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The Works of Andrea Palladio

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The Italian civilization hosted different arts for ages , it was the home for discoveries and sciences and most importantly for buildings. Through the previous centuries architecture was developed and many styles were created. Taking into consideration the renaissance period and the baroque one. Renaissance is an intellectual movement and an artistic development that occurred in the 15th century. It was considered as a rediscovery of ancient Greek and Latin culture, and the artists of this period were mostly humanists. This movement eventually transformed into an individual style, where Palladian architecture preserved in the works of Andrea Palladio. Andrea Palladio was a renaissance architect, his elevation drawings were considered as standards of classical churches. He was mostly affected by roman and Greek architecture. He added a new renaissance form where he put a classical façade in front of a baslican cross section. He created a combination of 2 temple fronts: one that consisted of four Corinthian columns above the pedestals that held a pediment that is in front of a smaller Corinthian pilasters that matched descending aisle roof.

Along came baroque architecture, during the 16th century this style came as a new form of renaissance architecture that was used to express triumph. However, it moved towards great structures that employed curving shapes and incorporated with landscape. One of its architects Baldassare Longhena, he is considered as contemporary palladio since he may have followed his steps of using complex geometries. Thus, its needed to compare the works of these two to understand the effect of renaissance. One of Palladio’s important masterpieces is the II-Redentore that introduces renaissance architecture.on the other hand we have Santa Maria Della Salute that was designed by Longhena after a competition with many architects to win the honor of creating such an art.But to be able to understand the work we should know the history. The II-redentore came as a votive church were it was essential to build it at the borders of the city, were its façade is reached by the pontoon bridge and it came as a new synthesis between basilica plan and a central one which was shocking. Also Longhena’s masterpiece “ Santa Maria Della salute” had the same purpose as the latter. Il Redentore, was built about fifty years earlier. The Salute was strongly influenced by Palladio’s votive church: it’s a 17th century equivalent of the Redentore.

Palladio’s church was accessed by a bridge, so the façade was perfectly aligned in a certain angle to be seen clearly from the bridge. Though you are once this span to cross the Guidecc, those chapel for its arch takes a gander a considerable measure similar to a central plan building. Also santa maria had a similar topography , where it was located at the entrance of the Grand Canal in Venice. Longhana made the church in the form of an octagon that held a great dome, decorated with sculptures that stand on buttresses. Its façade columns and archs directs the vision to the chapels, whilst the façade of the redentore we have the steps that lead to the doorway build the impact pf parade. Particular case need should truly climb. The exterior might have been likely intended a bit after the fact over the church itself. The place two sanctuary pediments cover one another . those rhythm about triangles, those pediments appears on backing those buttresses that take a gander. All the more in a triangular pediment over a support. Moreover, Palladio turns the tholobate of the Tempietto by Bramante inside out. The colonnade behind the altar was strongly influenced by the Pantheon. Roman bath houses also had a strong influence on the interior of this church. Also that happened in santa maria where turned this church inside out. Longhena placed the cloister (in this case: tower gallery or walkway) inside the church instead of outside, with porticos in front. What palladio did is creation of new style and gave the altar its sacred and holly form and that what longhena tried to do in another form.In baroque architecture its known the interior of the is a shell for paintings and sculptures and usage of curved lines and rounded windows , longhana worked on that , also the illusury effects where he made each side of the building different from the other but somehow managed to keep symmetry. The symmetry in his architecture was influented from palladio, where the intentions was to offer new perspectives, from standard statues to novel curls of stone that buttresses the dome.

Longhana had a taste for dramatic action and emotion using the contrast with color and light , accompanied with rich textures and diagonal plans .In the redentore the high roofs of the nave occupies the great dome, the exterior of terracotta brick and white marble façade, while the santa maria used istrian stone and ,marmorino . this differnace in materials was due to the different times where each church was built. But what was common between the two was the interior that replicates byzantine designs like the ones of santa vitale. At the entrance of Palladio’s, the portal is framed by semi columns, niches framed by statuses, one of them represented St Mark with his symbols, the lion and his gospel and other figure is st Francis . While the façade of the Santa Maria hosted status of saint George- saint Theodore- The evangalists and the prophets, this difference is due to the difference of the dedication of the church. The altar of Santa Maria plays a role in telling the story of the plague and showing the greatness of the church, The altar you directly stand eye-to-eye with when stepping into the church through the main entrance. Sculptor Juste Le Court developed a group of sculptures in 1670 for the main altar, showing the personification of the plague, an old ugly woman, being chased away by an angel. A woman kneels on the left, representing Venice, and Mary with her child is standing in the middle on a cloud with the crescent moon under her. In a style that is characteristic of the Baroque. The cap of the Doge can be seen on the pillow at the bottom in the centre.

However, the one of the redentore was held at the dome crossing, had a circular form that is framed with grey ornementations, that played a role in contrast. Like the Redentore, the Santa Maria della Salute was primarily a votive church and not a monastic church. As described before, most votive churches are placed on hills or other prominent places, usually on the edge of the city or just outside of it. The pilgrims arriving from outside the city had to be overwhelmed. An example is the basilica of Mary on Mount Berico in Vicenza, which we will walk by when we go to Vicenza on Wednesday. Furthermore, the Salute forms animaginary circle that connects the San Marco, the Redentore and the Salute to each other. Palladio generally successfully utilized the curve during those chancel Similarly as An delightful span of the fundamental sacrificial stone. The dramatization of the Redentore, the cognizant production about a building design that impresses those member of the procession, is duplicated Eventually Tom’s perusing Longhena. In the Redentore, the church unfolds of the visitor The point when strolling along the focal point hub. In the salute primary In the axis: door and principle sacrificial stone. Following this same time strolling around the octagonal. You get numerous vistas same time strolling around alternately remaining even now and turning your mind. From those entryway you might see the fundamental altar, Anyway not the opposite six chapels: the perspective will be blocked Toward the extensive columns that convey those arch. Longhena got the clue of a round shelter specifically around the nave starting with promptly christian illustrations for example, those San Vitale On ravenna and the San Costanza Previously, rome. Those main case of a semi-circular shelter done venice camwood a chance to be found Previously, San Zaccaria. Click here to those cross-segment and the map. Along these lines those map is In light of byzantine samples. The observation from claiming space will be Additionally verwoerd uncommon in the San Vitale over Ravenna; you don’t find the structure until you begin strolling.

Since the twelve-month parade began In San Marco and prompt the salute through An pontoon bridge, Longhena aggravated beyond any doubt that those San Marco might Additionally make spoken to Previously, ‘his church’, in any event Previously, certain components from claiming it. The gigantic arch takes a gander a considerable measure like those substantial arch of the San Marco; the external shell is considerably higher over the internal one. Same time palladio didn’t make the San Marco under account, Longhena felt obliged will make a association for San Marco over as much chapel. Both determinedly climbing domes are obviously unmistakable against those Skyline. Baldassare bound together those San Marco Furthermore both chapels Eventually Tom’s perusing palladio clinched alongside as much salute. Like the Redentore, the arch as an afterthought of the Giudecca is flanked Eventually Tom’s perusing two little towers. These interface the two chapels The point when standing with your once more towards the Redentore, taking a gander at the city.

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