[110] "Misc. Storica Senese," 1893, p. 30.
[112] From the Duchess of Malfi, quoted in Symonds' "Fine Arts," p. 114.
[113] It is a bronze slab, admirably wrought and preserved, in S. Giovanni Laterano. Were it not for an exuberance of decoration, one might say that Donatello was responsible for it; the main lines certainly harmonise with his work. Simone Ghini was mistaken by Vasari for Donatello's somewhat problematical brother Simone.
[114] See Codex. Just. Leg. 2. Cod. de ædif. privatis. A similar law at Herculaneum had forbidden people to make more money by breaking up a house than they paid for the house itself, under penalty of being fined double the original outlay. This shows the extent of speculative destruction. Reinesius, "Synt. Inscript. Antiq.," 475, No. 2.
[115] See his Libellus in "Rer. Gall. Script.," xiv. 313.
[116] Nihil fere recognoscat quod priorem urbem repræsentet, in "De Varietate fortunæ urbis Romæ." Nov. Thes. Antiq. Rom., i. 502.
[117] "Ricordi," 1544. No. 109, p. 51.
[118] Written about 1450. "De re ædificatoria." Paris ed. 1553, p. 165.
[119] Cf. Plate 49 in "Le Rovine di Roma." "Tempio circolare." Written beside it is "Questo sie uno tempio lo quale e Atiuero (i.e., che è presso al Tevere) dove se chauaue li prede antigha mente (i.e., si cavavano le pietre anticamente)."