The Golden Pala

The lower part is dominated by the majestic figure of Christ blessing surrounded by the Four Evangelists . On the sides are arranged in three registers the figures of twelve prophets, twelve apostles and twelve archangels, and below them the Virgin Mary in prayer, the Doge Ordelaffo Falier and the Empress Irene .

Above Christ is depicted the Etimasia , the preparation of the throne of the Last Judgement, with two cherubs and two archangels on the sides.

Aligned at the top are almost all the feasts of the Byzantine Church, from left: the Annunciation, the Nativity, the Presentation at the Temple, the Baptism of Jesus, the Last Supper, the Crucifixion, the Descent into Limbo, the Resurrection, the Incredulity of Thomas, the Ascension and Pentecost.

On the sides, in a vertical position, in ten small panels, the salient facts of the life of Saint Mark are represented on the left, and on the right the episodes relating to his martyrdom in Alexandria of Egypt and the transfer of his body to Venice.

The large upper frieze, from one of the three churches of the Monastery of the Pantocrator in Constantinople, depicts the Archangel Michael at the center, and six panels with the Entry of Christ into Jerusalem, the Descent into Limbo, the Crucifixion, the Ascension, Pentecost, and the Death of the Virgin . Numerous enameled tondi of various sizes, depicting saints venerated by the Venetians, complete the painting.

Four phases can be identified in the history of this precious tablet:

The lower part dates back to the period of the Doge Ordelaffo Falier (1102-1118) with the arrangement of the enamels, both on the side frames, with the stories of St. Mark, and on the upper frame with the six deacons and the Christological feasts of the liturgical calendar, as well as the central group of the Pantocrator.

The upper part of the altarpiece, with the series of the six Byzantine feasts and the Archangel Michael in the centre, perhaps brought to Venice from Constantinople after 1204, can be attributed to the second phase. As the inscription at the bottom left of the Virgin says, the altarpiece was renovated in 1209, under the Doge Pietro Ziani (1205-1229) . The enamels probably come from the church of the Pantocrator in Constantinople, now destroyed, if we are to believe the words of its Patriarch who, visiting St. Mark’s in 1438, sadly declared that those pieces came from that church.

The third intervention dates back to the years 1343-1345 when, during the reign of Andrea Dandolo, the altarpiece was entirely renovated and acquired its current appearance.

The second inscription, placed on the right side of the Virgin, attests that the precious stones were added thanks to the Procurators Marco Loredan and Francesco Querini.

The artists involved in this work left their names and the dates of production on the back of the upper panel: Giovanni Paolo Bonesegna, for the goldsmith work carried out in 1342, and Maestro Perin for the carpentry work in 1345.

On this occasion, the upper part was slightly widened at the sides and the rim was richly decorated with bands decorated with racemes and medallions. Some enamels were cut at the edges, others were exchanged.

The upper part of the altarpiece was hinged by a complex system of pulleys, connected to two columns at the back, one surmounted by the Annunciation Angel and the other by the Virgin of the Annunciation. This hinged section could pivot downward, closing like a book over the lower section. Once closed, it was covered by an altarpiece known as a “feriale,” a painted wooden panel. The oldest was painted by Paolo Veneziano and sons in 1343-1345, depicting stories of Saint Mark and saints, and is now housed in the Basilica Museum.

Originally, the Pala d’Oro was only opened during major celebrations in the presence of the Doge and important international political figures. Otherwise, on weekdays, it remained closed and covered by the painting.

The last restoration dates back to 1836-47 and was carried out by goldsmiths Lorenzo and Pietro Fauro. The work was completed on May 13, 1847, when the upper section was firmly joined to the lower section. From that moment, the altarpiece lost its ability to rotate and was fixed to its current dimensions. The two columns at the back, along with the Annunciation group surmounting them, were removed and, in subsequent years, placed in the Treasury, where they remain today.

The altarpiece remained facing the nave of the church until 1958, when, at the request of Patriarch Angelo Roncalli, who did not appreciate the habit of tourists leaning against the high altar to admire it, a special lifting and rotation mechanism was designed.

Currently the altarpiece is displayed facing the nave only during religious ceremonies celebrated by the Patriarch, while normally it faces the opposite side to be comfortably admired.