Piazza San Marco (Italian pronunciation: [ˈpjatsːa sam ˈmarko]; Venetian: Piasa San Marco), often known in English as St Mark’s Square, is the principal public square of Venice, Italy, where it is generally known just as la Piazza (“the Square”). All other urban spaces in the city (except the Piazzetta and the Piazzale Roma) are called campi (“fields”). The Piazzetta (“little Piazza/Square”) is an extension of the Piazza towards the lagoon in its south east corner (see plan). The two spaces together form the social, religious and political centre of Venice and are commonly considered together. This article relates to both of them.
A remark usually attributed (though without proof) to Napoleon calls the Piazza San Marco “the drawing room of Europe”.
The Square is dominated at its eastern end by the great church of St Mark. It is described here by a perambulation starting from the west front of the church (facing the length of the Piazza) and proceeding to the right.
The church is described in the article St Mark’s Basilica, but there are aspects of it which are so much a part of the Piazza that they must be mentioned here, including the whole of the west facade with its great arches and marble decoration, the Romanesque carvings round the central doorway and, above all, the four horses which preside over the whole piazza and are such potent symbols of the pride and power of Venice that the Genoese in 1379 said that there could be no peace between the two cities until these horses had been bridled; four hundred years later, Napoleon, after he had conquered Venice, had them taken down and shipped to Paris.
The Piazzetta dei Leoncini is an open space on the north side of the church named after the two marble lions (presented by Doge Alvise Mocenigo in 1722), but now officially called the Piazzetta San Giovanni XXIII. The neo-classic building on the east side adjoining the Basilica is the Palazzo Patriarcale, the seat of the Patriarch of Venice.
Beyond that is the Clock Tower (Torre dell’Orologio), completed in 1499, above a high archway where the street known as the Merceria (a main thoroughfare of the city) leads through shopping streets to the Rialto, the commercial and financial centre. To the right of the clock-tower is the closed church of San Basso, designed by Baldassarre Longhena (1675), sometimes open for exhibitions.
To the left is the long arcade along the north side of the Piazza, the buildings on this side are known as the Procuratie Vecchie, the old procuracies, formerly the homes and offices of the Procurators of St. Mark, high officers of state in the days of the republic of Venice. They were built in the early 16th century. The arcade is lined with shops and restaurants at ground level, with offices above. The restaurants include the famous Caffè Quadri, which was patronized by the Austrians when Venice was ruled by Austria in the 19th century, while the Venetians preferred Florian’s on the other side of the Piazza.
Turning left at the end, the arcade continues along the west end of the Piazza, which was rebuilt by Napoleon about 1810 and is known as the Ala Napoleonica (Napoleonic Wing). It holds, behind the shops, a ceremonial staircase which was to have led to a royal palace but now forms the entrance to the Museo Correr (Correr Museum).
Turning left again, the arcade continues down the south side of the Piazza. The buildings on this side are known as the Procuratie Nuove (new procuracies), which were designed by Jacopo Sansovino in the mid-16th century but partly built (1582–86) after his death by Vincenzo Scamozzi apparently with alterations required by the Procurators and finally completed by Baldassarre Longhena about 1640. Again, the ground floor has shops and also the Caffè Florian, a famous cafe opened in 1720 by Floriano Francesconi, which was patronised by the Venetians when the hated Austrians were at Quadri’s. The upper floors were intended by Napoleon to be a palace for his stepson Eugène de Beauharnais, his viceroy in Venice, and now houses the Museo Correr. At the far end the Procuratie meet the north end of Sansovino’s Libreria (mid-16th century), whose main front faces the Piazzetta and is described there. The arcade continues round the corner into the Piazzetta.
Opposite to this, standing free in the Piazza, is the Campanile of St Mark’s church (1156/73 last restored in 1514), rebuilt in 1912 ‘ com’era, dov’era ‘ (as it was, where it was) after the collapse of the former campanile on 14 July 1902. Adjacent to the Campanile, facing towards the church, is the elegant small building known as the Loggetta del Sansovino, built by Sansovino in 1537-46, and used as a lobby by patricians waiting to go into a meeting of the Great Council in the Doge’s Palace and by guards when the Great Council was sitting.
Across the Piazza in front of the church are three large mast-like flagpoles with bronze bases decorated in high relief by Alessandro Leopardi in 1505. The Venetian flag of St Mark used to fly from them in the time of the republic of Venice and now shares them with the Italian flag.
The Piazzetta
The Piazzetta di San Marco is (strictly speaking) not part of the Piazza but an adjoining open space connecting the south side of the Piazza to the waterway of the lagoon. The Piazzetta lies between the Doge’s Palace on the east and Jacopo Sansovino’s Biblioteca (Library) which holds the Biblioteca Marciana on the west.
Starting our perambulation at the corner near the campanile, where we left the Piazza, this (west) side is occupied entirely by the Biblioteca (Library) designed by Jacopo Sansovino to hold the Biblioteca Marciana (library of St Mark). Building started in 1537 and it was extended, after the death of Sansovino, by Vincenzo Scamozzi in 1588/91. The building was said by Palladio to be “the most magnificent and ornate structure built since ancient times”. The arcade continues to the end of the building with cafés and shops and also the entrances to the Archaeological Museum, the Biblioteca Marciana and the National Library, which occupy the floors above.
At the end of this building is the Molo (the quay fronting the lagoon) and the adjoining building to the right is the Zecca (mint) also by Sansovino (completed 1547) and now part of the Biblioteca Marciana. Turning to the left at the end of the Biblioteca one crosses the open end of the Piazzetta marked by two large granite columns carrying symbols of the two patron saints of Venice. The first is Saint Theodore, who was the patron of the city before St Mark, holding a spear and with a crocodile to represent the dragon which he was said to have slain. This is made up of parts of antique statues and is a copy (the original is kept in the Doge’s Palace). The second (eastern) column has a creature representing a winged lion — the Lion of Venice — which is the symbol of St Mark. This has a long history, probably starting as a winged lion-griffin on a monument to the god Sandon at Tarsus in Cilicia (Southern Turkey) about 300 BC. The columns are now thought to have been erected about 1268, when the water was closer and they would have been on the edge of the lagoon, framing the entry to the city from the sea. Gambling was permitted in the space between the columns and this right was said to have been granted as a reward to the man who first raised the columns. Public executions also took place between the columns.
The 7th column of the Piazzetta facade of the Doge’s Palace marking the division between the 14th- and 15th-century structures
On the far side of the Piazzetta is the side wall of the Doge’s Palace with Gothic arcades at ground level and a loggia on the floor above. Up to the seventh pillar from the front this is the building as rebuilt in 1340, while the extension towards the Basilica was added in 1424.The capitals of the columns of the extended part are mostly copies of those in the front of the Palace. The seventh pillar is marked by a tondo (circular sculpture) of Venice as Justice above the first floor loggia. To the left of this, there are two red pillars in front of the first-floor loggia, contrasting with the other pillars which are of white Istrian stone. The red pillars are made of red Verona marble. They may have framed the Doge’s chair on ceremonial occasions, but it seems that important malefactors found guilty of crimes against the state would sometimes be executed there.
On the rear corner of the Doge’s Palace is a sculpture of the Judgment of Solomon with the archangel Gabriel above. The sculptors are not known. Set back from this corner is the Porta della Carta, the ceremonial entrance to the palace, built in fine Gothic style in 1438/43, probably by Giovanni and Bartolomeo Bon. Again, there is at the top a figure of Venice as Justice, the theme of fair judgment and justice being much emphasised on this side of the palace. Below this, the head of Doge Francisco Foscari and the lion before which he is kneeling were replaced in 1885, the originals having been destroyed on French orders in 1797. The statues on either side of the gateway represent the cardinal virtues of Temperance, Fortitude, Prudence and Charity.
Next to this, on an outside corner of the basilica of St Mark, are four antique figures carved in porphyry, a very hard red granite. They are usually known as the Tetrarchs and said to represent the four joint rulers of the Roman Empire appointed by Diocletian and were formerly thought to be Egyptian. It is now thought probable (or, at least very possible) that they represent the sons of the Emperor Constantine, praised for their loving co-operation on his death in 337, especially as the work originally stood in the Philadelphion (Place of Brotherly Love) in Constantinople, where the missing foot of one of the figures has been found.
Beyond this, in front of the South wall of the Basilica are two rectangular pillars always known as the Pillars of Acre. They were thought to be booty taken by the Venetians from Acre after their great victory over the Genoese there in 1258, but this traditional story has also had to be revised. The pillars actually came from the church of St Polyeuktos in Constantinople (524-7), and were probably taken by the Venetians soon after the fourth crusade in 1204. The ruins of this church were discovered in 1960 and it was excavated in the 1990s, when capitals were found, which matched the pillars.
Beyond these pillars, opposite the corner of the Basilica, is a great circular stone of red porphyry known as the Pietra del Bando (Proclamation Stone) from which official proclamations used to be read. It has been suggested that this may have formed part of a column on which the so-called Tetrarchs stood.
Across the water (the Bacino di San Marco) at the end of the Piazzetta can be seen the island of San Giorgio Maggiore and the brilliant white facade of Palladio’s church there.
