6

The British School at Rome.

acquainted with the great architects of the day—and more especially with
Bramante, who died in Rome in 1514. The sketchbook contains copies of
original studies by the latter for various buildings in Rome which I have sub-
mitted to Baron von Geymuller, who has been good enough to give me
most freely the benefit of his assistance and advice on the subject, for
which my warmest thanks are due.
No. 17 (a study for the plan of St. Peter's) is of great interest, and
gives another of Bramante's many ideas for the execution of the building:
while Nos. 714 79, 904 1164 all represent details of cornices designed by
Bramante for it.
No. 18 is his plan for SS. Celso e Giuliano, which was after all never
executed, and was only known otherwise from a rough sketch by Antonio
da Sangallo the younger (Uffizi 875).
Bramante's intentions for the Cortile di Belvedere are nowhere better
illustrated than in the plan No. 25, which gives a number of new details,
and the elevations Nos. 43-45, in whicli we get for the first time his
design for the second order of the lower court, while many of the architec-
tural details are accurately given.
Nos. II (S. Biagio della Pagnotta) and 21, 33, 34, 65^ (the 'tempietto
di Bramante ' at S. Pietro in Montorio) are also important.
The Palazzo della Cancelleria (Nos. 51, etc.), too, and the Palazzo
Giraud (No. 14) are represented, though the attribution of these buildings
to Bramante has recently been questioned (infra, p. 16).
No. 31 shows the state of St. Peter's at a rather later stage, just after
the death of Fra Giocondo on July 1, 1515. (Bramante died March 11,
1514.) It is probable indeed that the chapels on each side of the choir had
only just been begun at that time ; they were certainly not proceeded with
later on (infra, p. 28).
Nos. 82, 115c, 1164 i, are architectural members designed by
Antonio da Sangallo—the younger, no doubt, though the father was still
living—which I have not succeeded in identifying, so that they may
perhaps never have been executed, or else be no longer in existence.
A curious problem is presented by the close relation between some of
the drawings of Coner (in the main of architectural details from classical
buildings, but in some cases from Renaissance buildings also) and a series
of sketches, mostly in red chalk, attributed to Michelangelo, and taken
from a sketchbook the leaves of which measure ii| by 8} inches, the