Page 88 - (DK Eyewitness) Travel Guide - Venice & The Veneto

86  VENICE AREA B Y AREA

Exploring the Basilica

The Basilica cannot comfortably be covered in one visit. the Stories of Joseph and of
The mosaics, the rich store of eastern bounty, the mysterious Moses in the domes at the north
light ing and the sheer size of the place create a feeling of end. The figures of saints on
either side of the main doorway
confusion for first-time visitors. Make several visits, ideally at date from the 11th century and
different times of the day. The mosaics look especially splendid are among the earliest mosaics
when the church is fully illuminated (11am–12:15pm Mon–Sat, in the church. Just in front of
2–4pm Sun). Visitors with organized the central doorway there is a
tours are often led towards the lozenge of porphyry to mark the
Pala d’Oro and Treasury and spot where the Emperor Frederick
Barbarossa was obliged to make
miss out on other sections peace with Pope Alexander III
of the church. Avoid the in 1177 (see p45).
crowds by visiting early
in the morning or in the Museo Marciano
even ing. If a Mass is in
progress, visitors are A precarious stairway from the
atrium, marked “Loggia dei
expected to be silent Cavalli”, takes you up to the
and will only be able church museum. The gallery
to visit certain areas. gives a splendid view into the
The Genesis Cupola of the atrium Basilica, while from the exterior
loggia visitors can survey the
Piazza San Marco and take a
to create complex and colourful closer look at the replica horses
Mosaics
geometric patterns and beautiful on the church façade. It was
Clothing the domes, walls and scenes of beasts and birds. Some from this panoramic balcony
floor of the basilica are over of these scenes are allegorical. that doges and dignitaries once
4,000 sq m (40,000 sq ft) of The one in the left transept of looked down on ceremonies tak-
gleaming golden mosaics. The two cocks carrying a fox on a ing place in the square. The origi-
earliest, dating from the 12th stick was designed to symbolize nal gilded bronze horses, housed
century, were the work of cunning van quished by vigilance. in a room at the far end of the
mosaicists from the east. Their museum, were stolen from the
techniques were adopted by Atrium (Vestibule) top of the Hippodrome (ancient
Venetian craftsmen who racecourse) in Constantinople
gradually took over the The 13th-century mosaics in 1204, but their origin, either
decoration, combining decorating the cupolas, vaults Roman or Hellenistic, remains
Byzantine inspiration with and lunettes of the atrium are a mystery. In the same room is
Western influences. During the among the finest in the Basilica. Paolo Veneziano’s 14th-century
16th century, sketches and The scenes depict Old Testament pala feriale, painted with stories
cartoons by Tintoretto, Titian, stories, starting at the southern of St Mark, which once covered
Veronese and other leading end with the Genesis Cupola the Pala d’Oro. Also on show are
artists were reproduced in (showing 26 detailed episodes medieval illuminated
mosaic. The original of the Creation), to manuscripts,
iconographical scheme, fragments of
depicting stories from the ancient mosaics
Testaments, has more or and antique
less been preserved by tapestries.
careful restoration.
Among the finest mosaics
in the basilica are those
decorating the
13th-century central
Dome of the Ascension
and the 12th- century
Dome of the Pentecost
over the nave.
The pavimento, or
basilica floor, spreads out like
an undulating Turkish carpet.
Mosaics, made of marble,
porphyry and glass, are used The Quadriga, the original gilded bronze horses in the museum

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