If his manner strikes us as somewhat cold and abstract when compared with the more genial audacities of the earlier Renaissance, we must remember how salutary was the example of a rigorous and modest manner in an age which required above all things to be preserved from its own luxuriant waywardness of fancy.

It is hard to say how much of the work ascribed to Bramante in Northern Italy is genuine; most of it, at any rate, belongs to the manner of his youth.

The Church of S.Maria della Consolazione at Todi, the palace of the Cancelleria at Rome, and the unfinished cathedral of Pavia, enable us to comprehend the general character of this great architect's refined and noble manner.

S.
Peter's, it may be said in passing, retains, in spite of all subsequent modifications, many essentially Bramantesque features--especially in the distribution of the piers and rounded niches.
Bramante formed no school strictly so called, though his pupils, Cristoforo Rocchi and Ventura Vitoni, carried out his principles of building at Pavia and Pistoja.

Vitoni's church of the Umilta in the latter city is a pure example of conscientious neo-Roman architecture.