In the façade of San Francesco della Vigna, also in Venice, and by the same architect, the design of San Giorgio is repeated, with some notable changes in detail. In this case the small order, as well as the larger one, consists of columns, except that on each angle a pilaster takes the place of a column, and both orders rise from the same level, the smaller one resting on a continuous podium, and the larger one on pedestals which are ressauts of the podium. The entablature of the small order is here not continuous, but is broken by the nave compartment, though a fragment of it is inserted in the central bay of this compartment over the small columns that flank the portal. [Illustration: FIG. 55.--The Redentore, Venice.] The scheme of the Redentore differs from that of San Giorgio. It has no transept and no aisles, but in the place of aisles a series of side chapels. A square area in front of the sanctuary is covered with a dome on pendentives, while the nave has a barrel vault, and the side chapels have barrel vaults with their axes perpendicular to the axis of the nave. From the dividing walls of these chapels solid abutments in pairs are carried up through the lean-to roofs over the chapels to meet the thrusts of the nave vaulting, as shown in the general view of the exterior (Fig. 55). The plan of the east end is peculiar. A round apse opens out of the north and south sides of the square covered by the dome, and a colonnade on a curved plan forming the sanctuary bounds this square area on the east side. Beyond this is an oblong enclosure the eastern wall of which is on a curved plan, and the sanctuary is flanked by small towers. The interior has a great order of Corinthian columns, one against each pier, resting directly on the pavement, and the small pilasters under the archivolts carry entablatures which extend to the outer wall and from them the barrel vaults of the chapels spring. The entablature of the great order is not set in the wall and broken by ressauts to cover the columns, as in San Giorgio; but is carried by the columns, and thus overhangs the wall with a supporting corbel in the middle of each intercolumniation which forms a keystone to the arch beneath. The façade of the Redentore is a variation of that of San Giorgio with the pedestals omitted from the great order, as in the interior, and it has an attic behind the pediment like that of Vignola’s small church of St. Andrea at Rome. Such is the nature of Palladian church architecture. We shall see more of Palladio’s art when we come to the consideration of the later civil and domestic architecture of the Renaissance.