1. (i) Architect/ Founder

Domenico I Contarini

- was the 30th Doge of Venice

- Contarini was a liberal builder of churches and monasteries, such as San Nicolò di Lido in Lido di Venezia and Sant'Angelo di Concordia. In 1071, just before his death, he commissioned builders to begin work on expanding and restoring St Mark's Basilica.

-Domenico Contarini, gave its approval for construction in 1063

Timeline of San Marco Basilica

The Basilica was consecrated in AD 832, intended as a mausoleum for St. Mark’s relics and as the Doge’s ceremonial shape. In AD 976 the church burnt down after a riot but was rebuilt between 1063 and 1094, probably supervised by a Greek architect. Since Venice still recognised the cul-tural spremacy of Byzantium, the Basilica echoed eastern models. The third and final reconstruc-tion of the church began in 1063 and its transformations and modifications lasted centuries. We can be divided into three phases this third reconstruction, linked to political events and linked to the three doges of the Serenissima: Domenico Contarini, and Domenico Vitale Falier Selvo.

Domenico Selvo authorized from 1071 mosaic decoration, when the church was not yet finished.Vitale Falier consecrated the church and dedicated it to San Marcos on October 8, 1094.At the same time, Doge Selvo (1071-84) asked merchants to return with rare marbles and semi-precious stones to adorn the Basilica, form jasper to alabaster and porphyry. John Ruskin admired this “confused incrustation”, which incorporated Roman fragments and looted Byzantine booty in an Oriental basilica which professed to be Christian church. Yet for political reasons, the majestic

building was technically designated the Doge’s private chapel for mist of the duration of the Re-public. San Marco only succeeded San Pietro as the cathedral if Venice Cathedral in 1807.

(ii) Concepts

The architectural model of the Church of San Marcos has deep roots in the cultural context of Con-stantinople, as exemplified by the Church of the Twelve Apostles, built in the time of Justinian and destroyed in 1462. The building we know in the XXI century was raised on the ruins of the first and second church on the space available between the Ducal Palace and the Church of San Teodoro (810-819)

Following the principles of Byzantine religious architecture, San Marcos, also complies with the principle of bipartition in the area of ground floor and walls, and the heavenly part, with vaulted ceil-ings and domes. Purpose and function are highlighted by the different materials used to cover the masonry. The top of the building has an amazing metaphysical and heavenly con-notation because of the light produced by colored glass, col- ored or gold leaf, symbolizing the light of paradise, while in the lower area high- lights the earthly with the strength of marbles walls rich in colors and geomet- ric signs soil.

- The facade mosaics date mainly from the 17th-19th centuries, and replace earlier 13th century works, whose themes they repeat, though mostly using contemporary stylistic methods. An original 13th century mosaic survives above the northern entrance in the main facade, known as the port Di Sant’Alipo. It shows the mortal remains of St. Mark being transferred to San Marco.

- The mosaic decorations were developed through some 8 centuries of the Basilica's history. In the Basilica's mosaics can be found the most significant evidence of Venice's history, the ambi-tions, faith, languages and trends characterising the evolution of its art

- Goethe’s description of San Marco as “crab like” us understandable from an aerial view. The broad main building with its domes really look like a crab. The domes have two shells: they are flat in the inside, while on the outside they have a taller shell made of lead.

- The Greek cross plan is inscribed in a square, and crowned by a cluster of five domes, set over each arm of the cross. These are linked to one another by loggias and arcades.

Architec- tural style

- San Marco Basilica is magnificent. It is both a wonderful architectural flurry of Gothic, Byzantine, Romanesque and Renaissance styles declaring the wealth of Venice over centuries, and a spiri-tual place of worship. Its domes and turrets, and gold mosaic stand out over the square and over Venice, and four ancient classical horses top the entrance, taken from Constantinople (Istanbul) when Venice sacked that city around 1200. Inside the church is dazzling.

- The design is distinctly Byzantine, and it is likely that both Byzantine and Italian architects and craftsmen were employed in the construction and decoration.

- Decorated with Byzantine, Romanesque and Gothic art, the west facade is composed of two or-ders of five recessed arches, supported by clusters of columns whose capitals were carved in the 12th and 13th centuries. The delicate pinnacles and other decorations at the top of the facade are Gothic additions of the 14th and 15th centuries.

Significant/characteristics -The Basilica is remarkable for its spatial complexity and stylistic synthesis, creating an eclectic yet harmonious design.

-The marble-clad exterior is adorned with numerous pieces of an-cient stonework

Tetrarchs:

-The Romanesque carvings of the arches of the central doorway of the Venice’s looting cam-paigns around the eastern Mediterranean is a group sculpture if red porphyry, which stands on the corner of Treasury. This square, windowless building holds the treasures of San Marco as well as relicts and liturgical objects. So-called “tetrachs”, four joint rulers of the Roman Empire. the figures are four Moors who wanted to steal the treasure of Sn Marco but were turned to stone by a morale of St. marks, and em- bedded in the wall at this spot to frighten off future thieves.

The real horse of San Marco

-The real horse if San Marci are inside the church, the hour outside are modern replicas.

-With its multicoloured marble columns, mosaics sparkling with gold, and the floral finials of its arches, its sculptures and colourful marble incrustations, San Marco gives the impression of and expensive jewellery box.

Architec- tural El-ements

- Each of the domes of the roof rests on four great vaults whose weight is supported by four pillars. The largest dome of the Ascension, rests on the cruise and the other four in the arms of the cross. The domes consisted of half spheres with large masonry vaults support.

- As Venice grew to become the ruling power in the eastern Mediterranean, treasures, marble, col-umns, capitals, reliefs, valuable vessels and paintings were collected and sent form the various conquered lands and used to decorate the Basilica di San Marco. The multicoloured columns on the buildings exterior are an obvious example of this. They originate from different places and periods , and were reassembled here to enhance the facade. Some of the columns were fitted with new, finely worked capitals, which emphasise their value. With their differing colours, it enliven the original plain brick facade.

- The Byzantine character of St Mark’s Cathedral emerges from several elements, the main one being the mosaic that narrates the life of St Mark and episodes from the Old and New Testament. Inside St Mark’s Basilica there is an evocative and s oft darkness contrasted by the glaring light of the golden mosaics and jewels – a stark effect that gives the church in St Mark’s Square a fascinating and mysterious aura.