The Polyptych of the Virgin in the Golden Chapel of San Zaccaria in Venice

Venice is filled with architectural treasures, textile treasures and artistic treasures generally, and to date we've shared some overviews of some of the more important churches of this wonderful northern Italian city, however today I wanted to focus in on one specific piece that is found in the church of San Zaccaria -- a church located within a very short distance from the Basilica of San Marco and which at one time was considered a secondary chapel of the Doges of Venice. 

The church of San Zaccaria, like Venice itself, is filled with treasures, but not to be missed amongst these is the so-called "golden chapel" that is found within the church. Properly speaking it is the chapel of San Tarasio, an eighth century Greek from Constantinople and the one-time Archbishop of the same.  The chapel is referred to as the Golden Chapel, however, due to its particular beauty and refinement -- and no doubt also coming with reference to the beautiful gold gilt altarpieces found within. It also happened to contain one of the most important collection of relics in all of Venice -- no small feat.

As one enters this chapel, one might be struck by how it's features makes it appears more akin to a full fledged church than to what most of us would think of as a chapel. In point of fact this was at one time the original (albeit rebuilt) church of San Zaccaria. Various reconstructions and interventions have happened for various reasons to over the years, but this particular space was left relatively untouched, becoming a chapel in what is now the much larger and more Renaissance art oriented church of San Zaccaria.

One will note the semi-circular, synthronon like arrangement found behind the altar. One might also wonder about the rather curious antependium like 'curtain' that would appear to cover the altar. In point of fact, the altar is a further two steps further up, partially covered here by a gilt panel that has been inserted and which is not original to this altar it goes without saying. You can better see this here:

It would appear that a predella and steps would have extended where the raw, foundational brick work now can be seen. One can still see the colouring on the facing of the altar though that would appear to be of a later period and style.  As interesting and intriguing as this is in its own right, our focus for today is rather on the soaring, golden altarpiece itself.

This particular altarpiece is the work of the woodcarver Ludovico da Forlì and the artists Antonio Vivarini and Giovanni d'Alemagna, completed circa 1444.   Some of painted panels in this piece are older however and not original to the piece, specifically those of the Virgin and Child, and the figures of St. Blaise and St. Martin to either side. These were done by Stefano di Sant'Agnese in 1385 and originally they formed a part of another altarpiece. These were not put into place in the present altarpiece until in the mid nineteenth century, though stylistically, they mesh quite well.

To either side of these three central panels are the figures of St. Mark and St. Elizabeth. These are, by comparison, original to the altarpiece.  

Relics form an important part of the history of this particular chapel as it was here that the relics of the church were contained. On the backside of the altarpiece is another series of paintings which tell us whose relics were contained here. These are, in fact, the doors to a reliquary cabinet that was found on the backside of the altarpiece.  

This particular altar recently underwent a long period of restoration works, only recently completed and those interested can read more about that by way of Finestre sull'Arte.

It is an incredibly beautiful and impressive altarpiece in what is one of the most important liturgical spaces in all of Venice. 

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