B. The theory of Dome Architecture.

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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.  ³⁶⁷ 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.

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I have already, in another place,  ³⁶⁸ 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

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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.

Footnotes

38:367 1: In MS. B, 32b (see Pl. CIII, 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.

39:368 1: Les Projets Primitifs pour la Basilique de St. Pierre de Rome, par Bramante, Raphael etc.,Vol. I, p. 2.