St. Mark's Basilica Timeline

The oldest mosaics in St Mark's, located in the niches of the entry porch in the narthex, may date to as early as 1070. Most likely they were executed by mosaicists who had left Constantinople in the mid-eleventh century to work on the cathedral of Torcello.

By 1419 no competent mosaicist remained to repair the extensive damage to the main apse and western dome caused by a fire that year; the present large window of the central lunette was inserted after this fire destroyed the earlier structure.

A new fire in 1439 made repairs once again necessary, but by this time a number of Venetian mosaicists had been trained, allowing the damaged works to be restored locally.

The mosaic decoration of the sacristy vault, depicting Old Testament prophets, was designed by Titian and executed between 1524 and 1530.

Image source: Titian

As a prelude to the cycle of the Life of the Virgin in the transepts, a Tree of Jesse showing the ancestors of Christ was added to the end wall of the northern crossarm between 1542 and 1551.

In 1716, Leopoldo dal Pozzo, a mosaicist from Rome, was commissioned to assume responsibility for the repair and maintenance of the mosaics in St Mark's, the local craftsmen having once again largely died out.

An exclusive contract for restoration was stipulated in 1867 with the mosaic workshop run by the Salviati glassmaking firm, whose highly criticized work often involved removing and resetting the mosaics with considerable loss of quality.

Image source: Salviati (glassmakers)

The relics of Saint Mark are said to have been rediscovered in 1094 at the pier behind the Altar of Saint James; the miraculous event is depicted in the mosaics on the opposite side of the crossarm.

The Pala d'Oro, the golden altarpiece ordered from Constantinople in 1102, was installed on the high altar in 1105, conveying the wealth and prestige of the Venetian Republic.

Image source: Pala d'Oro

The relics of Saint Isidore of Chios were brought to Venice in 1125 by Doge Domenico Michiel (in office 1117–1130) on return from his military expedition in the Aegean.

Image source: Isidore of Chios

Particularly during the Latin Empire (1204–1261), following the Fourth Crusade, the Venetians pillaged the churches, palaces, and public monuments of Constantinople, stripping them of polychrome columns and stones to embellish St Mark's. Despoliation continued in later centuries, notably during the Venetian–Genoese Wars.

Image source: Sack of Constantinople

In the mid-thirteenth century, the four bronze horses looted from Constantinople were installed prominently on the main façade of St Mark's as symbols of Venice's military triumph over Byzantium and its newfound imperial status.

Image source: Horses of Saint Mark

After the long-neglected relics of Saint Isidore of Chios were rediscovered in the mid-fourteenth century, Doge Andrea Dandolo (in office 1343–1354) initiated construction of the Chapel of Saint Isidore between 1348 and 1355 to house them.

Image source: Andrea Dandolo

The Mascoli Chapel was decorated under Doge Francesco Foscari (in office 1423–1457) and dedicated in 1430. It was later utilized by the homonymous confraternity after 1618.

Image source: Francesco Foscari

Between 1503 and 1515, the entry hall was transformed into the funerary chapel of Giovanni Battista Cardinal Zen, bishop of Vicenza, who had bequeathed a large portion of his wealth to the Venetian Republic asking to be entombed in St Mark's.

The stone relief of Saint John on the eastern wall of the crossarm was moved when the altar was rededicated in 1617 to the Madonna Nicopeia, a venerated Byzantine icon framed with Byzantine enamels looted from the Pantokrator in Constantinople. In 1589 it had been transferred to the Chapel of Saint Isidore, and it was first called Nicopeia in 1645.

Image source: Nicopeia

Beyond the choir banisters lies the presbytery reserved for the clergy, with the high altar which since 1835 contains the relics of Saint Mark, previously located in the crypt.

On 24 June 1968, a portion of Saint Mark's relics was returned to the Coptic Church of Alexandria as a significant gesture of goodwill, and was reunited with the head of the saint.

Since 1974 the original four bronze horses have been preserved inside the basilica for protection, having been substituted with copies on the balcony over the central portal.

In 1442 there were three procurators de supra who administered the church of St Mark's and its treasury. Beginning in the ninth century the Doge had nominated a procurator operis ecclesiae Sancti Marci responsible for financial administration.

Image source: Procurators of Saint Mark

Beginning in 1491, the procurators also appointed a choirmaster (maestro di cappella) who supervised and conducted all performances at St Mark's; a maestro di coro, established in 1514, supervised the plainchant sung by the clergy.

The polychoral style originated in the early sixteenth century in cities of the Venetian mainland including Padua, Bergamo, and Treviso, and was introduced into St Mark's by Adrian Willaert, who was nominated choirmaster in 1527 at the behest of Doge Andrea Gritti.

Image source: Adrian Willaert

Of the organs rebuilt in 1766 by Gaetano Callido, the 'small organ' in the southern gallery remains, whereas the 'big organ' in the northern gallery was rebuilt again in 1893 with components from Callido's organ.

Image source: Santa Maria Gloriosa dei Frari

St Mark's ceased to be the private chapel of the Doge as a result of the fall of the Republic of Venice to the French in 1797, and the primicerius was required to take an oath of office under the provisional municipal government. No action was taken before Venice passed under Austrian control in 1798.

Image source: Fall of the Republic of Venice

During the second period of French domination (1805–1814), St Mark's became the patriarchal cathedral in 1807, replacing San Pietro di Castello as the episcopal seat of the Patriarch of Venice. The new status was confirmed by Emperor Francis I of Austria in 1816 and by Pope Pius VII in 1821.