The Redentore Church and Restored Garden.
The Redentore Church and Restored Garden. Discover its architectural splendour, then relax in one of the most delightful gardens in Venice.
Commonly known as Il Redentore (Church of the Most Holy Redeemer), and dominating the skyline of Guidecca island, Dorsoduro; this 16th century church was designed by Italian Renaissance architect Andrea Palladio, and was built as a votive church to thank God for the deliverance of the city, from a major outbreak of the plague.
It’s a place where Palladian elegance blends seamlessly with modern revitalization – an oasis of tranquility and cultural heritage that’s truly worth a visit.
The church is a member of the Chorus Association of Venetian churches and contains significant artwork including paintings by artists including Tintoretto, Paolo Veronese, and Francesco Bassano.
This post is a collaboration with guest contributor, Charlotte Seal.
Getting There
The Redentore Church on Giudecca is served by Vaporetto Line 2, which runs along the Giudecca Canal and connects key points like San Marco, San Giorgio Maggiore, Zitelle, and Redentore before continuing toward Zattere, Piazzale Roma, and Rialto.
Vaporetto lines 4.1 and 4.2 both stop at Redentore on Giudecca, making them excellent alternatives to Line 2 depending on your starting point and direction of travel.
Line 4.1 runs counterclockwise around Venice, passing through Giudecca (including Redentore), Piazzale Roma, Fondamente Nove, and Murano.
Line 4.2 runs the clockwise route, also stopping at Redentore, and loops through similar points in reverse order.
These lines are especially useful if you’re planning a broader circuit around the lagoon or want to connect with Murano or the cemetery island of San Michele. They’re a bit slower than Line 2, but offer a more panoramic journey – ideal if you’re soaking in the atmosphere or sketching out a thematic route.
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The Redentore Church and Restored Garden – History of the Church
Capuchin friars had first settled on Guidecca island, Dorsoduro in the 1530s, establishing the small church and convent of “Santa Maria degli Angeli”, commissioned by the friars of San Francesco della Vigna, situated close to the north-west coast of the Castello district.
Il Redentore was built as a votive church in thanksgiving for deliverance from a major outbreak of the plague that decimated the population of Venice between 1575 and 1576; in which some 46,000 people (estimated to be 25 – 30% of the population) died. It celebrates the communal resilience in the face of catastrophe, the power of art and ritual to transmute fear into faith and how built spaces can anchor collective memory and future hope.
The architect Andrea Palladio, was commissioned by the Senate of the Republic to design the votive church. Against the wishes of the Church who preferred a square plan, Palladio designed a single nave church with three chapels on either side; thus ensuring an unbroken sightline to the high altar. The facade was inspired by the Pantheon of Rome and enhanced by being placed on a wide plinth. As a direct reference to the Temple of Jerusalem, fifteen steps were required to reach the church’s entrance; in line with Palladio’s own requirement that “the ascent (of the faithful) will be gradual, so that the climbing will bring more devotion“.
Trevisan, the Patriarch of Venice Giovanni, laid the cornerstone on 3 May 1577, and the building was consecrated in 1592. By the will of Pope Gregory XIII after its consecration, the church was placed in charge of the Order of Friars Minor Capuchin. Today, a small number of Friars reside in the monastery attached to the church. Every year the doge and senators walked across a specially constructed pontoon bridge from the Zattere to Giudecca, to attend Mass in the church. The Festa del Redentore remains a major festival in the Venetian calendar, celebrated on the third Sunday in July. A huge firework display on the previous evening is followed by a mass procession across the pontoon bridge.
Exterior. 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 smaller, 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 this church 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 eastern influences in the exterior, particularly the two campanili which resemble minarets.
Interior. 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.
Art work. 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. Painted by Canaletto a number of times, a notable example is held at Woburn Abbey, England.
Scuola di P. Veronese, “Il Battessimo a di Christo” XVI C. Scuola del Tintoretto, “Flagellazione di Christo”. XVI C.
The Festa del Redentore.
A traditional and visually stunning festival in Venice; every year celebrating deliverance from a 16th C plague and the construction of Palladio’s Church.
This centuries-old celebration is a poignant blend of religious devotion, historic remembrance, and vibrant festivity, encapsulating the spirit of the Venetians. Taking place during the weekend of the third Sunday of July, the “Festival of the Redeemer”; combines religious events, the construction of a pontoon bridge, a huge firework display, a regatta and mass celebratory parties for families and friends. For 2025, the event will take place on Saturday, July 19th, and Sunday, July 20th.
The Church can be reached by pilgrims during the festival, by means of an impressive 330-metre-long pontoon bridge; connecting the Zattere on the southern side of the district of Dorsoduro, with Guidecca island. The Festa del Redentore
What are key design principles in Palladio’s architecture?
Andrea Palladio’s architecture is a symphony of classical ideals, mathematical precision, and serene beauty. His design principles, distilled from ancient Roman models and reimagined for Renaissance life, continue to shape architecture across centuries. These principles weren’t just aesthetic – they reflected Palladio’s belief that architecture should embody reason, order, and civic virtue.
Here are the foundational elements:
1. Core Principles: Symmetry, Proportion & Order. Drawn directly from Vitruvius’s tenets on “firmitas, utilitas, venustas,” Palladio re-interpreted ancient Roman and Greek forms through mathematical ratios, believing beauty arose when parts related harmoniously to the whole. His 1570 treatise “I Quattro Libri dell’Architettura” codified these ideas, showing how to translate classical temples into residential villas and civic buildings, and championing a universal architectural language based on proportion.
2. Temple Fronts. He famously adapted the Roman temple façade, pediment and columns, for his commissions for both villas and churches. This gave even domestic buildings, a sense of grandeur and civic dignity. Deep loggias and recessed porticoes not only provided shade in the Italian climate, but created rhythmic shadows that enlivened otherwise planar walls.
3. The Serliana (Venetian Window). A hallmark of Palladian design, this tripartite window features a central arched opening flanked by two rectangular ones. It balances solid and void, light and shadow, with elegant restraint.
4. Hierarchy of Orders. Palladio often used superimposed classical orders—Doric, Ionic, Corinthian—stacked vertically to create a sense of upward refinement and structural clarity.
5. Centralized Plans and Clear Geometry. His buildings often feature square or circular central halls, with rooms radiating symmetrically. This clarity of plan made movement intuitive and reinforced the harmony of the whole.
6. Rustication and Surface Contrast. He contrasted rough-textured stone at the base (rustication) with smooth upper walls, grounding the building visually while elevating its elegance.
How does Palladian’s Renaissance architecture compare to Baroque architecture?
Palladian and Baroque architecture are both rooted in antiquity, yet express themselves in dramatically different ways. Here’s how they compare:
1. Philosophy and Intent
- Palladian: Seeks rational harmony and serene proportion. Inspired by ancient Roman ideals, it emphasizes clarity, restraint, and civic virtue
- Baroque: Aims to awe and move the viewer. It’s theatrical, emotional, and often used by the Catholic Church and monarchies, to assert power and divine authority.
2. Form and Composition
- Palladian: Symmetrical façades – Temple fronts with pediments and columns – Clear geometric plans (squares, circles) – Minimal ornamentation
- Baroque: Dynamic curves and ovals – Dramatic contrasts of light and shadow (chiaroscuro in architecture) – Asymmetry and layered complexity – Lavish decoration (stucco, gilding, frescoes)
3. Light and Space
- Palladian: Uses light to enhance calm and clarity. Interiors are luminous but controlled, often with evenly spaced windows.
- Baroque: Manipulates light for drama—spotlighting altars, creating mystery in shadowed recesses, and guiding emotional experience.
4. Material and Texture
- Palladian: Prefers smooth stucco or Istrian stone, with rusticated bases for contrast. Texture is subtle, emphasizing form.
- Baroque: Embraces rich textures—marble, gilded wood, painted ceilings—to overwhelm the senses.
5. Cultural Context
- Palladianism: Flourished in the Veneto, then spread to England and colonial America as a symbol of Enlightenment ideals and republican virtue.
- Baroque: Originated in Rome, spreading across Catholic Europe (Spain, Austria, southern Germany) as a Counter-Reformation tool.
Some key examples of Palladio inspired buildings.
From the Veneto to the World, Palladianism spread across Europe in the 17th-18th centuries; driving Britain’s grand country houses and later colonial America’s civic buildings. Inigo Jones, Colen Campbell and Lord Burlington all drew heavily on Palladio’s “Four Books” to craft an Anglo-Palladian tradition
Here are some of his most iconic works – each a masterclass in translating ancient ideals into Renaissance form, evoking timeless beauty.
Venice.
- Il Redentore – A votive church on Giudecca, where Palladio’s classical facade and single nave plan express solemnity and hope.
- San Giorgio Maggiore – Facing the Doge’s Palace across the St Mark’s Basin, this church’s white façade and luminous interior exemplify Palladio’s mature ecclesiastical style.
- The facade of San Francesco della Vigna, said to be his first classical design in Venice. It is thought that the patrician Daniele Barbaro, lobbied for its commission to be switched from Sansovino to Palladio in 1562; convincing the new sponsor Giovanni Grimani, that it was of a more modern design concept. San Francesco della Vigna – Images of Venice
In and around Vicenza, (UNESCO World Heritage Site)
- Villa Capra “La Rotonda”. Perhaps his most famous villa, this symmetrical hilltop residence near Vicenza features four identical temple facades and a central domed hall, echoing the Pantheon.
- Basilica Palladiana. A civic building in Vicenza’s main square, reimagined with Palladio’s signature Serliana arches and rhythmic loggias.
- Teatro Olimpico. The world’s oldest surviving indoor theatre, designed with a trompe-l’œil stage set that mimics a Roman street scene.
- Villa Barbaro. A country estate blending architecture with frescoes by Veronese, where Palladio’s spatial clarity meets pastoral elegance.
UK
- Chiswick House – Designed by Lord Burlington, this London villa is a direct homage to La Rotonda, sparking the English Palladian revival.
- Holkham Hall – A grand Norfolk estate co-designed by William Kent, often called the most splendid Palladian house in England.
USA
- Monticello – Thomas Jefferson’s Virginia home, inspired by Palladio’s villas and his Four Books of Architecture.
- The White House – While not strictly Palladian, its neoclassical symmetry and portico reflect Palladio’s enduring influence.
The Redentore Church and Restored Garden – Restoration and Opening.
Capuchin friars had first settled on Guidecca island, Dorsoduro in the 1530s, establishing the small church and convent of “Santa Maria degli Angeli”, commissioned by the friars of San Francesco della Vigna, situated close to the north-west coast of the Castello district. Their adjacent garden played a vital role in the life of the friars and local community.
Set behind the church, the 1 hectare garden, ran from the back of the church’s apse, with fine views to the south lagoon and its islands. It followed the traditional monastic design, with a regular cross-shaped layout. Pergolas would have marked out various functional spaces: a flower garden for decorating the church, a vegetable garden for feeding the friars and soup for the poor at the convent’s door, and a herb garden for natural remedies. A small apiary provided honey, while a central pond enabled irrigation. To the south of the garden are the the old workshops, important in the daily life of the convent: a carpentary shop, a wool mill, a blacksmith’s forge and an area for producing “mistra”, a liqueur mixed with water to celebrate the Day of the Redeemer. There were also two meditation chapels for the monks. Behind these srtuctures was another small garden overlooking the southern lagoon. Over time, the garden and many of its structures had fallen into disrepair. However, the garden faced significant destruction during the “acqua alta,” the record-breaking 187 cm (6 feet, 2 inches) high tide on November 12, 2019, which submerged and severely impacted the entire city of Venice.
To remedy the damage to this important record of Venetian landscape, culture, and religion, the Friars, obtained authorization for a complete restoration work; which was entrusted, to the Venice Gardens Foundation Project. They had overseen the restoration the Giardini Reali (Royal Gardens) in Piazza San Marco as its first project, finishing on December 17, 2019.
The project was then entrusted to the world-famous landscape architect Paolo Pejrone, also Turin-born; whose previous restorations included the gardens of the Roman Church Santa Croce in Gerusalemme and the Giardini Reali. Architect Alessandra Raso, was responsible for the buildings’ reconstruction. Their brief for the project was to carry out the restoration, care, cultivation, and the opening of the compound to visitors, while maintaining the spirit and harmony of the place.
The project took three years to complete and cost approximately 5,500,000 euro, or 6 million dollars. Europe’s PNRR (National Recovery and Resilience Plan), part of the Next Generation EU economic recovery project, provided 2,200,000 euro; the remaining funds were donated by cultural foundations, businesses, and generous private benefactors, as well as by many individuals who adopted trees and benches. The Foundation will cover the maintenance cost of 250,000 euro (c. $270,000) a year.
The garden is home to 2,504 plants: 52 trees (30 of which are cypresses brought here from Tuscany); 240 shrubs; and 684 herbaceous, 1,520 flowering, and 8 aquatic plants. It includes an olive grove, an orchard of fruit trees, a fountain with water lilies in homage to the Orient’s connection to Venice, seasonal vegetable plots, arbours made of chestnut wood, a traditional herb garden with medicinal plants, which were once the source of the Redentore’s pharmacy, and a pittosporum garden essential for the garden’s honey production. It’s also, the perfect spot for views over the lagoon towards several small islands and the lidi behind them. The garden is self-sufficient for water, thanks to a well and a rainwater storage.
Public Opening. After over 400 years, and following a recent long period of renovation, the garden is as last opened to the public for the first time, on October 31 2024. At present it is only open on Thursday, Friday and Saturday; with opening times varying by season. You can purchase tickets at entrance.
It is a great place to avoid the crowds of Venice and seek a peaceful and meditative atmosphere. Although open to the public, this garden is not your usual park with playgrounds. Rather it’s a place to find inner peace, so it is not appropriate for children unless specific activities, like art, gardening and cooking lessons with the products from the garden, have been set up for them. Other planned activities include concerts, poetry readings, book presentations, art and photographic exhibitions, and a café with refreshments and dishes prepared from the garden’s seasonal produce.
Opening Times and Cost
At present: Thursday, Friday and Saturday.
Walk down the small street to the side of the church to reach the entrance gate at the end.
Summer. (June 1 – Sept 20) 10am – 7pm
Autumn. (Sept21- Oct 31) 10am – 5.30pm
Winter. (Nov 1 – Mar 31) 10am – 4.30pm
Spring. (Apr 1 – May 31) 10am – 5.30pm
Cost: Euro 12 per person, Euro 6 residents, children 6-12 years.
Free – disabled with companion and children up to 5 yrs.
Above. Relax in the Cafe and admire all the restored buildings.
Left. Enjoy panoramic views over several islands and the lidi barrier of the southern lagoon.
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With its rich history and transformation, the peaceful island of Guidecca, is a fascinating part of Venice and has much to offer. The island is certainly worth the time to truly appreciate its distinctive character and breathtaking views. Discover Guidecca – Images of Venice
Public Gardens and Green Spaces of Venice
Venice’s Redentore Church opens its “gardens” to the public – Inside The Vatican
The Redentore Church and Restored Garden The Redentore Church and Restored Garden The Redentore Church and restored Garden