Chapter 62
b) Second type. _This consists in adding aisles to the whole plan of the first type; columns are placed between the apses and the aisles; the plan thus obtained is very nearly identical with that of S. Lorenzo at Milan.
Fig. 1 on p. 56. (MS. B, 75a) shows the result of this treatment adapted to a peculiar purpose about which we shall have to say a few words later on.
Pl. XCV, No. 1, shows the same plan but with the addition of a short nave. This plan seems to have been suggested by the general arrangement of S. Sepolcro at Milan.
MS. B. 57b (see the sketch reproduced on p.51). By adding towers in the four outer angles to the last named plan, we obtain a plan which bears the general features of Bramante's plans for S. Peter's at Rome. [Footnote 2: See_ Les projets primitifs _etc., Pl. 9-12.] (See p. 51 Fig. 1.)
Group IV.
Domes rising from an octagonal base.
This system, developed according to two different schemes, has given rise to two cla.s.ses with many varieties.
In a) On each side of the octagon chapels of equal form are added.
In b) The chapels are dissimilar; those which terminate the princ.i.p.al axes being different in form from those which are added on the diagonal sides of the octagon.
a. First Cla.s.s.
The Chapel_ "degli Angeli," at Florence, built only to a height of about 20 feet by Brunellesco, may be considered as the prototype of this group; and, indeed it probably suggested it. The fact that we see in MS. B. 11b (Pl. XCIV, No. 3) by the side of Brunellesco's plan for the Basilica of Sto. Spirito at Florence, a plan almost identical with that of the Capella degli Angeli, confirms this supposition. Only two small differences, or we may say improvements, have been introduced by Leonardo. Firstly the back of the chapels contains a third niche, and each angle of the Octagon a folded pilaster like those in Bramante's Sagrestia di S. M. presso San Satiro _at Milan, instead of an interval between the two pilasters as seen in the Battistero at Florence and in the Sacristy of Sto. Spirito in the same town and also in the above named chapel by Brunellesco.
The first set of sketches which come under consideration have at first sight the appearance of mere geometrical studies. They seem to have been suggested by the plan given on page 44 Fig. 2 (MS. B, 55a) in the centre of which is written_ "Santa Maria in perticha da Pavia", _at the place marked A on the reproduction.
a) (MS. B, 34b, page 44 Fig. 3). In the middle of each side a column is added, and in the axes of the intercolumnar s.p.a.ces a second row of columns forms an aisle round the octagon. These are placed at the intersection of a system of semicircles, of which the sixteen columns on the sides of the octagon are the centres.
b) The preceding diagram is completed and becomes more monumental in style in the sketch next to it (MS. B, 35a, see p. 45 Fig. 1). An outer aisle is added by circles, having for radius the distance between the columns in the middle sides of the octagon.
c) (MS. B. 96b, see p. 45 Fig. 2). Octagon with an aisle round it; the angles of
Pl. XCII, No. 2 (MS. B. 96b). Detail and modification of the preceding plan-half columns against piers-an arrangement by which the chapels of the aisle have the same width of opening as the inner arches between the half columns. Underneath this sketch the following note occurs:_ questo vole - avere 12 facce - co 12 tabernaculi - come - a - b. (This will have twelve sides with twelve tabernacles as a b._) In the remaining sketches of this cla.s.s the octagon is not formed by columns at the angles.
The simplest type shows a niche in the middle of each side and is repeated on several sheets, viz: MS. B 3; MS. C.A. 354b (see Pl. Lx.x.xIV, No. 11) and MS. Ash II 6b; (see Pl. Lx.x.xV, No. 9 and the elevations No. 8; Pl. XCII, No. 3; MS. B. 4b [not reproduced here] and Pl. Lx.x.xIV, No. 2)._
_Pl. XCII, 3 (MS. B, 56b) corresponds to a plan like the one in MS. B 35a, in which the niches would be visible outside or, as in the following sketch, with the addition of a niche in the middle of each chapel.
Pl. XC, No. 6. The niches themselves are surrounded by smaller niches (see also No. 1 on the same plate).
Octagon expanded on each side.
A. by a square chapel:
MS. B. 34b (not reproduced here).
B. by a square with 3 niches:
MS. B. 11b (see Pl. XCIV, No. 3).
C. by octagonal chapels:
a) MS. B, 21a; Pl. Lx.x.xVIII, No. 4.
b) No. 2 on the same plate. Underneath there is the remark: "quest'e come le 8 cappele ano a essere facte" (this is how the eight chapels are to be executed).
c) Pl. Lx.x.xVIII, No. 5. Elevation to the plans on the same sheet, it is accompanied by the note: "cia.s.scuno de' 9 tiburi no'uole - pa.s.sare l'alteza - di - 2 - quadri" (neither of the 9 domes must exceed the height of two squares).
d) Pl. Lx.x.xVIII, No. 1. Inside of the same octagon. MS. B, 30a, and 34b; these are three repet.i.tions of parts of the same plan with very slight variations.
D. by a circular chapel:
MS. B, 18a (see Fig. 1 on page 47) gives the plan of this arrangement in which the exterior is square on the ground floor with only four of the chapels projecting, as is explained in the next sketch.
Pl. Lx.x.xIX, MS. B, 17b. Elevation to the preceding plan sketched on the opposite side of the sheet, and also marked A. It is accompanied by the following remark, indicating the theoretical character of these studies:_ questo - edifitio - anchora - starebbe - bene affarlo dalla linja - a - b - c - d - insu. ("This edifice would also produce a good effect if only the part above the lines a b, c d, _were executed").
Pl. Lx.x.xIV, No. 11. The exterior has the form of an octagon, but the chapels project partly beyond it. On the left side of the sketch they appear larger than on the right side.
Pl. XC, No. 1, (MS. B, 25b); Repet.i.tion of Pl. Lx.x.xIV, No. 11.
Pl. XC, No. 2. Elevation to the plan No. 1, and also to No. 6 of the same sheet._
_E. By chapels formed by four niches:
Pl. Lx.x.xIV, No. 7 (the circular plan on the left below) shows this arrangement in which the central dome has become circular inside and might therefore be cla.s.sed after this group. [Footnote 1: This plan and some others of this cla.s.s remind us of the plan of the Mausoleum of Augustus as it is represented for instance by Durand. See_ Cab. des Estampes, Bibliotheque Nationale, Paris, Topographie de Rome, V, 6, 82._]
The sketch on the right hand side gives most likely the elevation for the last named plan.
F. By chapels of still richer combinations, which necessitate an octagon of larger dimensions:
Pl. XCI, No. 2 (MS. Ash. 11. 8b) [Footnote 2: The note accompanying this plan is given under No. 754.]; on this plan the chapels themselves appear to be central buildings formed like the first type of the third group. Pl. Lx.x.xVIII, No. 3.
Pl. XCI, No. 2 above; the exterior of the preceding figure, particularly interesting on account of the alternation of apses and niches, the latter containing statues of a gigantic size, in proportion to the dimension of the niches.
b. Second Cla.s.s.
Composite plans of this cla.s.s are generally obtained by combining two types of the first cla.s.s-the one worked out on the princ.i.p.al axes, the other on the diagonal ones.
MS. B. 22 shows an elementary combination, without any additions on the diagonal axes, but with the dimensions of the squares on the two princ.i.p.al axes exceeding those of the sides of the octagon.
In the drawing W. P. 5b (see page 44 Fig. 1) the exterior only of the edifice is octagonal, the interior being formed by a circular colonnade; round chapels are placed against the four sides of the princ.i.p.al axes.
The elevation, drawn on the same sheet (see page 47 Fig. 3), shows the whole arrangement which is closely related with the one on Pl. Lx.x.xVI No. 1, 2.
MS. B. 21a shows:
a) four sides with rectangular chapels crowned by pediments Pl. Lx.x.xVII No. 3 (plan and elevation);
b) four sides with square chapels crowned by octagonal domes. Pl. Lx.x.xVII No. 4; the plan underneath.
MS. B. 18a shows a variation obtained by replacing the round chapels in the princ.i.p.al axes of the sketch MS. B. l8a by square ones, with an apse. Leonardo repeated both ideas for better comparison side by side, see page 47. Fig. 2.