[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.