basilica di san marco architettura

The church is accessed from the narthex by means of four doors: the central one, the St. Clement and the St. Peter, in correspondence to the chapels of the same name and, to the north the Door of the Virgin or of St. John. The architectonic layout is highly articulated and repeats a single module clearly identifiable in the central cupola which rests, by means of the spandrels and great vaults, on four pillars. The plan is Greek cross. It is the most famous of the city's churches and one of the best known examples of Italo-Byzantine architecture. Above the cross are five cupolas, according to the eastern model, as a symbol of God’s presence. Above the cross are five cupolas, according to the eastern model, as a symbol of God’s presence.

Adjacent to the sacristy there is the 15th century church of St. Theodore. Two areas of the church may be defined: the ducal area in the south transept, closely connected with the palace by passages and windows at various levels, and the St. Mark’s primicerius’ and priests’ area in the north transept, linked to their respective lodgings. Al di sopra della croce poggiano le cinque cupole, simbolo della presenza di Dio. The main entrance from the west has a late 10th century wooden door faced with sheet copper and older bronze grilles. Both arms of the cross are divided into nave and two aisles. The church was consecrated on 8th October 1094 when the body of St. Mark was definitively deposited in a marble tomb beneath the high altar. The atrium with its cupolas was built a century after completion of the church.

The present-day church was built on the remains of the first and second church in the space available between the Ducal Palace and the Church of St. Theodore (810-819). To build St. Mark’s Church, Venice brought the spiritual and material heritage of Byzantium to the West. It lies at the eastern end of the Piazza San Marco, adjacent and connected to the Doge's Palace. The tower, of uncertain function and transformed with the creation of the third St. Mark’s, is connected internally to the church and to the walls of the building incorporated into the head of the south transept. The interior has a unitary sequence subdivided into individual spatial orchestrations to which gold background mosaics ensure continuity and the church’s special way of being. The Greek cross plan stands on a structure which in the longitudinal nave has basilica architectural motifs: the vertical arm of the cross is greater than those of the transepts and the altar is in the apse area. San Marco Basilica, Italian Basilica di San Marco, English Saint Mark’s Basilica, church in Venice that was begun in its original form in 829 (consecrated in 832) as an ecclesiastical structure to house and honour the remains of St. Mark that had been brought from Alexandria. 30124 Venice The wooden cupolas and the small cupola are dressed with 2-3 millimetre thick sheet lead. The most varied marbles were used with a symbolic function depending on their characteristics and colour. San Marco, 328 30124 Venice Both arms of the cross are subdivided into nave and two aisles. To right and left are the St. Clement and St. Peter entrances. The church subsequently underwent substantial modifications: the narthex was added, a Gothic rosette was opened towards the Ducal Palace and the window of the horses opened in the facade, thus altering the atmosphere of the old building. Per edificare la basilica di San Marco, Venezia trasferisce in Occidente l’eredità spirituale e materiale di Bisanzio. The Greek cross plan stands on a structure which in the longitudinal nave has basilica architectural motifs: the vertical arm of the cross is greater than those of the transepts and the altar is in the apse area.

L’impianto a croce greca poggia sopra una struttura che nella navata longitudinale centrale riporta motivi architettonici basilicali: il braccio verticale della croce è maggiore rispetto a quelli dei transetti, l’altare è posto nell’area dell’abside. All the rest have been reduced to simple passageways.

The crypt has an intersecting barrel-vault ceiling supported by small columns with simple basket-decorated Byzantine capitals datable to between the end of the 10th and the 11th centuries. As a result of repeated fires the women’s galleries that covered the aisles of the west, north and south arms of the cross were eliminated. The new structure was Greek cross with the longitudinal nave slightly longer than the transept limited by pre-existing buildings (the ancient castle to the south and the Church of St. Theodore to the north). To the north they take in the walls of the St. Isadore and Mascoli chapels, and to the south those of access to the Ducal Palace. You have to pay a 5 euro entrance but you get to see the museum and walk out onto the roof of the Basilica from where you can get great views over St marks Square. San Marco, 328 The model for this new church, much larger than the former one, was the Basilica of the Twelve Apostles in Constantinople. The present day St. Mark’s was begun in 1063 when the Doge Domenico Contarini commissioned an architect, probably Greek, to build a church on ancient foundations, using the ancient walls of previous buildings. The baptistery, built on the southern frontage at the limit of the sea gate, between the gate and an ancient corner-tower, features two cupolas and a vault connecting it to the structures of the Zen chapel. Today it houses the Treasure and the Sanctuary with the relics. All’interno si propone una sequenza unitaria suddivisa in singole partiture spaziali, cui il mosaico a fondo d’oro garantisce continuità ed il particolare modo di essere della chiesa. Basilica di San Marco In St. Mark’s each cupola rests on four great vaults whose weight is borne by four pillars. The height and size of the buildings around the church reduced the amount of light reaching the latter, so at the beginning of the 15th century the Serenissima decided to create two great openings: the window of the horses on the fa�ade and the rosette in the south transept overlooking the doge’s palace. On the west and north sides the church is surrounded by a narthex in which, at the southern end, there was the “sea gate”, now occupied by the chapel of cardinal Giovambattista Zen. Basilica di San Marco San Marco, 328 L’articolazione dello spazio è ricca di suggestioni non riscontrabili in altre chiese bizantine. Unlike the Greek models the altar, which is joined to the evangelist’s tomb, is not in the centre of the cross but beneath the eastern, presbytery cupola. The baptistery was built onto the southern end of the church in the first half of the 14th century. A bold solution which in the 11th century united memories – the tomb and its remains of St. Mark’s body – with the Greek cross plan of a great new church with five cupolas, the prestigious “Ducal Chapel“. The architectural idea underlying St. Mark’s Church is deeply rooted in the cultural context of Constantinople. The interior has a unitary sequence subdivided into individual spatial orchestrations to which gold background mosaics ensure continuity and the church’s special way of being. Email: info@procuratoriasanmarco.it, © 2020 - Procuratoria di San Marco di Venezia, The Basilica: political and religious function. The nave and two aisle crypt with apse is beneath the presbytery and the side chapels.

The model was the Church of the Twelve Apostles, built in Justinian’s day and destroyed in 1462. You can only enter the Basilica to visit the Museum on the 1st floor at the moment as the main Basilica is closed. The Greek cross plan stands on a structure which in the longitudinal nave has basilica architectural motifs: the vertical arm of the cross is greater than those of the transepts and the altar is in the apse area. In the nave, beneath the high altar, there is the ancient chapel where the evangelist’s remains were kept. Each modification was connected with structural, political or prestige reasons. St. Mark’s church today is considered the living heritage of Roman, Byzantine and Venetian culture. Beneath the presbytery and the side chapels is the crypt (nave and two aisles with apse) housing the ancient chapel which for centuries has been the repository of St. Mark’s body. The only remaining women’s galleries are those above the wall structures: above the narthex, the chapel of St. Isadore, the palace boundary walls and the semi-domes of the apses in the chapels of St. Peter and St. Clement. Access to the sacristy, enlarged at the end of the 15th century, is from the presbytery and St. Peter’s chapel. At the bottom of the presbytery, abutting the apse, there is an altar on a platform once raised by five steps, for deposition of the Most Holy. 30124 Venice

At the northern end of the fa�ade, the St. Alipius entrance. It may be considered, ideally, as being enclosed in a quadrilateral space measuring almost 60 metres each side.

In the northern arm the Door of Flowers is also closed with a bronze gate. St. Mark’s church, begun in 1063, was built on the foundations and with the walls of an earlier church also dedicated to the saint.The model for this new church, much larger than the former one, was the Basilica of the Twelve Apostles in Constantinople..

Basilica di San Marco After the conquest of Constantinople in 1204, Venice had access to a great quantity of precious marbles from the sacred and civic buildings of the capital of the Eastern Roman Empire. Above the cross are five cupolas, according to the eastern model, as a symbol of God’s presence. Originally it was the … The Patriarchal Cathedral Basilica of Saint Mark (Italian: Basilica Cattedrale Patriarcale di San Marco), commonly known as St Mark's Basilica (Italian: Basilica di San Marco; Venetian: Baxéłega de San Marco), is the cathedral church of the Roman Catholic Archdiocese of Venice, northern Italy.

St. Mark’s church, begun in 1063, was built on the foundations and with the walls of an earlier church also dedicated to the saint.

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