Oct. 3.
The church Il Redentore is a large and beautiful work by Palladio, with a façade even more worthy of praise than that of S. 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 all that it leaves him, as far as possible, into accordance with his own 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, sought 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 S. 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.
October 3.
In honour of S. Francis, S. 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 flat, and glued upon paper, according to some beautiful outlines, while the ground was painted with lively colours. This is done with such variety and tact, that the design, which was probably worked in the convent itself, with a material that was worth nothing, must have cost several thousand dollars, if the material had been genuine. It might on occasion be advantageously imitated.
On one of the quays, and in front of the water I have often remarked a little fellow telling stories in the Venetian dialect, to a greater or less concourse of auditors. Unfortunately I cannot understand a word, but I observe that no one laughs, though the audience, who are composed of the lowest class, occasionally smile. There is nothing striking or ridiculous in the man's appearance, but, on the contrary, something very sedate, with such admirable variety and precision in his gestures, that they evince art and reflection.
October 3.