[104] Cf. Casati, _I Capi d’Arte di Bramante da Urbino nel Milanese_, Milan, 1870, p. 24 _et seq._ That the design of San Satiro was made by Bramante, Casati gives the evidence of a document printed in the year 1500 by the deputies of the church in which it is said, “ ... _Come vi si diede principio dopo l’anno 1470 con disegno del celebre Bramante_.” And he finds further confirmation of Bramante’s authorship in a commentary on Vitruvius by Cesare Cesariano, printed in Como in 1521, where this author states that the church and sacristy of San Satiro were designed by his preceptor, Donato of Urbino, called Bramante.
[105] Salient ribs of stucco are carried up in the angles of the dome of the sacristy as they are in the vaulting of the apses of Todi.
[106] Cf. Casati, _op. cit._, p. 44.
[107] Cf., p. 134, the window sometimes called that of Scamozzi.
[108] _Op. cit._, vol. 2, p. 434.
[109] Melani, _Architettura Italiana_, vol. 2, p. 154.
[110] Cf. _Architettura Italiana_, by Alfredo Melani, Milan, 1887, vol. 2, p. 157.
[111] Coin of Metapontum.
[112] Vitruvius, bk. 7, chap. 5, refers with disapproval to the tasteless and meaningless monstrosities embodied in the ornamental art of his time, and the remains of Roman reliefs offer many examples of such design.
[113] The theory respecting the use of artificial elements in architectural ornamentation developed by Ruskin in his well-known chapter entitled, “The Lamp of Beauty,” in the _Seven Lamps of Architecture_, is, I believe, entirely right in principle, though the author is arbitrary in some of his conclusions and overemphatic in some of his statements.