FOOTNOTES:

[1] Professor Giuseppe Merzario.—I Maestri Comacini. Storia Artistica di Mille duecento anni, 600-1800. Published in 1893 by Giacomo Agnelli, of 2, Via S. Margherita, Milan. Two vols., large octavo. (Price 12 frcs.)

[2] "Si Magister Comacinus, cum collegis suis, domum ad restaurandum, vel fabricandum super se placito finito de mercede susceperit, et contigerit aliquem per ipsam domum aut materiam, aut lapide lapso moti, aut quodlibet damnum fieri, non requiratur domino, cuius domus fuerit, nisi Magister Comacinus cum consortibus suis ipsum homicidium aut damnum componat, qui postquam fabulam firmatam de mercede pro suo lucro susciperit, non immerito sustinet damnum."

[3] "Si quis Magister Comacinum unum aut plures rogaverit, aut conduxerit ad operam dictandum, aut solatium diurnum praestandum inter suos servos ad domum aut casam faciendam et contigerit per ipsam casam, aliquem ex ipsis Comacinis mori non requiratur ab ipso, cuius casa est. Nam si cadens arbor, aut lapis ex ipsa fabrica, et occiderit aliquem extraneum, aut quodlibet damnum fecerit, non reputetur culpa magistro, sed ille qui conduxit, ipsum damnum sustineat."—From the Edict of Rotharis—edited by Troyes.

[4] Stieglitz, Geschichte der Baukunst, 1827, pp. 423, 424. See also Hope's Historical Essay on Architecture, 1835, pp. 229-237.

[5] See Hope's Historical Essay on Architecture, 3rd edition, 1840, chap. xxi. pp. 203-216.

[6] E mandaro al Senato di Roma, che mandassi loro i più sofficienti maestri, e più sottili (subtle) che fossero in Roma: e cosi fu fatto.—Storia di G. Villani. Libro primo, cap. xlii.

[7] Cassiodorus, Variorum, Lib. VI. Epist. vi. Ad Prefectum Urbis De Architecta Publicorum.

[8] Morrona, Pisa illustrata nelle Arti del Disegno, p. 160. Pisa, 1812.

[9] Instituzioni, riti e ceremonie dell' ordine de' Francs-Maçons, ossia Liberi Muratori.—In Venezia MDCCLXXXVIII, presso Leonardo Bassaglia, Con Licenza de' Superiori.

[10] The Charter Richard II. for the year 1396, quoted in the Masonic Magazine (1882), has the following entry—"341 Concessimus archiepiscopo Cantuar, quod, viginti et quatuor lathomos vocatus ffre Maceons et viginti et quatuor lathomos vocatos ligiers ... capere ... possit." Here then at Canterbury is the same thing as at Milan, and all other ancient cathedral-building cities,—the master builders are Freemasons, i.e. of the great and universal guild,—the underlings who assist them have not the same rank and privilege. The Act Henry VI., c. 12, 1444, says in queer mixed parlance—"Les gagez ascun frank mason ou maister Carpenter nexcede pas par le jour IIIJ d. (denari) ovesque mangier & boier ... un rough mason and mesne Carpenter ... III d. par le jour." Here we recognize the same distinction of grades between the master who has matriculated and the mason of lower grade. It is interesting also to note that the master carpenter is equally a Freemason as well as the master builder. In Italy the same peculiarity is noticeable; the magister lignamine, whose work was to make scaffoldings and roofs, is a member of the Maestranze, just as much as the magister lapidorum, and yet a master in wood is never a stonemason. The members seem to have been grounded in all the branches, but only graduated in one of them. The author of the article "Freemason" in the New English Dictionary on Historical Principles, seems to be perplexed over the expression "maestre mason de franche peer" ("master mason of free-stone"); but this is merely the equivalent of the Latin magister lapidus vivum, from Saxum vivum, free-stone, which merely means a sculptor, in distinction to an architect, who was magister inzignorum.

[11] At one era in Lombard times a law was made that no marble was to be used in building, except by royal persons—which accounts for all the Lombard churches being sculptured in Saxum vivum, or free-stone. There may have been a similar custom in England where marble was scarce.

[12] There were other five martyrs of the Masonic guild, whose names have been given as Carpoferus, Severus, Severanus, Victorianus, and Symphorian. I have taken the four "Coronati" from the statutes of the Venetian Arte.

[13] Mrs. Jameson finds the Santi Quattro illustrated in a predella in Perugia Academy. In one scene they are kneeling before the Emperor with their implements in their hands. In another they are bound to four columns and tortured. In a third they are in an iron cage and being thrown into the sea. In their own church they are represented as lying in one sarcophagus with crowns on their heads. In sculpture they also occur on the façades of several early churches; on the Arco di S. Agostino, and lastly on Or San Michele at Florence, where Nanni di Banco had so much trouble in squeezing the four of them into one niche, that Donatello had to help him. These sculptures were placed by the Arte of masons and stone-cutters, and they naturally chose their patron saints.

[14] Gregor. Epist. Tom. III. Epist. iv. an. 755.

[15] Pietro Giannone, an exile from Naples, contemporary of Muratori, was the first to mention this Memoratorio, which he said he had seen among the precious codices of the monks at Cava dei Tirreni; that it contained 152 laws, seven of which were added specially for the Comacine Masters.

[16] See Epistola ad Mustio, 39, lib. ix.

[17] Lib. X. Epist. xliii.

[18] Muratori, Novus Thesaurus veterum Inscriptorum, Vol. I. chap. vii. p. 526.

[19] Antiq. Long. Mil. Tom. I. chap. i. p. 17.

[20] Antiq. Long. Mil. vol. i.; Dissertationi, p. 17.

[21] Their daughter Gundeberg had a similar life; she married first Ariold, and then Rotharis.

[22] Symonds, Renaissance of Art, Fine Arts, chap. ii.

[23] Annali d'Italia, tom. iv. pp. 38, 39.

[24] The first Roman Basilica was constructed in 231 B.C., by Marcus Portius Cato, and was called the Basilica Portia. Marcus Fulvis Nobilior built one, called the Fulvia, in 179 B.C.; Titus Sempronius, 169 B.C. Then followed a long line of these religio-judicial buildings, up to the Basilica Julia of Augustus, 29 B.C., and ending with the Ulpian Basilica of Trajan, A.D. 100.—Ricci, Arch. Ital. chap. ii.

[25] Dell' Architettura in Italia, vol. i. p. 174.

[26] A document, dated 739, in the archives of Monte Amiata, speaks of a certain Maestro Comacino, named Rodpert, who sold to Opportuno for 30 gold solidi, his property at Toscanella (then a Longobardic territory), consisting of a house and vineyard, a cloister, cistern, land, etc.

[27] Cattaneo, L' Architettura in Italia, p. 46.

[28] Gundiberga ... intra ticinensem Civitatem in honorem Beati Joannis Baptistae construxit.—Paul. Diac. lib. iv. cap. 4. This must not be confounded with the Baptistery which was built by Bishop Damiano in the same century.

[29] Several of the Lombard towers in Rome have this peculiar ornamentation.

[30] Antichità Romantiche d'Italia, da Difendente e Giuseppe Sacchi, p. 70, et seq.

[31] Felice quoque meæ sorori ejus tres annulos transmisi due cum jacintis, et unum cum albula.—Gregor. Epist. ad Teod. lib. xiv.

[32] Paulus Diaconus, Sto. Longo. lib. iv. cap. 20.

[33] Ibid. iv. 21.

[34] Ricci, Architettura d'Italia, Vol. I. ch. viii. p. 221.

[35] Paul Diac. Lib. V. ch. xxxiv.

[36] Antiq. Long. Milanesi, Tom. I. Dissertation i. p. 46.

[37] There is a very good instance of this in the Baptistery at Florence, which was also a ceremonial church.

[38] This was said to have been built by Agilulf, 591-615, and rebuilt by Luitprand. It was again restored in 1152, when Pope Innocent II. reconsecrated it.

[39] In the fifteenth century the fine mausoleum, known as the Arco di S. Agostino, was erected over them by a later Comacine Master, Bonino da Campiglione. In the eighteenth century the church, having fallen into disuse, was turned into a hay store for the army, and the Arco was, in 1786, moved into the modern church of Gesù, where it remained till placed in the cathedral, where it now is.

[40] Études sur l'histoire de l'art, vol. ii. p. 157. Paris, 1864.

[41] Paulus Diaconus Warnefridi, Chron. de gestis Langobardorum, Lib. V. cap. iii.

[42] Antiq. Long. Mil. Tom. I. Dissertation i. p. 68.

[43] "Prese molti corpi de' santi dai contorni di Roma, fatti poi trasportare a Pavia."

[44] It seems probable that the sandstone capitals alone belonged to the first eighth-century church, and the marble ones to the eleventh-century restoration. There is now a modern church built over the old crypt.

[45] Dell' Architettura in Italia, viii. 257.

[46] See Sacchi, Antichità Romantiche d'Italia, p. 98.

[47] Ricci (Dell' Architettura, etc.) tells us the spiral column was very anciently used in Asia, and that Rome did not adopt it till Hadrian's return from the East. Under the later Cæsars it became usual, but it fell into disuse in the rest of Italy. The Byzantines used it in some buildings, and in these two early Longobardic imitations of the East, we have a curious masonic link with the ancient traditions of Solomon's Temple, which Josephus tells us was adorned with spiral columns. It may be that they were old Roman columns carried up the mountain from some ruin, but I should rather take them as one of the first instances of the use of the spiral column by the Comacines, a form to which they were devoted in later times. There are endless instances of spiral colonnettes on the façades of Romanesque churches of the thirteenth and fourteenth centuries.

[48] I speak of the time when Signor Difendente Sacchi visited the church in 1828, before writing his work.

[49] Probably the root of our word Lobby.

[50] I Maestri Comacini, Vol. I. chap. i. p. 50.

[51] The words asse and tavole for planks of wood still survive in Italy.

[52] Hope, Storia dell' Architettura, chap. xxv. p. 179, 180.

[53] See the [illustration] of the church of S. Frediano, on page 48, for a perfect specimen of Lombard tower.

[54] Ant. med. aevi, Tom. I. chap. ii. p. 158.

[55] De' real palazzi, ch. i. par. 4.

[56] That the Longobards were either metal-workers themselves, or had Italian artificers in their pay, we know from the specimens preserved in Monza Cathedral, and especially the crown of Agilulf, of which the Antichità Longobardica Milanesi gives an illustration.

[57] Sancti Ambrosii, Comment. in S. Luc. Lib. V. cap. vi.

[58] Dell' Architettura in Italia, cap. viii. p. 245.

[59] Would this at all explain the Runic knot in Ireland, and in Scandinavia, where there was very early intercourse with the Phœnicians?

[60] Amantius, the fourth Bishop of Como, was translated from the See of Thessalonica to that of Como.

[61] Antichità Romantiche d'Italia, Vol. I. capo iv. p. 138.

[62] "Sophiæ patres, per quædam occulta et audacia enigmata, manifestant divinam, et misticam et inviam immundis veritatum."—Sancti Dionisii, de Theologia Simbolica, Epistola I. ad Titum Pontificem.

[63] A very pretty later instance of this myth is in the fresco of the Spanish chapel in Santa Maria Novella, Florence, where the Dominican monks are figured as the "dogs of the Lord" (domini canes—mediæval pun), fighting and overwhelming the heretical paterini whom the monks literally fought with in the streets of Florence. The dog is always used as emblem of fidelity—the hare treated alone is generally used as an emblem of unchastity; when in the chase, as unfaithfulness.

[64] I am informed, by a literary Hindoo lady, that Zohak, so graphically described by Southey as the emblem of remorse, is from an ancient Persian legend, and not of Indian origin.

[65] The stone is evidently a remnant of the ancient architrave of the façade, where it has been replaced by two modern slabs, and the arch above filled in with masonry.

[66] Anglicized from Bigeri Thorlacii et Sebastiani Ciampi. "De septentrionalium gentium antiquitatibus, et literis runicis."—Epistolæ Mediolani.

[67] Architettura d'Italia, Fig. 119, p. 201.

[68] Cattaneo, L' Architettura in Italia, p. 79.

[69] Ermelind was from England, which suggests a very early intercourse between the Lombards and Britain.

[70] Cattaneo, L' Architettura in Italia, p. 167.

[71] In 1410, when the street was enlarged, it was half destroyed, and the south aisle cut off. The last remains were in 1561 incorporated in the Uffizi by Cosimo I., when the gallery was built. Some capitals may be seen in the wall of the Palazzo Vecchio.

[72] See Marchese Ricci, Dell' Architettura in Italia, Vol. I. ch. ix. pp. 302, 342.

[73] The family of Polenta, their feudal lords.

[74] I Maestri Comacini, Vol. I. ch. ii. p. 77.

[75] This is probably the church of S. Pietro Somaldi, to which a Lombard, or rather Italian Gothic, front was added in 1203. It was founded by a Longobard named Somualdo in the eighth century, and restored in 1199.

[76] A place between Lecco and Brescia.

[77] Cattaneo, Architettura Italiana, p. 175.

[78] There is a similar stairway in the church of S. Agnese fuori le mura, at Rome, which though originally said to have been founded by Constantine, is not of Greek form, but preserves a perfect Basilican plan. It was enlarged by Pope Symmachus in the fifth century, and he, it is known, employed Italian artists. The spiral stairway (cochlea) is also mentioned at Hexham in England.

[79] L' Architettura in Italia, ch. iii. p. 143.

[80] Anastasii, Bibliothecarii Vitæ Romanorum Pontificum—in Muratori, Sculptores Rerum Italicum, tom. iii.

[81] S. Prassede in Rome, which was standing in the time of Pope Symmachus, when in 477 he held a synod there, has the same peculiarity. The elongated piers are here placed between every two columns, and are transverse, i.e. the greater width across the church. Before this time the roofs were always formed of gable-shaped frames of wood, erected on beams resting on the side walls, but Ricci sees in this the first advance towards the arched roof. We may see the next step in the old Lombard church at Tournus in France, where a succession of arches are thrown across the nave from the piers.

[82] The tower, which is in a later Lombard style, was rebuilt two centuries later.

[83] Maestri Comacini, Vol. I. cap. ii. p. 79.

[84] Hope, Storia dell' Architettura, ch. xxii. p. 159 (Italian translation).

[85] Storia estetico-critica della arti del disegno, Lezione iv.

[86] The Act exists still, and is quoted in Sagredo's work, Sulle consorterie delle Arti Edificative in Venezia, p. 28.

[87] The same form is shown in the contemporary church of St. Victor at Arsago near Milan.

[88] Conductis protinus peritissimis artificibus tum amalphitanis, quam lombardis.—Cronaca Sacri monasterii Cassinensis, auctore Leone Cardinali Episcopo, Lib. III. cap. xxviii.

[89] "Coeperunt ex sua patria, hoc est Italia, multi ad eum convenire. Aliqui lyteris bene eruditi: aliqui diversorum operum magisterio edocti: alii scientia præditi; quorum ars et ingenium huic loco profuit plurimum."—Chron. S. Benigni Divion, quoted by D'Archery in Spicilegio, vol. ii. p. 384.

[90] Thomas Hope, Storia dell' Architettura, ch. xxxviii. p. 263.

[91] The Saracens invaded Sicily in 832; the author must mean the ninth century.

[92] I Maestri Comacini, Vol. I. chap. iii. p. 121.

[93] Storia dei Mussulmani di Sicilia, Vol. III. chap. i. p. 222, et seq.

[94] See Archivio Storico Siciliano, Nuova serie. Anno ix. 1884.

[95] Fergusson, Handbook of Architecture, p. 652.

[96] See the Letters of Pope Gregory II., and Life of St. Boniface.

[97] Milman, Latin Christianity, Vol. II. chap. v. p. 302, Book IV.

[98] See illustrations in Fergusson, pp. 578, 579.

[99] See illustrations in Fergusson's Handbook of Architecture, pp. 589, 590.

[100] Merzario, I Maestri Comacini, Vol. I. chap. x. p. 282.

[101] This chapter was written by my brother in England, with different sources of information to the Italian ones used by myself. It did not reach me till the first half of my work was complete, and it was very gratifying to find our different sources of study had led to almost identical conclusions. I have altered no fact or argument in either. (Leader Scott.)

[102] See chapter i., Merzario, I Maestri Comacini.

[103] Ibid.

[104] Care must be taken not to confuse the signification of the word Greek, as used in two different eras. To the ancient Roman, Greek architecture would mean the classic style of the Parthenon, etc.; to the mediæval Italian, Greek art and architecture meant simply Byzantine, an entirely different thing. (Leader Scott.)

[105] "According to Müller (Archæologie der Kunst) corporations of builders of Grecian birth were allowed to settle in foreign countries, and to exercise a judicial government among themselves according to the laws of the country to which they owed allegiance; the principle was recognized by all the legal codes of Europe, from the fall of Rome to late in the thirteenth century. Such associations of builders were introduced into southern Europe during the reigns of Theodoric and Theodosius."

[106] Prof. Merzario, in his Maestri Comacini, Vol. I. cap. ii. pp. 87, 88, gives as his reference for this Bede's Ecclesiasticæ Historiæ gentis Anglorum libri quinque, "Vita S. Benedicti Biscopi Abbatis Vuiremuthensis primi ecc." (L. S.)

[107] "Vita Sancti Hugonis Episcopi Lincolniensis."

[108] "Vita S. Moduennæ virginis Hibernicæ."

[109] Montalembert, I Monaci dell' Occidente, p. 152.

[110] See [Plate], Interior of Fiesole cathedral.

[111] Conc. Laodic., c. 15.

[112] Passio S. Cadoci.

[113] See [Chapter II]., "The Comacines under the Longobards," which proves Mr. Barnes' conjectures to be true.

[114] Alcuin (lib. v. 1488) describes the appointments of the Saxon church at York, which were on a scale of great magnificence. There were two altars covered with plates of gold and silver, and a profusion of gems; the tapestries were of the richest, and the walls of the sanctuary were adorned with foreign paintings.

[115] Description of the church built in the monastery of Hexham by Saint Wilfrid, 674-680. See the Appendix to the "Life of St. Wilfrid" in Montalembert's fine work on The Saints of the West.

"Igitur profunditatem ipsius ecclesiae criptis et oratoriis subterrancis et viarum anfractibus inferius cum magna industria fundavit.

"Parietes autem quadratis et bene politis columpnis suffultos et tribus tabulatis distinctos immensae longitudinis et altitudinis erexit. Ipsos etiam et capitella columpnarum quibus sustentantur et arcum sanctuarii, historiis et ymaginibus et variis coelaturarum figuris ex lapide prominentibus et picturarum et colorum grata varietate mirabilique decore decoravit. Ipsum quoque corpus ecclesiae appentitiis et porticibus nardique circumdixit quae, miro atque inexplicibili artificio, per parietes et cocleas inferius et superius distinxit. In ipsis vero cocleis, et super ipsas, ascensoria ex lapide, et deambulatoria, et varios viarum anfractus, modo sursum, modo deorsum, artificiosissime ita machinari fecit, ut innumera hominum multitudo ibi existere et ipsum corpus ecclesiae circumdare possit, cum a nemine tamen infra in eo existentium videri queat. Oratoriaque quam plurima, superius et inferius, secretissima e pulcherrima, in ipsis porticibis cum maxima diligentia et cautela constituit, in quibus altaria in honore Beatae Dei genitricis semperque Virginis Mariae, et Sancti Michaelis Archangeli, sanctique Johannis Baptistae et sanctorum Apostolorum, Martyrum, Confessorum, atque Virginum, cum eorum apparatibus, honestissime praeparari fecit. Unde etiam, usque hodie, quaedam illorum ut turres et propugnacula, supereminent. Atrium quoque templi magnae spissitudinis et fortitudinis muro circumvallavit. Praeter quem in alveo lapideo aquaeductus, ad usus officinorum, per mediam villam decurrebat."—Richardi, Prioris Historia Hagulstadensis Ecclesiae, c. iii., Ap. Twysden, Historiae Anglicanae Scriptores decem., et Raine's Priory of Hexham, p. 2.

[116] See [Chap. V.], "Comacines under Charlemagne."

[117] Sermo beati Bedæ in natale sancti Benedicti Abbatis.

[118] There is a much easier explanation than this. Lombardy was at that time part of Gaul—Cisalpine Gaul. The Comacines appear to have gone to France with Charlemagne; see [Chap. V.] (Leader Scott.)

[119] Dr. Raine of Durham believed, on the authority of the Chronicles of Symeon of Durham, that the churches of Monkswearmouth and Jarrow were rebuilt by the monks of Durham after 1075, and that the church of Wearmouth could not have been built on the same site, because in the account of the House at Wearmouth, 1360, the old church is mentioned incidentally as used for a barn or storehouse (Parker's Introduction); but allowing that to be the case, it is by no means improbable that the old doorway was retained and removed to the new church.

[120] "Ibi œdificia minaci altitudini murorum erecta multi proprio, sed et cœmentariorum quos ex Roma veriunt allequant ut qui Hagulstadensem fabricam vident, ambitionem romanam se imaginari jurent."—Malmesbury, De Gest. Pontiff. I. iii., f. 155.

[121] This is a decidedly Comacine form of building. All the earliest apses of Italian churches have these perpendicular shafts. At S. Piero in Grado they show signs of having been originally covered with marble. (Leader Scott.)

[122] Merzario, I Maestri Comacini, Vol. I. chap. ii. pp. 87-89.

[123] See Article on the Round Towers in St. Peter's Magazine for May 1898.

[124] Pisa illustrata nelle Arti del Disegno.

[125] Professor Ridolfi, L' Arte in Lucca, p. 74, et seq.

[126] Sull' Architettura e sulla Scultura in Venezia nel medio evo sino ai nostri giorni. Studi di P. Selvatico, cap. ii. p. 48.

[127] Selvatico, Storia della Scultura, Lib. II. cap. ii.

[128] Storia di Como, vol. i. p. 537.

[129] In a work by Luigi Mazara (Temple antédiluvien découvert dans l'île de Calypso, Paris 1872) there are two engravings of gateways, one a subterranean one at Alatri in Latium, which is said to have been the work of Saturn, and is called the Porta Sanguinaria; the other of Cyclopean architecture was also in Latium, and called Porta Acuminata; both of them are pointed arches. This would carry the invention back to 2000 B.C. Many of the subterranean aqueducts of Rome have acute arches for purposes of strength.

[130] Seroux, Histoire de l'art par les monuments, p. ii. Paris.

[131] Hope, Storia dell' Architettura, cap. xxxiii.

[132] Selvatico, Sull' architettura e scultura in Venezia dal medio evo, p. 90. Venezia, 1874.

[133] Affò, Storia di Parma, tomo iii. p. 14.

[134] See Borgo S. Donnino e suo Santuario, pp. 59 and 112, by an anonymous author.

[135] "Dicta ecclesia fundata fuit anno Dominicæ Incarnationis millesimo centesimo III gesimo septimo sub dom Papa Innocentio II., sub Episcopo Rogerio, Regnante Rege Lothario, per Magistrum Fredum."—Storia della Città e Chièsa di Bergamo, Tomo III. lib. x.

[136] The contract, which is preserved in the archives of Bellano, is dated July 18, 1348—"Indictione prima in burgo Bellano, Magister Johannes filius quondam Magistri Ugonis de Campilione, et Magister Antonius filius quondam Jacobi de Castelatio de Pelo Vallis Intelvi, et Magister Comolus filius quondam Magistri Gufredi de Hosteno plebis Porleciae, qui omnes tres magistri de muro et lignamine laboraverunt ad laborem Ecclesiæ novæ," etc.

[137] Merzario, I Maestri Comacini, Vol. I. chap. iv. p. 145.

[138] Documents exist which mention it in King Luitprand's time, A.D. 713, and in that of the Emperor Otho, 989.

[139] Arbitrio duorum magistrorum antelami seu fabricorum murariorum eligendorum per magistratus.—Quoted by Merzario, Vol. I. chap. iv. p. 168.

[140] Merzario, I Maestri Comacini, Vol. I. chap. v. p. 171.

[141] Storia di Parma, tom i. Appendix, p. 43. "In mille ducto octuago p. mo indictione, nona facti fuere leones per Magistrum ianne bonum d. bixono et tpore fratrum guidi, nicolay, bnardini et bevenuti di Laborerio."

[142] This Giambono or Giovanni Buono was, I believe, the founder of the Lodge at Pistoja, or at least Master of it in about 1260. His works in Tuscany are many and important, as will be seen when the Tuscan link is under consideration.

[143] "Anno itaque MXCIX ab incolis præfatæ urbis quæstum est ubi tanti operis designator, ubi talis structuræ edificator invenire posset: et tandem Dei gratia inventus est vir quidam nomine Lanfrancus mirabilis ædificator, cujus concilio indicatum est ejus basilicæ fundamentum."—From Muratori, quoted by Merzario, I Maestri Comacini, Vol. I. chap. iv. p. 168.

[144] See [chapter] headed "Troublous Times."

[145] This tower, which is almost as light and elegant as that of Giotto in Florence, became historically famous in the wars between Modena and Bologna in 1325, when the famous Secchia was hidden there—the subject of that curious heroi-comic poem La Secchia rapita.

[146] Calvi, Notizie sulla vita e sulle opere dei principali architetti, pittori e scultori, etc., vol. i. p. 39.

[147] Frix is an abbreviation of Frixones, a name we find two centuries later in an artist of the same guild, working at Milan cathedral, Marco da Frixone a Campione. Another Frix worked at Ferrara a century later.

[148] See [chapter] on "The Florentine Lodge."

[149] Artisti Lombardi del Secolo XV, di Micheli Caffi.

[150] I Maestri Comacini, Vol. I. chap. iv. p. 161.

[151] The silence of that learned St. Thomas was so proverbial that his fellow-students called him the "Bue muto" (the dumb bull). Apropos of this, Albertus Magnus made his famous witty prophecy—"Tomaso may be a dumb bull, but the day will come when his bellowing will be heard throughout the world."

[152] Merzario, I Maestri Comacini, Vol. I. chap. viii. p. 243.

[153] Difendente Sacchi, L'arca di S. Agostina illustrata, etc.

[154] Merzario, I Maestri Comacini, Vol. I. chap. viii. p. 248.

[155] V. Vairina, I Scriptiones Cremonenses Universæ, p. 14, N. 53.

[156] Thomas Hope, Historical Essay on Architecture, chap. xxi.

[157] In the older papers and deeds of Lombard times these were classically called colligantes or fratres; in the later ones they were Italianized as fratelli or brethren.

[158] See Tuscan Studies, by Leader Scott, pp. 18, 19.

[159] Some very early Latin authors write the name Bruschettus.

[160] These two lines, which are partly effaced, have been said to read originally thus—"Busketus iacet hic qui motibus ingeniorum Dulichio fertur prevaluisse Duci."

[161] Dædalus was called by the ancients the Father of architecture and statuary. He was also the inventor of many mechanical appliances. In short a good prototype of a Comacine Magister.

[162] "Concorsero da straniere parti Maestri piú accreditati a prestare la loro opera in si importante Edifizio, sotto la direzione di Buschetto."

[163] Book signed with the number 38, entitled Santuario Pisano, in the archives of the Riformazione, Firenze.

[164] "Ildebrando del Giudice, Uberto Leone, Signoretto Alliata e Buschetto da Dulichio che fu Architetto; il capo di detti fu Ildebrando e gli altri furono Ministri e Uffiziali dell' Opera, come si trova nell' Archivio di detta Opera."

[165] Baldinucci, Dec. 4, sec. 6, p. 292.

[166] Among these were the two porphyry columns now at the door of the Baptistery in Florence. They were taken by the Pisans 1107 from the Saracens in Majorca, and as they were especially valuable, being miraculous, the Florentines claimed them as the spoils of war in 1117. They were said to guard people against treachery.

[167] There was a Diotisalvi, a Judge at Pisa in the year 1224, and a Diotisalvi, son of Bentivenga, is mentioned in a deed executed in 1250, in the Port of Pisa. These may have been some of the architect's distant descendants, but we have no clue as to his ancestors. The name would seem to have been a nickname, and not his baptismal one, for in another round church which he built in Pisa, the Knights Templars' church of S. Sepolcro, it is engraved, "Hugius operis Fabricator D͞STESALVET nominatur." The author of Lettere Senesi derives the name from the motto of the Petroni family in Siena.

[168] Morrona, Pisa Illustrata, vol. i. p. 383.

[169] Vasari, edited by Milanesi, vol. i. p. 137.

[170] Morrona, Pisa Illustrata, vol. i. pp. 142, 143.

[171] Morrona, Pisa Illustrata, vol. i. p. 407. "Si trova in antiche scritture dell' Opera, che fu la vigilia di S. Lorenzo il giorno, in cui fu dato principio alla fabbrica; e son precisamente indicati i due citati Architetti, se non che in vece di Guglielmo Tedesco, si dice Giovanni Onnipotente di Germania per la mala interpetrazione della parola Œnipons, o Œnipontanus, che significa nativo d'Innspruck."

[172] Morrona, Pisa Illustrata nelle arti, vol. i. p. 170.

[173] Ibid. vol. ii. pp. 106-211.

[174] From "Una scultura di Bonaiuto Pisano," in Archivio storico Siciliano, Nuova Serie, Anno IX., pp. 438-443, 1884.

[175] Ciampi, Archivio del Duomo di Pisa.

[176] The inscription, still preserved in the passage leading to the sacristy of the church, runs thus—

ANNO DN͞I MO. CO. OCTUAG͞O SEPTIMO. SEPULCRŪ.
TEPLŪ. ET. CRUC̄E. X͞PI. SARA.
CENI. CEPERUNT. PERFIDI. SUB. SALADINO.
MILITE.... ANNO. PROXIMO. SEQUENTI. DIE....
KL̄. AGOSTO. HEC. HECCLĀ. DE NOVO REFŪ
DARI. CEPIT.... SOLO. QUAE LAUDAT. DM̄. X
BEATE. MARIE. VIT̄V. BLASI͞U CONDOR
D͞IU. CERBONIU
ET ALEXIUM.
GUIDUS. MAISER, EDIFICAVIT. O....

[177] Ridolfi, Guida di Lucca, p. 10.

[178] Merzario, I Maestri Comacini, Vol. I. chap. vi. p. 193.

[179] S. Martin von Lucca, und die Anfänge der Toscanischen Sculptur im Mittelalter, von August Schmarsow, pp. 56, 57. Breslau, 1890.

[180] Cav. F. Tolomei, Guida di Pistoja, p. 74. Pistoja, 1821.

[181] Doctor to King Desiderius.

[182] Reproduced in Muratori's Rerum Italicum, verse 636 et seq.—

"Inteluum scandunt et amicos insimul addunt
... veniunt properantes
Artificesque, boni nimium satis ingeniosi;
Strenuus inter quosque rogatus adesse Joannes
Quinque Bonus de Vesonzo cognomine dictus."

[183] Merzario, I Maestri Comacini, Vol. I. chap. iv. pp. 161, 162.

[184] Vasari, Life of Arnolfo di Lapo.

[185] I Maestri Comacini, Vol. I. chap. iv. p. 162.

[186] Milanesi, quoting other experts, says that when IX. is placed between hundreds and units it signifies 90, consequently the date is 1196.

[187] One only has to glance at the names of the well-known artists to see how common this use of nicknames was. We have Masaccio (the bad Thomas); Cronaca, whose real name was Pollajuolo; Domenico Bigordi, called Ghirlandajo; the iron-worker Niccolò Grossi, called Caparra; Antonio Allegri, called Correggio; Francesco Barbieri, known as Guercino; Alessandro Buonvicino, called Moretto da Brescia (the dark man from Brescia); Pietro Vanucci, Perugino; Andrea Vanucchi, del Sarto; Michelangelo Amerighi, nicknamed Caravaggio; Domenico Zampieri, styled Domenichino; and hundreds of others. No doubt the Buschetto architect of Pisa was only another instance; probably he had a shock head of hair and was nicknamed "the little bush."

[188] Marchese Ricci, Dell' Architettura in Italia, Vol. I. cap. ii. p. 485, note 40.

[189] The name of this councillor of the Opera still exists in Lucca, where are more than one family of Pagni.

[190] Tolomei, Guida di Pistoja per gli amanti delle belle arti, 1821.—Pistoja, p. 38 (note).

[191] S. Paolo was destroyed by fire in 1896, only the outer walls having escaped.

[192] Symonds, The Renaissance, etc. Fine Arts, chap. iii. p. 77.

[193] Ciampi, Notizie inedite della Sagrestia Pistojese. Firenze.

[194] Merzario, I Maestri Comacini, Vol. I. chap. v. p. 177.

[195] Ruskin, Val d'Arno, p. 17.

[196] This must have been another scion of the Buoni family, probably a small man, and therefore called "Little Buono."

[197] This rustic style is carried to an eccentric excess in some buildings of the seventeenth century, such as the Parliament House (Palazzo Monte Citorio) at Rome, and Zucchari's house in Florence. In Monte Citorio the window-sills are hewn and shaped smoothly for half their length, the other half being left in the rough. Zucchari has done the same with his door-lintels and window-panels. The effect is an incongruity, not pleasing to the eye.

[198] Merzario, I Maestri Comacini, Vol. II. ch. xxxviii. p. 420.

[199] Mulroody's S. Clemente. St. Asterius, Bishop of Amasia (fourth century), describes a fresco of the martyr St. Euphemia of Chalcedonia, which moved him to tears, and St. Paulinus of Nola (died 401) describes a Basilica covered with paintings.

[200] St. Ephrun, Deacon of Edessa, in his Sermo I. de Pœnitentia XV., uses glass mosaic as an illustration of the sacrament of penance. "Penance is a great furnace: it receives glass and changes it into gold. It takes lead and makes it silver.... Have you seen glass, how it is made of the colour of beryl, emerald, and sapphire? You cannot doubt, too, that penance makes silver of lead and gold of glass. If human art knows how to mix nature with nature, and change what was before, how much more would the grace of God be able to effect? Man has added gold-leaf to glass, and in appearance that seems gold which was before glass. If man had chosen to mix in gold, the glass would have been made golden; but avoiding the cost, he invented the fitting together and inserting the thinnest leaf."

[201] The Dal Colle family were nobles of Pisa. A deed in the archives of the Duomo dated 1229 registers the sale of some land to Giunta by the Archbishop Vitale—"Vendo tibi Juncti q Guidotti de Colle totum unum edificium," etc.

[202] "Circa an. sal. 1210, Juncta Pisanus ruditer a Græcis Instructus amoenitas primus ex Italia artem apprehendit."—Padre Angeli, Collis Paradisi seu sacri conv. assissiens. historiæ, Liber I. Tit. xxiv.

[203] (See Vasari, Life of Andrea Tafi.) Tafi was a nickname. In his matriculation to the Arte de' Medici e Speziali, where the painters had to enroll themselves after their split from the Masonic Guild, he is written as "Andreas vocatus Tafi olim Ricchi."

[204] Archives of Opere Del Duomo, Pisa. Docum. 26, libro sud anno 1301 sud "Magister Cimabue pictor Magiestatis pro se et famulo suo pro diebus quatuor quibus laborarunt in dicta Opera ad rationem solid. X. pro die libr II.

"II. Cimabue pictor Magiestatis sua sponte confessus fuit se habuisse a D. Operario de summa libr: decem quas dictus Cimabue habere debebat de figura S. Johannis quas fecit juxta Magiestatem libr V sol X.

"III. Bacciomeus filius Jovenchi mediolanensis ... fuit confessus se habuisse ... de precio vitri laborati et colorati quem facere debuit juxta ... et voluntatem magistri Cimabovis pictoris, quem vitris Bacciomeus vendere et dare debet suprad. operario ad rationem den. XXIIII pro qualibet libra pro operando ipsum ad illas figuras que noviter fiunt circe Magiestatem inceptam in majori Ecclesia S. Maria."—See Morrona, Pisa Illustrata, etc., vol. i. p. 249, notes.

[205] Quoted by Del Migliore in Firenze Illustrata, p. 414.

[206] Gozzoli is in some books entered as Benozzo di Lese de Fiorenza, in others as "di Cese de Florentia." So uncertain is mediæval spelling.

[207] Extract from the book entitled in Latin: "Introitus et exilus facti et habiti a Burgundio Tadi Operario opere sc͠e marie dis. majoris ecclē. sub A.D. MCCCII. Ind IIII de mense madij incept...

Magistri Magiestatis majoris

Magister Franciscus pictor de S. Simone porte maris cum famulo suo pro diebus V quibus in dicta opera Magiestatis laborarunt ad rationem solid. X pro die ... Victorius ejus filius pro se et Sandruccio famulo suo, etc. Lapus de Florentia, etc ... Michael pictor, etc ... Duccius pictor, Tura pictor etc. Datus pictor ... Document 25."—See Morrona, Pisa Illustrata, vol. i. p. 249, note.

[208] Upechinus must be dog Latin for Upettino, who is in the Breve Pisani "ab eo ad operam Magiestatis." Johannes Orlandi was a member of a Lombard family, who had been long in the guild. The Orlandi are found at Milan, Siena, etc.

[209] See Milanesi's Documenti per l' Arte Senese, pp. 1 to 56. Breve dell' arte de' Pittori Senesi.

[210] All the Masters marked * were receiving pay at the Duomo of Siena in 1318.

[211] All the Masters marked † gave their opinion, on oath, of the works at the Duomo of Siena in councils in 1333.

[212] Merzario, I Maestri Comacini, Vol. I. chap. vii. p. 210, quoted from an ancient MS. cited by Cicognara.

[213] Pope Alexander had a long reign from 1159 to 1181, but there were four antipopes to harass him during its duration.

[214] Reproduced in Milanesi's Documenti per l' Arte Senese, vol. i. pp. 128, 129.

[215] Milanesi, Documenti per la Storia dell' Arte Senese, p. 130.

[216] These Four Holy Martyrs are the "Santi Quattro Incoronati," the patron saints of the guild. We find from the Breve that at the feast of the dead, on November 2, all the Masters and officers of the guild had to meet in their chapel to hear mass. Each Master was to bring a wax taper not weighing less than half-a-pound, and was to make an offering for the maintenance of the chapel, etc., of whatever he could afford. The Rector (Grand Master) was obliged by oath to enforce the strict observance of the day, and to fine any Magister who, being in Siena, should absent himself from the meeting, fifteen soldi, besides the offering he ought to have made. They had another greater feast of the Four Martyrs in June, the grand fête of the guild.

[217] In Florence and Venice the riveditori are called probi viri, sometimes they are Buonuomini.

[218] Milanesi, Op. cit. pp. 153, 154.

[219] Milanesi, Op. cit. vol. i. p. 157.

[220] "De immunitate magistri Johannis quondam magistri Nichole.

"Item statuerunt et ordinaverunt, quod magister Johannes filius quondam magistri Nicchole, qui fuit de civitate Pisana, pro cive et tanquam civis senensis habeatur et defendatur. Et toto tempore vite sue sit immunis ab omnibus et singulis honeribus comunis Senensis: seu datiis et collectis et exactionibus et factionibus et exercitiis faciendis et aliis quibuscumque."—Milanesi, Op. cit. vol. i. p. 163.

[221] Milanesi, Op. cit. p. 162.

[222] Ibid. p. 173, note.

[223] Milanesi, Op. cit. p. 103, note. Magister Michele, the lawyer's son, was in 1360 Master builder of the chapel towards the Piazza del Campo, and in 1370 was camarlengo of the Opera.

[224] Fergusson, Handbook of Architecture, p. 770.

[225] Milanesi, Op. cit. p. 228, gives the original Latin report of the deliberation.

[226] Milanesi, Op. cit. vol. i. p. 242.

[227] Milanesi, Documenti per la Storia dell' Arte Senese, vol. ii. p. 166.

[228] He was also capo maestro of the works of the cathedral at Spello, near Orvieto.

[229] Merzario, Op. cit. Vol. I. chap. vii. p. 231.

[230] Document quoted by Merzario, I Maestri Comacini, Vol. I. chap. vii. p. 216. Milanesi, Op. cit. vol. iii. p. 282.

[231] Milanesi, Op. cit. vol. iii. p. 77.

[232] All these letters are reproduced in Milanesi's Documenti per l' Arte Senese, vol. ii. pp. 430-452.

[233] "Entro il quale facevasi l'acconciatura delle pietre, el erano le masserizie e la scuola."—Della Valle, Il Duomo di Orvieto.

[234] Milanesi, Doc. per la storia, etc., vol. ii. p. 48.

[235] 1459. Uno letto e chapezale di penna di peso libbre 200 die dare lire trenta-una; soldi uno: denari otto. Sono per tanti ne abiamo messi a uscita di Vanni di Ser Giovanni di Bindo Kamarlingho; il quale letto lo tiene al presente Maestro Donatello da Firenze che fa le porti di bronzo. Archivio detto Libro Rosso a carte 162 pergo. Milanesi, Documenti, etc., vol. ii. p. 298.

[236] (The five preceding artists were in the Council of July 1355.)

[237] Milanesi's Vasari, Vita Niccolò e Giovanni Pisano, vol. i. p. 388.

[238] The Cardinal died in 1290, so he must have given the commission during his lifetime.

[239] In the register of deaths it occurs that Arnolfo's mother's name was Perfetta.

[240] Gaye, Carteggio degli Artisti, vol. i. pp. 445, 446.

[241] We find these same men, Alberto and Enrico his kinsman, sculpturing in San Pietro at Bologna in 1285.

[242] Baldinucci, tom. iv. p. 96.

[243] Milanesi, vol. i. p. 283.

[244] La Metropolitana Fiorentina Illustrata, p. 54. Firenze, Molini e Co., 1820.

[245] La Metropolitana Fiorentina Illustrata, p. 59. Firenze, Molini e Co.

[246] Francesco Talenti, head of the laborerium.

[247] Cesare Guasti, Santa Maria del Fiore, p. 77.

[248] Here is another office in the organization of the guild which we have not hitherto met with. The Regolatori must have formed the economical council, to control expenses.

[249] Carta 12 of Antica Necrologia di Santa Reparata in the Archives of the Opera del Duomo.

Q. Davanzato f Alfieri.

Q. Cambio chiavaiuolo.

Q. Magister Arnolfus de l'opera di Santa Reparata MCCCX.

[250] Guasti, Santa Maria del Fiore, p. 29.

[251] Cronaca di Lorenzo Ghiberti MS. in the Magliabecchian Library, Florence.—"Le prime storie che sono all'edificio, furono di sua mano scolpite e disegnate. Nella mia età vidi provvedimenti di sua mano, di dette istorie egregissimamente disegnati."

[252] "Compose et ordinò Giotto il campanile di marmo di Santa Reparata di Firenze, notabile campanile et di gran costo. Commisevi due errori: l'uno che non ebbe ceppo da piè, l'altro che fu stretto: posesene tanto dolore al cuore ch'egli, si dice, ne infermò et morissene."—Commento alla Divina Commedia d'Anonimo fiorentino del secolo XIV., vol. ii. p. 188. Bologna, 1868.

[253] "Ac etiam cum magistro Andrea, majore magistro dicte opere: facto prius et oblento partito inter eos ad fabas nigras et albas." Andrea was a scholar of Giovanni Pisano, and had worked with him at Pisa and Siena, where he is mentioned as famulus Magistri Johannis.

[254] "A Franciescho Talenti e al compagno da Firenze tre fiorini d'oro per lo consiglio che diederono del Duomo nuovo."—Milanesi, Documenti per l' Arte Senese, Aprile 1336.

[255] Milanesi, Documenti per la Storia dell' Arte Senese, tom. i. p. 200.

[256] Ristoro had a son, Taddeo di Ristori, who was capo maestro of the Loggia dei Lanzi in 1376.

[257] This and many other deliberations at the same epoch put it beyond a doubt that Arnolfo's church was considerably changed in form, as time went on, if not rebuilt entirely.

[258] "Andreas Cionis, vocatus Arcagnolus, pictor populi Sancti Michaelis Visdominis, juravit et promisit dicte arte, pro quo fideiussit Nerius Fioravantis Magister in MCCCLII, indictione sexta, die XX ottubris" (sic).—Milanesi's Vasari, Vita di Andrea Orcagna.

[259] Extract from the books of the Opera, 1372, December 13—"Francischus Salvetti de sua propria et spontanea voluntæ qui erat caput magister dicti operis Sancte Reparate renuntiat et repudiat dicto officio, et quot non vult confirmus esse caput magistro in presentæ operarorum."

[260] Milanesi, Vasari, Vita Filippo Brunelleschi, vol. ii. p. 351, note.

[261] Cesare Guasti, La Cupola di Santa Maria del Fiore, pp. 34, 35.

[262] See Sculpture, Renaissance and Modern, pp. 63, 64, published by Messrs. Sampson Low and Marston.

[263] Tuscan Sculptors, Vol. I. chap. v. p. 135.

[264] Milanesi's Vasari, Vita di Filippo Brunellesco, vol. ii. p. 362, notes. See also Cesare Guasti, La Cupola di Santa Maria del Fiore, p. 54, document 116.

[265] Merzario, I Maestri Comacini, chap. xii. I have taken the facts for this chapter from Merzario's collection of documents, not being able to get at the archives of Milan.

[266] Magister Marcus de Frixono Inzignerius Fabricæ, decessit die supra scripto (10 Julii 1390) circa horam Ave Marie in mane et Corpus ejus sepultum fuit honorifice in Ecc. S. Teglæ ipsi die post prandium.

[267] Is this by chance a French rendering of Giovanni da Campione?

[268] I Maestri Comacini, Vol. I. chap. xii. p. 342.

[269] Merzario, I Maestri Comacini, Vol. I. chap. xviii. p. 512.

[270] Giulini, Memorie della città e Campagna di Milano, lib. lxxxv. (anno 1452), p. 497.

[271] Merzario, Op. cit. Vol. I. chap. xviii. p. 521.

[272] See Merzario, Op. cit. Vol. I. chap. xviii. pp. 522, 523.

[273] Merzario, Vol. I. chap. xviii. p. 526.

[274] Pro solvendis magistris sex qui venerunt a Mediolano ad Monasterium occasione incantandi opus marmoris pro fabrica.

[275] Merzario, I Maestri Comacini, Vol. I. chap. xvii. pp. 494-499.

[276] Promiserunt et dederunt ad faciendum fabricandum et laborandum ... totam fazatam dicte Ecclesie ac portam, cum fenestris et aliis laboreriis necessariis pro ipsa fazata ... juxta modum et designationem ipsis fratribus dandum et dandem per dictum Monasterium.—Merzario, I Maestri Comacini, Vol. I. chap. xvii. p. 508, note 51.

[277] Archivio di Stato in Milano.—Reg. Miss. N. 210, vol. clviii.

[278] Sulle Consorterie delle Arti Edificative in Venezia, capo ii. p. 14.

[279] "I quattro martiri patroni de la dita arte cioè San Nicostrato, San Claudio, San Castorio e S. Superian."—Sagredo, Sulle Consorterie è, etc.

[280] Agostino Sagredo, Sulle Consorterie delle Arti Edificative in Venezia, capo ix. pp. 84, 85.

[281] Gualandi, Memorie Originali Italiane risguardanti le Belle Arti, Parte vi. p. 108. Bologna, 1485.

[282] Merzario, Op. cit. Vol. II. chap. xxii. p. 16.

[283] Notizie storiche intorno al Palazzo Ducale di Venezia, p. 1, by Gius. Cadorin. Venezia, 1838.

[284] Merzario, Op. cit. Vol. II. cap. xxii. p. 23.

[285] Monsignor Paolo Giovio wrote a poem on Antonio.

"Un Riccio nel contado all 'età nostra
Nacque di Como, che fu buon scultore
E l'opre di costui Venezia mostra:
Fece un Adamo, ch'è di tanto valore
Che di bellezza cogli antichi giostra," etc.

[286] To show how difficult it is to trace names through the queer old documents, we may mention that this sculptor is sometimes written in the archives as "Guglielmo Bergamasco"—probably he entered the lodge at Bergamo—and sometimes "Vielmo Vielmi di Alzano."

[287] Merzario, I Maestri Comacini, Vol. II. chap. xxiii. p. 47.

[288] The parentage of Pietro is clearly proved by documents in the Venetian archives. One is a deed dated Sept. 19, 1492, drawn up by the notary Gerolamo Bossis. It confirms the will of Magister Petrus Lombardus quondam Martini lapiciola. Another, dated Sept. 8, 1479, drawn up by the notary Bartolommeo de Vegiis, begins—"Io piero lombardo fiolo di ser martino de charona, tajapiera in Venesa in la chontrada de samoele in casa del duse testimonio e scrive de mano propria." Here Pietro tells us not only his father's name Martin, but his birthplace Carona, a village near Arogno and Campione—the place his relative Marco da Carona came from. In fact here we have the Campionese school still surviving and sending forth fine artists.

[289] Marchese Ricci, Dell' Architettura in Italia, Vol. II. chap. xix. p. 605.

[291] Marchese Ricci, Dell' Architettura in Italia, Vol. I. chap. ii. p. 467.

[292] Ibid.

[293] Ibid.

[294] Boito, Architettura del Medio Evo. I Cosmati, p. 124.

[295] † ANNO V̊ PONTI͡F D͡NI CELESTINI III P͡P G͡E GIO CA͠DIN LUCE ET DE D͡NI PP CAMERARIO JUBENE OPUS ISTUD FACTȖ Ȇ.

[296] This Giovanni, Jubente or President of the lodge, would probably be the same one under whom the bronze doors of the Baptistery of S. John Lateran were made. By this date he has risen to be Abbot.

[297]

D͠NS. Albertus. Venerabilis an
agnin e͞ps fecit hoc fieri paviment͠u pi (pro illo) construendo
magister Rainaldus anagnin canonicus,
DNI. Honorii III. PP. subdiacon' et capellan'
C obolos aureos erogavit. Magist. Cosmos hoc op fecit.

[298] Storia della città di Roma nel medio evo, translated into Italian by Renato Manzato, vol. vii. p. 744. Venice, 1875.

[299] Merzario, I Maestri Comacini, Vol. II. chap. xxxviii. p. 413.

[300] Merzario, I Maestri Comacini, Vol. II. chap. xxxvii. p. 415.

[301] Probably the son of Cristoforo di Milano, who worked so much in Venice and Udine. He may have been employed by the Medici in their buildings at Pietrasanta.

[302] "Superstans marmorariis laborantibus, lapides marmoreas pro ecclesia et palatio Sancti Marci presidens fabrice palatii apostolici."—Muntz, Les Arts à la Cour des Papes, vol. i. p. 606. It is interesting to note that the head of the laborerium bore the same title as in A.D. 1250, when Guido da Como wrote on his pulpit, "Superstans Turrisianus."

[303] Merzario, I Maestri Comacini, Vol. II. chap. xxxviii. p. 424.

[304] Merzario, I Maestri Comacini, Vol. II. chap. xxxvi. p. 359.

[305] "Petrus de Martino Mediolanensis ob triumphalem arcis novæ arcum solerter structum et multa statuariæ artis suo munere hinc œdi oblata, a divo Alphonso rege in equestrem adscribi ordinem et ab ecclesia hoc sepulcro pro se ac posteris suis donari meruit MCCCCLXX."—Merzario, Op. cit. Vol. II. chap. xxxvi. p. 375, note 4.

[306] Milanese State Archives. Documents of the Dukes Sforza.