Analysis Of Donato Bramante's Tempietto

Meaning “rebirth” in French, the Renaissance in Italy represented a reawakening of classical ideals in art. Beginning in the 14th century, the revival of interest in antiquity inspired architects of the age to construct buildings of incredible proportion and symmetry that exuded harmony and order. The renewed concern with classicism sparked the creative imaginations of Renaissance architects, who referred to ancient architecture as a model which they often studied for inspiration. Though Renaissance buildings often look very similar to the antique models which inspired them, architects only borrowed the principles of Roman architecture and made the designs according to their own ideas and interpretations, often striving to surpass the works
Built in the courtyard of San Pietro in Montorio in Rome in 1502, the Tempietto is a small commemorative tomb for St. Peter. Drawing from the style of early Greek temples called a tholos, the Tempietto uses a centralized plan of a peristyle enveloping a cella. Harkening back to the classical obsession with symmetry and proportion, Bramante achieved an incredible harmony and balance between the dome, drum and base. Additional features such as the stylobate, steps, colonnade and dome all are derived from classical architecture. The columns are an example of the Doric order. The circular temple supports a classical entablature, consisting of a frieze with triglyphs and metopes, which consist of symbols of Christian passion. Although antique models provided the inspiration for all its details, the combination of parts and details were new and original, especially the fusion of the antique with new Renaissance styles. For example, Bramante adds a dome, which had a renewed interest in the Renaissance, to a tholos design which traditionally did not include a domed roof. The Tempietto is the perfect example of the Renaissance relationship between ideal ancient geometry, perfection and the divine. The connection between ideal ancient geometry and the divine was very important to Renaissance artists who strove to create exemplars of the perfection of heaven, using geometry and symmetry. Including classical elements as a connection to the divine, Bramante’s Tempietto fosters a link between architecture from antiquity and the expression of the Renaissance Christian faith. Comprised of the intricate mixture Greek influence, Renaissance architectural ideals and Bramante’s own person style, the Tempietto is a clear example of the innovation and thought behind Renaissance buildings, which sets them apart from their