Donato Bramante in the context of "Italian Renaissance architecture"

Renaissance architecture is the European architecture of the period between the early 15th and early 16th centuries in different regions, demonstrating a conscious revival and development of certain elements of ancient Greek and Roman thought and material culture. Stylistically, Renaissance architecture followed Gothic architecture and was succeeded by Baroque architecture and neoclassical architecture.

Developed first in Florence, with Filippo Brunelleschi as one of its innovators, the Renaissance style quickly spread to other Italian cities. The style was carried to other parts of Europe at different dates and with varying degrees of impact. It began in Florence in the early 15th century and reflected a revival of classical Greek and Roman principles such as symmetry, proportion, and geometry. This movement was supported by wealthy patrons, including the Medici family and the Catholic Church, who commissioned works to display both religious devotion and political power. Architects such as Filippo Brunelleschi, Leon Battista Alberti, and later Andrea Palladio revolutionized urban landscapes with domes, columns, and harmonious facades. While Renaissance architecture flourished most in Italy, its influence spread across Europe reaching France, Spain, and the Low Countries adapting to local traditions. Public buildings, churches, and palaces became symbols of civic pride and imperial strength, linking humanism with empire-building.

The Papal Basilica of Saint Peter in the Vatican (Italian: Basilica Papale di San Pietro in Vaticano), or simply St. Peter's Basilica (Latin: Basilica Sancti Petri; Italian: Basilica di San Pietro [baˈziːlika di sam ˈpjɛːtro]), is a church of the Italian High Renaissance located in Vatican City, an independent microstate enclaved within the city of Rome, Italy. It was initially planned in the 15th century by Pope Nicholas V and then Pope Julius II to replace the ageing Old St. Peter's Basilica, which was built in the fourth century by Roman emperor Constantine the Great. Construction of the present basilica began on 18 April 1506 and was completed on 18 November 1626.

Designed principally by Donato Bramante, Michelangelo, and Carlo Maderno, with piazza and fittings by Gian Lorenzo Bernini, Saint Peter's is one of the most renowned works of Italian Renaissance architecture and is the largest church in the world by interior measure. While it is neither the mother church of the Catholic Church nor the cathedral of the Diocese of Rome (these equivalent titles being held by the Archbasilica of Saint John Lateran in Rome), Saint Peter's is regarded as one of the holiest Catholic shrines. It has been described as "holding a unique position in the Christian world", and as "the greatest of all churches of Christendom".

The Tempietto del Bramante is a martyrium designed by Donato Bramante to commemorate the site traditionally regarded as the location of Saint Peter’s crucifixion. The small, freestanding chapel was commissioned by Ferdinand II of Aragon and Isabella I of Castile and was completed c. 1502 for the cloister of San Pietro in Montorio in Rome, Italy. The structure is considered a masterpiece of High Renaissance architecture, with scholars and architects noting Bramante’s harmonious proportions and his symbolic adaptation of Classical and early Christian architectural elements.

San Pietro in Montorio (English: "Saint Peter on the Golden Mountain") is a church in Rome, Italy, which includes in its courtyard the Tempietto, a small commemorative martyrium ('martyry') built by Donato Bramante.

The Cortile del Belvedere (Belvedere Courtyard or Belvedere Court) was a major architectural work of the High Renaissance at the Vatican Palace in Rome. Designed by Donato Bramante from 1505 onward, its concept and details reverberated in courtyard design, formalized piazzas and garden plans throughout Western Europe. Conceived as a single enclosed space, the long Belvedere court connected the Vatican Palace with the Villa Belvedere in a series of terraces connected by stairs, and was contained on its sides by narrow wings.

Bramante did not see the work completed, and before the end of the sixteenth century it had been irretrievably altered by a building across the court, dividing it into two separate courtyards.