{"id":70476,"date":"2026-07-18T00:01:01","date_gmt":"2026-07-17T22:01:01","guid":{"rendered":"https:\/\/www.luigi-bevilacqua.com\/?p=70476"},"modified":"2026-07-18T00:02:29","modified_gmt":"2026-07-17T22:02:29","slug":"venice-festa-del-redentore-when-beauty-heals-a-city","status":"publish","type":"post","link":"https:\/\/www.luigi-bevilacqua.com\/en\/venice-festa-del-redentore-when-beauty-heals-a-city\/","title":{"rendered":"Venice\u2019s Festa del Redentore: When Beauty Heals a City"},"content":{"rendered":"

[et_pb_section fb_built=”1″ _builder_version=”4.18.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_row _builder_version=”4.18.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.18.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text admin_label=”intro+par 1″ _builder_version=”4.27.6″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n

Every third Sunday in July, Venice pauses to remember. Thousands of illuminated boats glide across the St. Mark\u2019s Basin, fireworks light up the night sky above Giudecca, and a temporary bridge of boats spans the canal, allowing Venetians to walk to the Redentore, the church of the Most Holy Redeemer that gives the feast its name. It is a joyful celebration, almost pagan in its exuberance\u2014yet its origins lie in one of the darkest chapters of the city\u2019s history.<\/p>\n

 <\/p>\n

A Vow Born of Sorrow<\/h2>\n

[\/et_pb_text][et_pb_image src=”https:\/\/www.luigi-bevilacqua.com\/wp-content\/uploads\/2026\/07\/Velluto-iconografico-cristologico.jpg” show_in_lightbox=”on” admin_label=”Immagine” _builder_version=”4.27.6″ _module_preset=”default” max_width=”600px” module_alignment=”center” global_colors_info=”{}”][\/et_pb_image][et_pb_text disabled_on=”off|off|off” admin_label=”didascalia” _builder_version=”4.27.6″ text_font=”||on||” text_font_size=”12″ background_color=”rgba(218,221,221,0.52)” text_orientation=”center” max_width=”600px” module_alignment=”center” hover_enabled=”0″ locked=”off” global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n

Silk soprarizzo velvet featuring a Christological iconographic program\u2014Agnus Dei, the Pelican in Her Piety, and the IHS monogram within a chalice\u2014representative of Venetian liturgical textiles from the 17th and 18th centuries. Luigi Bevilacqua Historical Archive, Venice. [Archive No. 0025]<\/p>\n

[\/et_pb_text][et_pb_text admin_label=”par 1″ _builder_version=”4.27.6″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n

Between 1575 and 1577, the plague claimed nearly one-third of Venice\u2019s population: more than fifty thousand lives, according to contemporary chronicles. In response, the Senate of the Republic made a solemn vow: if the city were freed from the epidemic, a church dedicated to Christ the Redeemer would be built, and each year the Doge himself would cross the canal to offer thanks.<\/p>\n

The plague eventually subsided. Andrea Palladio was commissioned to design the votive church on the island of Giudecca, and in 1577 the celebration we still observe today was born: a ritual of remembrance and renewal, where mourning is transformed into light, and the fragility of life is answered with a shared act of beauty.<\/p>\n

 <\/p>\n

When Beauty Becomes an Act of Gratitude<\/h2>\n

[\/et_pb_text][et_pb_image src=”https:\/\/www.luigi-bevilacqua.com\/wp-content\/uploads\/2026\/07\/Broccato-Tempio-Classico-Bevilacqua.jpg” show_in_lightbox=”on” admin_label=”Immagine” _builder_version=”4.27.6″ _module_preset=”default” max_width=”600px” module_alignment=”center” global_colors_info=”{}”][\/et_pb_image][et_pb_text disabled_on=”off|off|off” admin_label=”didascalia” _builder_version=”4.27.6″ text_font=”||on||” text_font_size=”12″ background_color=”rgba(218,221,221,0.52)” text_orientation=”center” max_width=”600px” module_alignment=”center” hover_enabled=”0″ locked=”off” global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n

Brocade depicting a classical temple flanked by draped allegorical figures amid an abundance of flowers and garlands. Luigi Bevilacqua Historical Archive, Venice. [Archive No. 0051]<\/p>\n

[\/et_pb_text][et_pb_text admin_label=”par 2″ _builder_version=”4.27.6″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n

It was during these decades of crisis and recovery that Venetian textile artistry established itself as one of the Serenissima\u2019s most celebrated crafts. As the city sought answers to suffering through faith, art, and architectural splendor, its velvet and damask workshops continued to weave\u2014quite literally\u2014a vision of beauty that was not an expression of vanity, but of resilience. To produce exquisite textiles in an age marked by fear and loss was to affirm that life, care, and the patient rhythm of skilled craftsmanship still held meaning.<\/p>\n

Bevilacqua was born from this very tradition and proudly carries forward its deepest legacy: not merely technical mastery, but the conviction that beauty\u2014whether in soprarizzo velvet, sumptuous brocade, or gold woven into the fabric itself\u2014is also a way of engaging with the world, of honoring it, and of giving thanks. Just as Venice responded to the plague of 1577 by raising a temple and illuminating the sky with fireworks, Venetian textile craftsmanship has continued to answer the passage of time by weaving enduring beauty, thread by thread, on its looms.<\/p>\n

 <\/p>\n

Textiles in the Service of Faith<\/h2>\n

[\/et_pb_text][et_pb_image src=”https:\/\/www.luigi-bevilacqua.com\/wp-content\/uploads\/2026\/07\/Velluto-Agnus-Dei.jpg” show_in_lightbox=”on” admin_label=”Immagine” _builder_version=”4.27.6″ _module_preset=”default” max_width=”600px” module_alignment=”center” global_colors_info=”{}”][\/et_pb_image][et_pb_text disabled_on=”off|off|off” admin_label=”didascalia” _builder_version=”4.27.6″ text_font=”||on||” text_font_size=”12″ background_color=”rgba(218,221,221,0.52)” text_orientation=”center” max_width=”600px” module_alignment=”center” hover_enabled=”0″ locked=”off” global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n

Silk soprarizzo velvet featuring the Agnus Dei, crosses, and liturgical motifs on a gold ground. Luigi Bevilacqua Historical Archive, Venice. [Archive No. 0005]<\/p>\n

[\/et_pb_text][et_pb_text admin_label=”par 3″ _builder_version=”4.27.6″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n

There is an even more direct and tangible connection between the Festa del Redentore\u2014as Venetians call the feast\u2014and the world of fine textiles. Palladio\u2019s church\u2014restrained on the outside, luminous and majestic within\u2014has for centuries housed sacred vestments, liturgical hangings, and altar frontals: works that required, and still require, the hands and looms of Venice\u2019s finest weaving workshops.<\/p>\n

For centuries, the churches, confraternities, and religious institutions of the Serenissima entrusted Venetian velvets and brocades to adorn altars, pulpits, and sacred celebrations. These fabrics were never meant simply to be beautiful\u2014they were created to convey meaning. The richness of the weave, the depth of color, and the light captured and reflected by sculpted velvet were\u2014and remain\u2014a way of honoring the sacred through the beauty of material itself.<\/p>\n

That vocation has never been interrupted. Today, Bevilacqua continues to work alongside those restoring churches, historic palaces, and places of worship, recreating on its eighteenth-century hand looms the very same patterns, techniques, and meticulous craftsmanship that animated Venetian weaving workshops during the years of the plague and its aftermath. It is a thread\u2014quite literally\u2014that has never been broken: from the Doge\u2019s vow and the Redentore church to the velvets that still adorn altars and ceremonial interiors around the world.<\/p>\n

 <\/p>\n

A Thread Connecting Venice\u2019s Two Votive Churches<\/h2>\n

[\/et_pb_text][et_pb_image src=”https:\/\/www.luigi-bevilacqua.com\/wp-content\/uploads\/2026\/07\/Velluto-soprarizzo-Colonne.jpg” show_in_lightbox=”on” admin_label=”Immagine” _builder_version=”4.27.6″ _module_preset=”default” max_width=”600px” module_alignment=”center” global_colors_info=”{}”][\/et_pb_image][et_pb_text disabled_on=”off|off|off” admin_label=”didascalia” _builder_version=”4.27.6″ text_font=”||on||” text_font_size=”12″ background_color=”rgba(218,221,221,0.52)” text_orientation=”center” max_width=”600px” module_alignment=”center” hover_enabled=”0″ locked=”off” global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n

Colonne<\/em> soprarizzo velvet: a gold ground enriched with deep crimson tones, tulips, daffodils, roses, peonies, and genuine gold threads. Featuring a four-meter repeat, it was woven on Jacquard looms using 8,000 punched cards. To this day, it adorns the columns of the Basilica della Salute during the Feast of Our Lady of Health on November 21. Luigi Bevilacqua Historical Archive, Venice. [Archive No. 0046]<\/p>\n

[\/et_pb_text][et_pb_text admin_label=”par 4″ _builder_version=”4.27.6″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n

The Redentore and the Salute are sister churches in Venice\u2019s history: both were built as votive churches, each born from a solemn vow made by the Senate of the Serenissima at the end of a devastating plague. The first was built in 1577 following the epidemic of 1575\u201377; the second in 1631 after the plague of 1630\u201331. Two epidemics, two promises, two churches that continue to inspire the devotion of Venetians today.<\/p>\n

Bevilacqua is part of both stories. Between the 1950s and 1960s, commissioned by Cardinal Angelo Roncalli\u2014then Patriarch of Venice and soon to become Pope John XXIII\u2014our Tessitura created the Colonne<\/em> soprarizzo velvet to cover the columns of the high altar and the eight side chapels of the Basilica della Salute. A photograph taken in 1957 captures Cardinal Roncalli visiting the weaving mill, examining the velvet alongside Cesare and Giulio Bevilacqua and the sixty women weavers employed there at the time.<\/p>\n

Colonne<\/em> is one of the most technically sophisticated textiles ever produced by Bevilacqua: a four-meter design repeat woven on Jacquard looms using 8,000 punched cards, featuring a golden-yellow ground, deep crimson tones, tulips, daffodils, roses, peonies, and genuine gold threads. It is a woven garden, faithfully recreating the historic fabric that had adorned those very columns for centuries.<\/p>\n

To this day, every November 21, that velvet returns to its rightful place. Among the artisans who wove Colonne<\/em> velvet was Mariella Bearzi, who worked at Bevilacqua from the age of twelve until she retired at sixty-seven:<\/p>\n

\u201cI still visit the Basilica every year during the feast days. I\u2019m certain that one of those columns bears a piece of velvet woven by my own hands.\u201d<\/p>\n

A thread\u2014quite literally\u2014that has never been broken.<\/p>\n

\u2192 Discover the full story of the Colonne<\/em> velvet and the Basilica della Salute: https:\/\/www.luigi-bevilacqua.com\/velluto-colonne-salute-venezia\/<\/a>\u00a0<\/p>\n

 <\/p>\n

The Splendor of the Serenissima<\/h2>\n

[\/et_pb_text][et_pb_image src=”https:\/\/www.luigi-bevilacqua.com\/wp-content\/uploads\/2026\/07\/Velluto-soprarizzo-Triregno-Papale.jpg” show_in_lightbox=”on” admin_label=”Immagine” _builder_version=”4.27.6″ _module_preset=”default” max_width=”600px” module_alignment=”center” global_colors_info=”{}”][\/et_pb_image][et_pb_text disabled_on=”off|off|off” admin_label=”didascalia” _builder_version=”4.27.6″ text_font=”||on||” text_font_size=”12″ background_color=”rgba(218,221,221,0.52)” text_orientation=”center” max_width=”600px” module_alignment=”center” hover_enabled=”0″ locked=”off” global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n

Silk soprarizzo velvet featuring the papal tiara, Eucharistic chalice, dove with an olive branch, and vine scrolls\u2014a complete theological program woven in burgundy silk on a gold ground. Luigi Bevilacqua Historical Archive, Venice. [Archive No. 0084]<\/p>\n

[\/et_pb_text][et_pb_text admin_label=”par 5″ _builder_version=”4.27.6″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n

A Celebration, A Living Legacy<\/h2>\n

[\/et_pb_text][et_pb_image src=”https:\/\/www.luigi-bevilacqua.com\/wp-content\/uploads\/2026\/07\/Velluto-Velieri-e-Melograni.jpg” show_in_lightbox=”on” admin_label=”Immagine” _builder_version=”4.27.6″ _module_preset=”default” max_width=”600px” module_alignment=”center” global_colors_info=”{}”][\/et_pb_image][et_pb_text disabled_on=”off|off|off” admin_label=”didascalia” _builder_version=”4.27.6″ text_font=”||on||” text_font_size=”12″ background_color=”rgba(218,221,221,0.52)” text_orientation=”center” max_width=”600px” module_alignment=”center” hover_enabled=”0″ locked=”off” global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n

Velvet depicting sailing vessels on the Venetian lagoon, pomegranates, and floral motifs. Luigi Bevilacqua Historical Archive, Venice. [Archive No. 0052]<\/p>\n

[\/et_pb_text][et_pb_text admin_label=”par 6″ _builder_version=”4.27.6″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n

The Festa del Redentore reminds us that Venice has always answered suffering with beauty, and fear with light. It is a lesson that Bevilacqua continues to embody every day in its historic workshop: velvet and brocade are not merely precious materials, but living expressions of a city that, in its darkest moments, chose never to abandon beauty.<\/p>\n

This year, as the bridge of boats once again connects the shores of Giudecca, we are reminded that the same Venice that raised a church in gratitude is the Venice that has never stopped weaving.<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row disabled_on=”off|off|off” _builder_version=”4.27.6″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” locked=”off” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text admin_label=”Cover photo ” _builder_version=”4.27.6″ hover_enabled=”0″ locked=”off” global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n

Archival textile photography courtesy of Tessitura Luigi Bevilacqua, Venice. Photos by Filippo Guerra \u2013 Studio Otium.<\/pre>\n
[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n<\/span>","protected":false},"excerpt":{"rendered":"
The Feast of the Redeemer: Discover how Bevilacqua’s Venetian textiles weave together history, faith, and enduring beauty.<\/p>\n","protected":false},"author":10,"featured_media":70389,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"
[et_pb_section fb_built=\"1\" _builder_version=\"4.18.0\" _module_preset=\"default\" global_colors_info=\"{}\"][et_pb_row _builder_version=\"4.18.0\" _module_preset=\"default\" global_colors_info=\"{}\"][et_pb_column type=\"4_4\" _builder_version=\"4.18.0\" _module_preset=\"default\" global_colors_info=\"{}\"][et_pb_text admin_label=\"intro+par 1\" _builder_version=\"4.27.6\" _module_preset=\"default\" global_colors_info=\"{}\"]<\/p>
Ogni terza domenica di luglio, Venezia si ferma per ricordare. Migliaia di barche illuminate solcano il bacino di San Marco, i fuochi d'artificio disegnano la notte sopra la Giudecca, e un ponte di barche attraversa il canale per condurre i veneziani fino alla chiesa del Redentore. \u00c8 una festa gioiosa, quasi pagana nel suo trasporto popolare \u2014 eppure nasce da una delle pagine pi\u00f9 dolorose della storia della citt\u00e0.<\/p>
\u00a0<\/p>
Un voto nato dal dolore<\/h2>
[\/et_pb_text][et_pb_image src=\"https:\/\/www.luigi-bevilacqua.com\/wp-content\/uploads\/2026\/07\/Velluto-iconografico-cristologico.jpg\" show_in_lightbox=\"on\" admin_label=\"Immagine\" _builder_version=\"4.27.6\" _module_preset=\"default\" max_width=\"600px\" module_alignment=\"center\" hover_enabled=\"0\" global_colors_info=\"{}\" sticky_enabled=\"0\"][\/et_pb_image][et_pb_text disabled_on=\"off|off|off\" admin_label=\"didascalia\" _builder_version=\"4.27.6\" text_font=\"||on||\" text_font_size=\"12\" background_color=\"rgba(218,221,221,0.52)\" text_orientation=\"center\" max_width=\"600px\" module_alignment=\"center\" locked=\"off\" global_colors_info=\"{}\"]\"Velluto soprarizzo con programma iconografico cristologico \u2014 Agnus Dei, Pelicano in pietate, IHS nel calice \u2014 rappresentativo della produzione liturgica veneziana dei secoli XVII-XVIII. Archivio storico Luigi Bevilacqua, Venezia. [Archivio n. 0025]\"[\/et_pb_text][et_pb_text admin_label=\"par 1\" _builder_version=\"4.27.6\" _module_preset=\"default\" global_colors_info=\"{}\"]<\/p>
Tra il 1575 e il 1577 la peste uccise quasi un terzo della popolazione di Venezia: oltre cinquantamila persone, secondo le cronache dell'epoca. Fu allora che il Senato della Repubblica fece un voto solenne: se la citt\u00e0 fosse stata liberata dal contagio, sarebbe stata costruita una chiesa dedicata al Redentore, e ogni anno il Doge in persona avrebbe attraversato il canale per renderne grazie.<\/p>
La peste cess\u00f2. Andrea Palladio fu incaricato di progettare il tempio votivo sull'isola della Giudecca, e nel 1577 nacque la festa che ancora oggi celebriamo: un rito di memoria e di rinascita, in cui il lutto si trasforma in luce, e la fragilit\u00e0 della vita viene risposta con un gesto di bellezza condivisa.<\/u><\/p>
\u00a0<\/p>
Quando la bellezza diventa atto di gratitudine<\/h2>
[\/et_pb_text][et_pb_image src=\"https:\/\/www.luigi-bevilacqua.com\/wp-content\/uploads\/2026\/07\/Broccato-Tempio-Classico-Bevilacqua.jpg\" show_in_lightbox=\"on\" admin_label=\"Immagine\" _builder_version=\"4.27.6\" _module_preset=\"default\" max_width=\"600px\" module_alignment=\"center\" hover_enabled=\"0\" global_colors_info=\"{}\" sticky_enabled=\"0\"][\/et_pb_image][et_pb_text disabled_on=\"off|off|off\" admin_label=\"didascalia\" _builder_version=\"4.27.6\" text_font=\"||on||\" text_font_size=\"12\" background_color=\"rgba(218,221,221,0.52)\" text_orientation=\"center\" max_width=\"600px\" module_alignment=\"center\" locked=\"off\" global_colors_info=\"{}\"]Broccato con rappresentazione di un tempio classico affiancato da figure allegoriche drappeggiate, in un tripudio di fiori e ghirlande \u2014 archivio storico Luigi Bevilacqua, Venezia. [Archivio n. 0051][\/et_pb_text][et_pb_text admin_label=\"par 2\" _builder_version=\"4.27.6\" _module_preset=\"default\" global_colors_info=\"{}\"]<\/p>
\u00c8 in quei decenni di crisi e di ripresa che l'arte tessile veneziana si consolida come una delle eccellenze pi\u00f9 riconosciute della Serenissima. Mentre la citt\u00e0 cercava risposte alla sofferenza nella fede, nell'arte e nello splendore architettonico, le manifatture di velluti e damaschi continuavano a tessere \u2014 letteralmente \u2014 un'idea di bellezza che non era vanit\u00e0, ma resistenza. Produrre tessuti preziosi, in un'epoca segnata dalla paura e dalla perdita, significava affermare che la vita, la cura, la lentezza del lavoro fatto bene avevano ancora un senso.<\/p>
Bevilacqua nasce da questa stessa tradizione e ne rivendica l'eredit\u00e0 pi\u00f9 profonda: non semplicemente la maestria tecnica, ma l'idea che il bello \u2014 il velluto soprarizzo, il broccato, l'oro tessuto nella trama \u2014 sia anche un modo di rispondere al mondo, di onorarlo, di ringraziarlo. Come la Venezia del 1577 rispose alla peste costruendo un tempio e illuminando il cielo di fuochi, l'artigianato tessile veneziano ha continuato a rispondere al tempo che passa intrecciando bellezza, paziente e duratura, fra i fili dei suoi telai.<\/p>
\u00a0<\/p>
I tessuti al servizio della fede<\/h2>
[\/et_pb_text][et_pb_image src=\"https:\/\/www.luigi-bevilacqua.com\/wp-content\/uploads\/2026\/07\/Velluto-Agnus-Dei.jpg\" show_in_lightbox=\"on\" admin_label=\"Immagine\" _builder_version=\"4.27.6\" _module_preset=\"default\" max_width=\"600px\" module_alignment=\"center\" hover_enabled=\"0\" global_colors_info=\"{}\" sticky_enabled=\"0\"][\/et_pb_image][et_pb_text disabled_on=\"off|off|off\" admin_label=\"didascalia\" _builder_version=\"4.27.6\" text_font=\"||on||\" text_font_size=\"12\" background_color=\"rgba(218,221,221,0.52)\" text_orientation=\"center\" max_width=\"600px\" module_alignment=\"center\" locked=\"off\" global_colors_info=\"{}\"]Velluto soprarizzo con Agnus Dei, croci e motivi liturgici su fondo oro \u2014 archivio storico Luigi Bevilacqua, Venezia. [Archivio n. 0005][\/et_pb_text][et_pb_text admin_label=\"par 3\" _builder_version=\"4.27.6\" _module_preset=\"default\" global_colors_info=\"{}\"]<\/p>
C'\u00e8 un legame ancora pi\u00f9 diretto, e pi\u00f9 concreto, fra la Festa del Redentore e il mondo dei tessuti pregiati. La chiesa progettata dal Palladio \u2014 sobria all'esterno, solenne e luminosa all'interno \u2014 \u00e8 da secoli uno scrigno di paramenti sacri, addobbi liturgici, parati d'altare: oggetti che richiedevano (e richiedono) le mani e i telai delle manifatture veneziane pi\u00f9 qualificate.<\/p>
Per secoli, le chiese, le confraternite e le istituzioni religiose della Serenissima si sono affidate ai velluti e ai broccati prodotti a Venezia per vestire altari, pulpiti e celebrazioni. Era un tessuto che non doveva soltanto essere bello, ma doveva significare: la ricchezza della trama, l'intensit\u00e0 del colore, la luce che il velluto cesellato cattura e restituisce erano \u2014 e restano \u2014 un modo per onorare il sacro attraverso la materia.<\/p>
Questa vocazione non si \u00e8 mai interrotta. Ancora oggi Bevilacqua lavora al fianco di chi restaura chiese, palazzi storici e spazi di culto, riproducendo con i telai a mano del Settecento gli stessi disegni, le stesse tecniche, la stessa cura che animavano le manifatture veneziane all'epoca della peste e della sua fine. \u00c8 un filo \u2014 letteralmente \u2014 che non si \u00e8 mai spezzato: dal voto del Doge alla chiesa del Redentore, fino ai velluti che ancora oggi vestono altari e sale di rappresentanza in tutto il mondo.<\/p>
\u00a0<\/p>
Un filo che unisce le due chiese votive di Venezia<\/h2>
[\/et_pb_text][et_pb_image src=\"https:\/\/www.luigi-bevilacqua.com\/wp-content\/uploads\/2026\/07\/Velluto-soprarizzo-Colonne.jpg\" show_in_lightbox=\"on\" admin_label=\"Immagine\" _builder_version=\"4.27.6\" _module_preset=\"default\" max_width=\"600px\" module_alignment=\"center\" hover_enabled=\"0\" global_colors_info=\"{}\" sticky_enabled=\"0\"][\/et_pb_image][et_pb_text disabled_on=\"off|off|off\" admin_label=\"didascalia\" _builder_version=\"4.27.6\" text_font=\"||on||\" text_font_size=\"12\" background_color=\"rgba(218,221,221,0.52)\" text_orientation=\"center\" max_width=\"600px\" module_alignment=\"center\" locked=\"off\" global_colors_info=\"{}\"]Velluto soprarizzo \"Colonne\": fondo oro con rossi profondi, tulipani, narcisi, rose, peonie e trame in oro zecchino. Rapporto di 4 metri, realizzato su telai Jacquard con 8.000 schede forate. Ancora oggi riveste le colonne della Basilica della Salute durante la Festa del 21 novembre. Archivio storico Luigi Bevilacqua, Venezia. [Archivio n. 0046][\/et_pb_text][et_pb_text admin_label=\"par 4\" _builder_version=\"4.27.6\" _module_preset=\"default\" hover_enabled=\"0\" global_colors_info=\"{}\" sticky_enabled=\"0\"]<\/p>
Il Redentore e la Salute sono sorelle nella storia di Venezia: entrambe chiese votive, entrambe nate da un voto del Senato della Serenissima al termine di una pestilenza. La prima fu costruita nel 1577, dopo la peste del 1575-77; la seconda nel 1631, dopo quella del 1630-31. Due epidemie, due promesse, due templi che ancora oggi raccolgono la devozione dei veneziani.<\/p>
Bevilacqua \u00e8 presente in entrambe le storie. Tra gli anni '50 e '60 del Novecento, su commissione del Cardinale Angelo Roncalli \u2014 allora Patriarca di Venezia, di l\u00ec a poco Papa Giovanni XXIII \u2014 la Tessitura realizz\u00f2 il velluto soprarizzo Colonne, destinato a rivestire le colonne dell'altare maggiore e delle otto cappelle laterali della Basilica della Salute. Una fotografia del 1957 ritrae Roncalli in visita alla tessitura, mentre osserva il velluto insieme a Cesare e Giulio Bevilacqua e alle sessanta tessitrici allora al lavoro.<\/p>
Il velluto Colonne \u00e8 uno dei tessuti pi\u00f9 complessi mai prodotti da Bevilacqua: un rapporto di disegno di quattro metri di altezza, realizzato con ottomila schede forate sui telai Jacquard, fondo giallo dorato con rossi profondi, tulipani, narcisi, rose, peonie e fili d'oro zecchino. Un giardino tessuto che ricreava fedelmente l'antico tessuto che per secoli aveva adornato quelle stesse colonne.<\/p>
Ancora oggi, ogni 21 novembre, quel velluto torna al suo posto. A tessere il velluto Colonne fu anche Mariella Bearzi, che lavor\u00f2 in Bevilacqua dai 12 ai 67 anni: \"Continuo ad entrare nella Basilica ogni anno, durante i giorni di festa. Sicuramente una di quelle colonne ha anche un mio pezzo di velluto.\"<\/p>
Un filo \u2014 letteralmente \u2014 che non si \u00e8 mai spezzato.<\/p>
\u2192 Scopri la storia completa del velluto Colonne e della Basilica della Salute https:\/\/www.luigi-bevilacqua.com\/velluto-colonne-salute-venezia\/<\/a><\/p>
\u00a0<\/p>
Lo splendore della Serenissima<\/h2>
[\/et_pb_text][et_pb_image src=\"https:\/\/www.luigi-bevilacqua.com\/wp-content\/uploads\/2026\/07\/Velluto-soprarizzo-Triregno-Papale.jpg\" show_in_lightbox=\"on\" admin_label=\"Immagine\" _builder_version=\"4.27.6\" _module_preset=\"default\" max_width=\"600px\" module_alignment=\"center\" hover_enabled=\"0\" global_colors_info=\"{}\" sticky_enabled=\"0\"][\/et_pb_image][et_pb_text disabled_on=\"off|off|off\" admin_label=\"didascalia\" _builder_version=\"4.27.6\" text_font=\"||on||\" text_font_size=\"12\" background_color=\"rgba(218,221,221,0.52)\" text_orientation=\"center\" max_width=\"600px\" module_alignment=\"center\" locked=\"off\" global_colors_info=\"{}\"]Velluto soprarizzo con triregno papale, calice eucaristico, colomba con ramoscello d'ulivo e tralci di vite \u2014 un programma teologico completo tessuto in seta bordeaux su fondo oro. Archivio storico Luigi Bevilacqua, Venezia. [Archivio n. 0084][\/et_pb_text][et_pb_text admin_label=\"par 5\" _builder_version=\"4.27.6\" _module_preset=\"default\" global_colors_info=\"{}\"]<\/p>
Una festa, un'eredit\u00e0<\/h2>
[\/et_pb_text][et_pb_image src=\"https:\/\/www.luigi-bevilacqua.com\/wp-content\/uploads\/2026\/07\/Velluto-Velieri-e-Melograni.jpg\" show_in_lightbox=\"on\" admin_label=\"Immagine\" _builder_version=\"4.27.6\" _module_preset=\"default\" max_width=\"600px\" module_alignment=\"center\" hover_enabled=\"0\" global_colors_info=\"{}\" sticky_enabled=\"0\"][\/et_pb_image][et_pb_text disabled_on=\"off|off|off\" admin_label=\"didascalia\" _builder_version=\"4.27.6\" text_font=\"||on||\" text_font_size=\"12\" background_color=\"rgba(218,221,221,0.52)\" text_orientation=\"center\" max_width=\"600px\" module_alignment=\"center\" locked=\"off\" global_colors_info=\"{}\"]Velluto con velieri sulla laguna veneziana, melograni e motivi floreali \u2014 archivio storico Luigi Bevilacqua, Venezia. [Archivio n. 0052][\/et_pb_text][et_pb_text admin_label=\"par 6\" _builder_version=\"4.27.6\" _module_preset=\"default\" global_colors_info=\"{}\"]La Festa del Redentore ci ricorda che Venezia ha sempre saputo rispondere alla sofferenza con la bellezza, e alla paura con la luce. \u00c8 una lezione che Bevilacqua porta avanti ogni giorno nei propri laboratori: il velluto e il broccato non sono soltanto materia preziosa, ma memoria viva di una citt\u00e0 che ha scelto, nei momenti pi\u00f9 difficili, di non rinunciare al bello.<\/p>
Quest'anno, mentre il ponte di barche unir\u00e0 ancora una volta le due rive della Giudecca, ricorderemo che la stessa Venezia che innalz\u00f2 un tempio per dire grazie \u00e8 la Venezia che, da generazioni, continua a tessere.[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row disabled_on=\"off|off|off\" _builder_version=\"4.27.6\" background_size=\"initial\" background_position=\"top_left\" background_repeat=\"repeat\" locked=\"off\" global_colors_info=\"{}\"][et_pb_column type=\"4_4\" _builder_version=\"4.16\" custom_padding=\"|||\" global_colors_info=\"{}\" custom_padding__hover=\"|||\"][et_pb_text admin_label=\"Cover photo \" _builder_version=\"4.27.6\" hover_enabled=\"0\" locked=\"off\" global_colors_info=\"{}\" sticky_enabled=\"0\"]<\/p>
Foto tessuti d'archivio Tessitura Luigi Bevilacqua - Venezia a cura di Filippo Guerra - studio Otium.<\/pre>
[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>","_et_gb_content_width":"","footnotes":""},"categories":[4,7],"tags":[],"class_list":["post-70476","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-fabrics","category-history"],"yoast_head":"\nVenice\u2019s Festa del Redentore: When Beauty Heals a City<\/title>\n<meta name=\"description\" content=\"The Feast of the Redeemer: Discover how Bevilacqua's Venetian textiles weave together history, faith, and enduring beauty.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.luigi-bevilacqua.com\/en\/venice-festa-del-redentore-when-beauty-heals-a-city\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Venice\u2019s Festa del Redentore: When Beauty Heals a City\" 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