Domenico Contarini commissioned the expansion and restoration of St Mark's Basilica in 1071. The third reconstruction began in 1063 under Domenico Contarini and lasted centuries, being divided into three phases linked to three doges: Domenico Contarini, Domenico Selvo, and Vitale Falier. The Basilica draws on Byzantine architectural models and is decorated with mosaics developed over eight centuries depicting Venice's history, ambitions, faith, and art. It has a distinctive Byzantine design with a Greek cross plan and five domes, and is a magnificent architectural blend of Gothic, Byzantine, Romanesque and Renaissance styles.

1. 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
cultural spremacy of Byzantium, the Basilica echoed eastern models. The third and final
reconstruction 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

2. building was technically designated the Doge’s private chapel for mist of the duration of the
Republic. 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
Constantinople, 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
ceilings 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 connotation
because of the light produced by colored glass, colored or gold leaf, symbolizing the light of
paradise, while in the lower area highlights the earthly with the strength of marbles walls rich in
colors and geometric 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
ambitions, faith, languages and trends characterising the evolution of its art

3. - 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.
Architectural style

4. - 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
spiritual 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
orders 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.

5. -The marble-clad exterior is adorned with numerous pieces of ancient stonework
Tetrarchs:
-The Romanesque carvings of the arches of the central doorway of
the Venice’s looting campaigns 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 embedded 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.

6. Architectural Elements
- 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,
columns, 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.

7. - 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 soft 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.