Italian civilization has hosted different arts for centuries, it has been the home of discoveries and sciences and especially buildings. In 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 developed into an individual style, where Palladian architecture was preserved in the works of Andrea Palladio. Andrea Palladio was a Renaissance architect, his elevation drawings were considered standard for classical churches. It was mainly influenced by Roman and Greek architecture. He added a new Renaissance form by placing a classical facade in front of a baslican cross section. He created a combination of two temple facades: one consisting of four Corinthian columns above pedestals that supported a pediment in front of smaller Corinthian pilasters that matched the roof of the descending aisle. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get the original essay Along with Baroque architecture, in the 16th century this style emerged as a new form of Renaissance architecture used to express triumph. However, it evolved into large structures using curved shapes and integrated into the landscape. One of its architects, Baldassare Longhena, is considered a contemporary Palladio because he may have followed in his footsteps using complex geometries. It is therefore necessary to compare the works of these two to understand the effect of the Renaissance. One of Palladio's 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. to understand the work, we must know the story. The II-redentore appeared as a votive church where it was essential to build it at the limits of the city, where its facade is reached by the pontoon bridge and it presented itself as a new synthesis between the basilica plan and a plan central which was shocking. Longhena's masterpiece, "The Salvation of Santa Maria Della", also served the same purpose as the latter. Il Redentore was built around fifty years earlier. The Salvation was strongly influenced by Palladio's votive church: it is an equivalent of the 17th century Redentore. Palladio's church was accessed by a bridge, so the facade was perfectly aligned at a certain angle to be clearly seen from the bridge. Although you are once on this span to cross the Guidecc, this chapel for its arch takes on a considerable dimension similar to a central plan building. Santa Maria also had a similar topography, where it was located at the entrance to the Grand Canal of Venice. Longhana created the church in the form of an octagon which supported a large dome, decorated with sculptures resting on buttresses. Its columns and facade arches direct the vision towards the chapels, while on the facade of the redentore we have the steps that lead to the door which form the impact of the parade. The needs of special cases should really increase. The exterior would probably have been designed somewhat as an afterthought on the church itself. The place where two pediments of the sanctuary overlap. this rhythm around the triangles, these pediments appear onthe teenagers, these foothills which take a look. Even more so in a triangular pediment on a support. Palladio also reverses the tholobate in Bramante's Tempietto. The colonnade behind the altar was heavily influenced by the Pantheon. The Roman baths also had a strong influence on the interior of this church. This also happened in Santa Maria, where this church was turned upside down. Longhena placed the cloister (in this case: gallery tower or walkway) inside the church rather than outside, with porticos in front. What Palladio did was the creation of a new style and gave the altar its sacred and sacred form and this is 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, as well as illusion effects where he made each side of the building different from the other but somehow managed to keep the symmetry. The symmetry of its architecture was influenced by Palladio, where the intention was to offer new perspectives, from standard statues to new stone loops that support the dome. Longhana had a taste for dramatic action and emotion using contrast with color and light, accompanied by rich textures and diagonal planes. In the redentore, the high roofs of the nave occupy the large dome, the exterior is in terracotta brick and the facade in white marble, while the Santa Maria used Istrian stone and marmorino. this difference in materials was due to the different periods of construction of each church. But what was common between the two was the interior which reproduced Byzantine designs like those of Santa Vitale. At the entrance to Palladio, the portal is framed by half-columns, niches framed with statutes, one of them represents Saint Mark with his symbols, the lion and his gospel and the other figure Saint Francis. While the facade of Santa Maria housed the statute of Saint George, Saint Theodore, the evangelists and the prophets, this difference is due to the difference in the 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 that you come directly face to face with when you enter the church through the main entrance. The sculptor Juste Le Court created a group of sculptures for the high altar in 1670, representing the personification of the plague, an ugly old woman chased away by an angel. A kneeling woman on the left represents Venice, and Mary with her child stands in the middle on a cloud with the crescent moon beneath her. In a characteristic baroque style. The Doge's hat is visible on the pillow at the bottom center. However, that of the Redeemer, which stood at the intersection of the dome, had a circular shape framed by gray ornaments, which played a role of contrast. Like the Redentore, the Santa Maria della Salute was above all a votive and not a monastic church. As described earlier, most votive churches are located on hills or in other prominent locations, usually on the outskirts 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 Mount Berico in Vicenza, which we will visit on Wednesday when we go to Vicenza. In addition, the Salvation forms an imaginary circle that connects the San Marco, the Redentore and the Salvation together. Palladio generally used the curve of the choir to great effect, as did a beautiful span of the fundamental sacrificial stone. The dramatization of the Redentore, the conscious production of a building design that impresses the members of.