The traces of Bramante’s handiwork in Milan, where he is known to have been employed for many years, have vanished more and more in the light of the careful studies of recent times. But in the Church of Sta. Maria delle Grazie we do at last come upon them, though his part in this building also seems to be much less than was generally supposed. The famous Dominican church, with its memories of Lodovico il Moro and Beatrice d’Este, of Leonardo and Bramante, of the novelist Prior, Matteo Bandello, brings us to the full Renaissance. It is in part, however, of the transition style, and links together the earlier and later Sforzesque periods. It was built for the Dominicans in 1465, by Count Gaspare Vimercati, one of Francesco Sforza’s chief supporters, and became later a special object of interest to the Moro, who, not satisfied with its already antiquated style, began to rebuild it completely as soon as he attained the Dukedom. His project was, however, only carried out as far as the choir and cupola. This part used always to be, and is still by some, attributed to Bramante, but there is no evidence that he contributed except with his advice and influence to the work. The great clustered pile, as it appears outside, with its rectangular and circular projections, its panels and pilasters, parapets, arcades, columns and candelabra, its medallions and perforated wheels, seems typical of Renaissance ideas as interpreted by the Lombard architects, with their dislike for simplicity and broad effects, their fondness for broken surfaces and elaborate detail, their natural redundancy. It is grandiose, melancholy and cold. Round the base are shields bearing the various devices of the Sforza. The flank of the church, with its long windows and round _oculi_, and rich terra-cotta mouldings, is of the earlier style used by the Solari, as is also the façade, but here in the beautiful marble portal, the only part accomplished of the new front projected by Lodovico, we come upon what is generally allowed to be actually Bramante’s work. Its large and dignified character, and the pure design of the arabesques, show a great artist, and a character foreign to the Lombard. The _scoppetta_, il Moro’s peculiar emblem, is introduced into the pattern on the pilaster on the right hand of the door.