LIST OF ILLUSTRATIONS
| Cloister of S. John Lateran, Rome | [Frontispiece] | |
| Comacine Panel from the Church of San Clemente, Rome | To face page | [9] |
| Frescoes in the Subterranean Church of San Clemente, Rome | " | [10] |
| Church of Sta. Costanza, Rome | " | [12] |
| Door of the Church of S. Marcello at Capua | " | [13] |
| Ancient Sculpture in Monza Cathedral | " | [38] |
| Comacine Capital in San Zeno, Verona | " | [44] |
| Basilica of S. Frediano at Lucca | " | [50] |
| Façade of San Michele at Pavia | " | [52] |
| Tracing of an old print of the Tosinghi Palace, a mediæval building once in Florence, with Laubia on the front | " | [60] |
| Tower of SS. Giovanni e Paolo, Rome | " | [64] |
| Byzantine Altar in the Church of S. Ambrogio, Milan | " | [74] |
| Fresco in the Spanish Chapel, S. Maria Novella, Florence | " | [78] |
| Door of the Church of San Michele, Pavia | " | [80] |
| Comacine Knot on a panel at S. Ambrogio, Milan | " | [82] |
| Sculpture from Sant' Abbondio, Como | " | [82] |
| Pulpit in the Church of S. Ambrogio, Milan | " | [88] |
| Door of a Chapel in S. Prassede, Rome | " | [90] |
| Pluteus from S. Marco dei Precipazi, now in S. Giacomo, Venice. | " | [90] |
| Comacine Capitals | " | [96] |
| Exterior of San Piero a Grado, Pisa | " | [102] |
| Comacine Capital in San Zeno, Verona, emblematizing Man clinging to Christ (the Palm) | " | [110] |
| Capital in the Atrium of S. Ambrogio, Milan | " | [112] |
| The West Door, St. Bartholomew, Smithfield | " | [122] |
| South Side of the Choir, St. Bartholomew the Great, Smithfield | " | [124] |
| Palazzo del Popolo and Palazzo Comunale, Todi | " | [136] |
| Fiesole Cathedral. Interior | " | [145] |
| S. Clemente, Rome. Interior showing ancient screen | " | [146] |
| Tower of S. Apollinare Nuovo, Ravenna | " | [153] |
| Tower of S. Satyrus. Milan | " | [154] |
| S. Apollinare in Classe, Ravenna | " | [157] |
| Door of the Church of S. Zeno at Verona | " | [166] |
| Baptistery at Parma, designed by Benedetto da Antelamo | " | [186] |
| Façade of Ferrara Cathedral | " | [198] |
| Church of S. Antonio, Padua | " | [200] |
| Tomb of Can Signorio degli Scaligeri at Verona | " | [204] |
| Interior of Pisa Cathedral | " | [212] |
| Pulpit in the Church of S. Giovanni Fuorcivitas, Pistoja | " | [222] |
| Church of S. Michele, Lucca | " | [226] |
| Cathedral of Lucca (San Martino) | " | [228] |
| Pulpit in Church of S. Bartolommeo, Pistoja | " | [230] |
| Church of S. Andrea, Pistoja | " | [234] |
| Church of San Giovanni Fuorcivitas, Pistoja | " | [236] |
| Church of S. Maria, Ancona | " | [242] |
| Door of S. Giusto at Lucca | " | [244] |
| Pilaster of the Door of the Cathedral of Beneventum | " | [246] |
| Baptismal Font in Church of S. Frediano, Lucca | " | [248] |
| Pulpit in the Church of Groppoli near Pistoja | " | [249] |
| Pulpit in Siena Cathedral | " | [250] |
| The Riccardi Palace, built for Lorenzo dei Medici | " | [252] |
| Tomb of Mastino II. degli Scaligeri, at Verona | " | [254] |
| Capital of a Column in the Ducal Palace, Venice | " | [256] |
| Doorway of the Municipal Palace at Perugia | " | [258] |
| Palazzo Pubblico at Perugia | " | [260] |
| Court of the Bargello, Florence | " | [262] |
| Tower of Palazzo Vecchio at Florence | " | [263] |
| Eighth-century Wall Decoration in Subterranean Church of S. Clemente, Rome | " | [266] |
| Frescoes of the eighth century in the Subterranean Church of S. Clemente, Rome, with portraits of the Patron Beno di Rapizo and his Family | " | [268] |
| Interior of Church of San Piero a Grado near Pisa, with Frescoes of the ninth century | " | [270] |
| Figures from paintings in Assisi by Magister Giunta of Pisa | " | [272] |
| Fresco at S. Gimignano | " | [278] |
| Front of Siena Cathedral | " | [296] |
| Door in Orvieto Cathedral | " | [300] |
| Monument to Cardinal de Braye | " | [314] |
| Palazzo Vecchio, Florence | " | [316] |
| Shrine in Or San Michele, Florence | " | [332] |
| Small Cloister of the Certosa of Pavia | " | [358] |
| Marble Work on the Roof of Milan Cathedral | " | [364] |
| Capital in Milan Cathedral | " | [366] |
| North Door of Como Cathedral, sculptured by Tommaso Rodari | " | [368] |
| Renaissance Front of the Church of the Certosa at Pavia | " | [378] |
| Façade of Monza Cathedral | " | [380] |
| The Cathedral and Broletta at Como | " | [382] |
| The Ca d'Oro, Venice | " | [388] |
| Ducal Palace at Venice. The side built by the Buoni Family | " | [390] |
| Court of the Ducal Palace at Venice | " | [392] |
| Apse of the Church of SS. Giovanni e Paolo on the Cœlian Hill, Rome | " | [404] |
| Basilica of S. Paolo fuori le mura, Rome | " | [406] |
| Pulpit in Church of S. Cesareo in Palatio, Rome. Mediæval Sculpture inlaid in Mosaic | " | [408] |
| Candelabrum in S. Paolo at Rome | " | [412] |
BOOK I
ROMANO-LOMBARD ARCHITECTS
THE CATHEDRAL BUILDERS
CHAPTER I
THE GUILD OF THE COMACINE MASTERS
In looking back to the great church-building era, i.e. to the centuries between 1100 and 1500, do not the questions arise in one's mind, "How did all these great and noble buildings spring up simultaneously in all countries and all climates?" and "How comes it that in all cases they were similar to each other at similar times?"
In the twelfth century, when the Italian buildings, such as the churches at Verona, Bergamo, Como, etc., were built with round arches, the German Domkirchen at Bonn, Mayence, Treves, Lubeck, Freiburg, etc.; the French churches at Aix, Tournus, Caen, Dijon, etc.; and the English cathedrals at Canterbury, Bristol, Chichester, St. Bartholomew's in London—in fact, all those built at the same time—were not only round-arched, but had an almost identical style, and that style was Lombard.
In the thirteenth century, when pointed arches mingled with the round in Italy, the same mixture is found contemporaneously in all the other countries.
Again in the fourteenth century, when Cologne, Strasburg, and Magdeburg cathedrals were built in pure Gothic; then those of Westminster, York, Salisbury, etc., arose in England; the Domes of Milan, Assisi, and Florence in Italy; and the churches of Beauvais, Laon, and Rouen in France. These all came, almost simultaneously, like sister buildings with one impronto on them all.