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Church of San Marco – where Venetians left their artistic mark

Church of San Marco – where Venetians left their artistic mark

Basilica of San Marco, church interior with a Renaissance ceiling

It can be visited in the evening hours, when the lights in its interior are dimmed and do not allow us to concentrate our attention on the objects found within, but immerse us in an unprecedented atmosphere of spiritual concentration and silence, or during the day, when the strong light moves to the inside, giving us the possibility to reflect over human ambition and passing, but also to contemplate the beauty of the works of art collected within. The Basilica of San Marco Evangelista al Campidoglio, since that is the name of the church, is like a small museum, in which high-quality artifacts from different epochs are located.

San Marco, Renaissance loggia of the church

Basilica of San Marco, apse and triumphal arch of the church – mosaics from the IX century

Basilica of San Marco, mosaics of the apse – Christ among the Saints (Pope Gregory IV, Mark the Evangelist, Felicissimus, Pope Mark, Agapetus, Agnes)

Basilica of San Marco, view of the church interior from the altar

Basilica of San Marco, Renaissance loggia adjacent to the Palazzo Venezia, in the background campanile from the XII century

Basilica of San Marco, Renaissance loggia of the church with the coat of arms of the Barbo family and an image of St. Mark

Basilica of San Marco, Renaissance church portal

Basilica of San Marco, lintel of the church portal – St. Mark the Evangelist (I. da Pisa)

Basilica of San Marco, coffer ceiling from 1468 with the coat of arms of Pope Paul II

Basilica of San Marco, view of the right nave of the church

Basilica of San Marco, view of the left nave of the church – paintings and stuccos from the XVIII century

Basilica of San Marco, tombstone of Cardinal Francesco Pisani

Basilica of San Marco, The Adoration of the Magi – Carlo Maratti

Basilica of San Marco, tombstone of Cardinal Cristoforo Vidman, Cosimo Fancelli

Basilica of San Marco, tombstone of Francesco Erizzo, Francesco Maratti

Basilica of San Marco, funerary monument of Leonardo Pesaro, Antonio Canova

Basilica of San Marco, Chapel of St. Mark with a painting by Mezzolo da Forlì depicting St. Mark the Pope

Basilica of San Marco, The Confession of St. Abdon and Sennen, church presbytery

Inscription plate commemorating the deposition of the relics of the holy martyrs, crypt of the Church of San Marco

Basilica of San Marco, tombstone of Gabriella Scaglia di Saluzzo, Felice Festa, fragment

Basilica of San Marco, Chapel of the Immaculate Conception, painting – Pier Francesco Mola

Basilica of San Marco, funerary monument of Cardinal Pietro Basadonna, Filippo Carcani

Basilica of San Marco, Archangel Michael Casting Down Lucifer, Francesco Mola

Basilica of San Marco, funerary monument of Cardinal Aloisio Prioli 1720, Francesco Moderati

Basilica of San Marco, tombstone of Cardinal A. Prioli, allegory of Charity, detail

Basilica of San Marco, tombstone of Cardinal A. Prioli, allegory of Justice, detail

Basilica of San Marco, Chapel of St. Gregory Barbarigo, Antonio d’Este

Basilica of San Marco, funerary monument of Cardinal Marcantonio Bragadino, Lazzaro Morelli

Basilica of San Marco, Chapel of Our Lady of Sorrows, Pieta, Bernardino Gagliari

Basilica of San Marco, enterance to the sacristy, on the left the funerary monument of Gabriella Scaglia di Saluzzo, Felice Festa

San Marco, view of the left nave of the church

Basilica of San Marco, vault of the Chapel of St. Mark, design by Pietro da Cortona

San Marco, view of the altar and church apse

Basilica of San Marco, stuccos in the part under the windows, XVIII century

Basilica of San Marco, paintings and stuccos in the part above the arcades

Basilica of San Marco, decorations under the windows

San Marco, left nave of the church with the funerary monument of Cardinal Pietro Basadonna in the front

Basilica of San Marco, funerary monument of Cardinal Pietro Basadonna, fragment from the pedestal

Basilica of San Marco, funerary monument of Cardinal Pietro Basadonna, fragment of the pedestal

Basilica of San Marco, Chapel of St. Dominic, The Miracle of St. Dominic, Baccio Ciarpi, XVII century

Basilica of San Marco, Chapel of St. Anthony, Madonna with Child Adored by St. Anthony of Padua and St. Anne, Luigi Primo detto il Gentile, XVII century

Basilica of San Marco, underground corridor under the confession

Altar devoted to the relics of martyrs, crypt of the Church of San Marco

Basilica of San Marco, church ambulatory - inscription plate from the unpreserved tombstone of Vanozza Cattanei

Ambulatory of the Church of San Marco, one of the lions guarding the church enterance

Portico of the Church of San Marco – inscription plates and elements of the old furnishings of the church

Basilica of San Marco, capitol from the former retable from the IX century, Museo Nazionale, Palazzo Venezia

Church of San Marco, campanile from the XII century

Church of San Marco, loggia delle benedizioni, frescos from the XV century (St. Mark the Evangelist and St. Mark the Pope) – circle of Antoniazzo Romano

Basilica of San Marco, loggia delle benedizioni, frescoes from the XV century – St. Mark the Pope

Basilica of San Marco, loggia delle benedizioni, frescoes from the XV century

Basilica of San Marco, loggia delle benedizioni in the church façade

It can be visited in the evening hours, when the lights in its interior are dimmed and do not allow us to concentrate our attention on the objects found within, but immerse us in an unprecedented atmosphere of spiritual concentration and silence, or during the day, when the strong light moves to the inside, giving us the possibility to reflect over human ambition and passing, but also to contemplate the beauty of the works of art collected within. The Basilica of San Marco Evangelista al Campidoglio, since that is the name of the church, is like a small museum, in which high-quality artifacts from different epochs are located.

Despite the fact, that the church is located near Piazza Venezia, meaning in the very heart of noisy Rome, its location is such, that only those who are familiar with its ancient roots, magnificent medieval mosaics and interesting Baroque tombstone monuments, direct their footsteps here. In addition it is so integrated into the arrangements of Palazzo Venezia, that generally it is assumed to be a part of it.

Roots of the church go all the way back to very distant times, when this place neighbored only the old imperial forums, while nobody even dreamed of the nearby Altar of the Fatherland, and the palace (Palazzo Venezia) did not exist. Researches date its creation back to the pontificate of a pope with the name of Mark, who occupied the post for only a single year (336). Most likely he wanted to immortalize his namesake – the evangelist Mark with a building, which was erected in a residential complex which existed here. Five centuries later, the deteriorating church was in a significant way reconstructed by Pope Gregory IV (833). The interior, which we see today and which is found below the level of the street, was created at exactly this time. It is a basilica finished off with an apse, with a broad main nave, which is separated from the narrow side naves by a row of arcades supported by columns Since this church was to serve as a place where the remains of saint martyrs were kept, a crypt was also built, where early-Christian saints Abdon, Sennen and others transported from catacombs, found their final resting place. The magnificent mosaics in the church apse are also from this time; and for them alone it is worth visiting this church. On them we will notice a monumental figure of Christ standing on a gold carpet, with a book in his hand, as well as saints and popes: starting on the left, the founder of the church, Gregory IV, holding a model of the church and placed in a rectangular nimbus suggesting a man who is still alive, yet aspires to sainthood; further away stand St. Mark, putting his arm around the pope as a sign of protection and St. Felicissimus, wielding a book – a martyr and a deacon from mid-III century. On the other side, we will see St. Agnes, holding her crown of martyrdom in her hands, St. Agapetus – a martyr and a deacon, also from mid-III century, and finally the founder of the original church located here – the saint pope, Mark. In the medallions above, symbols of the four evangelists were placed (lion, bull, angel, and eagle) with a tondo once again depicting Christ in a bust and two of the most important Roman martyrs – SS. Paul and Peter, who with a gesture of their hand point to the scene taking place in the apse, as if desiring to even further direct our attention towards it. In the lower part of the apse, we see the landscapes of two of the most important cities for Christians – Jerusalem and Bethlehem, between which stretches a row of twelve lambs heading towards the Lamb of God, located in the central part, which of course is a reference to Christ and his twelve disciples – the apostles.

In the middle of the XII century a bell tower (campanile), which used to be adjacent to the façade, was added to the church, and although it still exists today, it is barely visible from behind the impressive loggia.

A third, benefactor, important for the church, was the Venetian cardinal, Pietro Barbo, who purchased and embellished his family residence – Palazzo Venezia, while the church belonging to it, dedicated to the patron of his hometown, was given special care in the years 1455-1471. When he became pope (as Paul II), and his palace became an official residence of the pope, he added an impressive loggia (Loggia of Benedictions) to the church, which still exists today, and from which he greeted crowds of the faithful during official occasions. On the pilasters of the travertine loggia, built out of material obtained from the slowly deteriorating Colosseum and the Theatre of Marcellus, we will notice the coat of arms of Pope Paul II and lions (attribute of St. Mark and also a symbol of Venice).

Directing our steps towards the enterance, we will, in the part of the portal, once again notice the enthroned evangelist – a bas-relief from under the chisel of a significant sculptor of the first half of the XV century – Isaia da Pisa.

Paul II also renovated the church roof, in addition funding the still preserved wooden, coffer ceiling with the papal coat of arms and once again the symbol of St. Mark (a lion). This ceiling, apart from the one found in the Basilica of Santa Maria Maggiore, is the oldest of its type in the city (1468). It and the roof construction itself were so heavy (mainly due to lead covering), that the medieval columns inside were fortified with additional arcade cantilevers. On the other hand the side naves were at that time adapted for chapels.

Since the times of Paul II, the church became a national church of the Venetians living in Rome, who met here for joint prayers, while the wealthier ones, generally Venetian cardinals, requested to be buried within its walls, and very often erected impressive tombstones. The church interior was to testify not only of the status and significance of each individual person, but also of the artistic ambitions of the Republic of Venice, which was often involved in conflicts with the State of the Church.

Another modernization of the interior took place in the XVII century, then a following one in the XVIII century. During this time most of the decorations of the chapels appeared, and tombstone monuments in those chapels were created. In the main nave, also at that time, paintings were made, depicting the stories of the martyrs revered in the church – Abdon and Sennen (on the right), as well as Pope Mark (on the left). They were supplemented by rococo stucco decorations in the parts between the arcades – the work of Carlo Monaldini and Clemente Orlandi; they show the lives of individual apostles.

In the interior of the basilica we will come face to face with excellent examples of funerary art of the mannerist, rococo, Baroque, and classicist period, which were funded either by those who were interested in their own posthumous glory, or those who wanted to commemorate for posterity, their relatives, mainly high level clergymen, ambassadors and wealthy Venetians. There are also several examples of both Renaissance and Baroque painting.

Right nave (looking from the enterance):

The first chapel is devoted to the topic of the Resurrection, which is also suggested by a painting of a Venetian painter from the turn of the XVI and XVII centuries, Jacopo Palma Giovane (Palma the Younger), one of the most sought after painters in the city on the Iagoon, the creator of monumental paintings, including those in the Doge’s Palace in Venice.
Moving on forward, we will come face to face with a rather unconventional tombstone, reminiscent of decorative secretary desk or a façade of a mini temple, during the construction of which various colored marbles were used. It commemorates the figure of Cardinal Francesco Pisani (1570) and is an example of late-Renaissance, or more appropriately mannerist funerary art.
In the second niche we will see the tombstone of the canon of this church, Luigi Oreste Borgia, in style reminiscent of rococo art and it is difficult to believe that it was created in 1916.

In the third chapel the most interesting painting is the Adoration of the Magi, by Carlo Maratti. This artist, at the turn of the XVII and XVIII centuries in Rome, was one of the greatest religious painters. His works are found in numerous churches in the city, although it must be admitted that the one here, is not one of his best works.
In the third niche, the tombstone of Cristoforo Vidman from 1660, is located. It depicts the handsome Venetian cardinal, with a fashionably clipped moustache and a goatee, with hands folded in prayer, directing his gaze towards the altar. He is leaning on a comfortable cushion, as if worrying that the gesture of prayer could hinder his wellbeing and comfort. In accordance with the fashion at the time he was represented, surrounded by putti. Two representative eagles found at the base of the tombstone give it additional dignity. This monument is the work of Cosimo Fancelli, a student and imitator of Gian Lorenzo Bernini and it proves, how strongly the art of the latter influenced an entire host of artists of the XVII and XVIII centuries.
In the fourth niche, we will notice a late-Baroque tombstone of Francesco Erizzo (approx. 1700). It is shaped like a pyramid with a portrait of the deceased descendant of the outstanding Venetian family in a tondo and angels which accompany him. The creator of this successful sculpting concept was Francesco Maratti.
Moving on further, on the level of the stairs, we find another, this time modest tombstone of Leonardo Pesaro, the sixteen-year old son of a Venetian ambassador. His youthful face was immortalized by the outstanding classicist of Venetian origin, who achieved fame in Rome - Antonio Canova.

In the representative chapel of the Blessed Sacrament, found at the end of the nave (next to the apse, taking the stairs up), it is worth taking a look at the altar, which is adorned with the image of the first founder of the church – the saint pope, Mark. Its creator was the great early-Renaissance painter, and the executor of papal commissions, Melozzo da Forli. The dome of the chapel is another exquisite adornment, decorated with stuccos by another outstanding XVII-century artist - Ercole Ferrata and the aforementioned Cosimo Fancelli.

Walking towards the main altar, we pass by a granite tomb, created in XVIII century, with the bodies of the aforementioned early-Christian martyrs from the III century – Abdon and Sennen. On the other hand, below the altar there is a corridor dug in the walls of the original church, which leads to a small altar, devoted to the martyrs. An inscription found on it, informs us that their bodies have been transferred here.

Moving on to the left side of the church, we simply must enter (if it will be possible) the sacristy situated next to the apse (take the stairs up). Here, we will find interesting works: a XV-century altar, which in the XVIII was replaced with the one present today, XIII-century frescos attributed to Pietro Cavallini, as well as fragments of the old altar – commissioned by cardinal Barbo, and completed by the excellent Renaissance craftsmen – Mino da Fiesole and Giovanni Dalmata.

Immediately by the door to the sacristy, there is a typical classicist tombstone (1796), of which the main decoration is a thoughtful Genius of Death, holding a lowered torch in his hand. It is the first work, of a little-known, but as can be seen skilled sculptor, Felice Festa, and it commemorates Duchess Gabrielle Scaglia di Saluzzo.
Next to it, is a small chapel dedicated to the Immaculate Conception of Our Lady, known as Cappella Capranica, with a painting of the valued Baroque painter from mid-XVII century, Pier Francesco Mola.

Descending down the stairs on the left side in the side nave, we will see a truly Baroque tombstone scenery with its passion for allegories, piled up emotions and vanitative motifs.

Left nave (looking on from the enterance)

In the last chapel on the left nave, an object which is worthy of our attention is the Baroque tombstone of the Venetian cardinal, Pietro Basadonna (1684), from an ancient family, a well-known erudite and an expert in Greek literature. Its creator, was another, although second-rate student and imitator of the great Bernini - Filippo Carcani. There is an excellent contrast between the modest bust of the cardinal lost in thought and the bare, full breasts of the allegory of Fortitude, which accompanies him; whose erotic expression is balanced out by the static and more than decent allegory of Faith. The whole is well supplemented in the part of the plinth by figures of Death, exceptionally completed in flat relief, – one with an hourglass and another holding a scythe. All these elements make this tombstone into a great theatre of Baroque emotions, meaning something which takes place between the thought about the insignificance of human life and acceptance of its sensuality.
Another chapel is dedicated to Michael the Archangel, and the painting depicting him is once again the work of Pier Francesco Mola.

Right behind it, surely the most monumental tomb of this church stretches, devoted to Cardinal Luigi Aloisio Prioli (his uncle was the aforementioned Pietro Basadonna). This late-Baroque tombstone monument (1720), was made by Francesco Moderati and it depicts the clergyman bent over in a gesture of religious exultation, accompanied by two allegories, most likely symbolizing the path he chose for himself: Justice (on the left) and Charity (on the right). This structure shows, how in the span of not even 40 years, art changed – motionlessness and a certain tranquility visible in the monument of the uncle, in the tombstone of his nephew are replaced with an almost rococo quivering and motion.
Another impressive chapel is dedicated to Gregorio Barbarigo, a cardinal from the second half of the XVII century, who even in life enjoyed an opinion of a pious man, devoted to evangelization and aiding the poor. He was not canonized until 1960, however, already in the XVIII century a chapel was created for him as a beatified, and it was decorated by a student of Antonio Canova – the classicist Antonio d’Este.
In the first niche of the church, the tombstone of Cardinal Marcantonio Bragadino is found, created by another student of Gian Lorenzo Bernini – Lazzaro Morelli (2nd half of the XVIII century). In this balanced composition, there are no allegories – the main role is played by putti who hold the coat of arms and an oval tondo, from which the proud face of the dignitary looks on.
And finally, it is time to move to the last chapel – the one dedicated to Our Lady of Sorrows. An interesting painting Lamentation Over the Dead Christ, also known as Pietà, is found within, a work of an XVIII-century painter and fresco painter Bernardino Gagliardi, who also competed numerous frescos in this church.

Leaving the church, we must definitely stop for a while in its ambulatory. Here we will find ancient elements and inscription tablets, embedded into the walls, including one which recounts the works of Pope Paul II, as well as other artifacts from the original early-Christian building, and finally those thrown out of the church after subsequent modernizations (fragments of the baldachin from the XII century). However, that is not all. On the left (looking on from the enterance portico), there is a damaged funerary epitaph of Vanozza Cattanei – a long-time mistress of Pope Alexander VI and the mother of four of his children, including Lucretia and Cesare Borgia. Initially this matron, who was devoted to the church, was buried in the Church of Santa Maria del Popolo, however, unfavorable towards Alexander VI, successors on the papal throne, including Pope Julius II, did everything in their power to remove all traces of him and his family. The only thing left from Vanozza’s tomb was this inscription, which in the XVI century most likely served as a floor tile, before it was embedded into the wall. We should also take a look at two recumbent lions, flanking the portal of the basilica, which greet and say goodbye to all visitors.

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