Satiro, one of those small round Grecian fanes which have been considered so peculiarly his own, that various churches of that type are ascribed to him on no better grounds than their form. The conception is, however, of earlier origin, for it appears in not a few miniatures and small devotional panels of the preceding century. He had adopted it in a little chapel of the Madonna di Riscatto, on the banks of the Metauro, opposite Castel Durante, said to have been his earliest work, and the idea was freely used by Perugino and his pupils, Raffaele included. It takes the form of a round building cased by Corinthian pilasters, in an easel picture preserved at Urbino, in the sacristy of Sta. Chiara, which is interesting as an architectural study, and has been attributed to Bramante, or to Giorgio Andreoli, the porcelain enameller of Gubbio. A symmetrically elegant Doric chapel, at S. Pietro in Montorio at Rome, is the chef-d'oeuvre of this classic style, and it was reproduced by della Genga in scenic decorations prepared at Urbino for the representation of Bibbiena's _Calandra_. [Footnote *198: He was probably the pupil of Luciano da Laurana and Piero della Francesca.] As the flower of Bramante's life went by during his long stay in Upper Italy, it is there that his pictorial talents must be appreciated, and that his most numerous, if not his most famous fabrics, may be found. But when Lombardy became the battle-field of Italian independence, when art was there neglected and personal safety compromised, he bethought him of the monuments of antique genius still scattered over the capital of her classic times, and came to Rome in quest of improvement as well as employment. The moment was not propitious, for Alexander VI. was no Maecenas. Yet in the public works, both of fresco-painting and architecture, Donato had a share; and he supplied designs for several private churches and palaces, varying the scene of his labours by prolonged visits to Naples and Tivoli.