Så er vi endelig fremme ved Marcus pladsen
Basilica de San Marco
UNESCO World Heritage Site - Campanile
Piazza San Marco
Markuspladsen er 175 meter lang og er 82 meter bred på det bredeste sted. Pladsen er, sammen med Piazzale Roma, de eneste pladser i byen, der betegnes piazza. De resterende pladser i Venedig bliver benævnt campi, idet de ikke oprindeligt har været brolagte. Pladsen er omkrandset af en række mere eller mindre kendte bygninger, hvorafMarkuskirken og Dogepaladset er blandt de kendteste.
Pladsen ligger kun lidt højere end vandspejlet i Venedigs lagune, og flere gange årligt bliver pladsen oversvømmet ved ekstrem højvande eller stormflod. Enden af pladsen ligger ud til Canal Grande, så bølgerne har let ved at slå ind over pladsen.
St Mark's Campanile (Campanile di San Marco in Italian) is the bell tower of St Mark's Basilica in Venice, Italy, located in the Piazza San Marco. It is one of the most recognizable symbols of the city.
The tower is 98.6 metres (323 ft) tall, and stands alone in a corner of St Mark's Square, near the front of the basilica. It has a simple form, the bulk of which is a flutedbrick square shaft, 12 metres (39 ft) wide on each side and 50 metres (160 ft) tall, above which is a loggia surrounding the belfry, housing five bells. The belfry is topped by a cube, alternate faces of which show the Lion of St. Mark and the female representation of Venice (la Giustizia: Justice). The tower is capped by a pyramidal spire, at the top of which sits a golden weathervane in the form of the archangel Gabriel. The campanile reached its present form in 1514. The current tower was reconstructed in its present form in 1912 after the collapse of 1902.
The initial 9th-century construction, initiated during the reign of Pietro Tribuno and built on Roman foundations, was used as a watch tower or lighthouse for the dock, which then occupied a substantial part of the area which is now the Piazzetta. Construction was finished in the twelfth century, during the reign of Domenico Morosini. Adjoining the base of the campanile is the loggetta built by Sansovino, completed in 1549 and rebuilt in 1912 after it had been destroyed by the fall of the campanile. One of the models for the tower was the St. Mercuriale's Campanile, in Forlì.
The campanile suffered damage by lightning on many occasions. It was severely damaged in 1388, set on fire and destroyed in 1417 and seriously damaged by a fire in 1489 that destroyed the wooden spire.
The campanile assumed its definitive shape in the sixteenth century thanks to the restorations made to repair further damage caused by the earthquake of March 1511. These works, initiated by the architect Giorgio Spavento, then executed under the direction of Bartolomeo Bon of Bergamo, added the belfry, realized in marble; the attic, on which was put the sculpture of the lion of Saint Mark and Venice; and the spire, in gold leaf. The work was completed on 6 July 1513, with the placement of the gilded wooden statue of the Archangel Gabriel in the course of a ceremony recorded by Marin Sanudo.
In the following centuries numerous other interventions were made to repair the damage from fires caused by lightning. It was damaged in damaged in 1548 and 1565. In 1653, Baldassarre Longhena took up the restorations. The campanile was damaged by lightning again in 1658. More work was done after a fire caused by a lightning strike on April 13, 1745, which caused some of the masonry to crack, and killed several people as a result of falling stonework. The campanile was damaged by lightning again in 1761 and 1762. Finally, in 1776, it was equipped with a lightning rod.
In 1820, the statue of the angel was replaced with a new one by Luigi Zandomeneghi.
In July 1902, the north wall of the tower began to show signs of a dangerous crack that in the following days continued to grow. Finally, on Monday, July 14, around 9:45 am, the campanile collapsed completely, also demolishing the logetta. Remarkably, no one was killed, except for the caretaker's cat. Because of the campanile's position, the resulting damage was relatively limited. Apart from the logetta, only a corner of the Biblioteca Marciana was destroyed. The pietra del bando, a large porphyry column from which laws used to be read, protected the basilica itself.
The same evening, the communal council approved over 500,000 Lire for the reconstruction of the campanile. It was decided to rebuild the tower exactly as it was, with some internal reinforcement to prevent future collapse. Work lasted until March 6, 1912. The new campanile was inaugurated on April 25, 1912, on the occasion of Saint Mark's feast day, exactly 1000 years after the foundations of the original building had allegedly been laid.
Each of the five bells of the campanile had a special purpose. The Renghiera (or the Maleficio) announced executions; the Mezza Terza proclaimed a session of the Senate; the Nona sounded midday; the Trottieracalled the members of the Maggior Consiglio to council meetings and the Marangona, the biggest, rang to mark the beginning and ending of working day. They are tuned in the scale of A.
The Campanile is currently undergoing a major set of building works that are forecast to last a few years. Like many buildings in Venice, it is built on soft ground, supported by wooden piles. Due to years of winter flooding (Acqua Alta), the subsoil has become saturated and the campanile has begun to subside and lean. Evidence of this can be seen in the increasing number of cracks in the masonry. In order to stop the damage, a ring of titanium is being built underneath the foundations of the campanile. The titanium ring will protect the campanile from the shifting soil and ensure that the tower subsides equally and does not lean.
It is still possible to climb the campanile during these works.
Torre dell'Orologio
The Patriarchal Cathedral Basilica of Saint Mark (officially known in Italian as the Basilica Cattedrale Patriarcale di San Marco and commonly known as Saint Mark's Basilica) is the cathedral church of the Roman Catholic Archdiocese of Venice, northern Italy. It is the most famous of the city's churches and one of the best known examples of Italo-Byzantine architecture. It lies at the eastern end of the Piazza San Marco, adjacent and connected to the Doge's Palace. Originally it was the chapel of the Doge, and has only been the city's cathedral since 1807, when it became the seat of the Patriarch of Venice,[1] archbishop of the Roman Catholic Archdiocese of Venice, formerly at San Pietro di Castello.
For its opulent design, gold ground mosaics, and its status as a symbol of Venetian wealth and power, from the 11th century on the building has been known by the nickname Chiesa d'Oro (Church of gold)
Earliest construction
The first St Mark's was a building next to the Doge's Palace, ordered by the doge in 828, when Venetian merchants stole the supposed relics of Mark the Evangelist fromAlexandria, and completed by 832; from the same century dates the first St Mark's Campanile (bell tower). The church was burned in a rebellion in 976, when the populace locked Pietro IV Candiano inside to kill him, and restored or rebuilt in 978. Nothing certain is known of the form of these early churches. From perhaps 1073 the presentbasilica was constructed. The consecration is variously recorded as being in 1084-5, 1093 (the date most often taken), 1102 and 1117, probably reflecting a series of consecrations of different parts.
In 1094 the body supposed that of Saint Mark was rediscovered in a pillar by Vitale Faliero, doge at the time. The building also incorporates a low tower (now housing St Mark’s Treasure), believed by some to have been part of the original Doge's Palace. The Pala d'Oro ordered from Constantinople was installed on the high altar in 1105. In 1106 the church, and especially its mosaics, were damaged by a serious fire in that part of the city; it is not entirely clear whether any surviving mosaics in the interior predate this, though there is some 11th-century work surviving in the main porch. The main features of the present structure were all in place by then, except for the narthex or porch, and the facade.
The basic shape of the church has a mixture of Italian and Byzantine features, notably "the treatment of the eastern arm as the termination of a basilican building with main apse and two side chapels rather than as an equal arm of a truly centralized structure". In the first half of the 13th century the narthex and the new façade were constructed, most of the mosaics were completed and the domes were covered with second much higher domes of lead-covered wood in order to blend in with the Gothic architecture of the redesigned Doge's Palace
Later construction
The basic structure of the building has not been much altered. Its decoration has changed greatly over time, though the overall impression of the interior with a dazzling display of gold ground mosaics on all ceilings and upper walls remains the same. The succeeding centuries, especially the period after the Venetian-led conquest of Constantinople in the Fourth Crusade of 1204 and the fourteenth century, all contributed to its adornment, with many elements being spolia brought in from ancient or Byzantine buildings, such as mosaics, columns, capitals, or friezes. Gradually, the exterior brickwork became covered with marble cladding and carvings, some much older than the building itself, such as the statue of the Four Tetrarchs. The latest structural additions include the closing-off of the Baptistery and St Isidor's Chapel (1300s), the carvings on the upper facade and the Sacristy (1400s), and the closing-off of the Zen Chapel (1500s).
The exterior of the west facade of the basilica is divided in three registers: lower, upper, and domes. In the lower register of the façade, five round-arched portals, enveloped by polychrome marble columns, open into the narthex through bronze-fashioned doors. The upper level of mosaics in the lunettes of the lateral ogee arches has scenes from the Life of Christ (all post-Renaissance replacements) culminating in a 19th-century replacement Last Judgment lower down over the main portal that replaced a damaged one with the same subject (during the centuries many mosaics had to be replaced inside and outside the basilica, but subjects were rarely changed). Mosaics with scenes showing the history of the relics of Saint Mark from right to left fill the lunettes of the lateral portals; the first on the left is the only one on the façade still surviving from the 13th century. The formal subject is the Deposition of the Relics, but it is probably depicted as the crowd leaving San Marco after the ceremonial installation of a new doge. The four bronze horses are shown in their place on the facade. We can for once get a good idea of the original compositions of the mosaics from paintings and other depictions, especially Gentile Bellini's very large Procession in Piazza San Marco in the Gallerie dell'Accademia.
The stone sculpture is relatively limited at the lower level, where a forest of columns and patterned marble slabs are the main emphases. It includes relatively narrow bands of Romanesque work on the portals, richly carved borders of foliage mixed with figures to the ogee arches and other elements, and large shallow relief saints between the arches. Along the roofline, by contrast, there is a line of statues, many in their own small pavilions, culminating in Saint Mark flanked by six angels in the centre, above a large gilded winged lion (his symbol, and that of Venice).
In the upper register, from the top of ogee arches, statues of Theological and Cardinal Virtues, four Warrior Saints, Constantine, Demetrius, George, Theodosius and St Mark watch over the city. Above the large central window of the façade, under St Mark, the Winged Lion (his symbol) holds the book quoting “Pax Tibi Marce Evangelista Meus” (Peace to you Mark my evangelist) . In the centre of the balcony the famous bronze horses face the square.
The winged Lion "Marco"
San Theodoro |
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