View of chancel altar
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CHANCEL
The chancel of the Miracoli was added to the structure following the revision of the original plan in 1484. Pietro Lombardo raised the chancel in order to accommodate both the chancel and the sacristy in a rather limited space. Even though such an arrangement was not unprecedented in Venice (for example, San Marco has a raised chancel), it was rather rare. The nearly square chancel measures approximately 24 feet, and it is separated from the nave by a grand arch. The straightforward and clear forms of the chancel are contrasted by its complex, extensive and playful ornament. Sumptuous floral and figural carvings "all'antica" decorate the pilasters, bases and entablatures. The carvings reach a highpoint in the pierced marble parapet surrounding the altar, where the marble panels have been replaced by filigree-like marble screens. This marble work displays Pietro Lombardo and especially his brother Tullio's great skill at and love of carving. The decoration in the chancel, however, is not limited to stone carving: the two wooden doors to the left and right of the alter are decorated with delicate wooden intarsia (inlay). The Miracoli's rich and intricate carvings are complemented by the elegant natural veining of its uncarved marble panels.
A lightweight brick dome rises from a round drum and covers the chancel. The pendentive triangles, which connect the square base to the round drum, are pierced with round reliefs of the four Evangelists. Delicately carved decorations, which characterize the entire chancel area, reach up into the cupola: moldings and frames, such as the ones binding the pendentives and holding the carved medallions in place, are covered with decorative dentil patterns. Delicate golden stars on an off-white background decorate the inside of the dome. The lantern that tops the chancel remains invisible from the inside.
On the outside of the chancel, a campanile (bell tower) stands nestled into the corner created by the abutment of the chancel. A small round dome, which reiterates the shape of the chancel dome, covers the octagonal tower. The campanile's marble paneling follows the pattern of the rest of the church, yet this octagonal structure appears to intrude on the otherwise symmetrical building.
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