_B. The theory of Dome Architecture.

This subject has been more extensively treated by Leonardo in
drawings than in writing. Still we may fairly assume that it was his
purpose, ultimately to embody the results of his investigation in a_
"Trattato delle Cupole." _The amount of materials is remarkably
extensive. MS. B is particularly rich in plans and elevations of
churches with one or more domes--from the simplest form to the most
complicated that can be imagined. Considering the evident connexion
between a great number of these sketches, as well as the
impossibility of seeing in them designs or preparatory sketches for
any building intended to be erected, the conclusion is obvious that
they were not designed for any particular monument, but were
theoretical and ideal researches, made in order to obtain a clear
understanding of the laws which must govern the construction of a
great central dome, with smaller ones grouped round it; and with or
without the addition of spires, so that each of these parts by
itself and in its juxtaposition to the other parts should produce
the grandest possible effect.

In these sketches Leonardo seems to have exhausted every imaginable
combination. [Footnote 1: In MS. B, 32b (see Pl. C III, No. 2) we
find eight geometrical patterns, each drawn in a square; and in MS.
C.A., fol. 87 to 98 form a whole series of patterns done with the
same intention.] The results of some of these problems are perhaps
not quite satisfactory; still they cannot be considered to give
evidence of a want of taste or of any other defect in Leonardo s
architectural capacity. They were no doubt intended exclusively for
his own instruction, and, before all, as it seems, to illustrate the
features or consequences resulting from a given principle._

_I have already, in another place,_ [Footnote 1: Les Projets
Primitifs pour la Basilique de St. Pierre de Rome, par Bramante,
Raphael etc.,Vol. I, p. 2.] _pointed out the law of construction for
buildings crowned by a large dome: namely, that such a dome, to
produce the greatest effect possible, should rise either from the
centre of a Greek cross, or from the centre of a structure of which
the plan has some symmetrical affinity to a circle, this circle
being at the same time the centre of the whole plan of the building.

Leonardo's sketches show that he was fully aware, as was to be
expected, of this truth. Few of them exhibit the form of a Latin
cross, and when this is met with, it generally gives evidence of the
determination to assign as prominent a part as possible to the dome
in the general effect of the building.

While it is evident, on the one hand, that the greater number of
these domes had no particular purpose, not being designed for
execution, on the other hand several reasons may be found for
Leonardo's perseverance in his studies of the subject.

Besides the theoretical interest of the question for Leonardo and
his_ Trattato _and besides the taste for domes prevailing at that
time, it seems likely that the intended erection of some building of
the first importance like the Duomos of Pavia and Como, the church
of Sta. Maria delle Grazie at Milan, and the construction of a Dome
or central Tower_ (Tiburio) _on the cathedral of Milan, may have
stimulated Leonardo to undertake a general and thorough
investigation of the subject; whilst Leonardo's intercourse with
Bramante for ten years or more, can hardly have remained without
influence in this matter. In fact now that some of this great
Architect's studies for S. Peter's at Rome have at last become
known, he must be considered henceforth as the greatest master of
Dome-Architecture that ever existed. His influence, direct or
indirect even on a genius like Leonardo seems the more likely, since
Leonardo's sketches reveal a style most similar to that of Bramante,
whose name indeed, occurs twice in Leonardo's manuscript notes. It
must not be forgotten that Leonardo was a Florentine; the
characteristic form of the two principal domes of Florence, Sta.
Maria del Fiore and the Battisterio, constantly appear as leading
features in his sketches.

The church of San Lorenzo at Milan, was at that time still intact.
The dome is to this day one of the most wonderful cupolas ever
constructed, and with its two smaller domes might well attract the
attention and study of a never resting genius such as Leonardo. A
whole class of these sketches betray in fact the direct influence of
the church of S. Lorenzo, and this also seems to have suggested the
plan of Bramante's dome of St. Peter's at Rome.

In the following pages the various sketches for the construction of
domes have been classified and discussed from a general point of
view. On two sheets: Pl. LXXXIV (C.A. 354b; 118a) and Pl. LXXXV,
Nos. 1-11 (Ash. II, 6b) we see various dissimilar types, grouped
together; thus these two sheets may be regarded as a sort of
nomenclature of the different types, on which we shall now have to
treat._

_1. Churches formed on the plan of a Greek cross.

Group I.

Domes rising from a circular base.

The simplest type of central building is a circular edifice.

Pl. LXXXIV, No. 9. Plan of a circular building surrounded by a
colonnade.



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