BRAMANTE AND RAPHAEL
used) by the late Brunelleschi of S. Maria degli Angeli, was to be
of the greatest importance for the future development of Italian
architecture.
The immediate future however belonged to Bramante, the master
of classic harmony and greatness, not to Bramante, the herald of the
Baroque. Raphael (1483-1520) was the architect to follow most
closely the Bramante of the Tempietto, and the new courts of the
Vatican (1503 seqq.), Bramante's other Roman masterpiece. Of
Raphael's architectural works few are actually documented. Amongst
the buildings attributed to him on good evidence is the Palazzo
Vidoni Caffarelli in Rome (pi. Ln), a very near descendant of the
Palazzo Caprini which Bramante had designed just before he died in
1514 and which Raphael had bought in 1517. It is now altered out
of recognition. The Palazzo Caffarelli is also no longer as Raphael
intended it to be. It was at a later date considerably enlarged in width
and height. Here again the change of scale is noticeable which marks
the High Renaissance. Balance and harmony are still the aims, but
they are now combined with a solemnity and greatness unknown to
the 15th century. Tuscan Doric columns replace the pilasters of the
Palazzo Rucellai and the Cancelleria, and the happy aba rhythm is
contracted into a weightier a b with a new accent on the a by the
duplication of the columns, and on the b by the straight architraves
over the windows. The design of the rustication on the ground floor
also emphasises the horizontality, i.e. the gravity of the composition.
The development from the Early to the High Renaissance, from
delicacy to greatness and from a subde planning of surfaces to a bold
high relief in the modelling of walls encouraged an intensified study
of the remains of Imperial Rome. Only now their drama was folly
understood. Only now humanists and artists endeavoured to visual-
ise and perhaps recreate the Rome of the ruins as a whole. It is thus
more than a coincidence that Raphael was appointed by Leo X, the
Medici pope, in 1515 to be Superintendent of Roman Antiquities,
that he had Vitruvius translated by a humanist friend for his private
use, and that he (or in all probability he) drew up a memorandum
to the pope advocating the exact measuring of Roman remains,
with ground plans, elevations and sections separate, and the restora-
tion of such buildings as could be "infallibilmente" restored.
Here precisely archaeology in the academic sense begins, an atti-
tude quite different from that of the 15th-century admirers of
Roman architecture. It produced sthtfkrs of ever wider kno'w'-
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