About St. Mark's Basilica

When it comes to St Mark's Basilica Venice’s priceless treasures, the Pala d'Oro is unrivaled. This Byzantine altarpiece is a gold panel 3.45 meters in length and 1.4 meters in height that is encrusted with hundreds of gems, including 1,300 pearls, 300 emeralds, 300 sapphires, 400 garnets, 100 amethysts, rubies, and topazes. After Napoleon dishonestly stole several in 1797, security measures were strengthened and the gems are now kept under glass. This altar was designed and built by master goldsmiths from Venice and Constantinople. It features a Romanesque arch at the top and a Gothic arch at the bottom.

The St Mark's Basilica Venice’s treasury, which can be reached from the corner of the south transept, is located to the right of the main altar and houses priceless artifacts that have been acquired throughout the years. Items in the treasury can be found in four distinct groups: Items from antiquity and the early middle centuries, such as a pair of crystal lamps shaped like fish and a pair of amphorae fashioned from a single piece of agate. Goldwork from the Byzantine Empire, such as two little icons of St. Michael the Archangel and a pair of cloisonné enameled chalices. Islamic artifacts, such as the turquoise glass bowl decorated with semiprecious stones and depicting stylized animals in relief, and featuring the famed perfume-brazier, are objects of Western provenance.

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Following the conclusion of the Fourth Crusade in 1204, Venice saw an influx of valuable marbles from Constantinople. These marbles were carefully selected for their symbolic importance, unique qualities, and captivating colors during the construction of the st mark basilica. For instance, the crimson porphyry, known as the world's rarest gem and believed to hold divine favor, was highly revered. Consequently, it was specifically chosen for prominent features like the doge's tribune and the porphyry group of the Tetrarchs on the south front. The columns in the apse were equally treasured and were meticulously crafted from pavonazzetto marble, which boasts striking violet or reddish patterns, making it another prized and rare type of marble.

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In 1063, when the construction of the present basilica was initiated, the remains of the old church were utilized to create a crypt. This crypt now serves as the final resting place of St. Mark, and after extensive renovations to the basilica, it was reopened to the public in 1889. Recently, a British historian put forth a thought-provoking claim suggesting that the tomb beneath the presbytery, believed to belong to the renowned preacher, might actually contain the remains of Alexander the Great. However, it is essential to substantiate this claim with more substantial evidence before drawing any definitive conclusions.

St Mark's Basilica Venice is a large church with three symmetrical facades that radiate out from its lower body in the directions of north, south, and west. The well-known Porta dei Fiori, also known as the Door of Flowers, is a Nativity relief from the 13th century that is located on the north facade overlooking Piazzetta dei Leoncini. Two ornate pillars, known as the Pilastri Acritani, stand in front of the building's southern front, which faces the Grand Canal. The Porphyry Group of the Tetrarchy and the Pietra del Bando, a Porphyry Column with its Base Cut Off, are located in the corner of this facade.

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St Mark's Basilica architecture is very fascinating and inside Basilica is home to more than 8,000 square meters of mosaics, most of which are made of gold, and were constructed over the course of 800 years. The gold background, lit exclusively from behind, not only provides an image that arrests the observer's senses but also adorns the scene with a wealth of Christian art symbolism. Each arm of the Greek cross-shaped basilica is separated into three naves. Even though the cathedral's interior is a mishmash of architectural styles, ranging from classical to 19th-century, the shape and mosaics give it a Byzantine air.

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St. Mark's Basilica's west facade can be seen from the outside and is composed of three distinct sections: the lower section, the top section, and the domes. The narthex can be accessed through one of five arched entrances located on the lower register and framed by polychrome marble columns. Above the main gate is a gilded mosaic representing "The Last Judgment," which is one of a series of mosaics commemorating events from Christ's life. St. Mark's relics are described in the lunettes of the side gateways of north transept. The Winged Lion, the state emblem of the Republic of Venice, adorns the arch over the sizable picture window.

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The basilica boasts five domes situated over the intersection and arms of the Greek cross. Each dome has a diameter of more than 13 meters and is adorned with 16 windows. Between 1160 and 1200 CE, captivating gold mosaics were meticulously installed inside these domes. The central dome specifically portrays the moment of Christ's ascension into heaven following his resurrection. Although certain Western influences can be observed in the dome's decoration, the overall style predominantly reflects the unmistakable Byzantine art, showcasing Venice's strong and profitable trade connections with the Eastern Roman Empire.

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Transept Chapels typically honor a specific saint. Several different chapels honor the Virgin Mary and other saints in St. Mark's Basilica. They can be found in the relatively brief extensions along the main dome’s sides. Above the north transept in the Cappella di San Giovanni are mosaics from the 12th century showing scenes from the life of St. John. The Byzantine image of the Madonna Nicopeia is displayed on Cappella della Madonna Nicopeia’s altar, which is also located in the north transept of St Mark's Basilica Venice inside. The south transept houses Cappella di San Clemente, traditionally known as the Doge's chapel.

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