n his own way, denoted, "Maestro Francesco
Architettore." The Pope, on account of his ability in architecture,
was very well disposed towards him.

[Illustration: TEMPIETTO

(_After_ Bramante da Urbino. _Rome: S. Pietro in Montorio_)

_Anderson_]

For these reasons he was rightly held worthy by the aforesaid Pope,
who loved him very dearly for his great gifts, to be appointed to
the Office of the Piombo, for which he made a machine for printing
Bulls, with a very beautiful screw. In the service of that Pontiff
Bramante went to Bologna, in the year 1504, when that city returned
to the Church; and he occupied himself, throughout the whole war
against Mirandola, on many ingenious things of the greatest
importance. He made many designs for ground-plans and complete
buildings, which he drew very well; and of such there are some to be
seen in our book, accurately drawn and executed with very great art.
He taught many of the rules of architecture to Raffaello da Urbino;
designing for him, for example, the buildings that Raffaello
afterwards drew in perspective in that apartment of the Pope wherein
there is Mount Parnassus; in which apartment he made a portrait of
Bramante taking measurements with a pair of compasses.

The Pope resolved, having had the Strada Julia straightened out by
Bramante, to place in it all the public offices and tribunals of
Rome, on account of the convenience which this would bring to the
merchants in their business, which up to that time had always been
much hindered. Wherefore Bramante made a beginning with the palace
that is to be seen by S. Biagio sul Tevere, wherein there is still
an unfinished Corinthian temple, a thing of rare excellence. The
rest of this beginning is in rustic work, and most beautiful; and it
is a great pity that a work so honourable, useful, and magnificent,
which is held by the masters of the profession to be the most
beautiful example of design in that kind that has ever been seen,
should not have been finished. He made, also, in the first cloister
of S. Pietro a Montorio, a round temple of travertine, than which
nothing more shapely or better conceived, whether in proportion,
design, variety, or grace, could be imagined; and even more
beautiful would it have been, if the whole extent of the cloister,
which is not finished, had been brought to the form that is to be
seen in a drawing by his hand. He directed the building, in the
Borgo, of the palace which afterwards be