Bramante dopo Malaguzzi Valeri
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The author looks at the research carried out since Malaguzzi Valeri’s second
volume on Bramante and Leonardo (1915) noting particularly that
the list of buildings attributed to him has hardly changed, but that important
discoveries have been made in other respects, particularly of the
Bergamo frescoes, of the fact that Gaspare Visconti owned the house in
which the Uomini d’Arme and Democritus and Heraclitus were painted;
and of whether some or all of the paintings usually attributed to Bramante
should be transferred to Bramantino. Malaguzzi Valeri’s skepticism
about Bramante’s early life and his possible relationship to Fra Carnevale
and the painters of the Nicchia di San Bernardino are considered. Bramante’s
relationship with Francesco di Giorgio is examined with the conclusion
that the planning of San Bernardino in Urbino must antedate the
death of Federico da Montefeltro in 1482 and, more broadly, that a number
of the architectural details of the ducal palazzo at Urbino built under
Laurana and Francesco di Giorgio probably owe much to the illustrious
basilica of San Salvatore at Spoleto. The attribution to Bramante of a
project-drawing for Santa Maria presso San Satiro is rediscussed as well
as the thorny problem of the original fenestration of the church. The discovery
of a copy of a document for the Duomo in Pavia as well as a recent
suggestion concerning Bramante’s original plan for the church are
weighed-up. Documents recently discovered by Eduardo Rossetti form
the basis for the attribution to Bramante of the project to face the ex-
Arcimboldo palace on the Corso Magenta and another block on the Via
Terraggio with plinths, then semicolumns superimposed over pilasters to
left and right thus accounting for the many examples of the use of the
same architectural device from the late 1480’s in Lombardy in many different
media: the arrangement was taken by Bramante to Rome where it
appeared on the second story of the lower courtyard of the Belvedere and
on the exterior of St. Peter’s, and in many other places throughout the
16th century and afterwards. Santa Maria delle Grazie is considered on
the basis of recent investigations by Luisa Giordano in an attempt to clarify
the story of Beatrice’s d’Este’s tomb and those of others, and the
arrangements of the wooden stalls in the new choir. Finally the significance
of a reference in Biagio Guenzati’s life of Federico Borromeo, which
evidently concerns a project to construct a third side to the Canonica of
Sant’Ambrogio, is analysed.
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