SPACES :

THE EXTERIOR- The exterior of the west facade of the basilica is

divided in three registers: lower, upper, and domes. In the lower register
of the faade, five round-arched portals, enveloped by polychrome
marble columns, open into the narthex through bronze-fashioned doors.
The upper level of mosaics in the lunettes of the lateral ogee arches has
scenes from the Life of Christ (all post-Renaissance replacements)
culminating in a 19th-century replacement Last Judgment lower down
over the main portal that replaced a damaged one with the same subject
(during the centuries many mosaics had to be replaced inside and outside
the basilica, but subjects were rarely changed). Mosaics with scenes
showing the history of the relics of Saint Mark from right to left fill the
lunettes of the lateral portals; the first on the left is the only one on the
faade still surviving from the 13th century. The formal subject is the
Deposition of the Relics, but it is probably depicted as the crowd leaving
San Marco after the ceremonial installation of a new doge. The four
bronze horses are shown in their place on the faade. We can for once
get a good idea of the original compositions of the mosaics from paintings
and other depictions, especially Gentile Bellini's very large Procession in
Piazza San Marco in the Gallerie dell'Accademia

The stone sculpture is relatively limited at the lower level, where a forest
of columns and patterned marble slabs are the main emphases. It
includes relatively narrow bands of Romanesque work on the portals,
richly carved borders of foliage mixed with figures to the ogee arches and
other elements, and large shallow relief saints between the arches. Along
the roofline, by contrast, there is a line of statues, many in their own
small pavilions, culminating in Saint Mark flanked by six angels in the
centre, above a large gilded winged lion (his symbol, and that of Venice).

THE INTERIOR- The interior is based on a Greek cross, with each arm
divided into three naves with a dome of its own as well as the main dome
above the crossing. The dome above the crossing and the western dome
are bigger than the other three. This is based on Constantine's Church of
the Holy Apostles in Constantinople. The marble floor (12th century, but
underwent many restorations) is entirely tessellated in geometric
patterns and animal designs. One particular panel in the pavement shows
two cocks carrying a trussed-up fox,] has been interpreted politically by
some, as a reference to the French conquest of Milan in the Italian Wars
Others see it as a sacred symbol of the faithful wish for immortality, with
the victory of the cross, and "analogous to the hope of resurrection, the
victory of the soul over death] The techniques used were opus sectile and
opus tessellatum. The lower register of walls and pillars is completely
covered with polychrome marble slabs.
NAVES OF THE CATHEDRAL

The NAVE is the central aisle of a basilica church, or the main body of a
church (whether aisled or not) between its western wall and its chancel. It
is the zone of a church accessible by the laity.

The nave extends from the entry which may have a separate vestibule
(the narthex) to the chancel and may be flanked by lower side-aisle
separated from the nave by an arcade. If the aisles are high and of a
width comparable to the central nave, the structure is sometimes said to
have three naves. It provides the central approach to the high altar.

The term nave is from medieval Latin navis (ship). A ship was an early
Christian symbol. The term may also have been suggested by the keel
shape of the vaulting of a church. In many Scandinavian and Baltic
countries a model ship is commonly found hanging in the nave of a
church.
AISLE OF THE CATHEDRAL

An aisle is, in general (common), a space for walking with rows of seats
on both sides or with rows of seats on one side and a wall on the other.
Aisles can be seen in airplanes, certain types of buildings, such as
churches, cathedrals, synagogues, meeting halls, parliaments and
legislatures, courtrooms, theatres, and in certain types of passenger
vehicles.

Aisles can also be seen in shops, warehouses, and factories, where rather
than seats, they have shelving to either side. In warehouses and factories,
aisles may consist of storage pallets, and in factories, aisles may separate
work areas.
TRANSEPT OF CATHEDRAL
A transept (with two semitransepts) is a transverse part of any building,
which lies across the main body of the edifice. In churches, a transept is
an area set crosswise to the nave in a cruciform ("cross-shaped") building
within the Romanesque and Gothic Christian church architectural
traditions. Each half of a transept is known as a semitransept.
The Cathedral, The
Symbolic
The Cathedral draws on strong architectural traditions
and symbolism, which were intended, whether one
thousand or one hundred years ago, to affect a
visitors experience. Many of these can be read in its
architecture, enriching the experience of the building.

The Cathedral follows several major medieval

traditions: it is built on high groundMorningside
Heights is at one of the highest natural elevations in
New York Cityand its ground footprint is (in design,
at least) shaped like a Roman cross. The entrance
stairs provide further uplift toward the heavenly plane,
and more stairs within the Cathedral elevate the Great
Choir and chapels, and above them the High Altar.
This holiest part of the church is traditionally found in
the eastern end of the building, closest to the rising
sun, a symbol of renewal and resurrection.

The Nave follows a similar vertical convention. Each

vertical set of stained glass windows is dedicated to
one of fourteen forms of human endeavor, including
Labor, Medicine, Education, Military, Arts, and Sports.
On the ground level, the windows show a variety of
historical and scriptural figures engaged in a particular
activitythe Medical bay, for example, shows Jesus
performing healing miracles as well as Louis Pasteur
inoculating a sheep. The higher set of windows show
saints associated with the same activity and a rosette
window at the top depicts Jesus. He appears in many
variations, crowning each window and completing the
progression from the human plane to the sacred and
divine.

From west to east run three aisles of bronze floor

medallions, collectively referred to as the Pilgrims'
Pavement. The side aisle medallions show the names
and crests of key pilgrimage sites, as well as
significant sites in Anglican history, while the central
aisle marks the miracles performed by Jesus, from
birth through the Feeding of the Multitude at
Bethsaida. The pavement should end with the
Resurrection, but is truncated by the unfinished floor of
the crossing.

References to Saint John the Divine, the Cathedrals

namesake, are infused into the building. John is
credited as the author of the Book of Revelation,
relating his vision of the end of the world. The number
seven is the most prominent symbol in Revelation, and
structures the text itself. Sevens are therefore
abundant in the Cathedral: in its seven chapels, north
and south side bays, and in its dimensions.

Johns symbol, the seven stars or candles, is echoed

in the seven lamps above the High Altar. The colors of
the paving stones in the Apse and Great Choir echo
the precious stones named in Revelation as those
adorning the walls of the New Jerusalem. Visitors will
find many more examples of this sacred geometry,
with its symbolic numbers and shapes, throughout the
building.

The Cathedrals symbolism spans from the building as

a whole to the smallest corner of its windows.
Designed to create a sense of uplift, awe, and human
connection, architecture does its part in the Cathedral
mission to be a house of prayer for all people and a
unifying center of intellectual light and leadership.

SOURCE:

I. THE ARCHITECTURAL REFINEMENT OF ST. MARKS AT VENICE HENRY

WILLIAM GOODYEAR
II. 3D MODEL FOR THE DOCUMENTATIONS OF DOMES OF ST. MARKS
CATHEDRAL
III. WWW.GREATBUILDINGS .COM/BUILDINGS/ST MARKS.HTML