonio 6137: 6121: 6105: 6089: 6073: 6057: 6041: 6032: 6016: 6000: 5984: 5968: 5952: 5936: 5920: 5904: 5888: 5869: 5853: 5837: 5821: 5805: 5792:Parrot, Dial, 5789: 5770: 5750: 5731: 5715: 5699: 5683: 5667: 5647: 5631: 5612: 5593: 5574: 5558: 5539: 5523: 5507: 5491: 5478: 5462: 5446: 5427: 5408: 5389: 5373: 5358:Cozzi, Gaetano 5354: 5335: 5319: 5303: 5287: 5268: 5252: 5236: 5220: 5198: 5195: 5193: 5192: 5180: 5168: 5166:, pp. 8–9 5153: 5130: 5100: 5085: 5073: 5058: 5046: 5034: 5022: 5010: 4998: 4986: 4974: 4959: 4941: 4926: 4911: 4896: 4881: 4879:, pp. 6–7 4866: 4851: 4836: 4821: 4806: 4794: 4779: 4764: 4749: 4734: 4732:, pp. 5–6 4719: 4704: 4689: 4674: 4659: 4644: 4629: 4614: 4599: 4584: 4569: 4554: 4539: 4524: 4509: 4494: 4479: 4464: 4449: 4434: 4416: 4401: 4386: 4371: 4356: 4341: 4326: 4308: 4293: 4278: 4263: 4248: 4233: 4221: 4206: 4191: 4179: 4164: 4152: 4140: 4128: 4113: 4101: 4089: 4074: 4059: 4044: 4029: 4017: 4005: 3990: 3978: 3973:La Nikopeia... 3963: 3948: 3943:La Nikopeia... 3933: 3928:La Nikopeia... 3913: 3908:La Nikopeia... 3898: 3883: 3868: 3853: 3841: 3826: 3811: 3799: 3784: 3782:, pp. 5–6 3769: 3751: 3736: 3721: 3709: 3694: 3679: 3667: 3652: 3637: 3622: 3607: 3595: 3580: 3565: 3553: 3538: 3523: 3505: 3490: 3475: 3460: 3448: 3436: 3424: 3412: 3397: 3382: 3367: 3352: 3337: 3317: 3302: 3287: 3275: 3263: 3248: 3233: 3221: 3206: 3188: 3173: 3158: 3143: 3128: 3113: 3098: 3083: 3065: 3047: 3029: 3014: 2994: 2979: 2964: 2949: 2937: 2922: 2910: 2895: 2880: 2865: 2850: 2835: 2820: 2804: 2786: 2771: 2756: 2741: 2726: 2711: 2696: 2681: 2663: 2651: 2633: 2618: 2603: 2588: 2573: 2557: 2555: 2552: 2550: 2549: 2534: 2512: 2510: 2507: 2505: 2502: 2501: 2500: 2495: 2490: 2485: 2478: 2475: 2366: 2365:Administration 2363: 2318: 2315: 2201: 2194: 2193: 2192: 2183: 2176: 2175: 2174: 2173: 2172: 2138: 2137: 2128: 2127: 2119: 2118: 2117: 2116: 2115: 2113: 2110: 2074:Garden of Eden 2051:Vienna Genesis 2038:Cotton Genesis 2003:Tower of Babel 1974: 1971: 1855:Life of Christ 1838:. Rather than 1796: 1793: 1791: 1788: 1780: 1777: 1771: 1768: 1762: 1759: 1746: 1743: 1737: 1734: 1732: 1729: 1728: 1727: 1722: 1715: 1713: 1710: 1703: 1701: 1696: 1689: 1687: 1682: 1675: 1673: 1668: 1661: 1659: 1656: 1649: 1618:on St Mark's. 1599: 1596: 1547: 1544: 1527:Andrea Dandolo 1514: 1511: 1477:Andrea Dandolo 1411: 1410: 1401: 1400: 1392: 1391: 1390: 1389: 1388: 1378: 1375: 1301: 1298: 1288: 1285: 1271:praedestinatio 1264: 1261: 1186: 1183: 1138: 1135: 1069:praedestinatio 1043: 1042: 1033: 1032: 1024: 1023: 1022: 1013: 1012: 1011: 1007: 1006: 1005: 1004: 961:Western façade 954: 953:Western façade 951: 945: 942: 940: 937: 923:including the 890: 887: 875:Fourth Crusade 801: 798: 766:Domenico Selvo 716: 713: 711: 701: 660: 650: 638:Constantinople 549: 539: 537: 534: 514:Paolo Veronese 487:Fourth Crusade 466:Constantinople 403:church of the 361: 360: 357: 356: 352: 351: 344: 343: 339: 338: 335: 333:(central dome) 327: 326: 323: 321:(central dome) 315: 314: 311: 307: 306: 303: 299: 298: 295: 294: 293:Specifications 286: 285: 282: 278: 277: 268: 264: 263: 248: 244: 243: 240: 239: 231: 230: 227: 226: 222: 221: 209: 208: 204: 203: 201:Doge of Venice 198: 194: 193: 182: 178: 177: 174: 173: 165: 164: 159: 155: 154: 149:minor basilica 142: 138: 137: 134: 133: 132:Current status 125: 124: 120: 119: 114: 110: 109: 108:8 October 1094 106: 102: 101: 96: 92: 91: 85: 81: 80: 77: 69: 68: 66: 65: 58: 53: 50: 26: 9: 6: 4: 3: 2: 6980: 6969: 6966: 6964: 6961: 6959: 6956: 6954: 6951: 6949: 6946: 6944: 6941: 6939: 6936: 6934: 6931: 6929: 6926: 6924: 6921: 6920: 6918: 6911: 6908: 6868: 6867:Marco Gemmani 6865: 6860: 6857: 6852: 6851:Alfredo Bravi 6849: 6844: 6841: 6836: 6833: 6828: 6825: 6820: 6817: 6812: 6809: 6804: 6801: 6796: 6793: 6788: 6785: 6780: 6779:Nicolò Coccon 6777: 6772: 6769: 6764: 6761: 6756: 6753: 6748: 6745: 6740: 6737: 6732: 6729: 6724: 6721: 6716: 6715:Antonio Lotti 6713: 6708: 6707:Antonio Biffi 6705: 6700: 6697: 6692: 6689: 6684: 6681: 6676: 6673: 6668: 6665: 6660: 6657: 6652: 6649: 6644: 6641: 6636: 6633: 6628: 6625: 6620: 6617: 6612: 6609: 6604: 6601: 6596: 6593: 6588: 6585: 6584: 6581: 6577: 6573: 6566: 6561: 6559: 6554: 6552: 6547: 6546: 6543: 6533: 6529: 6525: 6519: 6516: 6512: 6509: 6508: 6507: 6506:Doge's Palace 6504: 6500: 6499: 6495: 6494: 6493: 6490: 6488: 6485: 6484: 6482: 6480: 6476: 6469: 6466: 6464: 6461: 6459: 6456: 6452: 6449: 6448: 6447: 6444: 6440: 6437: 6435: 6432: 6430: 6427: 6425: 6424:Caffè Florian 6422: 6421: 6420: 6417: 6415: 6412: 6411: 6409: 6405: 6401: 6394: 6389: 6387: 6382: 6380: 6375: 6374: 6371: 6359: 6356: 6354: 6351: 6349: 6346: 6344: 6341: 6339: 6336: 6334: 6333:Rialto Bridge 6331: 6329: 6326: 6324: 6321: 6319: 6316: 6314: 6311: 6309: 6306: 6303: 6299: 6298:Doge's Palace 6296: 6294: 6291: 6289: 6288:Ca' Rezzonico 6286: 6284: 6281: 6279: 6276: 6274: 6271: 6269: 6266: 6264: 6261: 6260: 6257: 6253: 6250: 6243: 6238: 6236: 6231: 6229: 6224: 6223: 6220: 6212: 6211: 6205: 6201: 6198: 6196: 6195: 6189: 6188: 6182: 6178: 6174: 6172: 6169: 6167: 6164: 6160: 6155: 6154: 6145: 6141: 6138: 6135: 6131: 6127: 6122: 6119: 6118:9783799547543 6115: 6111: 6106: 6103: 6099: 6095: 6090: 6087: 6083: 6079: 6074: 6071: 6070:9788870827279 6067: 6063: 6060:Vio, Ettore, 6058: 6055: 6054:9788843540488 6051: 6047: 6042: 6038: 6033: 6030: 6026: 6022: 6017: 6014: 6010: 6006: 6001: 5998: 5997:9788836500062 5994: 5990: 5985: 5982: 5978: 5974: 5969: 5966: 5962: 5958: 5953: 5950: 5946: 5942: 5937: 5934: 5933:9788804302018 5930: 5926: 5921: 5918: 5914: 5910: 5905: 5902: 5901:9788883347016 5898: 5894: 5889: 5886: 5882: 5878: 5874: 5873:Rosand, David 5870: 5867: 5866:9788854108172 5863: 5859: 5854: 5851: 5847: 5843: 5838: 5835: 5831: 5827: 5822: 5819: 5815: 5811: 5806: 5803: 5802:9780847840533 5799: 5795: 5790: 5787: 5783: 5779: 5775: 5771: 5768: 5767:9789604041114 5764: 5760: 5756: 5751: 5748: 5744: 5740: 5736: 5732: 5729: 5725: 5721: 5716: 5713: 5712:9788875520182 5709: 5705: 5700: 5697: 5693: 5689: 5684: 5681: 5677: 5673: 5668: 5665: 5664:9780884023609 5661: 5657: 5653: 5648: 5645: 5641: 5637: 5632: 5629: 5628:9780300148749 5625: 5621: 5617: 5613: 5610: 5609:9780300018912 5606: 5602: 5598: 5594: 5591: 5590:9780300090291 5587: 5583: 5579: 5575: 5572: 5568: 5564: 5559: 5556: 5555:9780691052618 5552: 5548: 5544: 5540: 5537: 5533: 5529: 5524: 5521: 5517: 5513: 5508: 5505: 5501: 5497: 5492: 5488: 5484: 5479: 5476: 5475:9788883142031 5472: 5468: 5463: 5460: 5456: 5452: 5447: 5444: 5440: 5436: 5432: 5428: 5425: 5421: 5417: 5413: 5409: 5406: 5402: 5398: 5394: 5390: 5387: 5383: 5379: 5374: 5371: 5367: 5363: 5359: 5355: 5352: 5348: 5344: 5340: 5336: 5333: 5332:9788877060938 5329: 5325: 5320: 5317: 5313: 5309: 5304: 5301: 5297: 5293: 5288: 5285: 5284:9780226042145 5281: 5277: 5273: 5272:Belting, Hans 5269: 5266: 5262: 5258: 5253: 5250: 5249:9788899786151 5246: 5242: 5237: 5234: 5230: 5226: 5221: 5218: 5214: 5210: 5206: 5201: 5200: 5189: 5184: 5177: 5172: 5165: 5164: 5157: 5150: 5146: 5143: 5141: 5134: 5128: 5127:9788871250809 5124: 5120: 5116: 5113: 5111: 5104: 5097: 5096: 5089: 5083:, p. 731 5082: 5077: 5070: 5069: 5062: 5055: 5050: 5043: 5038: 5031: 5026: 5019: 5014: 5007: 5002: 4995: 4990: 4983: 4978: 4971: 4970: 4963: 4956: 4955: 4948: 4946: 4938: 4937: 4930: 4924:, p. 203 4923: 4922: 4915: 4908: 4907: 4900: 4894:, p. 193 4893: 4892: 4885: 4878: 4877: 4870: 4863: 4862: 4855: 4849:, p. 191 4848: 4847: 4840: 4833: 4832: 4825: 4818: 4817: 4810: 4803: 4798: 4792:, p. 193 4791: 4790: 4783: 4776: 4775: 4768: 4761: 4760: 4753: 4746: 4745: 4738: 4731: 4730: 4723: 4716: 4715: 4708: 4701: 4700: 4693: 4686: 4685: 4678: 4671: 4670: 4663: 4657:, p. 151 4656: 4655: 4648: 4641: 4640: 4633: 4626: 4625: 4618: 4612:, p. 165 4611: 4610: 4603: 4597:, p. 164 4596: 4595: 4588: 4581: 4580: 4573: 4567:, p. 175 4566: 4565: 4558: 4552:, p. 155 4551: 4550: 4543: 4537:, p. 156 4536: 4535: 4528: 4521: 4520: 4513: 4506: 4505: 4498: 4491: 4490: 4483: 4476: 4475: 4468: 4461: 4460: 4453: 4446: 4445: 4438: 4431: 4430: 4423: 4421: 4413: 4412: 4405: 4399:, p. 201 4398: 4397: 4390: 4384:, p. 186 4383: 4382: 4375: 4368: 4367: 4360: 4353: 4352: 4345: 4338: 4337: 4330: 4323: 4322: 4315: 4313: 4305: 4304: 4297: 4290: 4289: 4282: 4275: 4274: 4267: 4260: 4259: 4252: 4246:, p. 121 4245: 4244: 4237: 4230: 4225: 4219:, p. 108 4218: 4217: 4210: 4203: 4202: 4195: 4189:, p. 248 4188: 4183: 4176: 4175: 4168: 4161: 4156: 4149: 4144: 4137: 4132: 4126:, p. 207 4125: 4124: 4117: 4111:, p. 461 4110: 4105: 4098: 4093: 4086: 4085: 4078: 4071: 4070: 4063: 4057:, p. 191 4056: 4055: 4048: 4041: 4040: 4033: 4026: 4021: 4014: 4009: 4003:, p. 181 4002: 4001: 3994: 3988:, p. 142 3987: 3982: 3975: 3974: 3967: 3960: 3959: 3952: 3945: 3944: 3937: 3930: 3929: 3922: 3920: 3918: 3910: 3909: 3902: 3895: 3894: 3887: 3880: 3879: 3872: 3865: 3864: 3857: 3850: 3845: 3838: 3837: 3830: 3823: 3822: 3815: 3808: 3803: 3796: 3795: 3788: 3781: 3780: 3773: 3767:, p. 184 3766: 3765: 3758: 3756: 3748: 3747: 3740: 3733: 3732: 3725: 3718: 3713: 3707:, p. 183 3706: 3705: 3698: 3691: 3690: 3683: 3677:, p. 170 3676: 3671: 3664: 3663: 3656: 3649: 3648: 3641: 3634: 3633: 3626: 3619: 3618: 3611: 3604: 3599: 3593:, p. 113 3592: 3591: 3584: 3577: 3576: 3569: 3562: 3557: 3550: 3549: 3542: 3535: 3534: 3527: 3521:, p. 112 3520: 3519: 3512: 3510: 3503:, p. 169 3502: 3501: 3494: 3488:, p. 172 3487: 3486: 3479: 3473:, p. 248 3472: 3471: 3464: 3457: 3452: 3445: 3440: 3433: 3428: 3421: 3416: 3410:, p. 167 3409: 3408: 3401: 3394: 3393: 3386: 3379: 3378: 3371: 3364: 3363: 3356: 3350:, p. 183 3349: 3348: 3341: 3335:, p. 184 3334: 3333: 3326: 3324: 3322: 3314: 3313: 3306: 3299: 3298: 3291: 3284: 3279: 3272: 3267: 3260: 3259: 3252: 3246:, p. 103 3245: 3244: 3237: 3231:, p. 189 3230: 3225: 3218: 3217: 3210: 3204:, p. 128 3203: 3202: 3195: 3193: 3185: 3184: 3177: 3170: 3169: 3162: 3155: 3154: 3147: 3140: 3139: 3132: 3125: 3124: 3117: 3111:, p. 120 3110: 3109: 3102: 3096:, p. 101 3095: 3094: 3087: 3080: 3079: 3072: 3070: 3062: 3061: 3054: 3052: 3044: 3043: 3036: 3034: 3026: 3025: 3018: 3011: 3010: 3003: 3001: 2999: 2991: 2990: 2983: 2976: 2975: 2968: 2961: 2960: 2953: 2946: 2941: 2934: 2933: 2926: 2919: 2914: 2907: 2906: 2899: 2893:, p. 184 2892: 2891: 2884: 2877: 2876: 2869: 2862: 2861: 2854: 2847: 2846: 2839: 2832: 2831: 2824: 2817: 2815: 2808: 2801: 2800: 2793: 2791: 2783: 2782: 2775: 2768: 2767: 2760: 2753: 2752: 2745: 2738: 2737: 2730: 2723: 2722: 2715: 2708: 2707: 2700: 2693: 2692: 2685: 2678: 2677: 2670: 2668: 2660: 2655: 2648: 2647: 2640: 2638: 2630: 2629: 2622: 2615: 2614: 2607: 2600: 2599: 2592: 2585: 2584: 2577: 2571:, p. 218 2570: 2569: 2562: 2558: 2547:, p. 167 2546: 2545: 2538: 2531: 2529: 2524: 2517: 2513: 2499: 2496: 2494: 2491: 2489: 2486: 2484: 2481: 2480: 2474: 2472: 2468: 2464: 2460: 2456: 2450: 2445: 2440: 2438: 2434: 2429: 2423: 2417: 2411: 2407: 2402: 2399: 2394: 2390: 2385: 2378: 2372: 2362: 2360: 2354: 2352: 2348: 2347: 2342: 2341: 2332: 2328: 2323: 2317:Floor mosaics 2314: 2312: 2308: 2304: 2298: 2295: 2291: 2282: 2277: 2273: 2269: 2267: 2263: 2259: 2255: 2254:Paolo Uccello 2251: 2246: 2242: 2241:Great Council 2237: 2235: 2231: 2227: 2222: 2220: 2208: 2204: 2198: 2187: 2180: 2171: 2169: 2165: 2161: 2155: 2146: 2142: 2132: 2123: 2109: 2107: 2103: 2099: 2095: 2091: 2087: 2083: 2082:Cain and Abel 2079: 2075: 2071: 2067: 2062: 2058: 2056: 2052: 2047: 2043: 2039: 2034: 2032: 2028: 2024: 2020: 2016: 2012: 2008: 2004: 2000: 1996: 1992: 1983: 1979: 1970: 1968: 1964: 1960: 1955: 1952: 1948: 1947:martyrologies 1944: 1940: 1935: 1933: 1929: 1923: 1920: 1919:Tree of Jesse 1916: 1912: 1908: 1904: 1900: 1896: 1892: 1888: 1884: 1883:kiss of Judas 1880: 1876: 1872: 1868: 1864: 1860: 1856: 1851: 1849: 1845: 1841: 1837: 1833: 1828: 1826: 1822: 1818: 1814: 1806: 1801: 1786: 1776: 1767: 1758: 1754: 1751: 1742: 1725: 1719: 1714: 1707: 1702: 1699: 1693: 1688: 1685: 1679: 1674: 1671: 1665: 1660: 1657:Santo Stefano 1653: 1648: 1647: 1646: 1644: 1640: 1636: 1632: 1628: 1624: 1619: 1617: 1613: 1609: 1608:Santo Stefano 1605: 1604:Gothic period 1595: 1593: 1589: 1583: 1581: 1577: 1573: 1569: 1565: 1561: 1557: 1553: 1543: 1541: 1537: 1533: 1528: 1520: 1510: 1504: 1499: 1493: 1489: 1488:confraternity 1484: 1478: 1474: 1466: 1462: 1457: 1455: 1451: 1446: 1442: 1441:Saint Leonard 1437: 1435: 1430: 1426: 1422: 1405: 1396: 1387: 1385: 1374: 1371: 1364: 1362: 1358: 1354: 1350: 1345: 1339: 1337: 1328: 1326: 1322: 1318: 1315: 1306: 1297: 1293: 1284: 1280: 1277: 1272: 1260: 1258: 1249: 1245: 1243: 1239: 1235: 1231: 1225: 1223: 1219: 1215: 1211: 1206: 1204: 1200: 1196: 1192: 1182: 1180: 1176: 1172: 1168: 1164: 1160: 1156: 1152: 1148: 1144: 1134: 1132: 1128: 1125:adorning the 1124: 1120: 1115: 1113: 1109: 1105: 1101: 1097: 1096:Last Judgment 1092: 1090: 1086: 1082: 1077: 1071: 1070: 1064: 1060: 1050: 1046: 1037: 1028: 1017: 1003: 1001: 997: 996: 990: 989: 982: 980: 976: 970: 968: 959: 950: 936: 934: 930: 926: 921: 916: 912: 910: 901: 896: 886: 884: 880: 876: 872: 868: 864: 859: 857: 853: 852:corbel tables 849: 845: 844: 839: 833: 831: 827: 823: 819: 815: 806: 800:Embellishment 797: 791: 787: 783: 779: 773: 767: 761: 759: 755: 751: 750:barrel vaults 747: 743: 733: 729: 723: 700: 698: 692: 686: 682: 678: 674: 666: 649: 647: 641: 639: 635: 630: 628: 624: 618: 615: 607: 599: 595: 594:Doge's Palace 591: 587: 583: 579: 574: 569: 560: 555: 533: 531: 527: 526:Paolo Uccello 523: 519: 515: 511: 507: 502: 499: 494: 492: 491:bronze horses 488: 483: 479: 475: 471: 467: 463: 458: 456: 453: 449: 445: 441: 440:Doge's Palace 437: 433: 428: 427:of the city. 426: 422: 418: 414: 410: 406: 402: 398: 394: 390: 389: 384: 380: 376: 372: 368: 353: 349: 345: 340: 336: 328: 324: 316: 312: 308: 304: 300: 291: 287: 283: 279: 272: 269: 265: 259: 252: 249: 245: 236: 232: 223: 219: 214: 210: 205: 202: 199: 195: 188: 183: 179: 170: 166: 163: 160: 158:Episcopal see 156: 150: 146: 143: 139: 130: 126: 121: 118: 115: 113:Titular saint 111: 107: 103: 100: 97: 93: 89: 86: 82: 75: 70: 64: 63: 59: 56: 52: 51: 48: 45: 41: 37: 33: 19: 6880: 6795:Pietro Magri 6496: 6445: 6434:Museo Correr 6429:Caffè Quadri 6357: 6328:Il Redentore 6208: 6199: 6192: 6143: 6125: 6109: 6093: 6077: 6061: 6045: 6036: 6020: 6004: 5988: 5972: 5956: 5940: 5924: 5908: 5892: 5876: 5857: 5841: 5825: 5809: 5793: 5777: 5758: 5738: 5735:Muir, Edward 5719: 5703: 5687: 5671: 5655: 5635: 5619: 5600: 5581: 5562: 5546: 5527: 5511: 5495: 5486: 5466: 5450: 5434: 5415: 5396: 5377: 5361: 5342: 5323: 5307: 5291: 5275: 5256: 5240: 5224: 5208: 5197:Bibliography 5183: 5171: 5162: 5156: 5138: 5133: 5108: 5103: 5094: 5088: 5076: 5067: 5061: 5056:, p. 14 5049: 5044:, p. 47 5037: 5025: 5013: 5008:, p. 20 5001: 4996:, p. 12 4989: 4984:, p. 11 4977: 4972:, p. 10 4968: 4962: 4953: 4935: 4929: 4920: 4919:Lorenzetti, 4914: 4905: 4899: 4890: 4889:Lorenzetti, 4884: 4875: 4869: 4860: 4854: 4845: 4839: 4830: 4824: 4815: 4809: 4797: 4788: 4782: 4773: 4767: 4758: 4752: 4743: 4737: 4728: 4722: 4713: 4707: 4698: 4692: 4683: 4677: 4668: 4662: 4653: 4647: 4638: 4632: 4623: 4617: 4608: 4602: 4593: 4587: 4578: 4572: 4563: 4557: 4548: 4542: 4533: 4527: 4518: 4512: 4503: 4497: 4488: 4482: 4473: 4467: 4462:, p. 87 4458: 4452: 4447:, p. 65 4443: 4437: 4432:, p. 88 4428: 4414:, p. 90 4410: 4404: 4395: 4394:Lorenzetti, 4389: 4380: 4374: 4369:, p. 53 4365: 4359: 4354:, p. 50 4350: 4344: 4339:, p. 49 4335: 4329: 4324:, p. 89 4320: 4306:, p. 58 4302: 4296: 4287: 4281: 4276:, p. 20 4272: 4266: 4257: 4251: 4242: 4236: 4224: 4215: 4209: 4200: 4194: 4182: 4173: 4167: 4155: 4150:, p. 90 4143: 4131: 4122: 4121:Lorenzetti, 4116: 4104: 4092: 4087:, p. 79 4083: 4077: 4068: 4067:Lorenzetti, 4062: 4053: 4052:Lorenzetti, 4047: 4042:, p. 43 4038: 4032: 4027:, p. 15 4020: 4008: 3999: 3998:Lorenzetti, 3993: 3981: 3976:, p. 32 3972: 3966: 3957: 3951: 3942: 3936: 3931:, p. 11 3927: 3907: 3901: 3892: 3891:Lorenzetti, 3886: 3877: 3871: 3862: 3856: 3844: 3835: 3829: 3824:, p. 93 3820: 3814: 3802: 3793: 3792:Lorenzetti, 3787: 3778: 3772: 3763: 3762:Lorenzetti, 3745: 3739: 3734:, p. 35 3730: 3724: 3712: 3703: 3702:Lorenzetti, 3697: 3688: 3687:Lorenzetti, 3682: 3670: 3661: 3655: 3650:, p. 97 3646: 3640: 3635:, p. 23 3631: 3625: 3616: 3610: 3605:, p. 80 3598: 3589: 3583: 3574: 3568: 3556: 3551:, p. 80 3547: 3541: 3532: 3531:Lorenzetti, 3526: 3517: 3499: 3498:Lorenzetti, 3493: 3484: 3483:Lorenzetti, 3478: 3469: 3463: 3458:, p. 28 3451: 3439: 3427: 3422:, p. 84 3415: 3406: 3405:Lorenzetti, 3400: 3391: 3390:Lorenzetti, 3385: 3376: 3370: 3361: 3360:Lorenzetti, 3355: 3346: 3340: 3331: 3311: 3305: 3296: 3290: 3285:, p. 78 3278: 3266: 3257: 3256:Scarabello, 3251: 3242: 3236: 3224: 3219:, p. 30 3215: 3209: 3200: 3182: 3176: 3167: 3161: 3156:, p. 88 3152: 3146: 3141:, p. 34 3137: 3131: 3126:, p. 33 3122: 3116: 3107: 3101: 3092: 3086: 3077: 3063:, p. 32 3059: 3045:, p. 99 3041: 3027:, p. 89 3023: 3017: 3012:, p. 98 3008: 2988: 2982: 2977:, p. 81 2973: 2967: 2962:, p. 87 2958: 2952: 2944: 2940: 2931: 2925: 2913: 2908:, p. 75 2904: 2898: 2889: 2883: 2874: 2868: 2859: 2853: 2844: 2838: 2833:, p. 74 2829: 2823: 2813: 2807: 2802:, p. 72 2798: 2784:, p. 71 2780: 2774: 2769:, p. 37 2765: 2759: 2754:, p. 70 2750: 2744: 2735: 2729: 2724:, p. 54 2720: 2714: 2705: 2699: 2694:, p. 67 2690: 2684: 2679:, p. 29 2675: 2654: 2645: 2631:, p. 66 2627: 2621: 2616:, p. 12 2612: 2606: 2601:, p. 63 2597: 2591: 2582: 2576: 2567: 2561: 2543: 2537: 2527: 2516: 2441: 2436: 2403: 2391:(after 1451 2380: 2355: 2344: 2340:opus sectile 2338: 2336: 2330: 2327:opus sectile 2326: 2299: 2286: 2270: 2238: 2223: 2219:Medieval art 2215: 2156: 2152: 2094:circumcision 2063: 2059: 2035: 1988: 1976: 1956: 1936: 1924: 1895:Resurrection 1859:Annunciation 1852: 1829: 1810: 1773: 1764: 1755: 1752: 1748: 1739: 1711:Foscari Arch 1620: 1601: 1584: 1555: 1549: 1516: 1500: 1485: 1458: 1438: 1433: 1421:intercession 1417: 1380: 1365: 1340: 1329: 1317:altar screen 1311: 1294: 1290: 1281: 1266: 1254: 1226: 1218:Justinian II 1207: 1188: 1140: 1116: 1108:Resurrection 1093: 1056: 993: 983: 971: 964: 947: 939:Architecture 917: 913: 906: 878: 871:Latin Empire 860: 854:, reflected 842: 838:blind arches 834: 811: 786:consecration 774: 762: 741: 738: 718: 715:Construction 693: 672: 662: 642: 631: 619: 613: 589: 570:narrate the 565: 506:Medieval art 495: 459: 454: 429: 425:patron saint 387: 378: 366: 364: 330:Inner height 318:Outer height 238:Construction 184:Ducal chapel 172:Prior status 153:1807–present 95:Denomination 61: 60: 54: 44: 6902: / 6827:Matteo Tosi 6313:Grand Canal 6278:Ca' Foscari 5412:Demus, Otto 5393:Demus, Otto 4957:, p. 9 4939:, p. 8 4909:, p. 7 3081:, p. 6 2935:, p. 3 2586:, p. 9 2449:primicerius 2398:primicerius 2384:primicerius 2359:cosmatesque 2290:Renaissance 2262:perspective 2252:which sent 1891:Crucifixion 1844:pendentives 1836:Incarnation 1568:monstrances 1564:reliquaries 1425:Black Death 1353:antependium 1342:crypt. The 1059:ogee arches 788:under Doge 708: 1063 657: 1063 498:gold-ground 274: 1063 181:Designation 141:Designation 105:Consecrated 6917:Categories 6890:12°20′23″E 6887:45°26′04″N 6803:Giulio Bas 6419:Procuratie 6283:Ca' Pesaro 6134:8831766457 6102:8831766457 6086:8831768522 5965:8831763695 5949:8831768328 5917:8831763695 5885:0807826413 5850:8831763695 5834:1110869334 5786:0521341574 5747:0691102007 5680:8831766457 5644:8831766457 5536:8831768328 5520:8831763695 5504:8831768328 5459:8831766457 5443:0300064934 5424:0226142922 5370:8831763695 5351:8831766457 5316:8831766457 5265:8831768328 3971:Samerski, 3941:Samerski, 3926:Samerski, 3906:Samerski, 2504:References 2406:procurator 2375:See also: 2351:bestiaries 2046:miniatures 1963:Apocalypse 1951:apocryphal 1939:hetoimasia 1893:) and the 1889:, and the 1783:See also: 1513:Baptistery 1450:True Cross 1370:translatio 1357:Pala d'Oro 1349:altarpiece 1276:his Gospel 1232:lions and 1171:Temperance 1127:Hippodrome 1110:, and the 988:translatio 893:See also: 863:revetments 856:Romanesque 782:altarpiece 778:Pala d'Oro 578:Alexandria 573:translatio 568:chronicles 546: 829 518:Tintoretto 474:Romanesque 399:), is the 261: 836 254: 829 190: 836 6843:Luigi Vio 6479:Piazzetta 6273:Ca' d'Oro 6252:landmarks 6029:799322387 6013:799322387 5981:878712543 5818:0075-4390 5728:0261-1279 5696:878738785 5571:0037-9808 5487:Mirabilia 5405:848981462 5386:1972-9758 5300:2038-4912 5233:889434590 5217:1989-9947 4379:Dodwell, 3956:Belting, 2888:Dodwell, 2719:Rendina, 2554:Citations 2473:in 1821. 2463:Francis I 2361:floors. 2294:Mannerist 1817:semi-dome 1684:Ca' Dario 1627:Ca' Dario 1598:Influence 1572:vestments 1550:In 1486, 1434:Nikopoios 1429:palladium 1355:, is the 1195:Fortitude 1151:Augustine 1112:Ascension 1085:pinnacles 1081:aediculae 975:spandrels 826:brickwork 814:balusters 710:–present) 401:cathedral 145:Cathedral 5161:Howard, 5145:Archived 5115:Archived 4241:Howard, 4214:Howard, 4199:Howard, 4172:Howard, 3729:Howard, 3375:Nelson, 3214:Howard, 3136:Howard, 3121:Howard, 3058:Howard, 2843:Howard, 2812:Dorigo, 2764:Parrot, 2674:Howard, 2644:Howard, 2523:westwork 2477:See also 2471:Pius VII 2433:treasury 2428:de supra 2168:Habakkuk 2160:Jeremiah 2141:Jeremiah 2078:cherubim 2025:and the 2001:and the 1999:Creation 1901:and the 1873:and the 1840:seraphim 1832:Immanuel 1795:Interior 1616:crockets 1560:sacristy 1546:Sacristy 1445:Crusades 1344:ciborium 1321:Crucifix 1287:Interior 1234:griffins 1230:couchant 1167:Prudence 1123:quadriga 944:Exterior 920:lanterns 909:lunettes 818:parapets 780:(golden 606:Giovanni 455:de supra 393:Venetian 197:Tutelage 84:Location 6527:Related 6263:Arsenal 5989:Venezia 5093:Demus, 5066:Demus, 4967:Demus, 4952:Demus, 4934:Demus, 4904:Demus, 4874:Demus, 4859:Demus, 4844:Demus, 4829:Demus, 4814:Demus, 4787:Demus, 4772:Demus, 4757:Demus, 4742:Demus, 4727:Demus, 4712:Demus, 4697:Demus, 4682:Demus, 4667:Demus, 4652:Demus, 4637:Demus, 4622:Demus, 4607:Demus, 4592:Demus, 4577:Demus, 4562:Demus, 4547:Demus, 4532:Demus, 4517:Demus, 4502:Demus, 4487:Demus, 4472:Demus, 4457:Demus, 4442:Demus, 4427:Demus, 4409:Demus, 4364:Demus, 4349:Demus, 4334:Demus, 4319:Demus, 4301:Demus, 4286:Demus, 4271:Demus, 4256:Demus, 4082:Demus, 4037:Demus, 3876:Demus, 3861:Demus, 3834:Demus, 3819:Demus, 3744:Demus, 3660:Demus, 3645:Demus, 3630:Demus, 3615:Demus, 3588:Demus, 3573:Demus, 3546:Demus, 3516:Demus, 3470:Venezia 3345:Demus, 3330:Demus, 3310:Demus, 3295:Demus, 3241:Demus, 3199:Demus, 3181:Demus, 3166:Demus, 3151:Demus, 3106:Demus, 3091:Demus, 3076:Demus, 3040:Demus, 3022:Demus, 3007:Demus, 2987:Demus, 2972:Demus, 2930:Demus, 2903:Demus, 2873:Demus, 2858:Demus, 2828:Demus, 2797:Demus, 2779:Demus, 2749:Demus, 2734:Demus, 2704:Demus, 2689:Demus, 2626:Demus, 2611:Demus, 2596:Demus, 2581:Demus, 2568:Venezia 2209:(1448?) 2092:to the 2011:Abraham 1991:Genesis 1973:Narthex 1961:of the 1943:martyrs 1913:of the 1779:Mosaics 1384:Ephesus 1191:Justice 1179:Charity 1155:Ambrose 1000:gilding 979:tympana 967:portals 925:Al-Aqsa 848:friezes 822:lattice 754:arcades 742:castrum 697:chancel 673:castrum 646:narthex 614:castrum 596:. Doge 590:castrum 536:History 501:mosaics 478:Islamic 383:Italian 371:Italian 267:Rebuilt 123:History 90:, Italy 6870:(2000) 6862:(1981) 6854:(1954) 6846:(1939) 6838:(1937) 6830:(1926) 6822:(1921) 6814:(1900) 6806:(1899) 6798:(1898) 6790:(1894) 6782:(1871) 6774:(1855) 6766:(1811) 6758:(1808) 6750:(1785) 6742:(1762) 6734:(1747) 6726:(1740) 6718:(1736) 6710:(1702) 6702:(1692) 6694:(1690) 6686:(1685) 6678:(1676) 6670:(1668) 6662:(1644) 6654:(1613) 6646:(1609) 6638:(1605) 6630:(1590) 6622:(1565) 6614:(1563) 6606:(1527) 6598:(1491) 6590:(1463) 6511:Piombi 6407:Piazza 6249:Venice 6132: 6116: 6100: 6084: 6068: 6052: 6027: 6011: 5995: 5979: 5963: 5947: 5931: 5915: 5899: 5883: 5864: 5848: 5832: 5816: 5800: 5784: 5765: 5745: 5726: 5710: 5694: 5678: 5662: 5642: 5626: 5607: 5588: 5569: 5553: 5534: 5518: 5502: 5473: 5457: 5441: 5422: 5403: 5384: 5368: 5349: 5330: 5314: 5298: 5282: 5263: 5247: 5231: 5215: 5125: 2957:Muir, 2721:I dogi 2245:Murano 2166:, and 2145:Isaiah 2017:, and 2015:Joseph 1995:Exodus 1967:deesis 1932:gospel 1885:, the 1807:(1506) 1731:Organs 1588:canons 1580:Titian 1473:Aegean 1314:Gothic 1177:, and 1157:, and 1147:Jerome 1106:, the 1102:, the 879:patere 867:spolia 843:patere 758:arches 677:Concio 528:, and 522:Titian 482:Gothic 476:, and 423:, the 417:relics 302:Length 281:Styles 88:Venice 6518:Zecca 2509:Notes 2437:proto 2164:Hosea 2112:Style 2098:Isaac 2019:Moses 1556:proto 1554:, as 1175:Faith 1083:with 746:piers 548:–976) 310:Width 276:–1094 247:Built 192:–1797 6130:ISBN 6114:ISBN 6098:ISBN 6082:ISBN 6066:ISBN 6050:ISBN 6025:OCLC 6009:OCLC 5993:ISBN 5977:OCLC 5961:ISBN 5945:ISBN 5929:ISBN 5913:ISBN 5897:ISBN 5881:ISBN 5862:ISBN 5846:ISBN 5830:OCLC 5814:ISSN 5798:ISBN 5782:ISBN 5763:ISBN 5743:ISBN 5724:ISSN 5708:ISBN 5692:OCLC 5676:ISBN 5660:ISBN 5640:ISBN 5624:ISBN 5605:ISBN 5586:ISBN 5567:ISSN 5551:ISBN 5532:ISBN 5516:ISBN 5500:ISBN 5471:ISBN 5455:ISBN 5439:ISBN 5420:ISBN 5401:OCLC 5382:ISSN 5366:ISBN 5347:ISBN 5328:ISBN 5312:ISBN 5296:ISSN 5280:ISBN 5261:ISBN 5245:ISBN 5229:OCLC 5213:ISSN 5123:ISBN 2329:and 2305:and 2292:and 2068:and 2066:Adam 2007:Noah 1993:and 1325:ambo 1201:and 1193:and 1117:The 927:and 850:and 816:and 623:dome 448:Doge 365:The 38:and 6574:at 2816:... 2530:... 2106:bay 2096:of 2070:Eve 1165:of 464:in 419:of 342:Map 6919:: 6142:, 5875:, 5776:, 5737:, 5599:, 5580:, 5545:, 5485:, 5433:, 5414:, 5395:, 5274:, 5207:, 4944:^ 4419:^ 4311:^ 3916:^ 3754:^ 3508:^ 3320:^ 3191:^ 3068:^ 3050:^ 3032:^ 2997:^ 2789:^ 2666:^ 2636:^ 2221:. 2162:, 2108:. 2033:. 2013:, 2009:, 1934:. 1865:, 1861:, 1850:. 1594:. 1570:, 1566:, 1456:. 1224:. 1205:. 1173:, 1169:, 1161:. 1153:, 1149:, 1145:: 705:c. 654:c. 629:. 543:c. 532:. 524:, 520:, 516:, 472:, 395:: 391:; 385:: 373:: 271:c. 258:c. 251:c. 187:c. 6564:e 6557:t 6550:v 6470:† 6392:e 6385:t 6378:v 6304:) 6300:( 6241:e 6234:t 6227:v 5142:, 5112:, 1521:( 1505:( 1494:( 1479:( 1467:( 792:( 768:( 724:( 687:( 667:( 659:) 608:( 600:( 381:( 369:( 256:– 151:) 147:( 42:. 20:)

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St Mark's Basilica

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