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Piazza San Marco, located in Venice in the Veneto region, is one of
the most important Italian monumental squares, renowned throughout the
world for its beauty and architectural integrity.
It is the only
urban space in Venice that properly assumes the name of "piazza", as all
the other spaces in the form of a square are properly defined as
"campi". Its main body has a trapezoidal shape, on which other areas are
grafted, and is about 170 meters long. It is also known as "the Piazza"
or "the living room of Europe".
Piazza San Marco is made up of the square of the same name, as well as the small square of San Marco located between the Doge's Palace and the bell tower of San Marco. Going towards the sea there is the Palazzo Ducale pier with the Ponte della Paglia. To the north of the Basilica of San Marco is the Piazza dei Leoncini.
SAN. Marco Giardinetti. A B to the airport.
San Marco Vallaresso.
1 No
In Piazza San Marco you can only move on foot, no other means of transport are allowed.
1 Basilica di San Marco (Basilica
Cattedrale Patriarcale di San Marco), Piazza San Marco (Vaporetti 1, 52
and 82 from Santa Lucia (the train station) or from Piazzale Roma), ☎
+390415225205. Entrance to the basilica is free, while the museum
upstairs costs €5 and to see the high altar and the treasury costs €2
and €3 respectively. 1 October-31 March: 09:45-16:45; April 1-September
30: 09.45-17.00. It is one of six symbols of Italy and a rare example of
Byzantine architecture in Western Europe. The basilica was built in 829
to contain the remains of San Marco, patron saint of the city and was
consecrated in 1024. It has been renovated and decorated several times
over the centuries and the Basilica is certainly the most spectacular
church in the city. The construction of the modern basilica began in
1063 under the reign of Doge Domenico Contarini. In 1071, in the still
unfinished cathedral, Domenico Selvo was elevated to the position of
Doge, under whom the mosaic decoration of the basilica began in
1071-1084. The consecration of the temple took place in 1094 under the
doge Vitale Fallier. The five-domed cross-domed church was erected on
the model of the Church of the Apostles in Constantinople. In the
following centuries the church was continuously enlarged and decorated:
in 1159 work began on the marble covering of the cathedral, in the XII
century the mosaics of the central domes and vaults were made, in
1343-1354 the baptistery and the chapel of S Isidore. in the 15th
century - the Mascoli chapel and sacristy (1486-1493), in 1504-1521 the
Zen chapel. The external decoration of the cathedral was completed by
the end of the 15th century. The title of the main builder of the
cathedral at different times was carried by such architects as Jacopo
Sansovino and Baldassar Longena. Many ancient relics ended up in the
cathedral after the sack of Constantinople by the Crusaders in 1204.
These include the quadriga on the western facade, the Byzantine "golden
altar", the image of Our Lady of Nicopeia. Built as a classical Greek
basilica with a harsh Romanesque facade, the cathedral, during the years
of reconstruction, acquired its modern image, in which various styles
were mixed. This is also explained by the fact that oriental marbles
brought to Venice at different times, columns of various orders, Greek
and Romanesque bas-reliefs, Byzantine and Italian sculptures, Gothic
capitals were used in its decoration. All this was combined by the
masters into the harmonious architecture of the cathedral.
The
main facade is unique. It has five arched doors, a terrace on which are
home, four bronze horses from the spoils of the 4th crusade. During the
period of the Venetian Republic, it was the Doge's personal chapel and
was built with various artifacts mostly from Asia Minor and donated by
Venetian merchants. It is 76 m long and 62 m wide. Inside it is
embellished with splendid golden mosaics and various works of art. The
marble floor has a striking geometric pattern and there are beautiful
mosaics on the walls that tell stories from the New Testament.
The
vaults, domes and upper tier of the cathedral walls are covered with
mosaic canvases with a total area of about 4000 sq m. The mosaic
decoration of the cathedral began in 1071 (mosaics in the apse) and
continued for more than two hundred years (the mosaics in the narthex
were completed in 1280). The first mosaics were created by unnamed
masters who exclusively followed the tradition of the icon painting
canon. In the 11th century, Byzantine masters were involved in creating
mosaics; later, Venetian mosaicists began doing the work. In the
following centuries, during the restoration and reconstruction of the
mosaics, the cartoons were made on which the compositions by Jacopo
Bellini, Paolo Uccello, Mantegna, Tiziano and Tintoretto were arranged.
Glass produced on the island of Murano was used as a material for the
mosaics. The mass of glass of various colors was laid out against a
background of gold foil, thereby creating a shine, despite the poor
lighting of the cathedral. The mosaics depict stories from the Old and
New Testaments, scenes from the life of the Mother of God, the Apostle
Mark, John the Baptist and St. Isidore.
You must be dressed
appropriately to enter; that means no short skirts or bare shoulders. It
is not allowed to bring large bags or backpacks inside, sometimes it may
be necessary to deposit small backpacks as well. Storage is available
just around the corner from the main entrance (free of charge). Filming
and photography are prohibited. The visit inside the basilica lasts ten
minutes. The wait to enter the basilica can last up to about five hours
and it may be advisable to use a ticket service.
2
Campanile di San Marco, Piazza San Marco
(vaporetto line 1 for San Marco), ☎ +39 041 5224064. €8. Nov-Mar:
09:30-15:45; Apr-Jun, Oct: 09:00-19:00; Jul-Aug: 09:00-21:00. The bell
tower of San Marco was built in the 9th century. It was originally used
as an observation tower and as a lighthouse. It was rebuilt in 1100 and
then completed in the 16th century under the guidance of the architect
Bon. It was rebuilt in Renaissance style, while maintaining the original
structure. In 1902 the bell tower fell, but fortunately there were no
tragic consequences. Venice decided to rebuild it, "as it was and where
it was", and 10 years later the new bell tower was ready, an exact copy
of the original: the tower is square, built in brick. It is 12 meters
wide and 98.6 meters high and is closed at the top with a pyramid-shaped
tip. At the top is a golden angel about 2 meters high. The bell tower
has played an essential role in the political and social life of the
city for centuries. The bells were rung to inform the inhabitants of the
city of all the main events organized in Venice. At the foot of the bell
tower were famous wine sellers who moved to sit in the shade of the bell
tower, depending on the time of day. From this ancient custom derives
the term used by the Venetians for a glass of wine: Ombra. The top of
the tower offers a splendid view of Venice and the lagoon.
3
Marciana National Library, Piazzetta San Marco (vaporetto line 1 or 2
for San Marco), ☏ +39 041 2407211, biblioteca@marciana.venezia.sbn.it.
€4, reduced €2. 08:15-10:00, 17:09-19:00. The largest library in Venice,
its collection includes some 13,000 manuscripts, 2,883 old-print books,
and 24,055 16th-century books. In the 1530s, the influential Pietro
Bembo ran the library. Not without his participation, funds were
allocated for the construction of a library building in the San Marco
district. Construction began in 1537, based on a project by Jacopo
Sansovino, and completed in the 1580s by Scamozzi. For the first time in
Europe, new Renaissance ideas were applied during the construction of
the building: pay attention to the columns between the arches, which at
the same time give the facade lightness and depth. The Piazzetta is
dominated by the iris of the main entrance: the one on the left leads to
the functioning library, the middle entrance is the main one, and the
right entrance leads to the archaeological museum. The building has a
magnificent entrance staircase. On the ceiling is Titian's Wisdom. Paolo
Veronese, Francesco Salviati, Andrea Meldolla and other famous masters
of the time worked on the decoration of the vault of the Golden Hall of
the library (it is adorned with 21 medallions). As the library grew, it
also occupied neighboring buildings, including the Mint, built by
Sansovino in 1537-1547, with rooms for minting and storing coins. A
large internal courtyard was covered by a glass canopy in the 20th
century and transformed into a reading room.
4
Clock Tower,
Piazza San Marco (vaporetto lines 1-2-5 for San Marco), ☎ +39 041
5209070. Adults €12, concessions €7. Advance booking required online or
by telephone. Built in Renaissance style, it offers a beautiful view of
Piazza San Marco. The tower and the clock date back to the last decade
of the 15th century and are the work of the architect Mauro Codussi,
although significant changes were made to the mechanism later. The
position of the tower was chosen so that the clock was visible from the
waters of the lagoon and showed everyone the wealth and glory of Venice.
The lower two floors of the tower create a monumental arch that leads to
the main street of the city, the Merceria, which connects the political
and religious center (Piazza San Marco) with the commercial and
financial center (Rialto). On the terrace at the top of the tower are
two large bronze statues (the Venetians call them the Moors, because the
bronze has blackened over time) who ring the bell every hour, and below,
against a blue background with gold stars, there is is a winged lion
with an open book - the symbol of Venice. Further down there is a
semicircular gallery with a seated statue of the Virgin and Child in
worked copper. On each side is a blue panel showing the time: on the
left, Roman numerals indicate the number of hours, and on the right,
Arabic numerals, minutes (at 5-minute intervals). The watch also
displays the phases of the moon and the position of the sun in the
zodiac signs. Twice a year, on Epiphany (January 6) and Ascension
(Thursday, 40th day after Easter), three magi appear at one of the
doors, usually occupied by these numbers, led by an angel with a
trumpet, and marches through the gallery, bowing before the Mother of
God and Child, before hiding in another door. and to the right in Arabic
- minutes (with an interval of 5 minutes). The watch also displays the
phases of the moon and the position of the sun in the zodiac signs.
Twice a year, on Epiphany (January 6) and Ascension (Thursday, 40th day
after Easter), three magi appear at one of the doors, usually occupied
by these numbers, led by an angel with a trumpet, and marches through
the gallery, bowing before the Mother of God and Child, before hiding in
another door. and to the right in Arabic - minutes (with an interval of
5 minutes). The watch also displays the phases of the moon and the
position of the sun in the zodiac signs. Twice a year, on Epiphany
(January 6) and Ascension (Thursday, 40th day after Easter), three magi
appear at one of the doors, usually occupied by these numbers, led by an
angel with a trumpet, and marches through the gallery, bowing before the
Mother of God and Child, before hiding in another door.
5
Doge's Palace (Civic Museum of Palazzo Ducale), Piazzetta San Marco, San Marco
1 (vaporetto line 1 or 2 for San Marco), ☏ +39 041 2715911. Adults €20,
reduced €14. From Nov to Mar 8.30am -5.30pm, Apr-Oct 10am-6pm, closed
Jan 1st and Dec 25th. Pearl of Venetian Gothic (14th - 15th century).
Presumably the architect of the first version of the building was
Filippocalendar. The main construction was carried out in 1309-1424.
This main building in Venice was mainly the residence of the Doges of
the Republic. In addition, the Grand Council and the Senate met in the
palace, the Supreme Court worked, and the secret police conducted their
business. The ground floor also housed law firms, an office, censorship
services and a maritime department. The balcony built on top served as a
sort of festive tribune from which the Doge presented himself to the
people. The guests of the city, who docked at the palace itself on the
side of the Piazzetta, thus found themselves at the feet of the
sovereign of the Republic. A true tribute to Venetian Gothic. The
building dates back to the 9th century although it underwent several
changes over the centuries. It rises in the area of Piazza San Marco,
between the Piazzetta and the Molo; it is currently home to the Civic
Museum of Palazzo Ducale and by visiting the palace it is also possible
to access the Bridge of Sighs. Don't miss the guided tour called the
Secret Itinerary, which will let you discover the part of the building
where the city administration worked, the Casanova prison and the
marvelous five hundred year old roof structure.
6 Correr Museum, Piazza San Marco, Napoleonic Wing (vaporetti
11-2-5, 1-5-2), ☎ +39 041 2405211, mkt.musei@comune.venezia.it.
Single ticket with the National Archaeological Museum and the
Marciana library. €14 (reduced €8), which also includes Palazzo
Ducale. November 1st - March 31st: 10am-5pm, April 1st - October
31st: 10am-7pm, closed December 25th, January 1st. The most
"Venetian" of all museums, with evidence of the city's history and
art. It takes its name from the Venetian nobleman, Teodoro Correr,
who was passionate about art and who, on his death in 1830,
bequeathed his art collection to the city. Inside there is an
interesting collection of globes from the 16th century. There is
also a single library room, an archaeological museum of Roman
antiques and an important art gallery. The museum offers a tour of
Venetian history. Remarkable art gallery with Venetian masterpieces
from the 14th to the 16th century, works by Venetian sculpture
Canova, studies on urban development and social life.
7
National Archaeological Museum of Venice, Piazzetta San Marco, San
Marco 52 (Vaporetti line 1 or 2 to San Marco), ☎ +39 041 5225978,
pm-ven.archeologico@beniculturali.it. €4, reduced €2. 10am-6pm.
Collection of ancient Greek and Roman sculptures, Egyptian, Assyrian
and Babylonian artifacts.
8 Olivetti Store, Piazza San Marco,
101 (San Marco Station). €8. The ultra-modern building was quite a
provocation when it first appeared under the arcades of the
Procuratie Vecchie in 1958. High-tech pioneer Olivetti commissioned
Venetian architect Carlo Scarpa to transform a cramped and dark
souvenir shop in a demonstration for his typewriters and "computers"
(several 1948-54 models presented). They are of particular interest
to connoisseurs of modern architectural art.
9
Procuratie.
The Procuratie are imposing buildings that wrap around Piazza San
Marco on three sides. They take their name from the fact that the
procurators of San Marco stayed there. They are divided into three
wings which almost entirely delimit the part of the square in front
of the basilica of San Marco: the Procuratie Vecchie to the north,
the Ala Napoleonica to the west and the Procuratie Nuove to the
south.
10 Bridge of Sighs. Built in the 17th century in white
Istrian stone, it is the work of the architect Antonio Contin. The
bridge connects the Doge's Palace to the Prisons and was used to
transport inmates from their cells to the courthouse. The prisons
were built in 1589 and can be visited with a guided tour of the
Doge's Palace. The Bridge of Sighs is visible only from the Paglia
bridge or from the Canonica bridge.
11 Patriarchal Palace,
Piazzetta dei Leoncini.
12 Columns of San Marco and San Todaro
(Piazza San Marco columns).
13
Loggia by Sansovino
14 Mint of Venice
15 Royal Gardens of Venice
(Vaporetto: San Marco Giardinetti)
16
Church of San Basso
17 Straw Bridge.
The Ponte della Paglia is a bridge in Venice across the Rio di
Palazzo near the Palazzo Ducale connecting the pier of the Piazzetta
di San Marco to the Riva degli Schiavoni. It is one of the bridges
that connect the Sestiere of San Marco and that of Castello
Piazza San Marco, the magnificent heart of Venice, is majestically
dominated at its eastern end by the breathtaking St. Mark's Basilica.
This description follows a clockwise walking tour beginning at the
basilica's grand western façade, which faces the full length of the
square.
The basilica's western front is a spectacular composition of
soaring arches richly decorated with marble, delicate Romanesque
carvings surrounding the central portal, and—most famously—the four
gilded bronze horses that preside triumphantly over the entire piazza
from their high perch. These ancient horses, brought to Venice as spoils
from Constantinople, have long embodied the city's pride, power, and
imperial prestige. In 1379, amid fierce rivalry, the Genoese declared
that peace between the two republics would remain impossible until
Venice "bridled" these horses—a pointed metaphor for humbling the
Serenissima. Four centuries later, in 1797, after his conquest of
Venice, Napoleon had the quadriga dismantled and shipped to Paris as
trophies of war, where they crowned the Arc de Triomphe until their
eventual return to the lagoon.
Immediately north of the basilica lies
the small open space known as the Piazzetta dei Leoncini (now officially
renamed Piazzetta San Giovanni XXIII), named after the pair of marble
lions donated by Doge Alvise Mocenigo in 1722. Adjoining the basilica to
the east is the elegant neoclassical Palazzo Patriarcale, longtime seat
and residence of the Patriarch of Venice.
Next rises the celebrated
St. Mark's Clocktower (Torre dell'Orologio), completed in 1499, which
spans a lofty archway. This arch marks the beginning of the Merceria,
the city's historic main shopping street that threads through lively
commercial lanes toward the Rialto Bridge—the medieval hub of Venetian
trade and finance. The clocktower's façade is adorned with an elaborate
astronomical clock, the symbol of the winged lion of St. Mark,
and—crowning the structure—two bronze figures known as the "Moors" that
strike the hours on a great bell.
To the right of the clocktower
stands the deconsecrated church of San Basso, a graceful Baroque work
designed by Baldassarre Longhena in 1675 and occasionally used today for
temporary exhibitions.
Turning your attention left along the northern
flank of the piazza, you encounter the long, harmonious arcade of the
Procuratie Vecchie ("Old Procuracies"). Constructed in the early 16th
century, these buildings once served as the residences and offices of
the Procurators of St. Mark, among the most prestigious officials of the
Venetian Republic. The ground floor is lined with elegant shops and
cafés, including the celebrated Caffè Quadri. During the 19th-century
Austrian occupation of Venice, Quadri became the preferred meeting place
of the Habsburg authorities, while patriotic Venetians deliberately
patronized the rival Caffè Florian on the opposite side of the square.
At the western end of the piazza the arcade turns and continues as the
Ala Napoleonica (Napoleonic Wing), erected around 1810 on Napoleon's
orders. This wing replaced earlier structures and was designed to
provide a ceremonial approach to a projected royal palace via an
imposing staircase; today it houses the principal entrance to the Museo
Correr, an important museum dedicated to Venetian history and art.
Continuing around to the southern side, the arcade features the
Procuratie Nuove ("New Procuracies"). Begun in the mid-16th century by
Jacopo Sansovino, the project was continued after his death by Vincenzo
Scamozzi (with some modifications requested by the procurators) and
finally completed by Baldassarre Longhena around 1640. The ground level
again offers a succession of shops and the world-famous Caffè Florian,
founded in 1720 by Floriano Francesconi. Its lavish interiors—ornate
mirrors, frescoed ceilings, and gilded stucco—have welcomed generations
of artists, writers, musicians, and statesmen. During Austrian rule,
Florian remained the cherished gathering place of Venetians who shunned
the Habsburg-frequented Quadri. Napoleon intended the upper floors to
serve as a palace for his stepson Eugène de Beauharnais, his viceroy in
the Kingdom of Italy; they now form part of the Museo Correr.
At the
southeastern corner the Procuratie Nuove join Sansovino's splendid
Libreria (Library), whose principal façade faces the adjacent Piazzetta
and is best appreciated from that vantage point. The arcade then curves
into the Piazzetta itself.
Rising freely in the center of the square
stands the tall St. Mark's Campanile, originally erected between 1156
and 1173 and last substantially restored in 1514. It collapsed
dramatically on July 14, 1902, but was faithfully reconstructed between
1902 and 1912 "com'era, dov'era" (as it was, where it was). At the
campanile's base, facing toward the basilica, is the small, richly
ornamented Loggetta del Sansovino, built by Jacopo Sansovino between
1537 and 1546. This exquisite structure originally served as a vestibule
where patricians awaited entry to sessions of the Great Council in the
nearby Doge's Palace and as a guard post during council meetings.
Directly in front of the basilica rise three tall, mast-like flagpoles
whose bronze bases, sculpted in high relief by Alessandro Leopardi in
1505, are masterpieces of Renaissance bronze work. In the era of the
Venetian Republic these poles flew the proud banner of St. Mark; today
they display both the historic Venetian standard and the Italian
tricolor.
This circuit around Piazza San Marco reveals the
extraordinary harmony of Byzantine, Gothic, Renaissance, and
neoclassical architecture that has made this one of the most celebrated
public spaces in the world.
The Piazzetta di San Marco is technically distinct from the main
Piazza San Marco itself. It serves as an elegant adjoining open space
that links the southern edge of the grand Piazza directly to the
shimmering waters of the Venetian lagoon, creating a dramatic waterfront
gateway to the city.
To the east stands the majestic Doge's Palace,
the historic seat of Venetian power and residence of the Doge, while to
the west rises the magnificent Libreria Marciana (also known as the
Biblioteca Marciana or Library of Saint Mark), a masterpiece of
Renaissance architecture designed by the renowned sculptor and architect
Jacopo Sansovino. Construction of this grand library building began in
1537, and after Sansovino's death, it was completed between 1588 and
1591 by Vincenzo Scamozzi. The celebrated architect Andrea Palladio
famously praised it as "the richest and most ornate building erected
since ancient times," highlighting its exquisite classical detailing and
harmonious proportions.
The arcade along the library's ground
level features elegant arches and continues to the building's far end,
where it houses charming cafés, boutique shops, and the public entrances
to several important institutions on the upper floors: the
Archaeological Museum, the Biblioteca Marciana itself, and the National
Library. At the waterfront conclusion of the library stands the Molo,
the broad stone quay facing the lagoon, and immediately adjacent to it
(on the right) is the former Zecca (the old Venetian mint), another
Sansovino design completed in 1547 and now integrated into the library
complex.
At the open lagoon end of the Piazzetta, two monumental
granite columns rise dramatically, topped by the iconic symbols of
Venice's patron saints. The western column bears a statue of Saint
Theodore (Todaro in Venetian dialect), the city's original patron before
Saint Mark, depicted with a spear and standing over a crocodile
(symbolizing the dragon he legendarily slew). This figure is a composite
of ancient antique fragments and serves as a copy—the original is
preserved inside the Doge's Palace for safekeeping. The eastern column
proudly displays the winged Lion of Saint Mark, the enduring emblem of
Venice and its evangelist saint. This bronze lion has ancient origins,
likely tracing back to a winged lion-griffin sculpture from around 300
BC on a monument to the god Sandon in Tarsus, Cilicia (modern southern
Turkey).
These columns are believed to have been erected around
1268, at a time when the lagoon waters reached closer to this spot,
positioning them right at the water's edge and framing the ceremonial
sea entrance to the city. The space between the columns historically
held special privileges: gambling was once permitted there as a reward
to the engineer who first successfully raised the massive pillars.
Tragically, it was also the site of public executions, adding a somber
layer to its history.
Across the Piazzetta, the eastern side is
dominated by the long side facade of the Doge's Palace, featuring
graceful Gothic arcades at street level and an open loggia above. The
section up to the seventh column from the front dates to the major
rebuilding of 1340, while the extension closer to the Basilica was added
in 1424. The capitals on the later columns are largely replicas of those
along the palace's main facade. The seventh pillar is distinguished by a
circular tondo (medallion) sculpture depicting Venice personified as
Justice, positioned above the first-floor loggia. Nearby, two striking
red pillars of Verona marble stand out against the predominantly white
Istrian stone columns. These red pillars may have framed the Doge's
ceremonial seat during special events, but they are also associated with
the grim practice of displaying or executing high-profile state
criminals convicted of treason.
At the rear corner of the palace,
near the Basilica, a notable sculptural group depicts the Judgment of
Solomon, surmounted by the archangel Gabriel (the artists remain
unknown). Slightly set back from this corner is the Porta della Carta,
the palace's ornate ceremonial gateway, constructed in flamboyant Gothic
style between 1438 and 1442, most likely by the architects Giovanni and
Bartolomeo Bon. This gateway prominently features another representation
of Venice as Justice at its summit, reinforcing the recurring theme of
fairness and impartial judgment on this side of the palace.
Below
this figure, the kneeling Doge Francesco Foscari and the lion he faces
were replaced in 1885 after the originals were destroyed on Napoleon's
orders in 1797 during the French occupation. Flanking the gateway are
statues embodying the four cardinal virtues: Temperance, Fortitude,
Prudence, and Charity.
Adjacent to this spot, embedded into an
exterior corner of the majestic Basilica di San Marco, stands a striking
group of four antique porphyry figures. Porphyry is an exceptionally
durable, deep red-purple stone prized in antiquity for imperial
monuments due to its rarity and hardness.
These sculptures, commonly
called the Tetrarchs, depict four embracing Roman emperors in military
attire, with stern expressions and stylized features typical of late
Roman art. Traditionally linked to the Tetrarchy system established by
Emperor Diocletian around 293–305 AD—where power was shared among two
senior Augusti and two junior Caesars—they were once believed to be of
ancient Egyptian origin. Modern scholarship, however, favors a different
interpretation: they likely portray the sons of Emperor Constantine the
Great (Constantine II, Constantius II, Constans, and possibly a relative
or co-ruler), symbolizing their harmonious cooperation following
Constantine's death in 337 AD. This theory gains support from their
original placement in Constantinople's Philadelphion, meaning "Place of
Brotherly Love," a public square celebrating familial unity. A missing
foot fragment from one figure was discovered in Istanbul in the 1960s,
confirming the Venetian statues' Byzantine provenance, likely looted
during the Fourth Crusade's sack of Constantinople in 1204.
A
short distance away, along the southern façade of the basilica in the
Piazzetta, rise two tall, rectangular marble pillars richly decorated
with intricate vine motifs, crosses, and Greek monograms. Long known as
the Pillars of Acre (or Pilastri Acritani), they were once thought to be
war trophies captured by the Venetians from the city of Acre following a
supposed victory over the Genoese in 1258. However, historical research
has overturned this legend. The pillars actually originated from the
grand 6th-century Church of St. Polyeuktos in Constantinople, built
between 524 and 527 under the patronage of Byzantine princess Anicia
Juliana. They were almost certainly brought to Venice as spoils after
the Fourth Crusade in 1204. Excavations in Istanbul beginning in 1960
uncovered the church's ruins, and further digs in the 1990s revealed
matching capitals now in the Istanbul Archaeological Museums,
solidifying the connection.
Further along, directly opposite the
basilica's corner, lies a large, circular red porphyry stone embedded in
the pavement: the Pietra del Bando (Stone of Proclamation). In Venetian
times, this served as a platform from which officials announced public
decrees and edicts. Some scholars propose it may have originally been
part of a column base supporting the Tetrarchs group in Constantinople,
enhancing the ensemble's imperial symbolism.
Across the
shimmering waters of the Bacino di San Marco, at the far end of the
Piazzetta, the serene island of San Giorgio Maggiore comes into view.
Dominating the island is the brilliant white façade of the church
designed by the renowned Renaissance architect Andrea Palladio in the
16th century. Its classical lines, grand columns, and luminous Istrian
stone create a breathtaking focal point, especially when reflected in
the lagoon, contrasting beautifully with the ornate Byzantine splendor
of San Marco.
The history of Piazza San Marco (St. Mark's Square), the iconic heart of Venice, can be neatly divided into several key periods. Among the square's oldest surviving pre-Renaissance structures and monuments are St. Mark's Basilica, the Doge's Palace, and the two monumental columns in the adjacent Piazzetta (topped today with the winged Lion of St. Mark and St. Theodore).
Venice's earliest patron saint was St. Theodore (also known as St.
Theodore of Amasea), a Byzantine Greek warrior-saint popular in the
Eastern Christian world. Around 819, the first chapel serving the Doge
(Venice's elected leader) was likely constructed and dedicated to him.
This modest structure stood close to the location of the present-day St.
Mark's Basilica.
A pivotal moment came in 828–829, when Venetian
merchants daringly stole (or "rescued," as Venetian tradition prefers)
the relics of St. Mark the Evangelist from Muslim-controlled Alexandria,
Egypt—reportedly hiding them in a barrel of pork to evade detection. St.
Mark, traditionally believed to have preached and evangelized in the
Veneto region, was soon adopted as Venice's new patron saint, replacing
St. Theodore. The arrival of an apostle's relics dramatically elevated
the young city's prestige, providing spiritual legitimacy and
symbolizing a key step toward Venice's growing independence from
Byzantine imperial control.
The relics were first placed temporarily
in the residence (a fortified palace or castle) of the reigning Doge
Giustiniano Partecipazio (Justinian Partecipacius). In his will, he
arranged for a dedicated new church to be built. Construction of this
first St. Mark's Basilica began on the south side of the existing chapel
dedicated to St. Theodore. By around 836, the building had progressed
enough for the relics to be solemnly transferred there. Modeled closely
on the grand Church of the Holy Apostles in Constantinople (a now-lost
6th-century Byzantine masterpiece built under Emperor Justinian I), the
church followed a Greek-cross plan and occupied roughly the same
footprint as the central portion of the current basilica. During the
rule of Doge Pietro Tribuno (888–891), a bell tower (campanile) was
added for the first time.
At this early stage, the area in front of
the church was likely a modest open grassy space, extending no more than
about 60 meters westward before reaching the Rio Baratario, a small
stream that cut across what is now the full expanse of the Piazza.
Beyond the stream stood a minor church dedicated to San Geminiano. The
Doge's Palace occupied roughly its present site but was then encircled
by water on multiple sides: the lagoon to the south, the Rio di Palazzo
(the canal later spanned by the famous Bridge of Sighs) to the east, and
another waterway to the north separating it from the church complex.
Much of the space now filled by the elegant Piazzetta was then an inlet
from the lagoon, functioning as a practical dock for boats serving the
city center.
In 976, a violent rebellion against the Doge led to the
church being set ablaze. While the wooden elements - such as the roof
and possibly a wooden dome—were destroyed, the core structure survived
sufficiently for reconstruction to follow the original design fairly
closely.
A more ambitious transformation began in 1063 under Doge
Domenico Contarini, with the start of a complete rebuilding. The new
basilica was largely completed during the reign of Doge Vitale Falier
(1084–1096) and consecrated around 1094. This is the fundamental
structure that survives today as St. Mark's Basilica. It featured five
domes arranged in a Greek-cross layout, though their external appearance
was originally lower and flatter, unlike the distinctive high, bulbous
onion-shaped domes we see now (which were later heightened and
re-covered). The exterior, including the west façade facing the Piazza,
was then in a simpler Romanesque style, faced mainly with plain brick
(similar to the undecorated brick apse visible today), without the rich
marble cladding, mosaics, and sculptures added in later centuries.
This early phase laid the religious and symbolic foundation for Piazza
San Marco, transforming a modest chapel area into the emerging
ceremonial and political center of a rising maritime republic.
The transformation of Piazza San Marco into the grand public space we
recognize today began under Doge Sebastiano Ziani (r. 1172–1178), a
remarkably wealthy and influential leader during Venice's rise as a
major maritime and commercial power. Determined to reflect the city's
growing prestige, Ziani spearheaded sweeping changes. He filled in the
Rio Baratario (a canal that previously cut through the area), demolished
the old church of San Geminiano (which stood at the far western end),
and relocated it farther back to the western boundary of the newly
expanded square. He also purchased an orchard belonging to the convent
of San Zaccaria, along with several obstructing private buildings. Upon
his death, Ziani bequeathed these properties to the state in his will,
enabling their eventual demolition to fully clear and unify the space.
Around the same time, reconstruction of the original 9th-century Doge's
Palace got underway, though many of the new structures and refinements
likely continued or were completed during the dogeship of his son,
Pietro Ziani (r. 1205–1229).
The piazza's boundaries took shape with
the construction of buildings along its north and south sides. On the
north stood the early Procuratie (Procuratie Vecchie), which served as
residences and offices for the Procurators of Saint Mark—high-ranking
officials responsible for administering the basilica and its properties.
These were modest two-story structures featuring a ground-level
continuous arcade of tall, narrow stilted Byzantine arches, topped by a
single upper story with paired windows aligned above each arch. The
ground-floor spaces were rented out as shops, generating steady income
for the procurators' charitable and maintenance duties. This original
design endured for roughly three centuries; its appearance is vividly
captured in Gentile Bellini's famous 1496 painting Procession in St.
Mark's Square (now in the Gallerie dell'Accademia, Venice), which
depicts a religious procession and shows the Procuratie exactly as they
looked at the time.
The south side featured other structures,
including the prominent Ospizio Orseolo, a hostel that provided lodging
for pilgrims traveling to the Holy Land. Bellini's painting also reveals
that the piazza was noticeably narrower then: the buildings on both
sides pressed close to the base of the Campanile (bell tower), leaving
far less open space than exists today.
Venice's enrichment
accelerated after the Fourth Crusade (1204), when Crusader
forces—diverted with Venetian support—sacked Constantinople. Vast
quantities of precious materials, artworks, and architectural elements
were looted and shipped back to adorn the city. These spoils included
colorful marbles and columns incorporated into the façade of St. Mark's
Basilica, the celebrated bronze horses placed above the main entrance,
and other treasures.
The two massive granite columns standing in the
adjacent Piazzetta (flanking the lagoon entrance) are traditionally
dated to around 1170, but modern scholarship favors a later erection
under Doge Ranieri Zeno (r. 1253–1268), likely around 1268; their bases
and capitals date to the 13th century. Their exact origin remains
uncertain, though the Greek island of Chios has been proposed. The
column topped by the winged Lion of St. Mark (Venice's symbol) is first
documented in a 1293 decree of the Great Council, confirming it was
already in place. A statue of St. Theodore (Venice's earlier patron
saint) appeared on the other column by 1329, though not the current
version.
During the later 13th century, St. Mark's Basilica received
its iconic new western façade, lavishly decorated with marble cladding,
intricate mosaics, and trophies from Constantinople - including the four
triumphant horses.
The Doge's Palace soon proved inadequate after
1297, when membership in the Great Council became hereditary, swelling
the number of patrician participants. Major Gothic rebuilding commenced
in 1340, focusing initially on the lagoon-facing wing to accommodate
expanded governmental functions. Progress stalled briefly due to the
catastrophic Black Death of 1348, but the first phase was finished by
around 1365. This included the elegant façade overlooking the water,
though on the Piazzetta side, the new construction extended only about
seven arches back from the corner (marked today by a circular relief
portraying Venice as Justice on the first-floor arcade). Farther along,
remnants of the older palace - known as the Palace of Justice - survived
largely unchanged for another two centuries before later expansions
fully replaced them.
The high costs of the project meant that little
progress was made on the Doge's Palace renovations for many years.
However, in 1422, the determined Doge Tomaso Mocenigo urged action,
arguing that completing the work was essential to uphold the city's
prestige and honor. He insisted that the outdated remnants of the old
palace be fully demolished so the new wing could be properly extended.
The decision was made to seamlessly continue the existing façade in the
same elegant Gothic style, ensuring visual harmony across the building.
Construction actively resumed in 1424 under the leadership of the new
Doge Francesco Foscari, who played a key role in pushing the ambitious
expansion forward.
By 1438, the extended façade along the Piazzetta
(overlooking St. Mark's Square) had reached the crucial corner. The
junction between the original 14th-century section and the new
15th-century addition is subtle and can be identified today only by two
distinctive features: a circular relief depicting Justice positioned
above the seventh pillar counting from the front corner, and the fact
that this particular pillar is noticeably thicker and more robust than
its neighbors - having served as the structural support for the
building's corner for roughly 80 years.
Most of the capitals
(decorative tops of the columns) on this new façade were deliberately
carved as close copies of those on the older front façade facing the
lagoon, maintaining stylistic continuity and a unified appearance. At
the far end, marking the north-western corner of the palace, stands an
especially massive column. Echoing the recurring theme of justice, it
features a prominent large relief sculpture of the Judgment of
Solomon—the famous biblical scene where King Solomon wisely resolves a
dispute between two women claiming the same child—surmounted by a figure
of the Archangel Gabriel. The identity of the sculptor remains uncertain
despite centuries of debate; proposed attributions have included
Bartolomeo Buon (a Venetian master) and Jacopo della Quercia (from
Siena). Several art historians have noted clear Tuscan influences in the
work, which dates to the period between 1424 and 1438. In his
comprehensive 1971 analysis, scholar Eduardo Arslan carefully weighed
all the competing theories and ultimately concluded that the authorship
of this impressive sculpture "remains for us a great mystery."
In
1438, a significant contract was awarded to the father-and-son team of
sculptors and architects Giovanni Buon and Bartolomeo Buon for the
creation of a grand ceremonial gateway. Known as the Porta della Carta
("Paper Door," likely named for the public posting of official decrees
and laws there), this ornate entrance linked the newly built wing of the
palace to the southern wall of St. Mark's Basilica. By this time, the
elderly Giovanni was approaching the end of his career, so the gateway
became primarily the artistic achievement of his son Bartolomeo.
Completed by 1442, it prominently features a sculpture of Doge Francesco
Foscari kneeling in devotion before the winged Lion of St. Mark (the
symbol of Venice and its patron saint). Flanking this central group are
statues of the cardinal virtues, executed by a different, unidentified
hand. In its original state, the entire Porta della Carta was vividly
painted and richly gilded, adding to its splendor - a detail still
faintly discernible in the right background of Gentile Bellini's famous
1496 painting of the Piazza San Marco. That artwork captures the square
as it appeared then: still relatively narrow, flanked by the older
13th-century structures that would later be replaced.
In 1493, the Venetian Senate commissioned a magnificent new
astronomical clock to replace an aging one, entrusting its creation to
the skilled clockmakers Gian Carlo Rainieri (also known as Zuan Carlo
Rainieri) and his father from Reggio Emilia. By 1495, the decision was
made to install this elaborate timepiece - featuring displays of hours,
lunar phases, zodiac signs, and more - above a grand archway at the
entrance to the Merceria, the bustling shopping street leading from
Piazza San Marco to the Rialto Bridge. This strategic location
symbolically linked the city's commercial heart with its religious and
political center.
The clocktower itself, likely designed by the
renowned Renaissance architect Mauro Codussi (Marco Codussi), began
construction in 1496 after demolishing part of the original Procuratie
(the ancient administrative buildings for the Procurators of Saint
Mark). The structure was completed, and the clock mechanism installed,
by February 1499, when it was publicly unveiled to great acclaim as a
marvel of ingenuity and beauty. It appears prominently in Jacopo de'
Barbari's famous 1500 woodcut view of Venice, flanked by the two-story
Procuratie buildings, with the tower rising noticeably higher above them
than it does in the modern square.
Supporting wings with balustraded
terraces were added to the tower's sides by around 1506. Then, in 1512,
a fire damaged the old Procuratie, highlighting the need for a
comprehensive rebuild of the entire northern range along the Piazza.
Despite Venice being embroiled in the costly War of the League of
Cambrai against much of Europe, reconstruction of the south side of the
Piazza began in 1517. The resulting Procuratie Vecchie ("Old
Procuracies") expanded to three stories, featuring a ground-level arcade
with two windows above each arch—adopting classical Renaissance details
while retaining the rhythmic arcade but replacing the earlier high
Byzantine-style arches.
In 1527, the eminent sculptor and architect
Jacopo Sansovino fled to Venice following the devastating Sack of Rome.
By 1529, he had been appointed Proto (chief consultant architect and
buildings manager) to the Procurators of Saint Mark. Sansovino convinced
the Procurators to seize the moment for urban renewal: he advocated
demolishing the old southern buildings to enlarge the Piazza, shifting
the building line back to clear space around the Campanile (bell tower)
and avoid future risks. He also proposed replacing the modest hostelries
and shops along the west side of the adjacent Piazzetta (opposite the
Doge's Palace) with a grand new structure.
This new building would
house the priceless library of Greek and Latin manuscripts bequeathed to
Venice in 1468 by Cardinal Bessarion, which had lacked a permanent home.
Sansovino envisioned the Libreria Marciana's elaborate classical façade
- rich with arches, columns, sculptures, and harmonious proportions -
extending along the south side of the Piazza and even around the
southwest corner to meet the church of San Geminiano in the center of
the west end. Concurrently, the government commissioned him to rebuild
the nearby Zecca (mint) on the west side of the Libreria, and to
reconstruct the Loggetta at the base of the Campanile.
These
ambitious projects unfolded together starting around 1537. The new
Loggetta was finished by 1545, the Zecca by 1547 (with a third story
added later by 1566), but the Libreria faced delays due to relocating
displaced businesses, funding shortages, and other challenges. Only
sixteen of its planned twenty-one bays were completed by Sansovino's
death in 1570, and work on extending the design to the south side of the
Piazza had not yet begun.
Sansovino also oversaw the rebuilding of
the old church of San Geminiano at the west end of the Piazza, facing
Saint Mark's Basilica. Although much of the church had been rebuilt
earlier, he designed its striking white Istrian stone façade. He further
extended the Procuratie Vecchie range around the north side's corner to
connect with this church.
After Sansovino's passing, funding finally
became available to proceed with the south side's reconstruction in its
new, set-back position. His original vision for a two-story continuation
of the Libreria's façade was overridden by the Procurators' insistence
on three stories for consistency with the Procuratie Vecchie. Vincenzo
Scamozzi, adapting Sansovino's Libreria design with its grand classical
elements, completed the first ten bays of what became known as the
Procuratie Nuove ("New Procuracies") between 1582 and 1586. The full
south wing, including the remaining bays and the continuation around the
corner to San Geminiano, was not finished until 1640 under the architect
Baldassarre Longhena, completing the harmonious enclosure of Piazza San
Marco that we admire today.
The Republic of Venice formally surrendered to Napoleon Bonaparte on
May 12, 1797, marking the dramatic end of its centuries-long
independence as a maritime power. Just a few weeks later, by early June,
revolutionary French symbols appeared in the heart of the city: a
prominent "Tree of Liberty"—a pole topped with a Phrygian cap,
representing Enlightenment ideals and the fall of old regimes—was
erected in Piazza San Marco, the symbolic center of Venetian civic and
political life.
In the following months, the new municipal
authorities, aligned with French revolutionary principles, targeted
emblems of the old aristocratic order. Stonemasons were dispatched to
systematically remove or destroy images of the winged lion of St. Mark,
the ancient and powerful symbol of Venetian sovereignty, independence,
and republican governance under its doges. One notable act of iconoclasm
occurred at the Porta della Carta, the grand Gothic ceremonial gateway
to the Doge's Palace in the Piazzetta. Here, the sculpted head of Doge
Francesco Foscari (who had ruled in the 15th century) was chiseled away,
along with the head of the winged lion before which he was depicted
kneeling in submission—a poignant representation of the doge's oath to
the republic. These original masterpieces were lost, though faithful
copies were later installed in the 19th century to restore the portal's
appearance.
The French occupiers also ordered the removal of Venice's
most famous treasures for transport to Paris as war trophies. In
December 1797, the renowned four horses of San Marco—ancient bronze
quadriga statues that had crowned the facade of St. Mark's Basilica
since the 13th century (originally looted from Constantinople)—were
taken down. Alongside them went the large bronze winged lion atop its
column in the Piazzetta. Both were shipped to France, where the horses
famously adorned the Arc de Triomphe du Carrousel in Paris.
Under the
Treaty of Campo Formio, signed in October 1797, Venice was handed over
to Austrian control. Austrian forces entered the city in January 1798,
beginning the first period of Habsburg rule, which continued until
January 19, 1806. That year, following Napoleon's decisive military
triumphs at Austerlitz (1805) and Jena (1806), and the creation of the
Napoleonic Kingdom of Italy in 1804–1805, French troops returned to
Venice.
Napoleon appointed his stepson, Eugène de Beauharnais (whom
he had adopted and made Viceroy of Italy), to oversee the region. In
1807, orders were issued to convert the Procuratie Nuove—the elegant
arcaded buildings along the south side of Piazza San Marco—into a royal
palace suitable for the viceroy and imperial visits. Napoleon himself
made a grand ceremonial entry into Venice later that year, arriving by
sea and landing dramatically at the Piazzetta before proceeding to his
new residence.
To create a unified imperial palace spanning the
entire western end of the Piazza (opposite the Basilica), major
demolition was required. This included razing the historic Church of San
Geminiano (a Renaissance structure rebuilt by the architect Jacopo
Sansovino in the 16th century) at the center of the west side, as well
as adjacent sections: Sansovino's extension of the Procuratie Vecchie to
the north and part of the Procuratie Nuove to the south. The ambitious
project aimed to close the open "horseshoe" shape of the square and
impose a grander, more imperial symmetry.
The initial architect was
Giovanni (or Gianni) Antolini from Milan, but his design sparked
significant controversy among locals and experts due to its scale and
disruption of the historic ensemble. In 1810, he was replaced by
Giovanni Soli (also known as Giuseppe Maria Soli) from Modena, who
oversaw the final execution. Construction of the new wing—today called
the Ala Napoleonica (Napoleonic Wing)—took place between 1810 and 1813
(with some elements completed later under Austrian rule).
The Ala
Napoleonica's lower two stories echo the neoclassical style of the
Procuratie Nuove, with harmonious arcades and stonework. However, the
upper level—housing the grand ceremonial entrance, staircase, and a vast
ballroom—features a stark, windowless facade adorned instead with
statues and low-relief sculptures for a more monumental effect.
Originally, plans called for a central statue of Napoleon depicted as
Jupiter enthroned, surmounted by imperial arms, to serve as a dramatic
focal point. This was abandoned after Napoleon's fall from power in
1814, leaving the western side of the Piazza without a strong central
emphasis to this day. The wing now forms part of the Museo Correr
complex.
Following Napoleon's abdication, Austrian forces reoccupied
Venice in April 1814 under the Treaty of Fontainebleau. Austrian
Chancellor Prince Klemens von Metternich played a key role in
negotiating the restitution of looted artworks. The four horses of San
Marco were triumphantly returned and reinstalled atop the Basilica's
facade on December 13, 1815, amid celebrations (as captured in
contemporary paintings like Vincenzo Chilone's depiction). The bronze
winged lion from the Piazzetta column, however, had suffered severe
damage during its removal and transport—losing parts like wings, paws,
tail, and the Gospel book it held. After repairs, it was reinstated on
its pillar in April 1816, resuming its watchful gaze over the lagoon and
the city it had long symbolized.
The Piazza San Marco (St. Mark's Square) in Venice underwent
significant changes to its pavement over the centuries, reflecting both
practical needs and artistic evolution.
Originally, in the late 12th
century (around the 1170s–1200s, with some sources citing 1267 for
completion), the square was paved with red bricks arranged in a classic
herringbone pattern. This durable, interlocking design was typical of
medieval Italian urban spaces. Parallel bands of lighter-colored stone
ran along the square's longer axis, likely serving functional purposes:
they helped merchants precisely position their market stalls during busy
trading days and guided the layout of grand ceremonial processions that
frequently filled the square. This early medieval pavement is vividly
documented in historical artworks, including Gentile Bellini's famous
1496 painting Procession in Piazza San Marco (housed in the Gallerie
dell'Accademia), which captures the brick surface under a bustling
religious parade, as well as other late medieval and Renaissance
depictions.
In 1723, the aging brick pavement was entirely replaced
with a more elaborate and sophisticated geometric design created by the
Venetian architect Andrea Tirali (1657–1737). The project, which took
several years to complete (roughly 1723–1734), used durable dark igneous
trachyte (a volcanic stone quarried from the nearby Euganean Hills) as
the main field, accented with contrasting white Istrian stone (a
limestone similar to travertine) for the intricate patterns. The layout
featured broad parallel bands running the length of the piazza, within
which squares of diagonally laid blocks alternated with rectangular and
oval motifs. The squares were subtly pitched inward toward the
center—like a shallow bowl—to direct rainwater to a central drain
connected to an underground system that carried water away to the Grand
Canal.
Tirali's exact inspirations remain somewhat mysterious, with
limited historical records explaining his choices. Scholars and
observers have proposed several theories: the pattern may have helped
organize or demarcate market stalls (echoing the older brick lines'
function), evoked memories of the square's long commercial history, or
drew aesthetic influence from the luxurious oriental rugs that were
highly prized imports in Venice's thriving trade hub.
The overall
design cleverly aligned with the square's architecture. A central axis
connected the main portal of the Basilica di San Marco to the western
entrance, running roughly parallel to the façade of the Procuratie
Vecchie while creating an asymmetrical, nearly triangular space next to
the Procuratie Nuove, partially bounded by the Campanile. The pattern
extended past the Campanile but stopped at the line of the three large
flagpoles, leaving the area directly in front of the Basilica
undecorated. In the adjacent Piazzetta, a smaller-scale version of the
pattern ran parallel to Sansovino's Library, forming a narrow trapezoid
beside the Doge's Palace, with its wider end framed by the Basilica's
southwest corner; here, the internal squares were tilted to create
non-orthogonal (slightly irregular) quadrilaterals.
This pavement
configuration visually elongates the square's main axis, drawing the eye
toward the Basilica and emphasizing its role as the focal point—much
like how a cathedral's nave leads to the altar inside. As part of the
18th-century project, the entire piazza was raised by about one meter to
combat frequent flooding (a perennial issue in low-lying Venice) and to
provide better depth for the improved drainage system.
By 1890,
centuries of foot traffic, weather, and acqua alta had caused
considerable wear. The pavement was renovated to preserve Tirali's
vision, but with modifications: the oval elements were removed for
simplicity, and the pattern's western edge was truncated to fit the Ala
Napoleonica (Napoleonic Wing), added in the early 19th century at the
square's far end opposite the Basilica.
Today, this elegant geometric
surface—often likened to a vast patterned carpet when viewed from the
Campanile—remains one of the most iconic and functional elements of
Piazza San Marco, blending historical practicality, Baroque artistry,
and adaptation to the city's unique challenges.
Piazza San Marco, one of Venice's most iconic public squares, sits at
a very low elevation—typically around 80–90 cm above mean sea level in
its lowest sections, making it highly vulnerable to flooding. This
vulnerability becomes especially evident during periods of acqua alta
("high water"), a seasonal phenomenon where strong storm surges from the
Adriatic Sea, combined with heavy rainfall or intense sirocco winds,
cause the lagoon waters to rise dramatically.
Under normal
conditions, rainwater and excess water in the square drain efficiently
through a network of openings and channels directly into the nearby
Grand Canal. This system functions well most of the time. However, when
the sea level in the lagoon is exceptionally high, the process reverses:
water surges upward from the drains and floods the piazza instead of
draining away. Flooding in Piazza San Marco often begins noticeably when
tides exceed about 80–82 cm above the reference level, affecting this
low-lying area first and most severely compared to other parts of the
city.
One of the most significant and historically notorious events
was the devastating 1966 Venice flood on November 4, when an
extraordinary combination of factors—abnormally high astronomical tides,
rivers swollen from intense rainfall across northern Italy, and a
powerful sirocco wind pushing water into the lagoon—led to unprecedented
water levels. The tide peaked at 194 cm (approximately 6 feet 4 inches)
above mean sea level, submerging vast portions of Venice, including deep
inundation across Piazza San Marco and damaging priceless cultural
heritage sites like St. Mark's Basilica and the Doge's Palace. This
remains the highest recorded acqua alta in the city's modern history,
highlighting the ongoing challenges Venice faces from rising sea levels
and climate-related extremes.
The Cursed Columns of San Marco and San Teodoro
Dominating the
Piazzetta San Marco—the smaller extension of the main square leading to
the lagoon—are two ancient granite columns, each topped with a symbolic
statue. One bears the winged lion of San Marco, emblem of the Venetian
Republic, while the other features San Teodoro (affectionately called
"Todaro" by locals), the city's original patron saint, depicted slaying
a dragon-like creature that some interpret as a crocodile or mythical
beast. These monolithic pillars, sourced from the East around the year
1000, arrived in Venice via sea transport, but legend claims only two
made it ashore; a third sank into the lagoon during a botched landing
attempt, where it purportedly remains buried to this day.
The
columns' erection in 1172 is credited to the ingenious engineer Nicolò
Barattieri (or "Bettica"), who devised a method using ropes soaked in
seawater to lift them upright—as the ropes dried and shrank, they
hoisted the massive stones. In gratitude, the Republic granted him
exclusive rights to operate a gambling den between the columns, a
privilege otherwise banned in the city. However, this seemingly
triumphant tale quickly darkened. During the Middle Ages and
Renaissance, the space between the columns became the Republic's primary
site for public executions, where traitors, criminals, and political
enemies were beheaded, quartered, or hanged. Aristocrats' blood
reportedly stained the pinkish marble, leaving indelible marks that
locals still point out as evidence of the site's grim history.
Superstitious Venetians avoid walking between the pillars to this day,
believing it invites misfortune or even death— a custom rooted in the
countless souls who met their end there.
A chilling Venetian idiom
stems from this: "Te fasso veder mi, che ora xe" ("I'll show you what
time it is"), uttered as a threat. It refers to condemned prisoners
being positioned to face the Clock Tower (Torre dell'Orologio) across
the square, glimpsing the time of their impending doom as their final
sight before the axe fell. In 2018, the Aurora Project employed seismic
refraction tomography to hunt for the legendary third column in the
lagoon bed, fueling ongoing debates about whether it's myth or submerged
reality.
The Damned Column of the Doge's Palace
Adjacent to
the square, the Doge's Palace (Palazzo Ducale) harbors its own macabre
legend tied to a specific column on its exterior arcade. Known as the
"Damned Column" or "Column of Redemption," it's the fourth pillar from
the corner facing the lagoon. This unassuming red marble column,
slightly shorter and misaligned compared to its neighbors, is said to be
cursed due to a desperate ritual for death-row inmates. Condemned
prisoners were offered a last chance at pardon: they had to circle the
column's narrow, slippery base with their back pressed against it,
completing a full loop without falling into the water or slipping off.
Success meant freedom; failure sealed their fate. Over centuries,
countless attempts wore the marble smooth, creating a visible groove
that locals attribute to the frantic scrabblings of the doomed.
The
legend may stem from the palace's role as the seat of the Council of
Ten, Venice's feared secret police, who orchestrated swift justice from
within its walls. Executions here were theatrical, with gallows erected
below the doge's balcony overlooking the square, ensuring crowds could
witness the spectacle. Some tales suggest the column's "damnation" arose
from a botched construction or a mason's curse, but its association with
futile redemption adds to the square's aura of inescapable judgment.
Nearby, the palace's infamous Piombi (lead-roofed prisons) held figures
like Giacomo Casanova, who famously escaped in 1756 by boring through
the floor and fleeing across the rooftops— a tale blending mystery with
audacious reality.
The Ghost of the Bell-Ringer
Rising 98.6
meters over the square, the Campanile (bell tower) is linked to the
spectral legend of a giant bell-ringer, whose skeleton now resides in
Venice's Natural History Museum. In the 16th century, a tall,
impoverished man rang the tower's bells for a living. Desperate for
money, he sold his skeleton in advance to a scientist for study after
death. Tragically, he died soon after in a drunken fall. Ever since, his
restless spirit—manifesting as a towering, bony figure—is said to roam
the square and nearby streets on foggy nights, begging passersby for
coins to "buy back" his remains. Some variants claim he climbs the
Campanile at midnight to toll the bells himself, a sound locals
attribute to wind but secretly fear as his eternal lament.
This tale
ties into broader hauntings around the square, where the Campanile's
1902 collapse (miraculously killing only the custodian's cat) is seen as
a harbinger of unrest. The ghost's path often leads toward Corte
Bressana in the Castello district, his former home, emphasizing how the
square connects to Venice's labyrinthine alleys teeming with
apparitions.
Hidden Crypts and Sacred Relics
Beneath the
glittering mosaics of St. Mark's Basilica lies a crypt shrouded in
mystery, housing the relics of San Marco himself. Stolen from Alexandria
in 828 AD by Venetian merchants who hid them in pork to evade Muslim
guards, the bones were concealed in a pillar for centuries to prevent
theft. Rediscovered in 1811, they inspire legends of miracles: San Marco
allegedly appeared in dreams to warn of storms during the voyage, and
his April 25 feast day involves giving rosebuds ("bocolo") to loved
ones, symbolizing eternal love from a tragic romance between a
noblewoman and a lowborn knight.
Nearby, the Church of San
Zaccaria—mere steps from the square—features a perpetually flooded crypt
with tombs of eight early doges, many murdered violently. A 1105 fire
killed 100 nuns hiding there, earning it the moniker "Church of
Murders." These subterranean secrets evoke drowned souls and unresolved
vendettas, with the square's low elevation (prone to acqua alta
flooding) amplifying tales of watery graves.
Other Enigmatic
Elements
The square abounds with subtler mysteries. Pink columns in
the Doge's Palace arcade are said to mark where doges pronounced death
sentences, their hue from spilled blood. Red lanterns once lit for
executions tie into legends of betrayal, glowing eerily on misty
evenings. Sculptures like the dragon under San Teodoro fuel debates: is
it a biblical symbol or a nod to ancient crocodiles in the lagoon? A
carved love story on the Loggia's capitals ends in unexplained tragedy,
yet kissing beneath it promises luck. Even the House of the Angel, just
behind the square, harbors a devilish monkey tale from the 14th century,
where a demon fled through a wall, leaving a protective angelic statue.