The Non Basilica del Santissimo Redentore, commonly known as Il Redentore, dominates the skyline of the island of Giudecca. It was built as a votive church in thanksgiving for deliverance from a major outbreak of the plague that decimated Venice between 1575 and 1576, in which some 46,000 people (25–30% of the population) died. The Senate of the Republic of Venice commissioned the architect Andrea Palladio to design the votive church. Though the Senate wished the Church to be square plan, Palladio designed a single nave church with three chapels on either side. Its prominent position on the Canale della Giudecca gave Palladio the opportunity to design a facade inspired by the Pantheon of Rome and enhanced by being placed on a wide plinth.
The cornerstone was laid by the Patriarch of Venice Giovanni Trevisano on May 3, 1577 and the building was consecrated in 1592. At the urgent solicitations of Pope Gregory XIII, after consecration the church was placed in charge of the Order of Friars Minor Capuchin. A small number of Friars reside in the monastery attached to the church.
Il Redentore has one of the most prominent sites of any of Palladio's structures, and is considered one of the pinnacles of his career. It is a large, white building with a dome crowned by a statue of the Redeemer. On the façade a central triangular pediment overlies a larger, lower one. This classical feature recalls Palladio's façade for San Francesco della Vigna, where he used an adaptation of a triumphal arch. Palladio is known for applying rigorous geometric proportions to his façades and that of Redentore is no exception. The overall height is four-fifths that of its overall width whilst the width of the central portion is five-sixths of its height.
It has been suggested that there are some Turkish influences in the exterior, particularly the two campaniles which resemble minarets.
As a pilgrimage church, the building was expected to have a long nave, which was something of a challenge for Palladio with his commitment to classical architecture. The result is a somewhat eclectic building, the white stucco and gray stone interior combines the nave with a domed crossing in spaces that are clearly articulated yet unified. An uninterrupted Corinthian order makes its way around the entire interior.
Il Redentore contains paintings by Francesco Bassano, Lazzaro Bastiani, Carlo Saraceni, Leandro Bassano, Palma the Younger, Jacopo Bassano, Francesco Bissolo, Rocco Marconi, Paolo Veronese, Alvise Vivarini and the workshop of Tintoretto. The sacristy also contains a series of wax heads of Franciscans made in 1710.
References:Rosenborg Palace was built in the period 1606-34 as Christian IV’s summerhouse just outside the ramparts of Copenhagen. Christian IV was very fond of the palace and often stayed at the castle when he resided in Copenhagen, and it was here that he died in 1648. After his death, the palace passed to his son King Frederik III, who together with his queen, Sophie Amalie, carried out several types of modernisation.
The last king who used the place as a residence was Frederik IV, and around 1720, Rosenborg was abandoned in favor of Frederiksborg Palace.Through the 1700s, considerable art treasures were collected at Rosenborg Castle, among other things items from the estates of deceased royalty and from Christiansborg after the fire there in 1794.
Soon the idea of a museum arose, and that was realised in 1833, which is The Royal Danish Collection’s official year of establishment.