Varano Sand Sculpture Company LLC
The Sultans 0f Sand Worldwide
Jesolo International Sand Sculpture Festival 2012 "Venice"
St. Mark’s BasilicaSt. Mark’s area had been, since the arrival of the Evangelist’s body in Venice (828) up to the fall of the Republic (1797), the concrete image of the legitimacy of the Venetian State, independence of its government, and unity of its people. The magnificence of its extraordinary monuments is the reflection; the mirror of a “true-myth” tenaciously built, defended, and finally universally recognised: the one of the Most Serene Republic of Venice.
St. Mark’s was the place of civil action: a grand political, justice, and administration “machine”, evidence of the culture and religiousness of the State. The Piazza and the Piazzetta became the theatre of feasts and games, but at the same time they were the place of “exemplary” judgement and punishment, piazza d’armi (parade ground), fair, and the place where the myth of Venice was celebrated
The Ducal Palace
The Ducal Palace was erected in 810 when the Doge Agnello Particiaco transferred the ducal headquarters to the Realtine archipelago. It marked the beginning of the urban history of Venice and oriented its development becoming the reference architectonical model.
The Ducal Palace had all the characteristics and functions of the government:
- it was the residence of the Doge, Head of State, and image of sovereignty, dignity, and magnificence of the Most Serene Republic of Venice;
- it was the seat of the political-legislative assemblies (Maggior Consiglio (Higher Council), Pregadi (Senators));
- it was the seat of the executive power (Signoria (Lordship), Consiglio dei Dieci (Council of Ten), Collegio (Board));
- it was the “Court” seat of the most important investigative and judging magistracies (Quarantia criminale (Council of Forty), Consiglio dei X (Council of Ten), Iquisitori di Stato (State Inquisitors)), but also place of punishment (pozzi (wells), piombi (leads), camerotti (rooms)) and expiation;
- it was the seat of many administrative and control magistracies and of the historical memory of the Republic (the archives).
Architectonically the Ducal Palace was the symbol of power was evolving, but always following a jealously kept tradition: after the disastrous fires of 1574 and 1577 they decided to rebuild it in the original Gothic forms, giving up the Palladian design, in deference to the primary value of continuity.
St. Mark’s Basilica was the Ducal Chapel, that is church of the state (it became a Patriarchal seat only in 1807 in place of the church of San Pietro di Castello) and as such depended directly from the Doge who appointed his clergy led by the “Primicerio” (Primicerius).
St. Mark’s Basilica contains both religious and civil characters: here the Doge was consecrated, here the “Capitani da mar” (Sea Captains) and the commanders of the army received the insignias of command, here the Venetians gathered during the most difficult or happiest periods of their history. Supreme monument of the Most Serene republic of Venice, keeper of the relics of the Evangelist and treasure of the State, the Basilica was entrusted to the protection of the Procurators of St. Mark.
|1.) Susanne Ruseler - Holland
the Doge & The Lion of Venice
2.) Ilya Filamontsev - Russia
Invasion of the Goths
3.) Etual Ojeda -Spain
The relics of St Mark
|4.) Karen Fralich
The Pope, Barbarossa & the Doge
5.) Brad Goll - USA
Arsenale & Buccintoro
6.) John Gowdy - Italy
|7.) John Gowdy - Italy
8.) John Gowdy - Italy
9.) Sikke-Bart Freiling - Netherlands
Santa Maria Salute church
|10.) Bill Dow -
Casanova at Piombi
11.) Leonardo Ugolini - Italy
St Marks Basilica
12.)Michela Ciapinni - Italy
|13.) David Ducharme
14.) Andrius Petkus - Lithuania
Damon Farmer - USA
|Arena Ojeda - Spain Christine Nichol - Canada|| Hazel Nichol Ducharme
- Canada Laura Gowdy Cimador
|Directed by: Rich
Varano - USA
|| Assistant to the Director: Elena Lana
|Photos of the work
||The Finished Sculptures
|Images from around the show