several of these sketches plainly reveal that master's influence, we
find, among the sketches of domes, some, which show already
Bramante's classic style, of which the Tempietto of San Pietro in
Montorio, his first building executed at Rome, is the foremost
example[Footnote 3: It may be mentioned here, that in 1494 Bramante
made a similar design for the lantern of the Cupola of the Church of
Santa Maria delle Grazie.].

On Plate LXXXIV is a sketch of the plan of a similar circular
building; and the Mausoleum on Pl. XCVIII, no less than one of the
pedestals for the statue of Francesco Sforza (Pl. LXV), is of the
same type.

The drawings Pl. LXXXIV No. 2, Pl. LXXXVI No. 1 and 2 and the ground
flour ("flour" sic but should be "floor" ?) of the building in the
drawing Pl. XCI No. 2, with the interesting decoration by gigantic
statues in large niches, are also, I believe, more in the style
Bramante adopted at Rome, than in the Lombard style. Are we to
conclude from this that Leonardo on his part influenced Bramante in
the sense of simplifying his style and rendering it more congenial
to antique art? The answer to this important question seems at first
difficult to give, for we are here in presence of Bramante, the
greatest of modern architects, and with Leonardo, the man comparable
with no other. We have no knowledge of any buildings erected by
Leonardo, and unless we admit personal intercourse--which seems
probable, but of which there is no proof--, it would be difficult to
understand how Leonardo could have affected Bramante's style. The
converse is more easily to be admitted, since Bramante, as we have
proved elsewhere, drew and built simultaneously in different
manners, and though in Lombardy there is no building by him in his