Architecture of Bramante - Term Paper Example

Peter by Pope Julius Caesar. Bramante meticulously designed and centralized the basically around a large cupola. Before Bramante, earlier Gothic and Antic architectural work had completely missed the finer points in gracing buildings. For example, most 15th century artists had completely ignored inclusion of a charming and graceful outlook suggested by buildings, as revealed in living subjects (Anonymous, 1996). Importantly, it was Bramante who revolutionalised the earlier dull renaissance by incorporating aspects of human anatomy, and making architectural work charming and with finer details to reveal more to the eye, a concept which had all along being ignored.

Bramante ideologies largely emanated from his love for nature, from which he was ready to study and had a good understanding of antique styles collaborated by his enlightened patronage (Onioans, 1984). The awakening in classical ideas dates back to between 1400 and 1600 when Renaissance period marked changes in architectural work throughout Europe. The main features of renaissance were symmetrical arrangement of doors and windows, triangular shaped pediments, extensive use of pilasters and classical columns, square lintels, niches, and sculptures, arches, and domes (Onioans, 1984).

These designs looked monotonous and evoked no human feelings to Bramante; who was earlier inspired by both human anatomy and nature. To modify the above artistic styles in evoking feelings, Bramante began his new career at the Church of S. Maria Presso, a small nineteenth century church; the church had no chancel; a street outside had limited the span of a t-shape as most churches were designed (Pile, 2005 ). Using his knowledge in optical perspectives, Bramante initiated a new artistic work in Renaissance.

The main contribution in this was to make the end wall of the church into an illuminating deep space using a painted vas relief where when viewed from the nave direction looks as a barrel – vaulted chancel which appears to complete the cruciform plan (Pile, 2005). Another breakthrough that was remarkable in high Renaissance was the monastery of S. Peitro in Montario, Rome. Bramante having proved his amazing designs was awarded the task of reconstructing the cloister to include a small chapel.

In this, Bramante plan included a circular sphere surrounded by a ring of columns that matched the order that wrapped the round chapel with sixteen columns portico supporting an entablature (Pile, 2005). It was such interesting designs that Bramante was requested by the Pope to redesign and plan St Peter’s Basilica, which was earlier designed by Michelangelo. The architecture in this case put more emphasis on the harmony of proportions, making all volumes simple through a cylindrical structure, with the circular plan symbolizing Devine perfection (Kleiner, 2009).

The church therefore illuminated both the antique styles, while at the same time representing the Christian memorial. These were the humanistic feelings that Bramante in all his architectural work invented a new dimension in High Renaissance. Bramante in St Peter’s Basilica came up with a complex plan which had to include a domed crossing, four radiating arms which formed the Greek cross, and several smaller domed chapels at the resulting corners. Though the basilica has over the time undergone major changes, his designs and plans were maintained except the cross which