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The ciborium was erected above the high altar in St. Mark's - where
it remains today - on an uncertain date in the first half of the 13th
century, probably in the 20's.
On the edge facing worshippers there is a statue of Christ between those
of St, Mark and St, John while behind, towards the apse, the Redeemer
(1751) between St Mark and St. Luke, a 13th century work.
Debate on the ciborium has chiefly concerned the dating and origin of
the four columns, precious columns used to support the baldachin vaults.
The bas-reliefs that decorate them, though different in certain respects,
are substantially unitary and can only originate from one production centre,
even though they may have been created by artists of varying value. Recycled
many times, the ancient columns are one of the most significant examples
of early Byzantine figurative sculpture that have come down to us, both
for the richness of the Marian and Christological cycles and the extraordinary
quality of the work.
The four monolithic shafts in oriental alabaster, worked in pairs by an
outstanding Maestro with less able helpers, are divided into nine sections
separated by horizontal strips which are in turn divided into nine small
arches containing one or more figures in high relief.
The dark background of the niches gives an almost total plasticity to
the scenes. In the 324 niches there are an overall 108 scenes with one
or more figures representing the life of the Virgin and the life and passion
of Jesus Christ. In several detailed cycles, set out in a horizontal or
vertical reading sequence, there are individual episodes from the canonical
and apocryphal Gospels.
The rear left column shows thirty scenes dealing with the life of Mary,
from the Sacrifice of Joachim to the Consultation of the priests on the
future of the Virgin at twelve years. The sculptor has faithfully followed
the descriptions in the Greek version of the early apocryphal gospel of
James. The sequence of twenty-six scenes on the front left column begins
with the Annunciation to Mary and continues with events from the youth
of Jesus and, among other things, various stories of miracles and healing.
These episodes, depicted with extraordinary vivacity, refer on the one
hand to the early apocryphal gospel of James and on the other to the canonical
Gospels, particularly to John.
The sculptural cycle continues on the rear right column with twenty-eight
scenes illustrating the teachings and miracles of Jesus as recounted in
the Gospel of St. Luke.
Lastly, the front right column illustrates twenty-four scenes from the
passion of Jesus Christ.
Of particular interest is the extraordinary Crucifixion in which the symbol
of the mystical Lamb takes the place of the figure of Christ.
Comparison at stylistic level with the ivories of the Eastern Roman Empire,
and with 6th century sculptures still in Istanbul today, has permitted
dating the work to the period of Emperor Anastasius I (491-518). The Latin
inscriptions carved in the strips, often misleading with regard to interpretation,
were added at the period of re-adaptation of the sculptural group to new
arrangements in Venice in the 13th century.
The ciborium is the actual heart of the church and achieves its maximum
communicative value when, on the occasion of celebrations held in honour
of the saint, the sarcophagus with its relics is freed from the grilles
enclosing it and covered with red roses, and the Pala d'oro (the altar
retable) shines towards the worshippers.
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