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While the provenance of the spolia may have been unknown except to the cognoscenti, the ideas about modes of triumph may have been deliberately visually communicated to Venetians and visitors. For further study, research should thus be conducted into viewing practices in Venice in the thirteenth century. Yet, local meaning of the spolia may have existed as a form of political and religious legitimacy. The original Quadriga left in the interior of St.
The gargoyle Figure 7.
Diagram showing the positions of all of the discussed objects. Purple represents Basilica di San Marco, and blue represents water. View into Piazza San Marco from the water Figure Nelson, Washington, D. Brown, Patricia Fortini. Art and Life in Renaissance Venice.
New York: Prentice Hall : H. Abrams, Camille, Michael. Kindle Edition. Demus, Otto. Edited by Herbert L. Kessler Chicago: University of Chicago Press, Freeman, Charles. London: Little Brown, Insula Spa, Operational division of Venice Municipality. Vimeo, Jacoff, Michael. Marlowe, Elizabeth. Parrott, Dial. New York: Rizzoli Ex Libris, Perry, David M. Vio, Ettore. The Basilica of St.
The centrality of the Quadriga emphasized that the Quadriga were noble objects, versus the Tetrarchs, which were marginalized in their corner position. And so, the argument follows, San Marco became a billboard for conquest, a church materialized not ex manubiis but cum manubiis.
What has not been considered is the relationship between these spolia and other parts of the church, which I propose has important implications about modes of triumph. Their arrangement, which I believe was probably deliberate, and in the very least makes implicit associations, suggests the marginalization of non-Venetians and the uplifting of the Venetian government to a divine status. The Quadriga is a set of four naturalistic bronze horses that are larger than life-size and, as their realistic style and technical expertise indicate, originate from Greece in the classical era.
Henry Maguire and Robert S. Nelson Washington, D. The noses of their faces have been chipped off, and one figure does not have a foot, a punishment inflicted to the figures probably during the Fourth Crusades.
This entrance is now blocked off and its interior acts as the treasury of St.
Central to my argument are the ideas of centrality, periphery, and alignment, as well as a consideration of the period eye. With this in mind, I will explain the locations of several other significant nearby artifacts, which are spatially connected to the Quadriga and Tetrarchs.
On the southwestern corner of the church, which is between the location of the horses and the Tetrarchs, is the Pietro del Bando fig. The Pillars of Acre also originate from the Crusade in The gargoyle is located a few feet below the porch of the church on which the Quadriga are positioned, and serves as a sprout for drainage of water from the top half of the church.
Directly behind the Quadriga, if one extends an imaginary line through the interior of the church, is the apse of the church see fig. A mosaic on the apse-bowl vault depicts a large seated Christ Pantocrator, probably a fifteen-century recreation of the original mosaic, which was damaged by a fire fig.
Herbert L. Kessler Chicago: University of Chicago Press, , Abrams, , Mark in Venice Antella Florence : Scala, , Theodore of Amasea, the patron saint of Venice before St.
Mark, although the current version of the statue is not original , and will not be discussed since it is a later addition from Both the statue of the Lion of Venice and the Quadriga are positioned on a high level and can be seen easily from much of Piazza San Marco, the square surrounding the church.
A diagram showing the positions of all of these objects is in figure 8. The reader may be sensing some of the conclusions I seek to draw from these connections. However, the question arises, are these only visual coincidences or can more meaning be drawn from them?
To support my theory of the latter, I turn to scholar Michael Camille who has explored medieval perceptions of centrality and periphery. They were arenas of confrontation, places where individuals often crossed social boundaries.
At a monastery or cathedral, for example, the fringes are where we find ejected forms, taboos sculpted in stone… the marginal was rather a mode of entertainment or a means of subjugating the lower orders… the visual representation of the subjugated rabble of urban marginals — beggars and prostitutes.
Indeed, the Basilica is set in Piazza San Marco, which is a high traffic location in the city because of its centrality. Embeds 0 No embeds. No notes for slide.
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