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Gli elementi provenienti dall’Italia settentrionale nell’architettura di Bramante a Roma

digital Gli elementi provenienti dall’Italia settentrionale
nell’architettura di Bramante a Roma
Articolo
rivista ARTE LOMBARDA
fascicolo ARTE LOMBARDA - 2016 - 1-2
titolo Gli elementi provenienti dall’Italia settentrionale nell’architettura di Bramante a Roma
autore
editore Vita e Pensiero
formato Articolo | Pdf
online da 11-2016
issn 0004-3443 (stampa)
€ 6,00

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Vasari makes out that Bramante’s pioneering architecture was determined by the encounter with antiquity in Rome, and buildings such as the Tempietto and St. Peter seem to confirm this view at first glance. This essay examines the extent to which the Roman antiquities really shaped the buildings that Bramante created in Rome, or vice versa, how strongly is their connection with Bramante’s past experiences in Northern Italy. It is soberly considered, with which cultural circles the essential elements of the Roman works of Bramante can be concretely combined. In this way it turns out that most of them have their models in Northern Italy, in Lombardy, but also in Venice. The early works of Bramante in Rome do not even come as close to antiquity as the buildings of the 15th century in Rome do. The disposition of the St. Peter’s church is shaped by models of Northern Italy and the ideas of the Hagia Sophia in Constantinople. The Tempietto comes closer to the antique than any other Renaissance building, but its disposition is determined by Vitruvius, and Vitruvius was intensively studied in Milan. The building is not oriented to the ancient monuments, where they deviate from Vitruvius or from ideal concepts of the Renaissance. In conclusion is considered, why the architecture that Bramante created in Rome, although its individual elements are more connected to Northern Italy than to Roman antiquity, has a different overall effect than the one he created in Milan. The special situation that prevailed in Rome as the center of Christendom at the time of Bramante appears to be the reason for this, especially the possibilities offered there, more than in other places, to realize ideal imaginings of the Renaissance.

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