Pala d'Oro

Behind the high altar of St Mark’s Basilica, the Pala d’Oro is a monumental altarpiece of gilded silver, cloisonné enamel and gemstones. Assembled in stages over several centuries, it brings Byzantine and Gothic artistic traditions together in one richly detailed work.

Why it matters

The basilica’s curators describe the Pala d’Oro as the only large Gothic goldsmith’s work of its kind to survive intact. It measures about 3.34 by 2.12 metres and contains roughly 250 enamels on gilded silver, together with 1,927 precious stones and gems. Its successive additions reflect the changing artistic and political ties between Venice and Constantinople, while the Gothic frame commissioned under Doge Andrea Dandolo gives the work its present monumental form.

What to notice

Christ blessing in majesty occupies the centre, surrounded by the four Evangelists. Nearby registers show prophets, apostles and archangels; below are the Virgin in prayer, Doge Ordelaffo Falier and Empress Irene. Above Christ is the Hetimasia, the prepared throne of the Last Judgement. A frieze of Byzantine feast scenes includes the Archangel Michael and panels thought to have come from Constantinople after 1204. On the sides, vertical panels recount the life and martyrdom of St Mark and the transfer of his relics to Venice. Inscriptions beside the Virgin record a renovation in 1209 and the funding of gems by procurators Marco Loredan and Francesco Querini.

Context and history

The earliest part was assembled under Doge Ordelaffo Falier between 1102 and 1118. A further group of enamels was added before the renovation recorded in 1209, during the dogeship of Pietro Ziani. The major Gothic campaign took place under Andrea Dandolo in 1342–1345; goldsmith Giovanni Paolo Bonesegna and carpenter maestro Perin signed their work on the reverse. For centuries, the upper half could be hinged open for state ceremonies and otherwise remained behind a painted cover. The earliest surviving cover, made by Paolo Veneziano and his sons in 1343–1345, is now in the basilica museum. Lorenzo and Pietro Fauro restored the altarpiece between 1836 and 1847, fixing its two halves together on 13 May 1847.