DONATO BRAMANTE

Donato Bramante, Donato also spelled Donino or Donnino

(c. 1444- 1514, Rome), was an architect who introduced the High
Renaissance style in architecture. His early works could be seen
in Milan that includes the rectory of SantAmbrogio and
the church of Santa Maria delle Grazie. In Rome, Bramante served
as principal planner of Pope Julius IIs comprehensive project for
rebuilding the city.
St. Peters Basilica, of which he was the chief architect, was begun
in 1506. Other major Roman works were the Tempietto at San
Pietro in Montorio (1502) and the Belvedere court in the Vatican
(begun c. 1505).
He probably served as an assistant to Piero della Francesca in Urbino, which, under the
nobleman Federico da Montefeltro, had become a humanist centre of considerable importance.
In 1477 Bramante was working in Bergamo as a painter of illusionistic murals of architecture.
He probably derived his training not only from the works of artists active in Urbino but also
from those of other artists he may have observed in his travels, such as those of Leon Battista
Alberti (in Rimini and Mantua), Andrea Mantegna (in Mantua and Padua), Ercole deRoberti (in
Ferrara), and Filippo Brunelleschi (in Florence).
None of Bramantes youthful productions has survived, though some historians attribute
various architectural perspectives to him. Almost all of them show some characteristics of
Bramantes work, but they appear very different from each other. Before 1477 Bramante may
have been primarily a planner, designer, and painter of architectural perspectives that other
artists partly modified and inserted into their own paintings or carried out in construction;
there are a number of later instances in which he is known to have furnished painters with such
architectural perspectives.
Bramante, after working in various cities on things of no great cost and little value, went
to Milan to see the cathedral. The cathedral workshop, in which Italian, German and French
craftsmen worked by turns, constituted an important centre for the exchange of knowledge,
planning methods, and techniques. Moreover, Milan was a large and wealthy metropolis, the
capital of a state ruled by Ludovico Sforza, and Renaissance architecture was a commodity to be
imported. Thus the city represented an opportunity for a young and up-to-date architect like
Bramante.
The first architectural work that can be definitely attributed to Bramante is a design: a print
made in 1481 by a Milanese engraver, Bernardo Prevedari, from a Bramante drawing
representing a ruined temple with human figures. About the same time, Bramante was working
on the church of Santa Maria presso San Satiro, the first structure definitely attributed to him.
Along with a certain adherence to local taste, this church shows traces of the influence of Alberti,
Mantegna, Brunelleschi, and the Urbino school. This last influence is particularly evident in its
choir, which was painted in perspective to give an illusion of a much larger space. Perhaps from
the same period (c. 148085) is Bramantes decoration of a room in Casa Panigarola in Milan
(fragments in the Brera, Milan) that consists of architectural settings and the figures of men at
arms rendered by means of illusionistic perspective. Similar experiments, perhaps also in the
same years, seem to have been carried out by Bramante on the facades of buildings, such as Casa
Fontana, later called Silvestri, in Milan.
In 1488 Bramante, along with a number of other architects, was asked by Cardinal Ascanio
Sforza, brother of Ludovico Sforza and bishop of Pavia, to draw up a new plan for the cathedral of
Pavia. Bramante went many times to that city during this period, and it was probably under his
direction that the crypt and the lower portion of the building were executed.
Bramante appears to have had close relations with Leonardo da Vinci. In 1482 Leonardo had
visited Milan from Florence, and in 1490 both Bramante and Leonardo were occupied with
stylistic and structural problems of the tiburio, or crossing tower, of the cathedral of Milan. From
1487 to 1490 a number of mutual exchanges can be documented. The only written evidence of
Bramantes ideas on architecture goes back to this time (1490) and consists of a report on
the tiburio problem. Bramante examined various solutions (among them one of his own, a
square plan), demonstrating a conception of architecture remarkably like that of Alberti.
Architecture increasingly dominated his interests, but he did not give up painting. Of the many
works attributed to him by various 16th-century writers, however, none seems to have been
preserved. The only extant easel picture that has ever been attributed to him is the Christ at the
Column of the Abbey of Chiaravalle (c. 1490). A fresco in a complex architectural setting
(c. 149092) in the Castello Sforzesco in Milan is probably his, with the collaboration of his
pupil Il Bramantino.
Starting in 1492, Bramante was entrusted by Ludovico and Ascanio Sforza with the
reconstruction of the canonica (rectory) of SantAmbrogio in Milan. The work was interrupted by
the fall of Ludovico, and, though it was resumed in the 16th century, only one side of the
building was executed. Though Bramantes responsibility cannot be proved, the idea for the
new tribuna (chancel) for Santa Maria delle Grazie probably originated with him; destined to be
the burial mausoleum of the Sforzas, the tribuna was in an overall project of reconstruction,
begun in 1492, for the entire church. Bramante also may have planned the painted decoration of
the interior, but the execution and the clarification of details, particularly on the exterior, were
probably done by Lombard masters.
Bramantes activities in the 1490s, before he left Milan finally for Rome, are periodically
documented. It has been conjectured that in the summer of 1492 he was in Florence studying
the work of Brunelleschi, in view of the emphatic Brunelleschian character of the SantAmbrogio
canonica. In 1493 he made a report on certain fortifications on the Swiss border for Ludovico.
His last few years in Lombardy were marked by the restless activity that characterized the
remainder of his career. He was probably responsible for the designs of the piazza
of Vigevano (carried out between 1492 and 1494, partly transformed in the late 17th century),
of the painted architectural decoration on the arcaded facades that marked its limits, and for the
designs of other structures of the Vigevano complex, as well as the painted decoration (which
has disappeared) for the interior of the castle of the same city. His covered passageway
(ponticella) for the Castello Sforzesco in Milan must also be from this period, and the facade of
the church of Santa Maria Nascente ad Abbiategrasso (near Milan) dates from 1497. Between
1497 and 1498, in addition to a chapel (later altered) of SantAmbrogio in Milan, he worked on
the Cistercian Monastery being erected in Milan under the auspices of Ascanio Sforza; like his
work on the canonica, it was suspended in 1499 and is unfinished.
Bramantes presence (together with Leonardos) in Milan was of fundamental importance for
the later artistic developments in that city.

SAN PIETRO IN MONTORIO
(TEMPIETTO DE SAN PIETRO)
San Pietro in Montorio is a church in Rome, Italy, which
includes in its courtyard the Tempietto, a small
commemorative Martyrium (tomb) built by Donato
Bramante. The church is located in one of the most beautiful
corners of Rome, the slopes of the hill of Gianicolo which
faces a breath-taking view of ancient Rome, and it stands on
the site where according to tradition, the Apostle Peter was
crucified.
Given all the transformations of Renaissance and Baroque
Rome that were to follow, it is hard now to sense the impact
this building had at the beginning of the 16th century. It is
almost a piece of sculpture, for it has little architectonic use. The building greatly reflected
Brunelleschi's style. Perfectly proportioned, it is composed of slender Tuscan columns, a Doric
entablature modeled after the ancient Theater of Marcellus, and a dome.
The design was inspired by a particular type of
classical templeand specifically by the temple of
Vesta at Tivolibuilt on a circular plan and
surrounded by columns. Bramante added a dome
(since altered) and chose the Doric order for the
structures decoration. Remarkable for its elegantly
simple reinterpretation of classical forms, the
Tempietto is regarded as one of the finest examples
of High Renaissance architecture.
Slopes of Hilltop Gianicolo

The "Tempietto" is one of the most harmonious buildings of the Renaissance. It is one of the
earliest examples of consistent use of the Doric order which stated by Vitruvius is the
relationship between the Order and the nature of the divinity to whom the temple is dedicated
to. A Doric order is well suited for strong male gods (such as Hercules) so Doric was well suited
for St. Peter.

INTERIORS
The church is decorated with artworks by prominent 16th- and
17th-century masters.
The first chapel on the right contains Sebastiano del
Piombo's Flagellation and Transfiguration.
The second chapel has a fresco by Niccol Circignani (1654),
some Renaissance frescoes from the school of Pinturicchio, and
an allegorical sibyl and virtue attributed to Baldassarre Peruzzi. Detail of Relief in Cherub
A pupil of Antoniazzo Romano frescoed the third chapel with the Saint Anne, Virgin, and Child.
The fourth chapel has a ceiling fresco by Giorgio
Vasari. Although there is no grave marker, tradition
has it that Beatrice Cenciexecuted in 1599 for the
murder of her abusive father and made famous
by Percy Bysshe Shelley, among othersis buried
either in this chapel or below the high altar.
The ceiling of the fifth chapel contains another fresco,
the Conversion of St. Paul, by Vasari.
The altarpiece is attributed to Giulio Mazzoni, while
the funerary monument of Innocenzo Ciocchi Del Interior of the lower level Stairs leading down
Monte, Cardinal Giovanni Maria Del Monte and Roberto Nobili are by Bartolomeo Ammannati.
The last chapel on the left contains a Baptism of Christ, attributed to Daniele da Volterra, and
stucco-work and ceiling frescoes by Giulio Mazzoni.
Detail of the Triglyphs and Metopes Detail of a Relief on the Ceiling inside the Lower Level Detail of the Altar inside the Lower Level


CONCEPT
The building has a memorial, intended to exalt the figure of Saint Peter as the Roman Pontiff.
The circular building is the figure that evokes the reality of the divine cosmos (Creation) and the
conceptual expression of the "Sacred" and represented the ideal city of Plato.
The architecture tends to characterize the trend of eliminating unnecessary and decorative
items and also finding a monumentality that is based on simplicity and harmony, the essence of
architecture of ancient Rome, which is represented in works such as the Colosseum and the
theater Marcelo and which is also based on architectural theory of S. XV by Alberti.
Bramante recreated an ancient temple circular (Tholos), such as Vesta in Rome, both in form
and function: with small houses where the inner altar.
The wall of the Cella has a height greater than the colonnade, so that the 2nd floor serves as a
drum of the dome that covers the area building.
It is characterized by the expression of proportion and harmony, with the use of clean lines and
classic elements.





SPACES
The meaning of the three bodies: The Crypt: (underground) which
is the old church of the Roman catacombs, the chapel, the church
militant and the top of the dome, the church triumphant, the glory
of God.
The building consists of a small circular
Cella surrounding the hole opened in the
rock where Christian tradition places the
crucifixion of the first pope. Cella is
formed by 16 Doric columns perpteras
order, argue that the entablature frieze
has triglyphs and metopes, and is
crowned by a balustrade.
The cylinder takes over the balustrade of a drum with open windows
or blinded with shells of gallons, and ends in an area with a
hemispherical dome and cross.

PROPORTION
The building dimensions to human scale, providing a living space and paths
that lead to the move and embrace the temple, thus achieving harmony and
proportion.
Articulation of the wall: There is rhythmically, from four gates at the ends of
the axis perpendicular (cardo and Decumano). Each piece of wall between
the doors are organized via a vain (central window flanked by two niches).

PERSPECTIVE
The vertical axis dominates the composition and character of the building is scheduled to be
seen from outside. The two concentric structures (porch
and cylinder) are two different perspectives. The
perspective is the main level of the external columns, and
emphasizes the separation between the two levels, giving
the colonnade to the smaller scale, human-related
measures.
The level retranqueado the wall projecting the columns
with pilasters, unreal structure (shown), where doors,
windows and took the narrow niches intercolumn is
overlapping and also interfere with pilasters. Also behind
the drum of the balustrade is constrained and simplified
in the "attics" of ancient memorials.
This disproportionate effect of the scale is increased with
the nature of distant prospect. The temple is when a patio
door at a distance so small that binocular vision can see exactly the extent of all the elements.
The pillars are placed as a projection of the columns, so its diameter is slightly smaller.


STRUCTURE AND MATERIALS
The circular wall of the Cella in with pilasters that correspond to the columns
of the portico, with alternating openings.
Innovation with regard to the models, there is overlap in the dome with the
torch on cella circular. Besides the set rises above three steps between the
columns that give access to the door.
As in Greek and Roman temples, stresses more sculptural treatment of foreign
news and not structural.
The inner wall is decorated with niches rhythmically auction semicircular
alternating with several dintelados (doors and windows), separated by
pilasters that correspond to the colonnade outside.

COLUMNS
The shafts of the Doric columns are mandatory and are taken from an old
building that was added to new bases and new marble capitals, and inserted
into the architecture of travertine stone and plaster.
So the cornices of the triglyphs not correspond with the axis of the capitals, as
well as coverage of the caissons are always at the gate triglyphs.

CORNISE
The metopes and cornice external triglyphs is repeated in the cornice and the internal wall of
the body, reducing the steps in just keeping the plant and the standard. The metopes external
decoration which alludes to the martyrdom of Saint Peter, is available from the main building.






Renaissance architecture is the architecture of the period between the early 15th and early 17th centuries in
different regions of Europe, demonstrating a conscious revival and development of certain elements of ancient
Greek and Roman thought and material culture.
Renaissance style places emphasis on symmetry, proportion, geometry and the regularity of parts as they are
demonstrated in the architecture of classical antiquity and in particular ancient Roman architecture, of which many
examples remained. Orderly arrangements of columns, pilasters and lintels, as well as the use of semi-circular arches,
hemispherical domes, niches and aedicules replaced the more complex proportional systems and irregular profiles
of medieval buildings.



References
http://www.britannica.com/EBchecked/topic/77472/Donato-Bramante
http://www.personal.psu.edu/users///m/r/mrp5074/donato%20Bramante.html
http://en.wikipedia.org/wiki/San_Pietro_in_Montorio
http://smarthistory.khanacademy.org/tempietto.html
http://www.britannica.com/EBchecked/topic/586758/Tempietto
http://www.quondam.com/15/1510.htm
http://www.greatbuildings.com/cgi-bin/gbc-
drawing.cgi/Tempietto_of_San_Pietro.html/Tempietto_Plan.jpg
http://www.greatbuildings.com/cgi-bin/gbc-
drawing.cgi/Tempietto_of_San_Pietro.html/Tempietto_Section.jpg








HISTORY OF ARCHITECTURE
ASSIGNMENT ON RENAISSANCE ARCHITECT


DONATO BRAMANTE
AND
THE SAN PIETRO IN MONTORIO



SUBMITTED BY
ASHHAR SALEEM
B.ARCH 3
RD
YR SFS
F/O ARCHITECTURE & EKISTICS, JMI




CONTENTS
1. DONATO BRAMANTE
a. INTRODUCTION
2. SAN PIETRO IN MONTORIO
b. INTRODUCTION
c. INTERIORS
d. CONCEPT
e. SPACES
f. PROPORTION
g. PERSPECTIVE
h. STRUCTURE AND MATERIALS
i. COLUMNS
j. CORNICE
3. RENAISSANCE ARCHITECTURE
4. REFERENCES