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BRA About 1499, or more probably a few years earlier, he left Milan, and established himself in Rome. Though Bramante was now advanced in life, his great influence on modern art commenced in Rome; he followed the steps of Brunelleschi, who died within a year of the time that Bramante was born. The classic revival had commenced, the Gothic and Byzantine were superseded, and the round arch in its turn supplanted the pointed. Bramante took advantage of the opportunities afforded by the ancient ruins of Rome, of perfecting his knowledge of classical art, and qualified himself for the high position as an architect which he shortly attained. The art of Bramante, however, was not classical, but the classical applied to the uses of modern society—it was the Italian renaissance in a grand and simple form. One of the noblest examples of Bramante's style, is the Cancellaria Apostolica, formerly known as the Palazzo San Giorgio, a magnificent and spacious palace built as the private residence of Raphael Riario, cardinal of San Giorgio, in the pontificate of Alexander VI. It bears the date 1495, and besides being one of the earliest, is one of the most important monuments of the renaissance in Rome. The principal front on the Campo Fiore, presenting above a basement, a double row of Corinthian pilasters, comprising three upper stories, extends to about 275 feet in length; but the great feature of the building is the inner court, surrounded on all four sides by a double colonnade. This palace was confiscated to the papal government in the time of Leo X., in consequence of the participation of the Cardinal Riario in the conspiracy of Cardinal Petrucci against that pope. Bramante executed many works in the pontificate of Alexander VI., but Julius II. was his principal patron, and the Vatican was the great arena of his glories. Here he carried out vast works for that pope. He first joined the Belvedere villa to the old palace of the Vatican, and enlarged and embellished the palace by the addition of the court of San Damaso, and the famous Loggie, containing the celebrated arabesques of Raphael, with many other improvements. Raphael himself, the fellow-townsman of this architect, was invited to Rome through the representations of Bramante. In 1506 he commenced his immense undertaking—the rebuilding of the Basilica of St. Peter. Julius II. laid the first stone on the 18th of April of that year; but Bramante, though the maestro architetto for eight years, did not carry the building much beyond the four great piers of the dome; but these were the key to the whole, and the work was necessarily continued with corresponding magnificence of proportions by his successors, but upwards of a century elapsed before its completion.

Bramante died on the 11th March, 1515, and was buried beneath the church of St. Peter, in the so-called Grotte Vaticane. He was frate del piombo, or keeper of the leaden seals. The duty of this officer is to attach the leaden seals to the papal bulls. After Bramante's death, Raphael was, by the express desire of the architect, appointed his successor by Leo X. He had for assistants, Giuliano da San Gallo and Fra Giocondo da Verona, who had been also the assistants of Bramante. After Raphael's death in 1520, the work was carried on by Baldassare Peruzzi. In 1536 Antonio da San Gallo, the nephew of Giuliano, succeeded Peruzzi and considerably altered the original plan. Michelangelo succeeded San Gallo in 1546, and superintended the work to the completion of the dome in 1564. The continuation was then undertaken by Vignola, aided by Pirro Ligorio, under the express condition that they were to adhere to the plan of Michelangelo; and as Ligorio wished to change the design, Pius V. removed him. After the death of Vignola in 1573, Giacomo della Porta assumed the direction of the works, and with the assistance of Domenico Fontana, completed the cupola, and fixed the cross above it in 1590 in the pontificate of Gregory XIV. Giacomo dell Porta died in 1604, and the work was finally carried to completion by Carlo Maderno and Giovanni Fontana, and consecrated by Urban VIII. in the year 1626, one hundred and twenty years after the laying of the first stone by Bramante and Julius II.—(Pungileoni, Memoria intorno alla vita ed alle opere di Donato Bramante, 1836; Vasari, Vite dei Pittori, &c., Ed. Le Monnier; Platner and Bunsen, Beschreiburg der Stadt Rom., &c.)—R. N. W.  BRAMBILLA,, a Piedmontese artist, who studied under Delfino. He became renowned at Turin, and executed there his best work, "The Death of St. Dalmatius." He flourished about 1772.—W. T.  BRAMER,, a Dutch painter, born at Delft in 1596. He learned in Rembrandt's school, and tried to imitate him in little. He went to Italy at eighteen, and resided chiefly at Florence and Venice, where his works were much esteemed. He seems to have devoted his life to the impossible and foolish attempt of forgetting Flemish art, in which he would have been original, and imitating Italian art, in which he was compelled to be a poor mean copyist. He excelled in painting towns on fire at night, and caverns with light pouring in from above, the poetry in fact of firelit rooms and grating-lit cellars turned into flaming Sodoms and dungeons of Ugolino. His mannerism was the introduction of gold and silver vases into his pictures; these he painted bright, lustrous, and bold, with a fine rich relievo. He drew his shadows very thin and transparent. Pilkington says he had a good taste in design, noble and commendable expression, a delicate pencil, and a bright full tone. His best pictures were a small "Pyramus and Thisbe" on copper; a "Denial of St. Peter;" and a "Raising of Lazarus." The palace at Ryswick had or has some of Bramer's pictures. He died at Delft, year unknown.—W. T.  BRAMPTON,, one of the four justiciars of England in the reign of Edward I., 1274-1307. In 1288 he was accused and found guilty of breach of trust and of peculation, and, along with three accomplices, was condemned to pay the enormous fine of forty thousand marks, and to be confined in the Fleet prison. The celebrated Latin treatise on the entire body of the English law, called Fleta, from the place where it was written, is supposed by some to have been compiled by de Brampton, or by one of his colleagues, Thomas de Weyland, J. de Lovetot, and Adam de Strutton. This excellent work was first published by Seldon in 1635.—J. T.  BRAND,, celebrated for his research as an antiquary, was born at Newcastle-upon-Tyne in 1743. He was apprenticed to a shoemaker, but found means to prosecute his studies, and at last to reach Oxford, where he took his bachelor's degree, and where he published a poem named "Illicit Love; written among the ruins of Godstow nunnery," his mind having been attracted by the memories of the fair Rosamond and her royal lover. In 1774 he was presented to the curacy of Cramlington, Newcastle, and ten years later to the church of St. Mary-hill, London. On his removal to London he was chosen secretary to the Society of Antiquaries, having become distinguished by the publication of a work called "Observations on Popular Antiquities," including Bourne's Antiquitates Vulgares, with addenda to every chapter. In 1789 he published "The History and Antiquities" of his native town and county. He died in 1806.—J. B.  BRAND,, a German artist, born at Vienna in 1723. He became a celebrated landscape painter, and professor in the Imperial Academy. He studied under Schmutzer, engraved several plates, and died in 1793. His brother, , became also a landscape painter and engraver.—W. T.  * BRANDE,, who for nearly half a century has occupied a distinguished position among British chemists, was born in 1788, in Arlington Street, St. James', London. He was educated first at a private school at Kensington, and afterwards at the Westminster school, which he left in 1802. In 1803 he was sent to Hanover, but Bonaparte's threatened invasion obliged him to escape to Hamburg, and thence he returned home, having, however, during his residence abroad, perfected his knowledge of the French and German languages. On his return he was entered as a pupil at St. George's hospital, where he attended the medical lectures, and worked hard in the dissecting room. He communicated occasional papers to Nicholson's Journal, and in 1805 he drew up a short account of some experiments on guaiacum, which were read before the Royal Society, and published in the Philosophical Transactions for 1806. In 1808 he made a chemical examination of the calculi in the Hunterian museum, and in the winter of the same year he delivered a course of lectures on pharmaceutical chemistry at Dr. Hooper's medical theatre in Cork Street. He afterwards joined the newly-established medical school in Windmill Street, and thus became fairly embarked as a teacher and demonstrator of chemistry. In 1809 he was elected a fellow of the Royal Society, and in 1813 he received the Copley medal; three years afterwards, on the resignation of Dr. Wollaston, he was elected senior secretary of the Royal Society, an office which he held till 1826. In 1812 Sir H. Davy recommended him as his successor to the professorship of chemistry in the Royal Institution, to which office, after 