Abstract

In the first decades of the 19th century the rediscovery of the ‘bramantesco’ style assumed a strong local character due to the supposed existence of a ‘Milanese’ ‘bramantesco’ style. This movement consisted in attributing the early stages of Italian Renaissance art to the Lombard culture of the 15th century. The historiographic analysis is associated with episodes of architectural revival episodes in order to capture the first instances of renewal and experiment new models that went beyond the Vitruvian canon adopted in the Brera school. Indeed, the more flexible proportions of the ‘bramantesco style’ were more suitable to the need for variety and modernity of residential architecture, and more appropriate to be used in the standardised production of ornamental terracotta elements.

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