The interior presents a slight elevation above the level of the plaza. The construction, mostly made of brick, was covered with oriental marbles, sculptures, bronzes, mosaics and columns to give an impression of luxury and sumptuousness. The profuse use of gold in the mosaics stands out, giving the environment a warm light.

As soon as you enter, to the right, you can see a century-old porphyry font and the baptistery. On the altar there is a large block of granite that serves as a table, brought from Tire in the 16th century, from which, according to tradition, Christ spoke to the crowd.

The basilica has three naves. The presbytery is limited by the large iconostasis of Byzantine influence, crowned by statues of the Virgin, Saint John and the Apostles.

In the central nave, on the back of the tympanum of the main door, there is a mosaic from the century that represents Christ, the Virgin and Saint Mark.

Behind the main altar is the Pala d’Oro, a work of Byzantine and Venetian goldsmithing carried out between the 20th and 30th centuries. This altarpiece was made with enamels set in gold and silver settings adorned with precious stones.

The basilica was a place where musicians such as Adrian Willaert, Giovanni Gabrielli and Claudio Monteverdi composed their works. The architecture and acoustic phenomenon of the basilica gave rise to the Venetian polychoral style. The style consisted of spatially separating the vocal choirs or group of instruments. The different domes created localized reverberation fields, which by separating the different instruments or voices, created different stereo and echo effects between listeners. Gabrielli, who was the venue's organist for 27 years, made the most use of the effects of this space, including instrumental separation, call-and-response sequences, and echo effects. He was also a pioneer in the use of dynamism "Dynamics (music)") in compositions, although its use was in moderation. The resource was later exploited in romanticism. This style later became concerto grosso.[4]​.

• - History of medieval Arab and Western European domes.

• - The content of this article incorporates material from an entry of the Free Universal Encyclopedia, published in Spanish under the Creative Commons Share-Alike 3.0 license.

• - Wikimedia Commons hosts a multimedia category on St. Mark's Basilica "commons:Category:St. Mark's Basilica (Venice)").

• - St. Mark's Basilica, official website.

• - Reserve privileged entry to the Basilica of Saint Mark Venice (English).

• - St. Mark's Basilica in Venice.es, the city's tourist guide (in Spanish).

• - A Venetian ceremony, April 30, 2010 broadcast of Old Music, Classical Radio program: reconstruction of the gratitude ceremony on Nov. 21. of 1631 for the end of the plague "Italian Plague (1629-1631)").

The interior presents a slight elevation above the level of the plaza. The construction, mostly made of brick, was covered with oriental marbles, sculptures, bronzes, mosaics and columns to give an impression of luxury and sumptuousness. The profuse use of gold in the mosaics stands out, giving the environment a warm light.

As soon as you enter, to the right, you can see a century-old porphyry font and the baptistery. On the altar there is a large block of granite that serves as a table, brought from Tire in the 16th century, from which, according to tradition, Christ spoke to the crowd.

The basilica has three naves. The presbytery is limited by the large iconostasis of Byzantine influence, crowned by statues of the Virgin, Saint John and the Apostles.

In the central nave, on the back of the tympanum of the main door, there is a mosaic from the century that represents Christ, the Virgin and Saint Mark.

Behind the main altar is the Pala d’Oro, a work of Byzantine and Venetian goldsmithing carried out between the 20th and 30th centuries. This altarpiece was made with enamels set in gold and silver settings adorned with precious stones.

The basilica was a place where musicians such as Adrian Willaert, Giovanni Gabrielli and Claudio Monteverdi composed their works. The architecture and acoustic phenomenon of the basilica gave rise to the Venetian polychoral style. The style consisted of spatially separating the vocal choirs or group of instruments. The different domes created localized reverberation fields, which by separating the different instruments or voices, created different stereo and echo effects between listeners. Gabrielli, who was the venue's organist for 27 years, made the most use of the effects of this space, including instrumental separation, call-and-response sequences, and echo effects. He was also a pioneer in the use of dynamism "Dynamics (music)") in compositions, although its use was in moderation. The resource was later exploited in romanticism. This style later became concerto grosso.[4]​.

• - History of medieval Arab and Western European domes.

• - The content of this article incorporates material from an entry of the Free Universal Encyclopedia, published in Spanish under the Creative Commons Share-Alike 3.0 license.

• - Wikimedia Commons hosts a multimedia category on St. Mark's Basilica "commons:Category:St. Mark's Basilica (Venice)").

• - St. Mark's Basilica, official website.

• - Reserve privileged entry to the Basilica of Saint Mark Venice (English).

• - St. Mark's Basilica in Venice.es, the city's tourist guide (in Spanish).

• - A Venetian ceremony, April 30, 2010 broadcast of Old Music, Classical Radio program: reconstruction of the gratitude ceremony on Nov. 21. of 1631 for the end of the plague "Italian Plague (1629-1631)").