18

The British School at Rome.

definite plan, which was actually put into execution, they have two pilasters
like those under the cupola.
The fact that between the right transept and the choir there is a sort
of sacristy (rather like those in Giuliano da Sangallo's plan, pl. 26, fig. 1),1
made me think for a moment that the artist might have made a project
for the completion of St. Peter's in another way (in 1514-15, after
Bramante's death); but this could not be, for in that case he would have
drawn the temporary choir built by Bramante and removed about
1585?
Besides this, the idea of placing two columns in front of the diagonal
sides of the 'piloni' of the cupola, an idea which we find in several studies
of Bramante, would have had no meaning after the 18th April, 1506 [when
Julius II. laid the foundation stone of the new church] nor with the actual
'piloni,' which are those of Bramante in their general outlines. So it can
only be one of the ideas of Bramante, which originated at the very time at
which he drew plate 9.

18.(12) SANTI-CELSI.
This must be taken from the original plan by Bramante for the
rebuilding of the church of SS. Celso e Giuliano ai Banchi, after its
destruction, whole or partial, under Julius II. Armellini (Chiese di Roma,
364) quotes the following passage from a MS. in the Vatican archives
{Stato temporale delle Chiese di Roma, i. 329 'al tempo di Giulio II.3 la
chiesa veniva a mezzo la strada dei Banchi: v' era un porticale grande del
modello della chiesa di S. Maria in Trastevere : v' erano tre porte grande
appresso la piazza et una pietra dove si vendeva il pesce che era di S. Celso.
Doppo Giulio II. fece buttare giu il porticale e vi fece case e botteghe.'
In 1575, however, the campanile (which is mentioned by the
Anonymus Magliabecchianus 4) was apparently still standing (Armel-
lini, lot. cit. cf. Melanges de l'Ecole Frangaise de Rome, xxi. (1901)
478. Fabriczy, in commenting on the statement (which is not to be

1 Uffizi No. 7.

2 Giuliano intended to convert Bramante's temporary choir into a permanent one, connecting
it with the rest of the building by adjuncts such as sacristies, in keeping with it (0,. cit. 284).

3 Cf. Laelius Podager's note in a copy of Mazochi's Epigrammata Antiquae Urbis now in
the Vatican (Lat. 8492) to the inscription published by De Rossi, Inscr. Christ, i. p. 469 n. 1031
' memini me vidisse hoc epigramma in aede divi Celsi antiqua, antequam solo aequaretur.'

4 Urlichs, Codex Urbis Romae topographicus, 153.