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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.
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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.
1692:
1706:
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218:
1016:
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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.
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1664:
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
1678:
6177:
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.
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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,
2153:
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
2060:
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
2216:
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.
2157:
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
1774:
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,
1418:
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
1295:
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
914:
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,
484:
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
2296:
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
1341:
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
1227:
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
1977:
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
1925:
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
1431:
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
763:
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
694:
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
2452:
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
1366:
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
1267:
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
2271:
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
1291:
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
948:
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
1765:
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.
1282:
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.
1756:
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.
1749:
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.
2287:
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
1529:
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
1381:
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
1953:
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.
1346:
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
764:
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.
1921:
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.
972:
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
2061:
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.
2154:
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
620:
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
6562:
835:
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
1585:
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
616:
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
1419:
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
1367:
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
739:
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
775:
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
6927:
6555:
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 (
2064:
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
1753:
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
1236:
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
6548:
2239:
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
918:
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
1091:
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.
894:
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
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
1717:
1057:
The upper register is enriched with an elaborate Gothic crowning, executed in the late-fourteenth/early-fifteenth centuries. The original lunettes, transformed into
1247:
907:
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
903:
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
1098:
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
861:
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
2224:
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
1989:
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
1691:
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.
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.
1651:
6937:
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:
6390:
6251:
6239:
2492:
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evident in the northern wing, indicating that the execution of the programme was interrupted, presumably to await the completion of the vaulting system.
1784:
1578:
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
35:
6301:
2275:
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
1705:
6947:
6932:
6337:
39:
2158:
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 (
1208:
The southern façade is the most richly encrusted façade with rare marbles, spoils, and trophies, including the so-called pillars of Acre, the
6952:
6438:
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
6942:
965:
The exterior of the basilica is divided into two registers. On the western façade, the lower register is dominated by five deeply recessed
6883:
6491:
2280:
1866:
756:
along the sides of the northern, southern, and western crossarms. The vaults of the eastern crossarm were supported by inserting single
5651:
1268:
main façade, which narrates the translation of Saint Mark's relics from Alexandria in Egypt to Venice. The events depicted include the
6967:
2388:
2045:
1189:
The Gothic crowning continues in the upper register of the southern façade, the lunettes being topped with the allegorical figures of
994:
899:
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.,
6117:
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5608:
5589:
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5331:
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5248:
5126:
1622:
881:; others were paired and spread across the façades or used as altars. Despoliation continued in later centuries, notably during the
6450:
2432:
2376:
1327:
for readings from Scripture, while the on the right is the platform from which the newly elected Doge was presented to the people.
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
1697:
1630:
6170:
2466:
1606:
seems to have been limited to decorative patterns and details, such as the portal and painted wall decoration in the Church of
1428:
1221:
680:
412:
2088:
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
675:
spread to the adjoining church. Although the structure was not completely destroyed, it was compromised to the point that the
6922:
6383:
6352:
6347:
6232:
6193:
6133:
6101:
6085:
5964:
5948:
5916:
5884:
5849:
5785:
5746:
5679:
5643:
5535:
5519:
5503:
5494:
Farioli Campanata, Raffaela , 'Il pavimento di san Marco a Venezia e i suoi rapporti con l'Oriente', in Renato Polacco, ed.,
5458:
5442:
5423:
5369:
5350:
5315:
5264:
2462:
2443:
2206:
1645:, the reference to St Mark's is made in the series of lunettes along the roofline which recalls the profile of the basilica.
1209:
1048:
812:
As built, the Contarini church was a severe brick structure. Adornment inside was limited to the columns of the arcades, the
443:
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.,
1663:
2121:
695:
with brick vaults, creating the semi-enclosed shrine that would later be incorporated into the crypt when the floor of the
6962:
5955:
Schmidt Arcangeli, Catarina, 'L'iconografia marciana nella sagrestia della Basilica di san Marco', in Antonio Niero, ed.,
2458:
1927:
957:
581:
31:
865:
of marble and precious stones and enriched with columns, reliefs, and sculptures. Many of these ornamental elements were
5754:
2272:
replacement mosaics in this period closely imitated the design of the damaged works and were intended to look medieval.
2130:
1603:
932:
481:
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
1015:
5121:, IV (Roma: Ministero per i beni culturali e ambientali, Ufficio centrale per i beni archivistici, 1994), p. 886
2302:
2093:
1819:
of the apse. Below, interspersed with three windows, are late-eleventh and early-twelfth-century mosaics that portray
1026:
728:), St Mark's was substantially rebuilt and enlarged to the extent that the resulting structure appeared entirely new.
633:
461:
5959:, Atti del Convegno internazionale di studi, Venezia 11–14 ottobre 1994 (Venezia: Marsilio, 1996), pp. 223–239
5911:, Atti del Convegno internazionale di studi, Venezia 11–14 ottobre 1994 (Venezia: Marsilio, 1996), pp. 152–160
5844:, Atti del Convegno internazionale di studi, Venezia 11–14 ottobre 1994 (Venezia: Marsilio, 1996), pp. 459–473
5364:, Atti del Convegno internazionale di studi, Venezia 11–14 ottobre 1994 (Venezia: Marsilio, 1996), pp. 727–742
2387:, responsible for the religious functions, was nominated by the Doge personally, and despite several attempts by the
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:
2196:
6730:
6307:
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
2497:
1998:
1835:
1723:
1642:
1531:
1178:
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
2178:
882:
6957:
6762:
6376:
6225:
2405:
2370:
1591:
846:
made of rare marbles and stones that were surrounded with ornamental frames. Other decorative details, including
451:
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
6642:
6342:
5510:
Fedalto, Giorgio, 'San Marco tra Babilonia, Roma e Aquileia: nuove ipotesi e ricerche', in Antonio Niero, ed.,
5430:
5139:
1874:
597:
217:
6575:
6292:
2076:. As in the Cotton Genesis, Christ is portrayed as the agent of creation. Underneath, the pendentives contain
73:
6690:
6462:
5734:
2482:
2453:
period of Austrian rule (1798–1805), it was alternatively suggested that the episcopal seat be moved to the
2261:
2240:
1677:
1343:
1330:
Behind, marble banisters mark the limit of the choir, which after the reorganization by Doge Andrea Gritti (
1241:
978:
855:
605:
473:
485:
churches, palaces, and public monuments of Constantinople as a result of the Venetian participation in the
6754:
6698:
6531:
6457:
6413:
5255:
Barral I Altet, Xavier, 'Genesi, evoluzione e diffusione dei pavimenti romanici', in Renato Polacco, ed.,
2310:
2041:
1910:
1827:
as the protectors and patrons of the state, Saint Nicholas being specifically the protector of seafarers.
1824:
1602:
As the state church, St Mark's was a point of reference for Venetian architects. Its influence during the
1420:
1256:
1099:
1068:
987:
804:
585:
553:
469:
404:
161:
6834:
6540:
6467:
1902:
1894:
1862:
1854:
1607:
1403:
1373:. They constitute the oldest surviving representation of the transfer of Saint Mark's relics to Venice.
1162:
1107:
966:
841:
753:
744:. Most significantly, the wooden domes were rebuilt in brick. This required strengthening the walls and
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.,
6594:
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
1035:
6858:
6312:
5718:
Moretti, Laura, 'Architectural Spaces for Music: Jacopo Sansovino and Adrian Willaert at St Mark's',
2454:
2249:
2101:
1890:
1669:
1611:
1535:
1142:
1118:
1044:
721:
490:
477:
6124:
Wolters, Wolfgang, 'San Marco e l'architettura del Rinascimento veneziano', in Renato Polacco, ed.,
1799:
1775:
manual with a short first octave and an 8-note lectern pedalboard, constantly linked to the manual.
6866:
6850:
6738:
6706:
6586:
6571:
6486:
2392:
2309:. An exclusive contract for restoration was stipulated in 1867 with the mosaic workshop run by the
2257:
2229:
2225:
2202:
2185:
1304:
1229:
1213:
1170:
1130:
745:
529:
420:
408:
116:
5561:
Hopkins, Andrew, 'Architecture and Infirmitas: Doge Andrea Gritti and the Chancel of San Marco',
5204:
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
558:
6826:
6810:
6746:
6650:
6322:
6076:
Vlad Borrelli, Licia, 'Ipotesi di datazione per i cavalli di San Marco', in Renato Polacco, ed.,
5338:
2461:(1805–1814), St Mark's became the patriarchal cathedral. The new status was confirmed by Emperor
2105:
1958:
1906:
1812:
1575:
1237:
1150:
1126:
1111:
1062:
824:
altar screens. The wall surfaces were decorated with moulded arches that alternated with engaged
664:
435:
5817:
5727:
5634:
Jacoff, Michael, 'L'unità delle facciate di san Marco del XIII secolo', in Renato Polacco, ed.,
5570:
5385:
5299:
5216:
2321:
1981:
1394:
592:, the fortified residence of the Doge and seat of government located on the site of the present
6842:
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.,
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:
1898:
1886:
1741:
has mixed transmission: mechanical for the manuals and the pedal, electric for the registers.
1491:
1453:
1440:
1198:
1103:
392:
5759:
Byzantine Art in the Aftermath of the Fourth Crusade: the Fourth Crusade and Its Consequences
663:
The Participazio church was severely damaged in 976 during the popular uprising against Doge
6778:
6770:
6658:
6618:
6610:
6505:
6478:
6423:
6399:
6317:
6297:
6287:
6262:
6209:
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
5542:
2345:
2306:
2265:
2014:
1942:
1878:
1870:
1847:
1638:
1551:
1539:
1518:
1464:
1460:
1360:
1088:
949:
church. It is probable that structural elements were also added to the façades or modified.
928:
829:
731:
684:
593:
439:
431:
382:
370:
1432:
the side altar in the northern crossarm. It was first referred to as the Madonna Nicopeia (
604:) subsequently stipulated in his will that his widow and his younger brother and successor
6818:
6602:
6517:
6267:
5225:
Platea Sancti Marci: i luoghi marciani dall'11. al 13. secolo e la formazione della piazza
5148:
5118:
5006:
Florent-Goudouneix, 'I pavimenti in «opus sectile» nelle chiese di Venezia e della laguna'
2289:
1990:
1914:
1502:
1324:
509:
98:
6428:
6272:
784:), ordered from Constantinople in 1102, was installed on the high altar in 1105. For the
6176:
6786:
6634:
6497:
6277:
5615:
5596:
5577:
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',
2085:
2073:
2050:
2037:
2002:
1994:
1820:
1634:
1587:
1526:
1476:
1335:
1275:
1202:
1158:
874:
789:
765:
637:
513:
486:
465:
447:
200:
148:
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
1228:
façade, the passage was distinguished with precious porphyry columns. On either side,
6916:
6714:
6332:
6282:
6139:
5357:
2470:
2260:, were also active in St Mark's in the mid-fifteenth century, introducing a sense of
2253:
2233:
2081:
2054:
1918:
1882:
1683:
1626:
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
1487:
1356:
1095:
777:
735:
Antonio Pellanda, reconstruction of the western façade of the Contarini church (1881)
525:
5326:, Storia Religiosa del Veneto (Padova: Gregoriana Libreria, 1991), pp. 333–366
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
6794:
6433:
6327:
5872:
5773:
5271:
2339:
2218:
1858:
1475:, were rediscovered in the mid-fourteenth century, and upon the initiative of Doge
1217:
924:
919:
870:
785:
749:
505:
424:
17:
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
1255:
Between 1503 and 1515, the entry hall was transformed into the funerary chapel of
1614:, consisting of an ogee arch with flame-like relief sculpture reminiscent of the
5241:
Le cripte di Venezia: Gli ambienti di culto sommersi della cristianità medievale
2358:
1946:
1804:
1443:, the sixth-century Frankish saint who became widely popular at the time of the
1424:
1352:
1316:
1141:
The aediculae on the northern façade contain statues of the four original Latin
821:
497:
6180:
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
6802:
6418:
5411:
5392:
1962:
1938:
1843:
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
1567:
1472:
1449:
1348:
1313:
862:
837:
781:
626:
580:
in Egypt by two Venetian merchants and its transfer to Venice in 828/829. The
577:
517:
270:
257:
250:
186:
6898:
6885:
5278:, trans. by Edmund Jephcott (Chicago: The University of Chicago Press, 1994)
2143:, dating to the first quarter of the twelfth century, (left) and the prophet
1216:
on the south-west corner of the balcony, traditionally believed to represent
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.
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
2293:
2030:
1950:
1816:
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
1563:
825:
567:
400:
144:
5833:
5690:(Venezia: Bestetti & Tumminelli, 1926; repr. Trieste: Lint, 1974-1994)
1047:(above), one of two pillars from the Church of St Polyeuctus (lower left),
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
5109:
2522:
2442:
St Mark's ceased to be the private chapel of the Doge as a result of the
2350:
2167:
2159:
2140:
1831:
1571:
1559:
1444:
1320:
1166:
1122:
1084:
1080:
974:
813:
679:, the general assembly, had to alternatively convene in the cathedral of
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
5658:, (Washington: Dumbarton Oaks Research Library, 2010) pp. 193–226
2089:
2026:
2010:
1949:
that derive in part from the Book of Acts but to a greater extent from
1615:
1383:
1233:
1194:
1190:
1154:
999:
908:
817:
696:
645:
5469:, 2 vols (Venezia: Istituto veneto di scienze, lettere ed arti, 2003)
840:, while the intervening pillars were adorned with niches and circular
6510:
6248:
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...
2244:
2144:
2077:
1966:
1931:
1839:
1579:
1146:
866:
851:
847:
676:
671:) when the fire that angry crowds had set to drive the Doge from the
521:
500:
87:
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
2264:
largely achieved with architectural settings. In this same period,
2205:, attributed (cartoon), mosaic in the Mascoli Chapel depicting the
1308:
Entry to the chancel with the Dome of Immanuel above the high altar
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
2320:
2274:
2163:
2097:
2080:, the guardians of Eden, and the lunettes illustrate the story of
2018:
1980:
1798:
1303:
1246:
1174:
956:
898:
803:
730:
557:
416:
5341:, 'Il tipo architettonico di san Marco', in Renato Polacco, ed.,
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'
2065:
2022:
2006:
1058:
757:
622:
6544:
6372:
6221:
6007:(Venezia: Studium Cattolico Veneziano, 1965), pp. 133–154
5826:
San Marco, la Basilica di Venezia: arte, storia, conservazione
2069:
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...'
1558:(consultant architect and buildings manager), designed a new
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
1830:
Over the high altar in the eastern crossarm is the Dome of
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
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'
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:
6003:
Tramontin, Silvio, 'I santi dei mosaici marciani', in
4947:
4945:
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
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
6526:
6477:
6406:
6078:
Storia dell'arte marciana: sculture, tesoro, arazzi
2669:
2667:
1842:as was customary in middle-Byzantine churches, the
1574:, and liturgical objects and books, were inlaid by
434:, the former political and religious centre of the
350:
341:
329:
317:
309:
301:
292:
280:
266:
246:
237:
215:
206:
196:
180:
171:
157:
140:
131:
122:
112:
104:
94:
83:
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
1065:holding a book with the angelic salutation of the
981:over the northern-most and southern-most portals.
5483:The Church of San Marco in the eleventh century'
5005:
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
5991:, 3rd edn (Milano: Touring Club Italiano, 1985)
5652:Refashioning Byzantium in Venice, ca. 1200–1400'
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...'
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'
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)
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)
3071:
3069:
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'
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.
8:
5923:Scarabello, Giovanni and Paolo Morachiello,
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
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'
2447:
2426:
2420:
2414:
2408:
2396:
2382:
1368:
1269:
1074:
1066:
985:
571:
6563:
6549:
6541:
6391:
6377:
6369:
6240:
6226:
6218:
5877:Myths of Venice: the Figuration of a State
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
1238:the first Venetian–Genoese war (1256–1270)
457:for administrative and financial affairs.
347:
289:
234:
216:
212:
168:
128:
72:
6126:Storia dell'arte marciana: l'architettura
6094:Storia dell'arte marciana: l'architettura
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)
5451:Storia dell'arte marciana: l'architettura
5437:(New Haven, Yale University Press, 1993)
5416:The Mosaic Decoration of San Marco Venice
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
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
2932:The Mosaic Decoration of San Marco Venice
998:(1496), which also documents the earlier
6186:
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
5110:La Guida generale degli Archivi di Stato
5107:Tiepolo, Maria Francesca, 'Venezia', in
5080:
3731:Sound and Space in Renaissance Venice...
576:, the removal of Saint Mark's body from
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:
2558:
2542:
2513:
1647:
504:representations and are masterworks of
36:Saint Mark's Cathedral (disambiguation)
5757:', in Panayotis L. Vocotopoulos, ed.,
3970:
3925:
3270:
3228:
2256:. Other Florentine artists, including
1412:Altar and icon of the Madonna Nicopeia
1073:: "Peace to you Mark, my Evangelist" (
407:; it became the episcopal seat of the
355:Click on the map for a fullscreen view
46:
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
7:
5941:Storia dell'arte marciana: i mosaici
5528:Storia dell'arte marciana: i mosaici
5496:Storia dell'arte marciana: i mosaici
5257:Storia dell'arte marciana: i mosaici
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
6019:Tramontin, Silvio, 'San Marco', in
5582:The Architectural History of Venice
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
6938:Roman Catholic cathedrals in Italy
5739:Civic Ritual in Renaissance Venice
2959:Civic Ritual in Renaissance Venice
2763:
2459:second period of French domination
748:in order to support the new heavy
446:in 1797, it was the chapel of the
25:
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)
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"
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
5481:Draghici-Vasilescu, Elena Ene, '
3674:
3315:, pp. 114, 140–141, 147–148
2956:
2195:
2177:
2129:
2120:
1716:
1704:
1690:
1676:
1662:
1650:
1402:
1393:
1034:
1025:
1014:
5584:(London: B. T. Batsford, 1980)
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
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
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
1:
6948:Gothic architecture in Venice
6933:Byzantine sacred architecture
5925:Guida alla civiltà di Venezia
3258:Guida alla civiltà di Venezia
2410:operis ecclesiae Sancti Marci
1903:post-resurrection appearances
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...
2544:Venezia e il suo estuario...
2353:and have symbolic meanings.
1997:: the main subjects are the
1825:Saint Hermagoras of Aquileia
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
6943:Church buildings with domes
6039:(Venezia: F. Ongania, 1887)
5973:La cappella di Sant'Isidoro
2303:Giovanni Battista Piazzetta
2243:allowed a glass furnace on
1423:in ridding the city of the
873:(1204–1261), following the
634:Church of the Holy Apostles
462:Church of the Holy Apostles
337:28.15 metres (92.4 ft)
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
1867:Presentation in the Temple
1782:
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:
32:St Mark's Basilica (horse)
29:
6968:Minor basilicas in Veneto
6763:Giovanni Agostino Perotti
6582:
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
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:
346:
313:62.6 metres (205 ft)
305:76.5 metres (251 ft)
288:
233:
225:Central nave looking east
224:
211:
167:
127:
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,
2469:(1814–1866) and by Pope
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:
1769:
1760:
1744:
1735:
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
18:St. Mark’s Basilica
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:
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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:
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6591:
6538:
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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:
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359:
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16:(Redirected from
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6771:Antonio Buzzolla
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6693:
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6659:Giovanni Rovetta
6653:
6645:
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6619:Gioseffo Zarlino
6613:
6611:Cipriano de Rore
6605:
6597:
6595:Pietro de Fossis
6589:
6565:
6558:
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6542:
6400:Piazza San Marco
6393:
6386:
6379:
6370:
6318:Piazza San Marco
6242:
6235:
6228:
6219:
6210:Venetian Arsenal
6200:Venice landmarks
6190:Preceded by
6187:
6179:
6162:
6161:
6159:Official website
6136:
6120:
6108:Weigel, Thomas,
6104:
6088:
6072:
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5774:Nicol, Donald M.
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5099:
5098:, pp. 52–53
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5071:, pp. 44–45
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3946:, pp. 15–18
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3911:, pp. 9, 14
3903:
3897:
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3882:
3881:, pp. 39–40
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3852:
3851:, pp. 46–55
3846:
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3777:Weigel, Thomas,
3774:
3768:
3759:
3750:
3749:, pp. 47–48
3741:
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2848:, pp. 19–22
2840:
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2825:
2819:
2814:Venezia romanica
2809:
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2528:Venezia romanica
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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:
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929:Qubbat aṣ-Ṣakhra
795:
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685:Pietro I Orseolo
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6859:Roberto Micconi
6819:Umberto Ravetta
6603:Adrian Willaert
6578:
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6268:Bridge of Sighs
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5616:Howard, Deborah
5614:
5597:Howard, Deborah
5595:
5578:Howard, Deborah
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5149:Wayback Machine
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3377:High Justice...
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2818:, I, p. 45
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2422:in temporalibus
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2126:
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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
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1503:Cristoforo Moro
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1336:Saint Clement I
1331:
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1185:Southern façade
1139:
1137:Northern façade
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1002:on the façade.
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442:. Prior to the
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99:Catholic Church
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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:
6570:
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:
6398:
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:
6247:
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:
24:
14:
13:
10:
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:
6150:
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:
5196:
5189:
5184:
5181:
5177:
5172:
5169:
5165:
5164:
5157:
5154:
5150:
5146:
5143:
5141:
5134:
5131:
5128:
5127:9788871250809
5124:
5120:
5116:
5113:
5111:
5104:
5101:
5097:
5096:
5089:
5086:
5083:, p. 731
5082:
5077:
5074:
5070:
5069:
5062:
5059:
5055:
5050:
5047:
5043:
5038:
5035:
5031:
5026:
5023:
5019:
5014:
5011:
5007:
5002:
4999:
4995:
4990:
4987:
4983:
4978:
4975:
4971:
4970:
4963:
4960:
4956:
4955:
4948:
4946:
4942:
4938:
4937:
4930:
4927:
4924:, p. 203
4923:
4922:
4915:
4912:
4908:
4907:
4900:
4897:
4894:, p. 193
4893:
4892:
4885:
4882:
4878:
4877:
4870:
4867:
4863:
4862:
4855:
4852:
4849:, p. 191
4848:
4847:
4840:
4837:
4833:
4832:
4825:
4822:
4818:
4817:
4810:
4807:
4803:
4798:
4795:
4792:, p. 193
4791:
4790:
4783:
4780:
4776:
4775:
4768:
4765:
4761:
4760:
4753:
4750:
4746:
4745:
4738:
4735:
4731:
4730:
4723:
4720:
4716:
4715:
4708:
4705:
4701:
4700:
4693:
4690:
4686:
4685:
4678:
4675:
4671:
4670:
4663:
4660:
4657:, p. 151
4656:
4655:
4648:
4645:
4641:
4640:
4633:
4630:
4626:
4625:
4618:
4615:
4612:, p. 165
4611:
4610:
4603:
4600:
4597:, p. 164
4596:
4595:
4588:
4585:
4581:
4580:
4573:
4570:
4567:, p. 175
4566:
4565:
4558:
4555:
4552:, p. 155
4551:
4550:
4543:
4540:
4537:, p. 156
4536:
4535:
4528:
4525:
4521:
4520:
4513:
4510:
4506:
4505:
4498:
4495:
4491:
4490:
4483:
4480:
4476:
4475:
4468:
4465:
4461:
4460:
4453:
4450:
4446:
4445:
4438:
4435:
4431:
4430:
4423:
4421:
4417:
4413:
4412:
4405:
4402:
4399:, p. 201
4398:
4397:
4390:
4387:
4384:, p. 186
4383:
4382:
4375:
4372:
4368:
4367:
4360:
4357:
4353:
4352:
4345:
4342:
4338:
4337:
4330:
4327:
4323:
4322:
4315:
4313:
4309:
4305:
4304:
4297:
4294:
4290:
4289:
4282:
4279:
4275:
4274:
4267:
4264:
4260:
4259:
4252:
4249:
4246:, p. 121
4245:
4244:
4237:
4234:
4230:
4225:
4222:
4219:, p. 108
4218:
4217:
4210:
4207:
4203:
4202:
4195:
4192:
4189:, p. 248
4188:
4183:
4180:
4176:
4175:
4168:
4165:
4161:
4156:
4153:
4149:
4144:
4141:
4137:
4132:
4129:
4126:, p. 207
4125:
4124:
4117:
4114:
4111:, p. 461
4110:
4105:
4102:
4098:
4093:
4090:
4086:
4085:
4078:
4075:
4071:
4070:
4063:
4060:
4057:, p. 191
4056:
4055:
4048:
4045:
4041:
4040:
4033:
4030:
4026:
4021:
4018:
4014:
4009:
4006:
4003:, p. 181
4002:
4001:
3994:
3991:
3988:, p. 142
3987:
3982:
3979:
3975:
3974:
3967:
3964:
3960:
3959:
3952:
3949:
3945:
3944:
3937:
3934:
3930:
3929:
3922:
3920:
3918:
3914:
3910:
3909:
3902:
3899:
3895:
3894:
3887:
3884:
3880:
3879:
3872:
3869:
3865:
3864:
3857:
3854:
3850:
3845:
3842:
3838:
3837:
3830:
3827:
3823:
3822:
3815:
3812:
3808:
3803:
3800:
3796:
3795:
3788:
3785:
3781:
3780:
3773:
3770:
3767:, p. 184
3766:
3765:
3758:
3756:
3752:
3748:
3747:
3740:
3737:
3733:
3732:
3725:
3722:
3718:
3713:
3710:
3707:, p. 183
3706:
3705:
3698:
3695:
3691:
3690:
3683:
3680:
3677:, p. 170
3676:
3671:
3668:
3664:
3663:
3656:
3653:
3649:
3648:
3641:
3638:
3634:
3633:
3626:
3623:
3619:
3618:
3611:
3608:
3604:
3599:
3596:
3593:, p. 113
3592:
3591:
3584:
3581:
3577:
3576:
3569:
3566:
3562:
3557:
3554:
3550:
3549:
3542:
3539:
3535:
3534:
3527:
3524:
3521:, p. 112
3520:
3519:
3512:
3510:
3506:
3503:, p. 169
3502:
3501:
3494:
3491:
3488:, p. 172
3487:
3486:
3479:
3476:
3473:, p. 248
3472:
3471:
3464:
3461:
3457:
3452:
3449:
3445:
3440:
3437:
3433:
3428:
3425:
3421:
3416:
3413:
3410:, p. 167
3409:
3408:
3401:
3398:
3394:
3393:
3386:
3383:
3379:
3378:
3371:
3368:
3364:
3363:
3356:
3353:
3350:, p. 183
3349:
3348:
3341:
3338:
3335:, p. 184
3334:
3333:
3326:
3324:
3322:
3318:
3314:
3313:
3306:
3303:
3299:
3298:
3291:
3288:
3284:
3279:
3276:
3272:
3267:
3264:
3260:
3259:
3252:
3249:
3246:, p. 103
3245:
3244:
3237:
3234:
3231:, p. 189
3230:
3225:
3222:
3218:
3217:
3210:
3207:
3204:, p. 128
3203:
3202:
3195:
3193:
3189:
3185:
3184:
3177:
3174:
3170:
3169:
3162:
3159:
3155:
3154:
3147:
3144:
3140:
3139:
3132:
3129:
3125:
3124:
3117:
3114:
3111:, p. 120
3110:
3109:
3102:
3099:
3096:, p. 101
3095:
3094:
3087:
3084:
3080:
3079:
3072:
3070:
3066:
3062:
3061:
3054:
3052:
3048:
3044:
3043:
3036:
3034:
3030:
3026:
3025:
3018:
3015:
3011:
3010:
3003:
3001:
2999:
2995:
2991:
2990:
2983:
2980:
2976:
2975:
2968:
2965:
2961:
2960:
2953:
2950:
2946:
2941:
2938:
2934:
2933:
2926:
2923:
2919:
2914:
2911:
2907:
2906:
2899:
2896:
2893:, p. 184
2892:
2891:
2884:
2881:
2877:
2876:
2869:
2866:
2862:
2861:
2854:
2851:
2847:
2846:
2839:
2836:
2832:
2831:
2824:
2821:
2817:
2815:
2808:
2805:
2801:
2800:
2793:
2791:
2787:
2783:
2782:
2775:
2772:
2768:
2767:
2760:
2757:
2753:
2752:
2745:
2742:
2738:
2737:
2730:
2727:
2723:
2722:
2715:
2712:
2708:
2707:
2700:
2697:
2693:
2692:
2685:
2682:
2678:
2677:
2670:
2668:
2664:
2660:
2655:
2652:
2648:
2647:
2640:
2638:
2634:
2630:
2629:
2622:
2619:
2615:
2614:
2607:
2604:
2600:
2599:
2592:
2589:
2585:
2584:
2577:
2574:
2571:, p. 218
2570:
2569:
2562:
2559:
2553:
2547:, p. 167
2546:
2545:
2538:
2535:
2531:
2529:
2524:
2517:
2514:
2508:
2503:
2499:
2496:
2494:
2491:
2489:
2486:
2484:
2481:
2480:
2476:
2474:
2472:
2468:
2464:
2460:
2456:
2450:
2445:
2440:
2438:
2434:
2429:
2423:
2417:
2411:
2407:
2402:
2399:
2394:
2390:
2385:
2378:
2372:
2364:
2362:
2360:
2354:
2352:
2348:
2347:
2342:
2341:
2332:
2328:
2323:
2317:Floor mosaics
2316:
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:
2111:
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:
1972:
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:
1794:
1789:
1786:
1778:
1776:
1767:
1758:
1754:
1751:
1742:
1730:
1725:
1719:
1714:
1707:
1702:
1699:
1693:
1688:
1685:
1679:
1674:
1671:
1665:
1660:
1657:Santo Stefano
1653:
1648:
1646:
1644:
1640:
1636:
1632:
1628:
1624:
1619:
1617:
1613:
1609:
1608:Santo Stefano
1605:
1604:Gothic period
1597:
1595:
1593:
1589:
1583:
1581:
1577:
1573:
1569:
1565:
1561:
1557:
1553:
1545:
1543:
1541:
1537:
1533:
1528:
1520:
1512:
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:
1376:
1374:
1371:
1364:
1362:
1358:
1354:
1350:
1345:
1339:
1337:
1328:
1326:
1322:
1318:
1315:
1306:
1299:
1297:
1293:
1286:
1284:
1280:
1277:
1272:
1262:
1260:
1258:
1249:
1245:
1243:
1239:
1235:
1231:
1225:
1223:
1219:
1215:
1211:
1206:
1204:
1200:
1196:
1192:
1184:
1182:
1180:
1176:
1172:
1168:
1164:
1160:
1156:
1152:
1148:
1144:
1136:
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:
952:
950:
943:
938:
936:
934:
930:
926:
921:
916:
912:
910:
901:
896:
888:
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
799:
797:
791:
787:
783:
779:
773:
767:
761:
759:
755:
751:
750:barrel vaults
747:
743:
733:
729:
723:
714:
702:
700:
698:
692:
686:
682:
678:
674:
666:
651:
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:
540:
535:
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:(
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256:–
151:)
147:(
42:.
20:)
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