Italian civilization has hosted various arts for centuries, has been home to discoveries and sciences and above all to buildings. Over the previous centuries, architecture developed and many styles were created. Taking into consideration the Renaissance and Baroque periods. The Renaissance is an intellectual movement and artistic development that occurred in the 15th century. It was considered 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, in which Palladian architecture is preserved in the works of Andrea Palladio. Andrea Palladio was a Renaissance architect, his elevation drawings were considered standard of classical churches. He was mainly influenced by Roman and Greek architecture. He added a new Renaissance form where he placed a classical facade in front of a Basilian cross section. He created a combination of 2 temple fronts: one that consisted of four Corinthian columns above pedestals holding a pediment that faces smaller Corinthian pillars that matched the roof of the descending nave. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay Along with Baroque architecture, in the 16th century this style became a new form of Renaissance architecture used to express triumph. However, he moved towards large structures that employed curved forms and integrated with the landscape. One of its architects Baldassare Longhena, is considered a contemporary Palladio as he may have followed in his footsteps using complex geometries. Therefore, it is necessary to compare the works of these two to understand the effect of the renaissance. One of Palladio's most important masterpieces is the II-Redentore which introduces Renaissance architecture. On the other hand we have Santa Maria Della Salute which was designed by Longhena after a competition with many architects to win the honor of creating such art. But to be able to understand the work we should know the story. The II-Redentore was born as a votive church where it was essential to build it on the edge of the city, where its façade is reached by the pontoon bridge and presented itself as a new synthesis between the basilica plan and the central one which shocked. Longhena's masterpiece “Santa Maria Della salute” also had the same purpose as the latter. The Redentore had been built about fifty years earlier. La Salute was strongly influenced by Palladio's votive church: it is a seventeenth-century equivalent of the Redentore. Palladio's church was accessed from a bridge, so the facade was perfectly aligned at a certain angle to be seen clearly from the bridge. Although you are once at this point to cross the Guidecc, that chapel due to its arch takes on an appearance very similar to a centrally planned building. Santa Maria also had similar topography, where it was located at the mouth of the Grand Canal in Venice. Longhana created the octagon-shaped church which supported a large dome, decorated with sculptures resting on buttresses. The columns and arches of its facade direct the view to the chapels, while on the facade of the Redeemer we have the steps leading to the portal that create the impact of the parade. The need for special cases should really increase. The exterior could probably have been conceived a little after the events above the church itself. The place where the two pediments of the sanctuary cover each other. that rhythm on the triangles, those pediments appear on the support of those buttresses that give a look. Even more so in a triangular pediment on a support. Furthermore, Palladio reverses the tholobate of Bramante's Tempietto. Thecolonnade behind the altar was heavily influenced by the Pantheon. The Roman baths also had a strong influence on the interior of this church. That also happened in Santa Maria where it shocked this church. Longhena placed the cloister (in this case: tower gallery or patrol walkway) inside the church instead of outside, with porticoes in front. What Palladio did was create a new style and gave the altar its sacred and holy form and what Longhena tried to do in another form. In baroque architecture it is known that the interior of the altar is a shell for paintings and sculptures and the use of curved lines and rounded windows, longhana worked on this, also on the illusory effects in which he made each side of the building different from the other but somehow managed to maintain the symmetry. The symmetry in its architecture was influenced by Palladio, where the intention was to offer new perspectives, from the standard statues to the new stone curls supporting the dome. Longhana had a taste for dramatic action and emotion using contrast with color and light, accompanied with rich textures and diagonal planes. In the Redeemer the high roofs of the central nave occupy the large dome, the exterior in terracotta bricks and the facade in white marble, while that of Santa Maria used Istrian stone and marmorino. this difference in materials was due to the different times in which each church was built. But what united the two was the interior which replicated Byzantine designs like those of Santa Vitale. At the entrance to the Palladio, the portal is framed by semi-columns, niches framed by statues, one of which represents San Marco with his symbols, the lion and his gospel and the other figure is San Francesco. While the façade of Santa Maria housed the status of San Giorgio- San Teodoro- The evangelists and the prophets, this difference is due to the different dedication of the church. The altar of Santa Maria plays a role in telling the story of the plague and showing the grandeur of the church. The altar you are directly eye to eye with when you enter the church through the main entrance. The sculptor Juste Le Court created a sculptural group for the high altar in 1670, depicting the personification of the plague, an ugly old woman chased away by an angel. A kneeling woman on the left, representing Venice, and Mary with her child is standing in the center on a cloud with the crescent moon below her. In a characteristic Baroque style. On the cushion at the bottom center you can see the Doge's cap. That of the redeemer, however, was held at the intersection of the dome, had a circular shape framed by gray ornaments, which played a contrasting role. Like the Redentore, Santa Maria della Salute was primarily a votive church and not a monastic church. As described above, most votive churches are located on hills or other prominent locations, usually on the edge of the city or just outside it. Pilgrims arriving from outside the city must have been overwhelmed. An example is the Basilica of Mary on Monte Berico in Vicenza, which we will pass by on Wednesday when we go to Vicenza. Furthermore, the Salute forms an animated circle that connects the San Marco, the Redentore and the Salute to each other. Palladio generally successfully used the curve during the chancel equally as a delightful span of the fundamental sacrificial stone. The dramatization of the Redeemer, the conscious production of a building design that impresses the members of the procession, is duplicated at the end in Tom's reading of Longhena. In the Redentore, the church opens up to the visitor as they stroll along the central hub. In the primary greeting In the axis: door and main sacrificial stone. Afterwards walking around.