Wheeling Sunday register. [volume] (Wheeling, W. Va.) 1882-1934, 1886-12-05
ST. MARKS CHURCH.
"A MOST PERFECT AND coNsuM-
MATE WORK or ARCHITECTURE.
A Study of the Great Church In Venice.
Pen Picture OF Wonderful Interior.
BewIIderIng Lights and shadows
Nothing In the world to Match 1t.

Il AAOW VI hOAIAneS IL 60 ~
unless IL be an autumn sunrise through
valley mists, that is so bewildering In us
effect as is this marvellous creation
That it is the most fascinating and en-
chanting work is confessed by all VINO
have ever come within its influences out,
further, be lieve it to be the most per
feet and eonsummate work OF archltect-
ure In the world. This may be said hur-
riedly and thoughtlessly, or ignorantly,
or vainly, but after long study, winch
serves only TO disclose some hitherto I'M
expected beauty, l cannot name any
building in England, France, Italy or
Germany which can remotely be COM
pared with it for perfect union OF all the
powers possible 10 architecture.
And now let US enter the. church
through the central porch-a kingly por-
tai. indeed, lit for the central fact OF the
CITY that once was the central fact OF the
world. and remains even now its loveliest
and most precious treasure. On either
side rise wide ranges of slender shafts,
serpentine and alabaster, and pure Greek
marble and verd antique, each with its
varied capital of intricate design. A
double tier on either hand, from the top
whereof springs the vast circllng archl-
volt of most exquisite tracery. There the
forest of columns closes closer and the
arches sink lower, leaving above vast
field where once glowed the golden mo-
safe of the Resurrection" then, last OF
all. the finer, clear lines of the archi-
traye. and SO we pass beneath and stand
within the atrium, that, in series oil
low. yaulted domes, follows two sides OF
the basilica. A wonderful place even
this. with precious columns OF finest
stone ranged everywhere along the wall,
covered now with soft gray bloom, like
n fresh grape, but polished here and
there so that the exquisite yeining
shows in all it's beauty. \ long gray
corridor this, that follows far around TO
the transept door beyond.
This is only the prelude to what IS be-
yond. Lift the curtain Of one OF the side
doors and go within. After the pearly
light Of the atrium all that one sees at
first is a golden gloom, in the depth OF
which we stand. ShadOwy shafts rise
about us, and beyond them lies great
space of soft, golden light, not bright and
clear, but low and solemn. Beside us
vast wide wall of polished marble OF the
color Of incense smoke, warped into bend
ing lines, lifts itself clear from the
rugged mosaic beneath our feet; and as
il rises the precious marble gives panels
here and there of solemn saints and
winged angels, shadOwy in color, with
dull gold cleaning behind them. Higher
and higher reaches the field of stone,
and changes now to vast, vague moSaiCS
i'm strange design and mystic symbolism.
Higher still, and long lines Of soft light
strike through high windows, and then
far above comes the vast arch of golden
vault where still are figures and designs
in endless measure. Down far below the
shadows thicken and dark pillars and
arches rise close, circle above circle, and
through them one sees dimly how the
shadows gather closer again and shape
themselves into the indistinct form N a
chapel, where slender shafts with fretted
caDitals, delicate statues of saints and
screens Of varied marble rise over the
still deeper shadow beyond, where only
is seen the pickering flame in brazen
lamps and the dim glory Of golden
aureOle. And always through these
gathered shadows glows here and there
the golden light in some dOmelke vault
or strikes pencil OF trembling rays from
an unseen window. Yet all seems very
small, with little space.
Let us walk toward the light in the
chapel beyond; over the heaving floor
of shattered mosaic we advance slowly as
the shadow opens for US and closes be-
hind Shaft and pier and circling arch
and inlaid vault fall always into new
arrangements Of perfect light and shade,
and the eye fingers with loving delight
ON the carven marble of thousand cOlOrS
that sheathes the wall in every varying
beauty. And now we stand among the
vast piers of marble, four square, soft
rosy brown in color, rising from bases OF
crimson marble, joined above with
golden arches and lost above in
gloom, where they bear the dOmes as yet
unseen. Turn to the, right, down the
| transept isle, into the deeper darkness,
/ toward the strange Arabian doorway,
where the red lamp burns continuously;
| then step out into the wide space OF the
transept, and without looking up, as
| vet, walk to the further aisle and sit
/ down on the marble seat that stretches
along the transept wall, and then raise
/ your eyes slowly.
All the clOseness of the shafts and piers
is gone, land there opens before us a
/ vast cave, hewn out into the form Of q
cross, and divided into shadOwy aisles
by many pillars. Round the domes of its
/ roof the light enters only through mar
/ row apertures, like large stars, and here
/ and there ray or two from some far
/ away easement wanderS into the dark
ness and casts narrow, phOsphoric
| stream upon the waves of marble that
| heaye and fall in thousand colorS along
/ the floor"
/ Below is all strange shadow and in
/ distinctness, whereupOn the marble
shafts seem to gather themselves into
being like transmitted columns of purple
/ incense, rising in slowly growing strength
and clearness in the upper air, spreading
/ into fair walls of polished slabaSter that
/ break and curve into vast and wonderful
/ arches. And so upward, where seems
| n sunlight forever, for the walls glow
| now with broken gold, and arch and
vault flash back swift CLEANS of fire or
gather in heavy gloom of luminous
shadow. And everywhere a wonder OF
mystic images on wall and arch and
vault, higher and higher yet, until the
paired walls bend TO each other and join
| in circling arches of sheeted gold, and
I lift mt last and over all into one magical
sequence of circling domes, shcathed
with splendid gold, and charged with
/ solemn figures Of saints and angels, and
powers OF good and evil; and over all
/ Christ looks down upon His people,
/ Cor. Boston Transcript
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