Despite differences in cultural backgrounds and interests, Bramantino and Gaudenzio were distinguished in the artistic environment of Milan for their originality, partly as a consequence of their association with Leonardo. Influenced in his youth by Butinone and the graphic style of the Padua and Ferrara schools, and then a pupil of Bramante, from whom he derived a flair for monumentality and drama, Bramantino was also an architect (Trivulzio Mausoleum). In his mature classical manner, as in his drawings for the Trivulzio tapestries, the painter consistently reverted to central perspectives. Moving to Rome (1508) as decorator of the Vatican Stanze, his style took on a modern tone. Bramantino's work influenced the Piedmontese Gaudenzio Ferrari, a talented painter and modeller who owed much to the Lombard artists and to Leonardo, as well as to Perugino, Raphael, Diirer, and the Flemish school. He reached full maturity with various religious paintings in the Piedmont region and subsequently founded a flourishing workshop in Milan, working at Santa Maria della Pace, Santa Maria della Passione, and other churches.

 

Bramantino, The Month of April, Trivulzio tapestry woven around 1509 by Vigevano tapestry makers, Sforza Castle, Milan.
 

 Bramantino, Madonna of the Towers, end of second decade of 16th century, Pinacoteca Ambrosiana, Milan.
In the last phases of his career, Bramantino's style became increasingly monumental and enigmatic,
conceived on the principles of perfect symmetry and total stillness.