Il Redentore is a church in Venice. The church stands on the island of Giudecca, with the view over the canal on the Piazzetta. It is next to Santa Maria della Salute one of the two votive churches of Venice, which have been donated by the Signoria to salvation from the plague. It is the same monastery church of affiliated Capuchin monastery. Every year is celebrated the Redentore festival in July on the 3rd Sunday.
On September 4, 1576, the Senate of Venice vowed to build a church in honor of the Redeemer (it. Il Redentore ) when the town was freed from the plague, in which about a quarter of the then population of Venice, nearly 50,000 people died. In the same year, he designed Andrea Palladio, who was concerned at this time with the construction of San Giorgio Maggiore, the blueprints. On 3 May 1577 the cornerstone was laid on 21 May of the same year saw the first solemn procession on a ship's bridge, which was beaten by the Piazzetta from over the Canal della Giudecca to the makeshift altar at the site instead. In the summer of the same year the plague had disappeared from the city. From 1580, the year of Palladio, the construction was continued under Antonio da Ponte and inaugurated in 1592.
The famous landscape painter Giovanni Antonio Canal painted the church Il Redentore circa 1747-1755 in oil.
In gratitude for the disappearance of plague every year is celebrated the Redentore festival ever since. Opened it with a one-hour fireworks at 0:00 in the night from Saturday to Sunday, which is staged professionally and has a big demand. On Sunday you go about the temporary housing built by the military pontoon bridge over the otherwise unüberbrückten Giudecca Canal to the church, in which the Patriarch of Venice blesses the city. Likewise regattas with typical Venetian boats instead.
Of the two drafts, which produced Palladio of the Signoria, was rejected for a central building and the plan of a Longitudinalbaus that met the specifications of the Council of Trent for a functioning church better accepted.
The concept of facade, over- coupling and alignment of the Church consider the combined action at a distance with the adjacent church of San Giorgio Maggiore, which was still under construction at the time of planning of the Redentore.
Also in this church Palladio has gripped for the design of the facade to a giant order and this time he has taken the model of an ancient temple. But the giant order of Redentore is one storey and is terminated by a triangular motif upwards, which has led to greater ease than in the massive facade by Giorgio Maggiore.
Subtle is also that when viewed directly the same from the front, the front side of the nave roof triangle takes shape as on the facade, so that here there is a particularly clever staggering of the forms up and to the side, each adjusted in depth to the rear. Overall, we have actually three temples facades nested in front of us. The first framed the entrance with two columns and a small Dreiecksbekrönung. The second surrounds this embryonic form as the actual facade with a large triangle on four pillars - two round inside, two rectangular outside.
And the third can be understood - in direct view from the front - as a kind of virtual repetition of this basic shape over several spatial levels. The front of the nave roof is a triangle shape extended in the recess by the side curled triangles, resulting in a virtual triangle shape results on several levels, which undercuts the large front triangle. This is hard to describe, but easier to experiencing space and imagination graduation of triangles is the appeal of this facade, which is closed at the top by a huge dome with accompanying turrets in perfect harmony.
The Church is not a basilica but an elongated hall, accompanied on each longitudinal side of three chapels. The crossing, which is surmounted by the great dome is closed by three equally large floor plan conches. This gives the impression of a central building is with an extended western arm, the nave generated in the crossing. The eastern conch is formed by a row of columns, which terminates the high altar space and opens up the space to the following monk choir.
Palladian architecture of the Redentore - the combination of central- and Longitudinalbau - considered to provide total solution in the architectural history of the 16th Century: A by theorists and architects of the time as the ideal form of a church respected central building, which can be written in the perfect shape of the circle is required orientation of the community on the altar, processional paths, separate room for the monks and a clear separation of church space and space for the clergy alone by the architecture, such as the Council of Trent: connected to a Longitudinalbau that meets all the conditions required for liturgical purposes.