San Marco. VENICE. 47. Route. 295
tecture is the only one in which perfect and permanent chromatic decoration
ia posaible'. And again : — 'the effecta of St. Mark's depend not only upon
the most delicate sculpture in every part, but, as we have just stated,
eminently on its colour also, and that the mostsubtle, variable, inexprcssible
colour in the world, — the colour of glass, of transparent alabaster, of
polished marble, and lustrous gold'.
Over the principal portal are •Four Horses in gilded bronze, 5 ft. in
height, which are among the finest of ancient bronzes, and the solé exist-
ing specimen of an ancient quadriga. They probably once adorned the
triumphal arch of Ñero, and afterwards that of Trajan. Constantine sent
them to Constantinople, whence the Doge Dándolo brought them to Venice
in 1204. In 1797 they were carried by Napoleón to Paris, where they
afterwards graced the triumphal arch in the Place du Carrousel, and in
1815 they were restored to their former position by Emp. Francis.
Facade. Mosaics: below, over the principal entrance, the Laat Judg¬
ment, executed in 1836; on the right, Embarkation of the body of St. Mark
at Alexandria, and its Arrival at Venice, both of 1660; on the left, the
Veneration of the saint, of 1728, and Deposition of the relies of the saint
in the Church of St. Mark, of the 13th century. — Above, on the left and
right, are four mosaics of the 17th cent., Descent from the Cross, Christ in
Hades, Resurrection, Aacension. — The quaint Sculptures , especially at
the main entrance (allegorical representation of the months, etc.), and the
Byzantine reliefs in the walls deserve notice. Above are statues of the
Evangelista under canopiea; at the end, the Annunciation; above the
large central arch, a statue of Christ.
Vestibule (Atrio). The Mosaics in the vaulting, of which the older
are in the Byzantine style of the 13th cent., represent Oíd Testament
subjects, beginning on the right: lst Dome, Creation of the World, and Fall
of Man; in the following arch, the Deluge; 2nd Dome, over the principal
entrance to the church, St. Mark, executed in 1545 by the brothers Zuccato.
— The three red slabs in the pavement commemorat.e the recouciliation
between Emp. Fred. Barbarossa and Pope Alexander III. (p. 302), effected
here on 23rd July, 1177, through the mediation of the Doge Seb. Ziani.
According to an oíd tradition the emperor kneeling before the pope said,
'non tibí sed Petro', to which the pope replied, 'et mihi el Petro'. — In the
next arch, Noah, and the Tower of Babel; 3rd Dome, History of Abraham;
4th (córner) Dome, Joseph's dream, Joseph sold by his brethren, and Jacob's
lament; 5th and 6th Domes, Joseph in Egypt; 7th Dome, History of Moses.
The middle and right Bronze Doors are adorned with figures of
saints in enamel (niello) wrork, and are of Byzantine origin.
The ""Interior consists of nave and aisles, crossed by a transept with
aisles, with five domes and an apse. Ita charm consists in the beauty of
the main Unes, the noble perspectives, and the magniflcent decoration.
The Pavement of marble mosaic dates from the 12th century. The Mosaics
represent, above the door, Christ, the Virgin, and St. Mark (the most ancient
mosaic; lOth cent.); in the arch above, the Apocalypse by Zuccato (1579).
Nave. Tlie foot of the Bénitier on the right is enriched with fine
antique reliefs. The Mosaics in the right aisle represent Christ in Geth-
semane, with legenda of the Apostles above (12th cent.); lst Dome, De-
acent of the Holy Ghost; in the left aisle, Paradise, and Martyrdom of the
Apostles (16th cent.). At the beginning of the left aisle is a gilded By¬
zantine relief of the Madonna (lOth cent.), and the Altar by the central
pillar on the left has an elegant Byzantine canopy. — The Mosaics in the
central dome of the nave represent the Ascensión, and those on the S.
and W. ribs, acenes from the Passion (12th cent.). The other mosaics are
chiefly of the 16th and 17th centuries. By the screen, right and left of the
approach to the high-altar, are two Pulpits (ambones) in coloured marble,
supported on columns. On the Screen are fourteen statues in marble by
the brothers Mossegne (1394): St. Mark, the Virgin, and the Apostles, with
a gilded Crucifix. On the Rood Arch above, fine mosaics from designs by
Tintoretto. — Left Transept: above, on the left, a Mosaic of 1542, re¬
presenting the genealogy of Mary; flne Renaissance Altar, and two bronze
Candelabra, dating from 1520. To the left is the Cappella dei Mascoli (1430),