The first stone of the new edifice was laid on the 18th of April, 1506; and the works proceeded with a rapidity more pleasing perhaps to the impatient spirit of Julius, than beneficial to the stability of so vast an edifice. Either to this haste on the part of the pontiff, or to a want of constructive care on his own part, must be attributed the failures which occurred to several of Bramante’s buildings; and it is said, that, in the fear of Michael Angelo’s superior scrutiny, he industriously sought to compass the removal of that great artist from Rome.
His jealousy had been excited by the high admiration with which Julius regarded Michael Angelo’s talent; and he strove to arrest the progress of the intended monument, by stimulating in the pope a superstitious dread of constructing his own tomb. He was, perhaps, not more envious of Michael Angelo as a rival, than of the art of sculpture as compared with his own; and it may have been with the view of diverting the pope’s mind from the engrossing subject of the tomb, that he suggested that Michael Angelo should be employed in painting the vault of the Sistine Chapel. Julius, adopting the suggestion, ordered Bramante to construct a scaffold for the painter’s purpose; but it was no sooner done than Michael Angelo rejected it as totally unfit, and invented one himself. If the opposition of these celebrated men had been hitherto restrained within bounds, it now assumed a more decided character of hostility. Half the painting of the chapel being completed, Bramante was desirous that Raphael, then rising into eminence, should finish the half remaining; expecting, no doubt, that the latter, being more exclusively a painter, would exhibit a superiority over one who had chiefly practised as a sculptor. At this, the indignation of Michael Angelo was naturally fired, and he arraigned at once, in the presence of the Pope, not only the architectural defects of Bramante’s buildings, but likewise the moral faults of his character. At a former period, however, he had paid full tribute to his rival’s exalted taste, saying, in his letter to a friend, “It cannot be denied that Bramante is superior in architecture to all others since the time of the ancients.”
Among the more pleasing passages of Bramante’s life, is that which relates to his friendship for the inimitable Raphael, who was his fellow-countryman, and, as it is reported, his relation. Certain it is that Raphael was his pupil in architecture, and that he entertained an affectionate regard for his master, whose portrait he introduced into his celebrated picture of the “School of Athens,” where Bramante is represented as describing with his compasses a geometrical figure to several youths who surround him.
Bramante died in 1514, one year after his patron Julius II., and eight years after the commencement of the new St. Peter’s. At this period the great arches over the central piers were turned, and the principal chapel opposite the entrance erected. Subsequent additions, however, to his portion of the building, and material deviations from his original design, have left us to regard the church in its complete state as deriving little else than its general idea from the genius of its first architect. His remains were deposited in it with great pomp, being attended by the Papal court, and the leading professors of art. He is described as lively and agreeable in manner, and, notwithstanding his quarrels with Michael Angelo, of a liberal and generous disposition. He seems rather to have been distinguished by a bold and fertile fancy, than by any great attainments in the mechanical department of his profession; and to form a just estimate of his designs, they should be considered with reference to the progressive state of architectural taste, and cautiously adopted as examples for imitation.
The best authorities to be consulted on this subject are Vasari, Tiraboschi, Milizia, and Condivi.
[Great niche of the Belvedere.]
Engraved by E. Scriven.
MADAME DE STAEL.
From the original Picture by F. Gerard in the possession of M. de Broglie, at Paris.
Under the Superintendence of the Society for the Diffusion of Useful Knowledge
London, Published by Charles Knight, Ludgate Street.
