Bramante was above all a greater arranger of form. People often make comparisons between architecture and music and even poetry. The links are not merely suggestive. They are real in the sense that in all three arts, meaning and arrangement are interwined in their rendition. Architectural expression is made up of structural relationships that define a space. Being stuff that we need to move around in, it is logical to construe these as extensions of both the organic body and the spiritual mind that humans beings are.

Bramante's works are characterised by the clarity of detail in his formal resolutions. He has an affinity for symmetry as an ordering principle. By symmetry, Vitruvius did not mean mirror imagining rather he meant balance, above all he meant completeness.

It's sketchy, the discourse on how the Renaissance minds were affected by Classical Antiquity but the results are all to evident lying still - there in the architecture of this most enlightened of periods. My impressions are that of exhilaration, that come both in the chiostro where the picture was taken and of course, the mysterious Tempietto, when I am in the presence of Bramante's art.