It must, however, be remarked, that this notable group of works, stamped with the marks and even the mannerisms of a strong personality, reveal in their unknown author gifts amounting to genius, and heretofore deemed not unworthy of Bramante. It is almost inconceivable that they should have been designed by a mere beginner previously utterly unknown and forgotten soon after. It is incumbent upon those who deny the attribution to Bramante to find another name, if possible, on which to fasten the credit of these works. Accordingly, they have been variously attributed to Alberti (who died in 1472) or his followers; to Bernardo di Lorenzo, and to other later fifteenth-century artists. The difficulty here is to discover any name that fits the conditions even as well as Bramante’s; for the supposed author must have been in Rome between 1495 and 1505, and his other works must be at least as much like these as were Bramante’s. No name has thus far been found satisfactory to careful critics; and the alternative theory, that there existed in Rome, before Bramante’s coming, a group of architects unknown to later fame, working in a common style and capable of such a masterpiece as the Cancelleria, does not harmonize with the generally accepted facts of Renaissance art history. Moreover, the comparison of these works with Bramante’s Milanese work on the one hand and his great Court of the Belvedere in the Vatican on the other, yields, to some critics, conclusions quite opposed to those of the advocates of another authorship than Bramante’s. The controversy must be considered for the present as still open. There are manifest difficulties with either of the two opposed views, and these can hardly be eliminated, except by the discovery of documents not now known to exist, whose testimony will be recognized as unimpeachable.