Saint Mark's Body Brought to Venice
The original, as its museum records it
Every line above is reproduced from the holding institution’s own catalogue entry, which is linked. Where their title, date or attribution differs from ours, theirs is the one printed here.
The file this print is made from
Sizes
About this painting
Lightning and hail break over the crowd — not weather, but the miracle itself, routing the mob about to burn Mark's body on a pyre. A frightened camel beside the woodpile marks the place: Alexandria, not Venice.
Yet Letha Ch'ien's study of the Scuola cycle reads the deep colonnaded clearing, its porticoes recalling Sansovino, as Piazza San Marco: Alexandria transposed onto Venice's square, the body already carried toward the basilica that will hold it.
The woodpile itself is gone now, painted over with archways when the canvas was trimmed for the Biblioteca Marciana.
Sources: Museum's own reading: hailstorm is the miracle that routs persecutors so the faithful can save Mark's body from the pyre · Frightened camel beside a woodpile marks the Alexandria setting of the episode · Howard Oakley, 'Celebrating the 500th anniversary of Tintoretto, 7,' The Eclectic Light Company, 21 Aug 2018 · Letha Catherine Ch'ien, 'Making Miracles at the Scuola Grande di San Marco', PhD dissertation, University of California, Berkeley.
Printed on demand. Public-domain masterwork, reproduced from a 9,600 px master of the original. The whole image is printed — never cropped to fit the sheet — so every sheet carries an archival margin, and the dimensions and resolution listed above are the ones you receive.