Il Redentore
Il Redentore is a church in Venice . The church stands on Giudecca Island , with a view over the canal onto the piazzetta. Along with Santa Maria della Salute, it is one of the two votive churches in Venice which the Signoria founded to save people from the plague . It is also the monastery church of the attached Capuchin monastery . The Redentore Festival is celebrated on the 3rd Sunday in July every year.
history
On September 4, 1576, the Senate of Venice vowed to build a church in honor of the Savior (Italian: Il Redentore ) if the city would be redeemed from the plague, which killed around a quarter of Venice's population at that time, almost 50,000. In the same year Andrea Palladio , who at the time was building San Giorgio Maggiore , designed the building plans. The foundation stone was laid on May 3, 1577 and on May 21 of the same year the first solemn procession took place over a ship bridge , which was built from the Piazzetta over the Canal della Giudecca, to the provisional altar on the construction site. In the summer of that year the plague disappeared from the city. From 1580, the year Palladio died, the building was continued under Antonio da Ponte and inaugurated in 1592.
The famous vedute painter Giovanni Antonio Canal painted the church Il Redentore in oil around 1747–1755.
Redentore festival
Since then, the Redentore Festival has been celebrated every year as thanks for the disappearance of the plague . It will be opened with a one-hour fireworks display at 0:00 in the night from Saturday to Sunday, which is professionally staged and has a large crowd. On Sunday you go over the provisional pontoon bridge built by the military over the otherwise unbridged Canale della Giudecca to the church where the Patriarch of Venice blesses the city. There are also regattas with typical Venetian boats.
architecture
Of the two drafts that Palladio presented to the Signoria, the one for a central building was rejected, and the plan for a longitudinal building that better met the requirements of the Council of Trent for a functioning church space was accepted.
The concept of the facade, over-coupling and alignment of the church takes into account the common long-distance effect with the neighboring church of San Giorgio Maggiore, which was still under construction at the time the Redentore was planned.
In this church, too, Palladio used a colossal order for the design of the facade and this time too he took the model of an ancient temple. But the colossal order of the Redentore is single-storey and is closed at the top by a triangular motif, which has resulted in a greater lightness than in the more massive facade of San Giorgio Maggiore.
It is also ingenious that, when viewed directly from the front, the front of the nave roof takes on the same triangular shape as on the facade, so that there is a particularly clever staggering of the shapes upwards and to the side, each offset in depth to the rear. Overall, we actually have three temple facades nested in one another in front of us. The first frames the entrance with two columns and a small triangular crown. The second encloses this seed form as the actual facade with a large triangle on four pillars - two round inside, two rectangular outside.
And the third can be understood - when viewed directly from the front - as a kind of virtual repetition of this basic shape over several spatial levels. The front of the nave roof is extended as a triangular shape in the recess by the side cut triangles, which results in a virtual triangular shape on several levels that undercuts the large front triangle. This difficult to describe, but easier to experience space and phantasy staggering of triangles is what makes this facade so attractive, which is completed at the top by a huge dome with accompanying turrets in perfect harmony.
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The church is not a basilica , but an elongated hall, which is accompanied by three chapels on each long side. The crossing , which is vaulted by the large dome, is closed by three conches of the same size in plan . This creates the impression of a central building with an extended western arm, the nave, in the crossing . The eastern conche is formed by a column position that closes the high altar room and at the same time opens the room to the following monk choir.
Palladio's architecture of the Redentore - the combination of central building and longitudinal building - is considered the perfect solution in the building history of the 16th century: a central building regarded by theorists and architects of the time as the ideal form of a church, which can be inscribed in the perfect shape of the circle combined with a longitudinal building that meets all the requirements for liturgical purposes: alignment of the congregation towards the sanctuary, processional paths, separate space for the monks and the clear separation of the congregation space and space for the clergy solely through the architecture, as required by the Council of Trent .
literature
- Alberto Weissmüller: Palladio in Venice. 2007. ISBN 88-7200-174-9
Web links
Individual evidence
- ↑ Information on the painting , Italian
Coordinates: 45 ° 25 ′ 29.2 ″ N , 12 ° 19 ′ 55.5 ″ E