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Basilica di San Marco Review
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Basilica di San Marco 
- Address: Piazza San Marco, Venice
- Phone: 041/5225205 Basilica; 041/5225697 tours
- Category: Religious Sites, Architectural Sites
- Location: San Marco
Fodor's Review:
An opulent synthesis of Byzantine and Romanesque styles, this church, Venice's gem, is laid out in a Greek-cross (four arms of equal length) floor plan and topped with five plump domes. The basilica did not actually become the cathedral of Venice until 1807, but its role as the Chiesa Ducale (doge's private chapel) gave it immense power and wealth. The original church was built in 828 to house the body of St. Mark the Evangelist. His remains were stolen from Alexandria by two agents of the doge and, so the story goes, hidden in a barrel beneath layers of pickled pork to sneak them past Muslim guards. The escapade is depicted in the 13th-century mosaic above the front entrance door to the farthest left. This semicircular arch is the earliest mosaic on the heavily decorated facade; look closely and you'll see an image of the basilica as it appeared at that time.
A 976 fire destroyed most of the original church; rebuilding began in 1063 and it reopened in 1094. Over the centuries it stood as a symbol of Venetian wealth and power, endowed with all the riches the republic's admirals and merchants could carry off from the Orient, becoming so opulent it earned the nickname Chiesa d'Oro (Golden Church). The four bronze horses that prance and snort over the entrance are copies of sculptures that victorious Venetians took from Constantinople in 1204 (the originals are in the Museo Marciano). Look for a medallion of red porphyry set in the porch floor, just inside the central doorway. It marks the spot where in 1177 a great political coup by Doge Sebastiano Ziani brought reconciliation between Barbarossa, the Holy Roman Emperor, and Pope Alexander III. The basilica's dim light, the matroneum (women's galleries) high above the naves, the iconostasis (altar screen), and the single massive Byzantine chandelier all seem to wed Christianity with the Orient, giving San Marco its exotic blend of majesty and mystery.
The basilica is famous for its 43,055 square feet of stunning mosaics, made possible by an innovative roof made of brick vaulting rather than wood. Many of the original windows were filled in to make room for even more artwork. Only between 11:30 AM and 12:30 PM, when the interior is fully illuminated, do these mosaics come alive -- their tiny gold tiles are nothing short of magical. The earliest mosaics are from the 11th and 12th centuries and the last were added in the early 1700s. One of the most recent is the Last Judgment on the arch between the porch and the nave, said to be based on drawings by Tintoretto (1518-94). Inside the main entrance, turn right on the porch to see the Book of Genesis depicted on the ceiling. Ahead, Cappella Zen (Zen Chapel) -- named for a local cardinal, not a form of Buddhism -- shows St. Mark's life in 13th-century mosaics. Cappella Zen, like the basilica's Battistero (Baptistery), and underground Crypt is open only to scholars.
Two chapels in the left transept are worth a special look: the Cappella della Madonna di Nicopeia (Chapel of the Madonna of Nicopeia) takes its name from a precious icon that many consider Venice's most powerful protector. In the nearby Cappella della Madonna dei Mascoli (Chapel of Madonna of the Males), the life of the Virgin Mary is depicted in fine 15th-century mosaics, possibly based on drawings by Jacopo Bellini (circa 1400-70), and his son-in-law, Andrea Mantegna.
In the Santuario (Sanctuary), the main altar is built over the tomb of St. Mark, its green marble canopy lifted high on carved alabaster columns. Even more impressive is the extraordinary Pala d'Oro, a dazzling gilded silver screen encrusted with 1,927 precious gems and 255 enameled panels. Originally commissioned in Constantinople by Doge Pietro Orseolo I in the 10th century, it was continually enlarged and embellished over the next four hundred years by master craftsmen and wealthy merchants. The bronze door leading from the sanctuary back into the sacristy is another Sansovino work. In the top left corner the artist included a self-portrait and, above that, a picture of his friend and fellow artist Titian (circa 1485-1576). The Tesoro (Treasury), entered from the right transept, contains many treasures carried home from Constantinople and other conquests.
From the atrium, climb the steep stairway to the Galleria and the Museo Marciano. From here you get the best possible overview of the basilica's interior, and you can step outdoors for a sweeping panorama of Piazza San Marco and the Piazzetta dei Leoncini. The highlight of the museum is a close-up look at the original four gilded bronze horses that once pranced upon the outer gallery. They were probably cast in Rome and taken to Constantinople. When Napoléon conquered Venice in 1797, he took them back to Paris with him. They were returned after the fall of the French Empire, but came home "blind": their big ruby eyes had been sold.
Be warned: guards at the entrance to the basilica turn away anyone wearing shorts, short skirts, tank tops, and other attire considered inappropriate (no bare shoulders or knees). If you want to take a free guided tour in English during summer months (with less certainty in winter, as the guides are volunteers), look for groups forming on the porch inside the main door. You might also arrange a free tour by appointment.
- Cost: Basilica free, Tesoro EUR 2, Santuario and Pala d'Oro EUR 1.50, Galleria and Museo di San Marco EUR 3
- Open: May-Sept., Mon.-Sat. 9:45-5:30, Sun. 2-4; Oct.-Apr., Mon.-Sat. 9:45-4:30, Sun. 2-4; last entry 1/2 hr before closing
- Metro: Vallaresso/San Zaccaria
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