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From the centre of the church, beneath the Ascension cupola, one can
clearly see certain architectonic modifications and sculptural additions.
Outstanding among these is the Gothic iconostasis with its 14 beautiful
statues at the sides of the Crucifix, the work of the Venetian brothers
Pierpaolo and Jacobello dalle Masegne, completed by the smaller iconostases
in the chapels of St. Peter and St. Clement with figures of female saints.
In churches of Byzantine tradition the iconostasis is a rood-screen, usually
in wood or marble, separating nave and presbytery, and takes its name
from the fact that it bears icons. Since the icons are wholly lacking
in the Venetian work it would be more correct to call it a 'column transenna'.
The central part separating the presbytery from the church bears an inscription
with the date 1394 and the signatures of Pierpaolo and Jacobello dalle
Masegne who, between 1380 and 1410, had considerable influence both in
Venice and on the mainland.
The St. Mark's iconostasis is the only work, intact in its original state,
with the unquestioned signature of the Dalle Masegne brothers.
The presbytery iconostasis replaced a 13th century one of which the lower
arches still remain in their original place. The latter, according to
the reconstruction, had no structural similarity with the present one.
The earlier iconostasis, dismantled, was decorated with reliefs and it
is probable that sculptural decoration was chosen in memory of it.
The present day iconostasis consists of 12 Apostles with the Virgin and
St. Mark. Each figure has an inscription on the base with the names in
Latin (St. Mathias, St. Phillip, St. Thaddeus, St. Andrew, St. James the
Elder, St. Peter, the Virgin, Christ Crucified, St. John, St. Mark, St.
Matthew, St. Bartholomew, St. James, St. Simon, St. Thomas).
The individual figures cannot be identified without reservations since
the bases have been changed in some cases.
The sculptures are in white marble but have a dark brown surface which
probably derives from smoke from candles placed between the figures.
The edges of their garments have considerable remains of the original
polychrome which repeats the rhombus motif found in the architectonic
part of the iconostases.
The iconography as a whole recalls that of the iconostasis of the old
St. Peter's church in Rome featuring, next to the apostles, several female
saints. This reference is certainly not a random one and bears witness
to the Venetians' intention to compete with the church of the Apostle
of Rome.
The three parts of the St. Mark's iconostasis appear equal in their structure
whereas the style is profoundly different. Here we offer the possibility
of identifying the style of the two brothers.
One presumes that Jacobello did the figures in the central part between
1393 and 1394 with his assistants while Pierpaolo later, with his pupils,
did the sculptures at the sides.
The ten figures at the sides of the iconostasis have also been attributed
to a less talented helper, and certain stylistic affinities with the works
of Nino Pisano have been pointed out, but no one has ever seriously questioned
attribution to Pierpaolo. Attribution of the fourteen figures of the central
iconostasis to Jacobello does not of course exclude the participation
of helpers who had to prepare the marble blocks, rough-hewing them in
accordance with Jacobello's drawings.
This may have led to unpleasant surprises, even to emergency measures.
Thus for example in the St. John the Evangelist the too narrow right shoulder
might have been the result of a mistake.
If however the work is considered overall, defects of this nature seem
of secondary importance. Moreover there is clear intention to make all
the figures appear to be the work of the same artist.
The Apostles and the Virgin do not look either ahead or at the cross.
Their heads are slightly turned aside and each person seems to be closed
within himself. This notwithstanding, their turning and bowing gives rise
to the formation of couples, a fine invention that results in a rhythmical
grouping.
The relative isolation of the individual figures is expressed not only
in their faces but also in their attitudes. Jacobello's figures are set
more firmly on the ground and there are rarely harmonies of borders, folds,
outline and attitude. Sometimes Jacobello drapes the garments so close
to the body as to create "islands" delimited by folded ridges, often forming
an oval. Only in the second quarter of the 15th century was something
similar found in Venice. But in spite of the close fitting garments the
body in Jacobello's sculptures is not seen as an organic whole and is
concealed in the drapery so that only rarely does one see articulations.
In the overall figure the faces whose expression has been drawn by Jacobello
carry greater weight while those of Pierpaolo are usually more serene.
These faces close up are more reminiscent of mid 14th century Venetian
painting and mosaics than of other sculptural works.
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