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architectural studies. However incomplete, however small in scale,
they allow us to establish a certain number of facts and
probabilities, well worthy of consideration.
When Leonardo began his studies the great name of Brunellesco was
still the inspiration of all Florence, and we cannot doubt that
Leonardo was open to it, since we find among his sketches the plan
of the church of Santo Spirito[Footnote 1: See Pl. XCIV, No. 2. Then
only in course of erection after the designs of Brunellesco, though
he was already dead; finished in 1481.] and a lateral view of San
Lorenzo (Pl. XCIV No. 1), a plan almost identical with the chapel
Degli Angeli, only begun by him (Pl. XCIV, No. 3) while among
Leonardo's designs for domes several clearly betray the influence of
Brunellesco's Cupola and the lantern of Santa Maria del
Fiore[Footnote 2: A small sketch of the tower of the Palazzo della
Signoria (MS. C.A. 309) proves that he also studied mediaeval
monuments.]
The beginning of the second period of modern Italian architecture
falls during the first twenty years of Leonardo's life. However the
new impetus given by Leon Battista Alberti either was not generally
understood by his contemporaries, or those who appreciated it, had
no opportunity of showing that they did so. It was only when taken
up by Bramante and developed by him to the highest rank of modern
architecture that this new influence was generally felt. Now the
peculiar feature of Leonardo's sketches is that, like the works of
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