The Church Il Redentore is a large and beautiful work by Palladio, with a façade even more worthy of praise than that of St. Giorgio. These works, which have often been engraved, must be placed before you to elucidate what is said. I will only add a few words.
Palladio was thoroughly imbued with the antique mode of existence, and felt the narrow, petty spirit of his own age, like a great man, who will not give way to it, but strives to mould, as far as possible, all that it leaves him, into accordance with his own noble ideas. From a slight perusal of his book I conclude that he was displeased with the continued practice of building Christian churches after the form of the ancient Basilica, and, therefore, tried to make his own sacred edifices approximate to the form of the antique temple. Hence arose certain discrepancies, which, as it seemed to me, are happily avoided in Il Redentore, but are rather obvious in the St. Giorgio. Volckmann says something about it, but does not hit the nail on the head.
The interior of Il Redentore is likewise admirable. Everything, including even the designs of the altars, is by Palladio. Unfortunately, the niches, which should have been filled with statues, are glaring with wooden figures, flat, carved, and painted.
In honour of St. Francis, St. Peter's Capuchins have splendidly adorned a side altar. There was nothing to be seen of stone but the Corinthian capitals: all the rest seemed to be covered with tasteful but splendid embroidery in the arabesque style; and the effect was as pretty as could be desired. I particularly admired the broad tendrils and foliage, embroidered in gold. Going nearer, I discovered an ingenious deception. All that I had taken for gold was, in fact, straw pressed
