[MUSIC]
We'd like to conclude our presentation on Bramante's works wIth
architectures not less exemplary than the previous ones.
The first, the Santa Maria del Popolo choir,
undoubtedly is an contemporary of, to Saint Peter's, and
the second the Nympheum at Genazzano, a tribute to Bramante and uncertainly dated.
But fully responded to his research and architectural language.
We have briefly seen Santa Maria del Popolo among the churches realized in
Rome towards the end of 15th century.
With a facade presenting superimposed orders and
an interior covered by large growing vaults.
Similar to the ones in the antique imperial theme.
Bramante was asked to add a choir for the friars.
Lengthening the church's nave,
it was not planned the baroque altar, now hiding its view.
And we have it here.
He designed an elongated and at the same time centralized base
with two short barrel vaults at the sides and a central groin vault.
Later frescoed by Pinturicchio to appear like a shallow dome.
And here we see the new choir.
And its plan better represented with the projection of the vaults.
Later frescoed by Pinturicchio to appear like a shallow dome.
And we see here the groin vault frescoed.
The light comes in the middle from two windows similar to
those designed by Bramante for St. Peter's choir.
Later named serliana because of
Serlio's utilization in his treatise on architecture.
To enlighten the final part of his work, Bramante opened a window
in a coffer of the barrel vault before the rear end niche crowned by a shell.
What is peculiar in this architecture is Bramante's capacity in articulating
the walls through an architectural order we have here.
Which, which follows at, at the same time makes understandable the walls' plas,
plastic effect, or maybe better, the succeeding spaced sequence.
Now widened, now restrained until the final niche.
It is the architecture I recommend to seek first in Rome,
along with the Tempietto de San Pietro de Montorio to
understand the renovation introduced by Bramante in the Italian Renaissance.
The Nympheum at Genazzano,
a small village not far from Rome, is the second example we are going to consider.
The building was realized in a small valley in front of a quiet and
modest river going through.
We see it covered and
enmeshed in vegetation like a romantic ruin as it is today.
But according to some scholars,
this is the state in which it was planned and realized since the beginning.
It could have been a place for banquets or feasts.
Or also for theatrical scene,
to host the actors who were to be looked at from the space in front.
We have here, the drawings of the four architectonical orders, articulating and
deepening space excavated in the hillside where the Nympheum is placed.
Along with some serviceable structure on the sides.
And here we see the plan with the reconstruction of the walls,
if they were really realized.
And also, these two stages,
the first part at the hillside and
the second realized facing
the little river we spoke about.
The perforated arches over the interrupted entablatures are recalling
the first Milanese Bramante.
While the bowl structure divided in three base will be resumed soon
after in Villa Madama's lodge by Raphael, Bramante's pupil,
as far as the architecture is concerned, designed for
Pope Leo X, Julius II's successor.