Introduction
Carol Richardson introduces us to the architect Donato Bramante (1443/4 - 1514). Working in Rome for Pope Julius II who also employed Michelangelo for the Sistine chapel, Bramante's project was the rebuilding of St. Peter's Bascilica, one of the most controversial and disputed projects of the time. Julius II tended to leave his artists to innovate, which lead to ambitious projects which were rarely finished in the Pope's lifetime. The Popes saw themselves as successors of both St. Peter and the Roman Emperors, but also saw themselves as transcending the past. With the project commissioned Julius II believed it was time for a new age in Rome.
Bramante and the sources of the Roman High Renaissance
Tim Benton commences this chapter quoting Sebastiano Serlio (1475-1554) in his book on antiquities in 1540 in which he states that Bramante 'brought back to life the fine architecture which from the ancients to that time had lain buried' (CB2 p251). He laid out his plan for the chapter to include local architectural practice, printed treatises, the significance of the court of Urbino, and St Peter's in Rome.
1. Order and ornament
In this section explanation is given of the way in which architecture emerged in two ways. the first very much in the tradition of Filippo Brunelleschi (1377-1446) was based on the art of arithmetic and geometry as the cornerstones for design, in which 'space and volume are clearly delimited and decoration is reduced to the forms associated with the orders used (Corinthian, Ionic and Doric)' (CB2p252). In the second there is less geometry, less certainty and clarity but instead illusion, complexity and a richness of decoration. Alberti in his treatise On the Art of Building in Ten Books (1450-72) defines the first as 'primary beauty' to do with basic volumes and forms, and the second 'auxilary beauty' derived from ornament. Bramante's early work can be compared to the second his late work to the first.
2. The court of Urbino
Duke Federigo de Montefeltro's court at Urbino was a centre at which numerous and artists and architects spent time. Within the court was a culture that promoted scholarship, theoretical speculation, geometry, perspective, and a pure and austere style of painting and architecture. Amongst those who spent time in Urbino was Alberti, Piero della Francesca and Raphael. Piero was a skilled painter and distinguished mathematician, and his work had a profound influence as can be seen from his painting the Sacre Conversazione 1472-4 oil and tempera on panel (CB2 P7.7 p258). Luca Pacioli the author of On Divine Proportion (1497) was another who spent time at Urbino and who admired the work of Piero della Francesco and derived much from his manuscripts on regular solids. Within this court with its numerous visitors was the opportunity for a wide exchange of ideas and knowledge. Highlighted was the importance of travel that many made between different centres such as Naples, Mantua, Pesaro, Rome and Urbino to gather knowledge of antique sources and new ideas. Federigo 'was also significant in lending prestige to the art of architecture as distinguished from the craft of masons or builders' (CB2 p259). He distinguishes between the invention based on arithmetic and geometry and the practical dealing with construction. The patron with advises was the key figure in the first, the craftsman in the second, and the architect mediated between the two.
3. Francesco di Giorgio Martini
This section goes into some detail on the work of Martini particularly on the mausoleum church that he designed for Federigo, San Bernadino degli Zoccolanti. It particularly highlights both the mathematical application of proportion and the copying and inspiration taken from antique ruins.
4. Donato Bramante
This section introduces Bramante and gives some sketchy background to his early years training as a painter and working on frescoes. Particular reference is made to Fra Carnevale of whom he was a pupil and of an engraving by Bernardo Prevedari Interior of a Ruined Church, or Temple with Figures (1481) (CB2 P7.18 p271) after a work commissioned from Bramante which displays a wide variety of architectural features and his use of detail and perspective.
Santa Maria della Grazie
Bramante moved to Milan ruled by Ludovico Sforza which at the time was also a centre for many other artists including Leonardo da Vinci. He appears to have been the architect for the new east wing pf the Dominican church of Santa Maria della Grazie. This work incorporates a number of antique classical designs and details seen in his earlier painting (reproduced in the engraving). The work is highly decorative however, which is thought to be the addition of the Lombard masons who actually carried out the construction. He left Milan in 1499 following the fall of the city to the French and moved to Rome, entering the service of Pope Julius II in 1503.
The Tempietto
A detailed review of the Tempietto with many architectural features explained and reference to circular temples in antiquity and how the pagan symbols were Christianized.
The Belvedere Corridor
Details and drawing describe and show the Belvedere Corridor, but more importantly in the design Bramante provided the basic vocabulary which was used again and again in classicising architecture over the centuries.
St. Peter's
Again much detail with plans covering the various attempts to come up with a centralised design.
Conclusion
In concluding this somewhat difficult chapter, Tim Benton points to the coming together of strands in central and North Italian culture. He highlights the importance of the pictorial training of architects such as Bramante, and how this allowed them to see the whole design together. He describes the court of Urbino as a laboratory, bringing together :
- scholarly interest in Vitruvius
- the architecture of antiquity (influence of Alberti)
- fascination with perspective and geometry
- respect for the early Renaissance style of Brunelleschi
Important was the 'movement of artists between centres, which helped to increase their confidence in solutions detached from local traditions of craftsmanship' (CB2 p290).
With Bramante there came together classical sources and the innovations of the late 15th Century to provide practical solutions to meet modern needs.
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