Lives of the Most Excellent Painters, Sculptors, and Architects/Bramante

by Giorgio Vasari

 

THE ARCHITECT BRAMANTE, OF URBINO^[1]

[born 1444—died 1514.]

Very important advantages, witliout doubt, resulted to architecture from the new methods of proceeding adopted by Filippo Brunelleschi, he having imitated, and, after the lapse of many ages, restored to light, the most important works of the learned and excellent masters of antiquity. But no less useful to our age was Bramante, for, preserving the traces of Filippo and following in his footsteps, being also full of determination, power, genius, and knowledge, not theoretic only but extensively and thoroughly practical, he rendered the road to the acquirement of true science in architecture most secure and easy to all who followed after him.^[2] A more exalted genius could not well have been imparted by nature to any artist, than that conferred on Bramante, nor could any master display a more profound acquaintance with the principles of his art, more rigid adherence to the proportions of his works, or a richer variety of invention in their decoration, than may be found in those executed by this architect. But not even all these qualities were more than was demanded at that time, seeing that Julius II., a prince full of the boldest designs and earnestly desirous of leaving due memorials of himself to succeeding ages, was then Pope. And very fortunate was it, both for him and for us, that Bramante did meet with such a prince (for very rarely does such good fortune happen to men of great genius), one at whose cost he was furnished with opportunities which rendered it possible for him to display the resources of the power with which he was endowed, and prove to the world that mastery over the difficulties of his art, the evidences of which are so much admired in his works. The extraordinary merit of this architect is indeed obvious, not only in the general arrangement of buildings erected by him, but also and equally in their various details: the first projection and mouldings of the cornices for example, the shafts of the columns, the grace and elegance of the capitals and bases, the careful adjustment of the consoles and finish of angles, the vaultings, the staircases, the buttresses, ressaults, and other supports— all received his attention in due measure, as did every other arrangement required for the completion of the whole edifice; insomuch that every architectural work constructed by his counsels or after his designs is an object of surprise as well as delight to all who behold it. Wherefore it appears to me that the lasting gratitude justly due to the ancients, by those whose studies enable them to derive improvement from their labours, is due in no less degree to the labours of Bramante, from those who benefit by them: for if the Greeks invented that architecture which the Romans imitated, Bramante did more than the latter, since he not only imitated, but, imparting to us what they had taught, in a new and ameliorated form, he added unwonted graces and beauties to the art, which we receive ennobled and embellished by his efforts.

This master was born at Castello Durante,^[3] in the state of Urbino, his parents being of good condition though very poor.^[4] In his childhood he was taught to read and write, in addition to which he applied himself with great industry to the study of arithmetic, but his father, to whom it was needful that the son should gain somewhat for himself, perceiving him to take great delight in drawing, turned his attention while still but a child to the art of painting. He studied therefore very zealously, more especially the works of Fra Bartolommeo, otherwise called Fra Carnavale,^[5] of Urbino, by whom the picture of Santa Maria della Bella, in that city was painted. But Bramante found his principal pleasure in architecture and the study of perspective, he departed therefore from Castel Durante, and proceeded to Lombardy, repairing first to one city and then to another, working in each meanwhile as he best could. His undertakings of that period were however not of a costly kind, or such as could do the architect much honour, since he had then neither interest nor reputation; but to the end that he might at least see something of works of merit, he removed to Milan to examine the Duomo.^[6] There was at that time a good architect and geometrician living in Milan, called Cesare Cesariano, who had written a commentary on Vitruvius, but falling into despair at finding himself disappointed in the remuneration he had expected to receive for that work, he sank into so strange a state, that he would work no more, and his peculiarities increasing, he became utterly distracted, and died more like the beasts that perish than like a Christian man.^[7] At the same time, in the same city, lived the Milanese, Bernardino da Trevio, who was engineer and architect of the Duomo, he was admirable in design and was held by Leonardo da Vinci to be a most excellent master, although his manner is somewhat crude and his paintings are hard and dry. At the upper end of the cloister of Santa Maria delle Grazie, there is an Ascension of Christ by Bernardino da Trevio, wherein the observer will remark some very admirable foreshortenings. In San Francesco also, he painted a chapel in fresco, the subject being the death of San Pietro and that of San Paolo. In Milan and the neighbourhood of that city, there are likewise many other works by this master, all held in high estimation, and in my book of drawings I have a female head by his hand, very beautifully executed in charcoal and white lead, from which a very fair notion of his manner may be obtained.^[8]

But to return to Bramante. After having thoroughly studied that fabric (the Duomo), and made the acquaintance of the above-named engineers, he became inspirited to such a degree, that he resolved to devote himself entirely to architecture.^[9] Thereupon he departed from Milan,^[10] and repaired to Kome, where he arrived immediately before the commencement of the holy year 1500.^[11] By the interposition of the friends whom he had in that city, some of whom were his fellow countrymen, others Lombards, he received a commission to paint the armorial bearings of Pope Alexander YI. in fresco over the holy door of San Giovanni Laterano, which is opened on the occasion of the Jubilee; these he surrounded with angels and added other figures, as supporters of the escutcheon.^[12]

Bramante had brought some money with him from Lombardy and had gained other sums in Rome by certain works which he had executed there; these funds he husbanded with care, expending them with extreme frugality,^[13] because he desired to live for a time on his means, and not to be distracted by other occupations from the labours which he proposed to undertake among the ancient buildings of Rome, all of which he was anxious to study, wishing to obtain accurate measurements of them, entirely at his leisure.

He commenced this labour accordingly; in solitude and deep thought he pursued it to its completion, and in no long time had examined and measured all the buildings of antiquity that were in the city of Rome and its neighbourhood, with all that were to be found in the Campagna; he had even pursued his researches as far as Naples, and visited all places wherein he could ascertain that ancient buildings were to be found. The remains still existing at Tivoli, and in the villa of Adrian were studiously measured by Bramante, who profited largely by these examinations, as will be declared in the proper place. These pursuits caused his talents to become known to the Cardinal of Naples,^[14] who began to remark, and eventually to favour his progress. While Bramante, therefore, was continuing his studies as here described, it came into the mind of the Cardinal to rebuild a cloister in Travertine, for the monks of the Pace, and this work he committed to Bramante.^[15] Whereupon, being very anxious to make gain as well as to acquire the good will of the Cardinal, he gave himself to the work with the utmost zeal and diligence, by which means he quickly brought it to a most successful conclusion.^[16] It is true that the building was not one of distinguished beauty, but it obtained a great name for the architect, seeing that there were but few masters in Rome, who then devoted themselves to architecture with the zealous study and promptitude of execution which distinguished Bramante.

In the commencement of his labours, this master served as under architect to Pope Alexander VI. when that Pontiff was constructing the Fountain in the Trastevere, as likewise for that which he also erected on the Piazza of St. Peter,^[17] but his reputation having increased, he was invited to take part with other eminent architects in the greater number of the consultations which were held respecting the Palace of San Giorgio, and the church of San Lorenzo in Damaso, which Raffaello Riario, Cardinal of San Giorgio, was at that time about to build near the Campo di Fiore. And although better works may have been executed at a later period, yet this palace, were it only for its extent, has ever been considered and still continues to be thought a splendid and commodious habitation; the works of this fabric were conducted by Antonio Monticavallo. Bramanie was likewise consulted in respect to the proposed enlargement of the church of San Jacopo degli Spagnuoli, situate on the Piazza Navona: he took part also in the deliberations relating to Santa Maria dell Anima; the building of which was afterwards entrusted to a German architect, and designed the palace of the Cardinal Adriano da Corneto in the Borgo Nuovo,^[18] which was built very slowly and ultimately remained unfinished,^[19] in consequence of the Cardinal’s flight. The enlargement of the principal chapel in Santa Maria Maggiore was also effected according to the designs of Bramante, and by these works he acquired so much credit in Eome that he began to be esteemed the first architect in that city, being exceedingly bold and prompt, with great and varied powers of invention. The most distinguished personages of Rome now employed him therefore in all their important undertakings, and when, in the year 1503, Julius II. was raised to the pontifical chair, Bramante was at once employed in his service.

A project had been formed in the mind of that pontiff, foi covering the space which then lay between the Belvedere and the Papal palace, with a building in the form of a quadrangular theatre, designing thereby to enclose a small valley which interposed between the palace and the new buildings erected for the residence of the Pontiffs, by Pope Innocent VIII.; the intention of Julius was to construct two corridors, one on each side of the valley, by which means he could pass from the Belvedere to the palace under a loggia, and in. like manner could return from the palace to the Belvedere, without exposure to the weather; the ascent from the lowest point of the valley to the level of the Belvedere was to be effected by flights of steps.

Bramante therefore, who had great judgment and a most ingenious fancy in such matters, divided the lower part into two ranges, one over the other, the first being an extremely beautiful Loggia of the Doric order, resembling the Colosseum of the Savelli;^[20] but in place of the half-columns he substituted pilasters building the whole edifice of Travertine. Over this came a second range of the Ionic order, and the walls of that portion of the building being continuous, it was furnished with windows; the level was that of the first floor of the Papal palace, but it reached to the rooms on the ground-floor only in the Belvedere. A Loggia of more than four hundred paces long Was thus obtained on the side looking towards Rome, with a second of equal extent towards the wood; between these was enclosed the before mentioned valley, to the lowest point of which all the water from the Belvedere was to be conducted, and there a magnificent fountain was to be built.

Such was the plan, and after designs prepared in accordance with it, Bramante constructed the first corridor, which proceeds from tlie palace and j-oins the Belvedere on the side towards Rome,^[21] the last part of the Loggia which was to ascend the acclivity and occupy the higher level excepted: of the opposite part, that towards the wood namely, he could only lay the foundations, but could not finish it, the death of Julius interrupting the work, and that of the architect himselt also taking place before it had proceeded further. The invention of this fabric was considered so fine that all declared nothing better had been seen in Rome since the time of the ancients;^[22] but, as we have said, of the second corridor the foundations only were completed, nor has the whole been finished even to our own times, although Pius IV. has at length almost brought it to a conclusion.

Bramante likewise erected the cupola which covers theHall of Antiquities, and constructed the range of niches for the statues. Of these, the Laocoon, an ancient statue of the most exquisite perfection, the Apollo, and the Venus, were placed there during his own life, the remaindeT of the statues were afterwards brought thither by Leo X., as for example, the Tiber and the Nile, with the Cleopatra; others were added by Clement VII.; while in the time of Paul III. and that of Julius III., many important improvements were made there at very great cost.

But to return to Bramante: when not impeded by the parsimony of those with whom he had to act, he conducted his various undertakings with extraordinary promptitude, and possessed a profound and thorough knowledge of all things appertaining to the builder’s art. He carried forward the buildings of the Belvedere with excessive rapidity, and such was the zeal with which he seconded the eagerness of the Pope—who would have had the edifice receive birth at a wish, rather than await the slow process of erection— that the men who were labouring at the foundations carried away at night the sand and earth which they had dug out in the presence of Bramante during the day, and he then without further precautions permitted the foundations to be laid. The result of this inadvertence on the part of the master has been that his work has cracked in various parts, and is now in danger of ruin, nay, as regards this Corridor, a portion, to the extent of eighty braccia fell to the ground during the pontificate of Clement VIL, and was afterwards rebuilt by Paul III., who caused the foundations of the whole to be repaired and strengthened.^[23]

There are besides in the Belvedere many beautiful stairBases and flights of steps, rich and varied in design, which unite the higher to the lower levels of the building, all from the plans of Bramante, and admirably executed in the Doric, Ionic, and Corinthian orders resjDectively, arranged with the most perfect grace. He had made a model of all that was to have been done, which is said to have been of most imposing beauty, as indeed we may see that it must have been from the commencement of the work; even left as it is in the imperfect state wherein we see it. Among other things is a winding stair constructed between columns, which is graduated in such a manner that it can be ascended on horseback: in this work the Doric order is followed by the Ionic, and the Ionic by the Corinthian, thus rising from one order into the other; the whole is conducted with the utmost judgment and finished with exquisite grace, insomuch that it does him equal honour with whatever other work he may have executed in the same place.^[24] The invention of this winding stair Bramante borrowed from San Niccolo of Pisa, as we have notified in the life of Giovanni and Niccolo Pisani.^[25]

This master had formed the fanciful project of making certain letters, in the manner of the ancient hieroglyphics, on a frieze of the external façade, whereby he designed to display his own ingenuity, as well as to exhibit the name of the reigning Pontiff* and his own, and had commenced thus: —Julio II. Pont. Maximo, having caused a head in profile of Julius Cmsar to be made, by way of expressing the name of the pontiff, and constructing a bridge with two arches to intimate Julio II. Pont., with an Obelisk of the Circus Maximus to signify Max. But the Pope laughed at this fancy and made him change his hieroglyphics for letters a braccio in height, in the antique form, such as we now see them; declaring that Bramante had borrowed that absurdity from a gate in Viterbo, over which a certain architect, called Maestro Francesco, had placed his name after his own fashion, and that he effected it on this wise: he carved a figure of San Francesco with an arch (arco), a roof {tetto), and a tower (torre), which he explained in a way of his own to mean. Maestro Francesco Architettore.

His talents in architecture and other qualities rendered Bramante highly acceptable to Pope Julius II., who was indeed so amicably disposed towards him, as to confer on our architect the office of clerk to the signet, and while holding this appointment he constructed an edifice for the furtherance of the business connected with it, and made a very beautiful press for the printing of the papal bulls. In the service of his Holiness Bramante repaired to Bologna, when that city returned to the protection of the church in the year 1504, and in all the war of Mirandola he occupied himself with various labours of great ingenuity, rendering very important assistance on that occasion.

This master prepared numerous designs for the groundplans of buildings, as well as for entire edifices, all of which are truly admirable, as may be judged from certain examples of them which appear in our book: the proportions in every instance are very fine, and the whole design gives evidence of consummate art. Bramante imparted considerable instruction in the rules of architecture to Raphael Sanzio of Urbino, arranging for him the buildings which he afterwards painted in perspective, in that Hall of the Papal palace wherein is the Mount Parnassus, and where Raphael placed the portrait of Bramante himself, whom he has represented in one of the pictures^[26] with a compass in his hand, in the act of measuring certain arches.

Pope Julius, among his other undertakings, determined on that of uniting the Law courts and all other public offices in certain buildings, situate along the Via Giulia, which Bramante had thrown open and brought into a straight line. Now if all these offices of administration could have been assembled in one place, the arrangement would have been highly conducive to the interests and convenience of the merchants and others who had long suffered many hindrances from their separation: Bramante therefore commenced the construction of the palace of San Biagio, on the Tiber, and there is still a most beautiful temple in the Corinthian order, commenced there on that occasion by this master, but which has never been completed. The remainder of the fabric there in part erected is of rustic work most admirably executed, and it is much to be lamented that so honourable, useful, and magnificent an edifice, acknowledged by the masters of the profession to be the most perfect in that kind ever seen, should have failed to receive its due completion.^[27]

In the first cloister of San Pietro-a-Montorio, Bramante built a round temple constructed entirely of Travertine, than which nothing more perfectly conceived, more graceful, or more beautiful can be imagined, whether as regards arrangement, proportion, or variety:^[28] and if the erection of the entire cloister, which is not finished, had been completed after a design by our architect, which may still be seen, the effect of the whole would have been much more noble than it now is.^[29] In the Borgo this master gave the design of a palace, which Raphael of Urbino caused to be constructed of brick, with stucco-work cast in moulds, the columns and bosses are in the rustic manner, the order is Doric, the work altogether being a very fine one, and the invention of those castings at that time quite new.^[30] The design and arrangements for the decoration of Santa Maria at Loretto, which were afterwards continued by Andrea Sansovino, were also made by this master, who prepared the models for innumerable temples and palaces which are nov/ in Rome, and many other parts of the states of the church.

This admirable artist was of a most enterprising spirit, and among other projects had formed that of entirely restoring and even re-arrranging the palace of the Pope; nay, such was his boldness, seeing as he did the resolution with which the Pope accomplished important undertakings, and finding the desire of the latter to coincide with his own purpose and vdshes, that hearing his Holiness express the intention of demolishing the church of San Pietro to construct it anew, he made numberless designs to that end, and among these there was one, which astonished all who beheld it, and was indeed of the most extraordinary magnificence and beauty. Nor would it be possible to display more consummate art, or a more perfect judgment than were evinced by Bramante, in this work: the design shows two towers, in the centre of which is the principal front of the building, as we see it on the medals^[31] afterwards struck for Julius II. and Leo X., by Caradosso,^[32] a most excellent goldsmith of that time, who had no equal in the execution of dies: the same thing may be seen in the medals of Bramante himself, which are also extremely beautiful. The Pope, being thus determined to undertake the commencement of that stupendous building, the church of St. Peter; caused one half of the older fabric to be demolished, and set hand to the reconstruction, with the firm resolve that in art, invention, arrangement, and beauty, as well as in extent, magnificence, and splendour of decoration, that edifice should surpass all the buildings ever erected in that city by the whole power of the republic; aided as this was by the genius of the many able masters whose works had illustrated the states of the church. With his accustomed promptitude the architect laid the foundations of his work,^[33] and before the death of the Pope, continuing his labours to the close of his own life, which followed soon after that of the pontiff; he raised the building to the height of the cornice, which is over the arches of the four piers, and of this part he also completed the vaulting, effecting the whole with extraordinary rapidity, as well as consummate art. He likewise conducted the vaulting of the principal chapel, that wherein is the great tribune namelj, causing the chapel, called that of the king of France, to be also put in progress at the same time.

For this work Bramante invented the method of constructing the vaulted ceilings by means of a framework of strong beams, in which the friezes and decorations of foliage were carved, and afterwards covered with castings in stucco. In the arches of the edifice he also showed the manner in which they may be turned with moveable scaffolds, a method afterwards pursued by Antonio da San Gallo. In that portion of the work which was completed by Bramante, the cornice which surrounds the interior is seen to have been conducted with so much ability, that nothing more elegant or more graceful than is the design of this cornice, in its every part, could have been produced by any hand whatever. In the capitals of this edifice also, which in the interior are formed of olive leaves, as indeed in all the external work, which is of the Doric order, and of inexpressible beauty; in all these things, I say, we perceive the extraordinary boldness of Bramante’s genius; nay, we have many clear proofs that, if he had possessed means of action equivalent to his powers of conception, he would have performed works never before heard of or even imagined.

But the work we are here alluding to was conducted after a much altered fashion on his death and by succeeding architects; nay, to so great an extent was this the case, that with the exception of the four piers by which the cupola is supported, we may safely affirm that nothing of what was originally intended by Bramante now remains.^[34] For in the first place, Raffaello da Urbino and Giuliano da San Gallo, who were appointed after the death of Julius II., to continue the work, with the assistance of Fra Giocondo of Verona, began at once to make alterations in the plans; and on the death of these masters, Baldassare Peruzzi also effected changes, when he constructed the chapel of the King of France, in the transept which is on the side towards the Campo Santo. Under Paul III. the whole work was altered once more by Antonio da San Gallo, and after him Michael Angelo, setting aside all these varying opinions, and reducing the superfluous expense, has given to the building a degree of beauty and perfection, of which no previous successor to Bramante had ever formed the idea; the whc»le has indeed been conducted according to his plans, and under the guidance of his judgment, although he has many times remarked to me that he was but executing the design and arrangements of Bramante, seeing that the master who first founded a great edifice is he who ought to be regarded as its author.^[35] The plan of Bramante in this building, does indeed appear to have been of almost inconceivable vastness, and the commencement which he gave to his work was of commensurate extent and grandeur; but if he had begun this stupendous and magnificent edifice on a smaller scale, it is certain that neither San Gallo nor the other masters, not even Michael Angelo himself, would have been found equal to the task of rendering it more imposing, although they proved themselves to be abundantly capable of diminishing the work; for the original plan of Bramante indeed had a view to even much greater things.

We find it asserted that the earnest desire of Bramante to make a rapid progress, and to see the building arising, induced him to permit the destruction of many admirable works which had previously adorned the church of St. Peter; sepulchral monuments of Popes namely, with paintings and mosaics: a circumstance which has caused the loss of numerous portraits in different styles of many great personages, which were scattered about in all parts of the older church, being, as it was, considered the principal church of all Christendom.^[36] The altar of St. Peter and the ancient choir or tribune was all that Bramante retained, and this he enclosed within a rich balustrade most beautifully executed, with columns or balusters of the Doric order, and all in Peperigno^[37] marble. This enclosure is of such extent, that when the Pops goes to St. Peter’s to perform high mass, he can find space within it for all his court, as well as for tlie ambassadors of all Christian princes; the work was not entirely finished at the death of Bramante, and received its ultimate completion from the Sienese Baldassare.

Bramante was a person of most cheerful and amiable disposition, delighting to do everything whereby he could bring benefit to his neighbour. He was the assured friend of all men distinguished by their talents, and favoured them to the utmost of his power, as was manifest in his conduct towards the graceful Rafiaello da Urbino, a most celebrated painter who was induced to settle in Rome by his means.^[38]

This master always lived in the most splendid and honourable manner, and in the station to which he had attained, all that he possessed was as nothing to what he might and would have expended. He delighted greatly in poetry and took much pleasure in music; hearing as well as practising improvisations on the lyre with infinite enjoyment: he would also occasionally compose a sonnet, if not in so polished a manner as we are now wont to expect, yet always giving evidence of an earnest purpose and entirely free from errors of style.^[39] Bramante was highly esteemed by the prelates, and received various |)roofs of respect and admiration from different nobles, who were acquainted with his excellencies. He enjoyed very great renown during his life, and this was still further increased and extended after his death, seeing that this event caused the erection of St. Peter’s to be suspended during several years. Branante lived to the age of seventy, and when he died, was borne to his grave with the most honourable solemnities, and attended by the papal court as well as by all the sculptors, architects, and painters at that time in Rome. He was entombed in San Pietro, in the year 1514.^[40]

To Architecture the death of Bramante was an irreparable loss, and the rather, as his continual investigations frequently resulted in the discovery of some useful invention, whereby the art was largely enriched. Among other instances of this was the method of vaulting with gypsum and that of preparing stucco,^[41] both known to the ancients, but the secret of whieh had been lost in their ruin, and had remained concealed even to the time of this master. Wherefore, those who devote themselves to the examination and admeasurement of architectural antiquities, find no less science and excellence of design in the works of Bramante than in those of the ancients themselves, and among artists well acquainted with the profession which he exercised, this master must ever be accounted one of the most exalted minds by whom our age has been illustrated. He left behind him his intimate friend and associate Giuliano Leno, who was much employed in the buildings erected at that period, but more to provide for and superintend the execution of what others had planned and designed, than to erect buildings of his own, although he possessed considerable judgment and very great experience.

In the execution of his works, Bramante employed Ventura, a carpenter of Pistoja^[42] who was endowed with great ingenuity, and drew very tolerably well. Ventura took much delight in the admeasurement of the ancient buildings of Rome, but having returned to Pistoja, he settled himself finally in his native place. Now, it so chanced that in the year 1509, there was a Madonna in that city—now called Our Lady of Humility—who was at that time working miracles, and as large offerings were made to her and much alms bestowed, the Signoria who were then governing, resolved to erect a church in her honour. This opportunity having presented itself to Ventura, he prepared a model in the form of an octagonal temple, the width whereof was.... braccia, and the height.... braccia, he added a vestibule, or portico to the façade; the interior of the building as seen in the model was richly adorned, and the whole work was indeed exceedingly beautiful.^[43] The Signoria and the principal persons of the city were accordingly very well satisfied therewith, and determined to commence the fabric according to Ventura's plan. He therefore laid the foundations of the church and vestibule, the latter of which he completed entirely, adorning it richly with columns of the Corinthian order, elaborate cornices and other decorations carved in stone: for all the vaultings likewise of that structure there were prepared fluted cornices, also in stone, and adorned with rosettes. The octangular church itself was afterwards erected to the height of the last cornice, from which the vaulting of the tribune was to commence, and all this was effected during the lifetime of Ventura; but he not being largely experienced in works of so much extent and importance, did not sufficiently consider the weight of the tribune, or the necessity of providing for the security of the building, when that burden should be laid upon it. At the level of the first range of windows therefore, he had permitted a passage, running entirely around the edifice, to be formed in the thickness of the wall; and this he had repeated at the second range, thereby diminishing the strength of the walls to. such a degree, that, as the building was not provided with buttresses, or counterpoise at the base, it became dangerous to construct the cupola, more particularly as respected the angles of the eight sides, whereon the weight of that erection must repose.^[44] Thus it came to pass, that on the death of Ventura, there was no architect to be found who was bold enough to attempt the vaulting of the church. Nay, they had even brought great beams and planks to the place, with the intention of making a roof after the manner of those used for rustic buildings; but that method not pleasing the citizens of Pistoja, they would not suffer the work to be executed, and thus the church remained in that uncovered state for many years. At length, in the year 1561, the wardens of the building made supplication to the Duke Cosimo, entreating him to grant them the favour of causing the cupola to be completed: wherefore, to do them pleasure, that sovereign commanded Giorgio Vasari to proceed tliither and take order for discovering some method by which the work might be accomplished. The latter repaired to Pistoja accordingly, and made a model according to which the fabric was raised to the extent of eight braccia above the cornice left by Ventura, for the purpose of adding buttresses for its support: he likewise decreased the width of the passage between the windows, gave additional strength to the angles and to all the masonry beneath the spaces which Ventura had left in the walls, and bound the whole moreover firmly together with very strong clamps of iron doubled at the angles, whereby the building was rendered sufficiently secure to permit of its being vaulted without danger. His Excellency some time afterwards went himself to Pistoja when he found the arrangements to his satisfaction,^[45] and gave orders that the whole should be executed: the buttresses have therefore been all completed, and a commencement has been already made in the vaulting of the cupola, so that the work of Ventura will be brought to a conclusion with improved proportions, increased grandeur, and in a richer manner. But of a truth, Ventura well deserves to be had in remembrance, seeing that this work is the most remarkable production of modern times to be found in the city of Pistoja.

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1. Writers are by no means agreed as to the name of this master; the architect Cesariano, who declares himself to have been his scholar, calls him “Donato of Urbino, called Bramante.” According to Mazzucchelli, he subscribed himself, “Bramante Asdrubaldino;” but Pagave, citing authentic documents, calls him “Bramante Lazzari.” — See further Pungileoni, Memorie sulla vita di Donato o Donnino Bramante, &c., Rome, 1836.
2. D’Agincourt, in his admirable work, L'Histoire de VArt d^apres les Monumens, Paris, 1823, has a passage, which we quote from the German edition of Vasari, to the following effect:—“Brunelleschi and Leon Batista Alberti may be said to have recalled the ancient style of architecture to life, but it is Bramante to whom we are indebted for its firm establishment, and who has found means to adapt it to the requirements of modern life.”
3. Or Casteldurante, now called Urbania, from Pope Urban VIII., who erected it into a bishopric and gave it his own name. But the place of Bramante’s birth is also a subject of dispute. Baldi, Memorie d'Urbino, affirms that he was born at Fermignano, near Urbino. Cesariano maintains that Urbino itself was his birthplace. Others contend for Monte Asdrubale, and others again for Monte San Pietro, both in the territory of Urbino; but De Pagave {Sienese edition of Vasari, 1791), who seems to be more accurately informed than any other writer on the subject, declares that “Bramante was born in July of the year 1444, at Stretta, two miles from Castel-Durante, now called Urbania.”
4. His parents were Severe Lazzari and Cecilia Lombardelli, both of noble extraction.
5. Fra Bartolommeo Corradino, a Dominican, called Fra Camavale, most probably, from his joyous aspect and jovial character. The picture here alluded to is now at Milan, in the Brera, and an engraving of it wUl be found in the work entitled, Imperiale e Reale Pinacoteca di Milano, &c.—Masselli.
6. Vasari appears to have passed too hastily over the early years of Bramante. According to De Pagave, he first studied under the architect Sciro Scirri, of Casteldurante, and left that place in his twentieth year; but before his departure he had already constructed “a small circular temple to the Madonna del Riscatto, on the banks of the river Metaurus.” The same writer informs us, that previous to visiting Lombardy, Bramante had also erected churches, public buildings, and other edifices in Romagna, and when in Milan was considered one of the most distinguished artists adorning the court of Ludovico il Moro, but whether as a painter or architect there are no documents to show. Of his paintings, indeed, but little authentic information can now be obtained (consult Passavant also, Beiträge zur Geschichte der alien Malerschulen in der Lombardei). It was towards the year 1476 that Bramante went to Milan, where he constructed various edifices (see Pagave, notes). In 1488 he was invited by the Cardinal, Ascania Sforza, bishop of Pavia, to that city, there to rebuild the cathedral (the Incoronata). Pagave declares himself to have seen the drawing of this building by Bramante s own hand, with the date 1490. See also Pungileoni.— Memorie sulla vita di Bramante, &c.
7. Our author is happily in error respecting Cesariano, whose fate was not so melancholy as his narration would lead us to believe. He was at one time unhappy in his domestic circumstances, but that misfortune was of a temporary nature only; his merits as an artist also were ultimately acknowledged, and he received all the honours of which, as De Pagave assures us, his talents and character rendered him deserving. Cesariano was not born until 1483, seven years, that is to say, after Bramante’s arrival in Milan; he studied architecture under that master, and was one of his most distinguished scholars. For further details see De Pagave, ui mpra. See also the Marchese Poleni, who has written the life of Cesariano, and from whom we learn that he was a miniature painter as well as architect. At Ferrara he obtained great honour for his learning, from the University of that city, and was finally appointed to complete the internal arrangements of the cathedral of Milan: he died at the last-named city in the year 1542.
8. Bernardino Zenale, of Trevilio. This artist is much commended by Lomazzo and Lanzi. For minute details see the work of Count Tassis, Vite degli Artefici Bergamaschi, tom. i.; see also Passavant, in the Kunstblatt for 1838.
9. From these words Bottari infers that Bramante must previously have been principally occupied with the practice of painting, but it is certain that many of the pictures attributed to him by Scannelli and others were the works of the Milanese Bartolommeo Suardi, called Bramante da Milano or Bramantino, because he had been the scholar of Bramante. De Pagave observes that Bramante studied the architectural details of the cathedral and made himself known to the engineers, not to determine his choice towards architecture, which he had already studied and practised, but rather because he was desirous of an establishment in that city, where, by making himself known to Giovanni Galeazzo, and Lodovico il Moro, he might obtain a sufficiently extensive arena for the exercise of his abilities.
10. After a residence of twenty-two years.
11. In 1499, immediately after the fall of Lodovico his protector, that is to say, when Leonardo da Vinci also left Milan.
12. These arms were destroyed when other changes were effected in the building.
13. Masserizia. Bottari remarks that this word “must here be taken to mean risparmio (frugality), although far masserizia signifies to accumulate.”
14. Oliviero Caraffa.
15. In the year 1504.
16. Of these and other works by Bramante alluded to in succeeding pages, plates will be found in D’Agincourt, Les Arts decrits d’apres les Monumens, tom. iv., plates lvii., lviii.
17. These fountains were demolished, and others of greater magnificence were constructed in their place. — Bottari.
18. When the ca,rclinal was compelled to leave Rome, in 1517, he presented this palace to the crown of England. It was inhabited by the ambassador of Henry VIII. at the period of the Reformation, but then fell into other hands, and ultimately passed into those of the Torlonia family. Such of our readers as are familiar with Rome will remember the position of this palace, which is on the Piazza of San Jacopo Scossacavalli.
19. It wanted only the portal, which was supplied during the last century, but not, according to Milizia, Memorie degl'Architetti, in the grave and pure style of Bramante.
20. The theatre of Marcellas that is to say, used as a fortress in the middle ages by the Pierleoni family, to whom the Savelli succeeded. It was changed by Baldassare Peruzzi into a dwelling for the Massimi family, from whose possession it came into that of the Orsini, Dukes of Gravina, to whom it still belongs.
21. The court formed by the Corridors here described had one-third of its extent higher than the other two-thirds, a circumstance resulting from the formation of the little valley in which it was erected, wherefore Bramante constructed a double staircase, beautifully turned, which formed the means of ascent from the lower floor to the upper. But across this noble court Sixtus V. built a large hall, now the Library of the Vatican, so that, instead of the most magnificent court in the world, we have now two and a garden, altogether unconnected. Other changes have also been made. The Nuovo Braccio, for example, has been erected, in a line parallel to that of the Library, for the reception of the Museo Chiaramonti: thus has the grand idea of Bramante been lost, and his work, in many parts, entirely spoiled.—Bottari and Milizia.
22. Even Milizia, difficult as he is to please, admits that “Bramante had conceived a design which was one of the most ingenious, magnificent, and superb character.” For an engraving of this work, see D’Agincourt, Arts decrits d'après les Monumens.
23. In later times also it has been found needful to execute important repairs in these buildings. —Ed. Flor., 1832-8,
24. This spiral stair may still be seen behind the Fountain of Cleopatra, but in a part now abandoned; it is therefore altogether useless.
25. See vol. i. of the present work.
26. In the School of Athens.
27. Of the edifice here alluded to there is now (1759) little or nothing to be seen.— Bottari.
28. Milizia, Memorie degli Architetti, with his accustomed severity, enumerates various defects in this erection, but allows it, nevertheless, to be considered a graceful and well-proportioned little temple; he commends in particular the two flights of stairs by which the subterranean chapel beneath it is gained, declaring them to be managed very judiciously, and well adapted to the narrowness of the space.
29. According to the design of Bramante, the small round temple was to form the centre of a circular colonnade, with four chapels and four entrances; a niche for the reception of a statue was to be placed on each side of the entrances; between them, that is to say, and the chapels. — See Milizia, ut supra, Life of Bramante.
30. This palace, according to Bottari, was on the hither side of the Tiber, on the road leading to St. Peter’s, and was demolished, with other buildings, when the Colonnade of St. Peter’s was constructed.
31. They show the front of the church, which has the form of a Greek cross; and over the grave of St. Peter, which occupies the centre, is a large Cupola, between two clock-towers. For details respecting the construction of the Cupola, see Serlio, Tutte le opere in Architettura di Sebastiano Serlio, raccolte dal Scamozzi, Venice, 1584.
32. See Bonanni, Templi Vatic. Historia, tav. i. p. 9.
33. his was done, with appropriate ceremonies, on the 18th of April, 1506, the foundation-stone being laid, according to this authority, immediately beneath the pier where the statue of Santa Veronica now stands.
34. The reader who shall desire such details as cannot here find place, is referred to Duppa’s Life of Michael Angelo; Bonanni, Templi Vatic. Historia; Quatreinere de Quincy Vies des plus cilebres Archiiectes; and Milizia, Memorie degl'Architetti; see also D’Agincourt, Les Arts decrits d'ajnes les Monumens; with Platner and Bunsen, Beschreibung der Stadt Rom. There are besides, many other writers, who have ably treated the subject in all its details.
35. In a letter to a friend, Michael Angelo expressed himself thus:— That Bramante was equal to any architect who has appeared, from the time of the ancients to our own, can by no means be denied. The first stone of St. Peter’s was laid by him, not after an obscure or confused plan, but in accordance with a design which was clear, comprehensive, and luminous; he had, besides, so isolated the church that it was in no respect detrimental to the Palace, and those who have departed from the plans of Bramante, as Sangallo has done, have in so far departed from the truth,”— See Lettere Pittoriche, t, vi. p. 26.
36. The greater part of them were happily saved. —See Cancellieri, De Secretariis Basilicce Vaticana:, veteris ac novae.
37. Monsignore Bottari, speaking of this portion of Bramante’s work, is pleased to observe that “all these ornaments are taken away to give place for new thoughts, and, finally, the marvellous contrivance in bronze, executed by Bernino, has been erected there.”
38. And was even named by him as his successor in the labours of San Pietro, a fact which we learn from the brief directed to Raphael by Leo X. This will be found translated into Italian, in the Lettere Pittoriche, and commences thus, “Since, besides the art of painting, your excellence in which is known to all the world, you have also been reputed by the architect Bramante, to be equally competent in all matters connected with building, insomuch that at his death he justly opined that to you might be confided the building commenced by him here in Rome, the Church of the Prince of the Apostles namely,” &c. 6cc,—Ed. F(or., 1832-8.
39. Certain sonnets by Bramante will be found in a collection published at Milan in 1756.—Ibid.
40. He was buried in the subterranean church (the Grotte Vaticane), and was afterwards honoured with the following epitaph:—

    “Magnus Alexander, magnam ut conderet urbem
    Niliacis oris, Dinocratem habuit,
    Sed si Bramantem tellus antiqua tulissit,
    Hic Macedum Regi gratior esset eo.”

41. In the life of Giuliano and Antonio da San Gallo, Vasari again alludes to tliis invention.
42. Ventura Vitoni, of whom a valuable notice will be found in the list of Pistolese Artists, which the cavalier Francesco Tolomei has appended to his Guida di Pistoja. —Ed. Flor., 1832-8.
43. For the beauty of its architecture, the church of Our Lady of Humility, at Pistoja, is accounted among the most remarkable edifices of Tuscany. — Ibid.
44. Vasari has not escaped the accusation of having blamed the work of Ventura the better to excuse himself for not having pursued the plans of the first architect in the vaulting of the church. The reasons he has assigned for the changes which he caused to be made, have not satisfied those who understand the subject, nor has the work obtained their approval. —Ed. Flor., 1832-1.
45. But after it was done, remarks the above-cited Tolomei, it did not by any means please his Excellency. — Ibid.