Voorgevel van de Basiliek van San Marco te Venetië c. 1860 - 1880

Editor: So, this is a gelatin silver print photograph from between 1860 and 1880 by C. Coen & Figlio. It captures the facade of St. Mark's Basilica in Venice. There’s something… almost ghostly about this early photograph. It really emphasizes the building's imposing size and the intricate details of its design. What do you see in this piece? Curator: I see layers upon layers of cultural memory etched into the Basilica and captured here. Consider Venice itself—a liminal space between East and West, a historical nexus of trade, faith, and power. Now look at the basilica. Note the Byzantine influence, those domes, those arches... The symbolism is potent – think of the winged lion of St. Mark, a symbol of power, justice and mercy, deeply woven into Venetian identity. Editor: That’s fascinating! It really is like a physical manifestation of history. What do you mean by liminal? Curator: Liminal space is one of transition—being betwixt and between places. The Byzantine style evokes that sense of the East, as the architecture slowly melds into the Western conventions and cultural norms through the Renaissance. It becomes an entirely Venetian construction. Now what of those blank windows—closed off to prying eyes of potential invaders or political opponents. The entire construction serves a function, and the building’s repeated representation reminds all who visit of this symbolic identity. Editor: Wow, I never considered it like that. So, the building and photograph are really reflections of cultural and historical narratives? Curator: Precisely! Every arch, dome, and shadowed doorway is a testament to Venice’s layered past and continued symbolic power, echoing through time. It invites a contemplation of not only the beauty of the architecture, but also the messages and cultural forces imbedded in it. Editor: This has completely changed how I see this photograph, now it makes so much more sense. Thanks for your insights!