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The ground-plan, which is all I know of Peruzzi's project, has always seemed to me by far the most beautiful and interesting of those laid down for S. Peter's. It is richer, more imaginative and suggestive, than Bramante's. The style of Bramante, in spite of its serene simplicity, had something which might be described as shallow clearness.
He began the two great apses of the transept; and whereas Bramante, Raffaello, and Peruzzi had designed eight tabernacles toward the Campo Santo, which arrangement Sangallo adhered to, he reduced them to three, with three chapels inside."
"He is both powerful and exquisite, his verve always ready, his ingenuity invariably awake, his fecundity full of grace and magnificence. As for their Bramante with his masterpiece, that cold, correct Cancelleria, we'll dub him the Michael Angelo and Raffaelle of architecture and say no more about it.
Vast, indeed, seemed the conception of Bramante in this work, and he gave it a very great beginning, which, even if he had begun on a smaller scale, neither San Gallo nor the others, nor even Buonarroti, would have had enough power of design to increase, although they were able to diminish it; so immense, stupendous, and magnificent was this edifice, and yet Bramante had conceived something even greater.
Bramante formed no school strictly so called, though his pupils, Cristoforo Rocchi and Ventura Vitoni, carried out his principles of building at Pavia and Pistoja. Vitoni's church of the Umilt
Not the placid and pure taste of Bramante, but the masterful and fiery genius of Buonarroti, is responsible for the colossal scale of the subordinate parts and variously broken lineaments of the existing church. In spite of all changes of direction, the fabric of S. Peter's had been steadily advancing.
I have given my reasons above for doubting the accuracy of this tradition; and what we have just read of Michelangelo's own hesitation confirms the statement made by Bramante in the Pope's presence, as recorded by Rosselli. In fact, although we may assume the truth of Bramante's hostility, it is difficult to form an exact conception of the intrigues he carried on against Buonarroti.
Plates 1 to 7 of that work are devoted to the plans of S. Peter's. Plate 4 is specially interesting, since it represents in one view the old basilica and the design of Bramante, together with those of Antonio di S. Gallo and Michael Angelo.
In 1505 he was summoned again to Rome, by Pope Julius II, to design his tomb, and this work occupied Michelangelo, from time to time, throughout the remainder of his life. He was forced probably through the intrigues of Bramante, his rival in architecture to leave Rome, and once more returned to Florence. In the intervals between all these dates he produced many of his masterpieces.
Bramante and Leonardo da Vinci used to work on paper ruled in squares, describing it as a "truly ingenious thing, and of great utility in the work of design." By this means they developed proportions according to a definite scheme. They set to work with a division of space analogous to the musician's division of time.
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