RENAISSANCE AND MANNERISM C. I42O-C. I6OO

as an engineer, a painter, a sculptor, a musician — as anything
and everything, but not as an architect. Yet in his fertile
mind architectural problems moved all the time. In Florence
he had already sketched the plans of Brunelleschi's Sto. Spirito
and S. Maria degli Angeli, and in Milan he looked carefully at
the specifically Milanese solutions proposed by Filarete. The out-

come were drawings in his
rp=jl sketch-books showing several
kinds of complex central
structures, for instance one
with a central octagon and eight
chapels, each of the Milanese
pkn with centre dome and little
square corner bays (fig. 54),
So here we find as against the
central schemes worked out by
Renaissance architects before
Leonardo not a major contrasted

^ a nuraber of radiatins

minor members, but a system
of three grades each subordinate

to the one above. Another project was to prove even more im-

portant for the future. It appears in Leonardo's Paris Manuscript B

and consists of a combination of a major Greek cross with minor

Greek crosses in the corners (fig. 55). Bramante must have seen this,

and remembered it years after he had left Mikn and moved to Rome.

pi Apart from what Bramante had learnt from Leonardo, the

change from the Milanese to the Roman atmosphere, which

took place in 1499, altered his style decisively. His architecture

assumed at once an austerity far beyond anything in Milan. This

appears already in his first Roman designs, the cloister for S.

Maria della Pace and the Tempietto of S. Pietro in Montorio.

At S. Maria della Pace the courtyard has piers and attached

columns in the Roman way on the ground floor, and an open

gallery on the first whose sUm columns support a straight archi-

trave instead of arches. At S. Pietro in Montorio Bramante

appears even graver. The Tempietto of 1502 is the first monument

of the High as against the Early Renaissance — truly a monument, i.e.

more a sculptural than a strictly architectural achievement (pi. tm).

It was built to mark the spot on which St, Peter was supposed to

DE PRANCE, B, FOLIO 57 v.