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diff --git a/42072-h/42072-h.htm b/42072-h/42072-h.htm index f24946d..dbb5d48 100644 --- a/42072-h/42072-h.htm +++ b/42072-h/42072-h.htm @@ -3,7 +3,7 @@ <html xmlns="http://www.w3.org/1999/xhtml"> <head> - <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <meta http-equiv="Content-Type" content="text/html;charset=UTF-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of The Cathedral Builders, by Leader Scott. @@ -279,46 +279,7 @@ td { text-align: left; } </style> </head> <body> - - -<pre> - -The Project Gutenberg EBook of The Cathedral Builders, by Leader Scott - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - - -Title: The Cathedral Builders - The Story of a Great Masonic Guild - -Author: Leader Scott - -Release Date: February 11, 2013 [EBook #42072] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK THE CATHEDRAL BUILDERS *** - - - - -Produced by Melissa McDaniel and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive) - - - - - - -</pre> - +<div>*** START OF THE PROJECT GUTENBERG EBOOK 42072 ***</div> <div class="tnbox"> <p class="center"><b>Transcriber's Note:</b></p> @@ -399,14 +360,14 @@ modern languages.</p> Gallic Empires.</p> <p>In Art it seems also to be on that borderland—Lombardy—where -the <i>Magistri Comacini</i>, a mediæval +the <i>Magistri Comacini</i>, a mediæval Guild of <i>Liberi Muratori</i> (Freemasons), kept alive in their traditions the seed of classic art, slowly training it through Romanesque forms up to the Gothic, and hence to the full <span class="pagenum"><a name="Page_VI" id="Page_VI">vi</a></span> Renaissance. It is a significant coincidence that this obscure link in Art, like the link-languages, is styled by -many writers Provençal or Romance style, for the Gothic +many writers Provençal or Romance style, for the Gothic influence spread in France even before it expanded so gloriously in Germany.</p> @@ -489,7 +450,7 @@ had died since the book was written, so I never received his permission; though his publisher was very kind in permitting me to use the book as a chief work of reference. With Merzario I have collated many other recognized authorities -on architecture and archæology, besides archivial documents, +on architecture and archæology, besides archivial documents, and old chronicles. I have tried to make some slight chronological arrangement, and some intelligible lists of the names of the Masters at different eras. The researches @@ -764,12 +725,12 @@ ITALIAN-GOTHIC, AND RENAISSANCE ARCHITECTS</td> <td class="tdr"><a href="#i_079">50</a></td> </tr> <tr> -<td>Façade of San Michele at Pavia</td> +<td>Façade of San Michele at Pavia</td> <td class="tdc">"</td> <td class="tdr"><a href="#i_083">52</a></td> </tr> <tr> -<td>Tracing of an old print of the Tosinghi Palace, a mediæval building once +<td>Tracing of an old print of the Tosinghi Palace, a mediæval building once in Florence, with <i>Laubia</i> on the front</td> <td class="tdc">"</td> <td class="tdr"><a href="#i_093">60</a></td> @@ -892,7 +853,7 @@ Christ (the Palm)</td> <td class="tdr"><a href="#i_261">186</a></td> </tr> <tr> -<td>Façade of Ferrara Cathedral</td> +<td>Façade of Ferrara Cathedral</td> <td class="tdc">"</td> <td class="tdr"><a href="#i_275">198</a></td> </tr> @@ -1087,7 +1048,7 @@ ninth century</td> <td class="tdr"><a href="#i_529">378</a></td> </tr> <tr> -<td>Façade of Monza Cathedral</td> +<td>Façade of Monza Cathedral</td> <td class="tdc">"</td> <td class="tdr"><a href="#i_533">380</a></td> </tr> @@ -1122,7 +1083,7 @@ ninth century</td> <td class="tdr"><a href="#i_571">406</a></td> </tr> <tr> -<td>Pulpit in Church of S. Cesareo in Palatio, Rome. Mediæval Sculpture +<td>Pulpit in Church of S. Cesareo in Palatio, Rome. Mediæval Sculpture inlaid in Mosaic</td> <td class="tdc">"</td> <td class="tdr"><a href="#i_575">408</a></td> @@ -1306,12 +1267,12 @@ the churches.</p> <p>For the Byzantine theory, he would have the style of certain ornamentations, and the assertions of German -writers, such as Müller, and Stieglitz.</p> +writers, such as Müller, and Stieglitz.</p> <p>For the ancient Eastern theory, he might plead their Hebrew and Oriental symbolism.</p> -<p>We will take the Byzantine theory first. Müller (<i>Archaeologie +<p>We will take the Byzantine theory first. Müller (<i>Archaeologie der Kunst</i>, p. 224) says that: "From Constantinople as the centre of mechanical skill, a knowledge of art radiated to distant countries, corporations of builders of Grecian birth @@ -1334,7 +1295,7 @@ free, and joined the <i>Collegia</i> there.</p> <p>But at this time most of the chief Longobardic churches were already built by the Comacine Masters, and were -Roman in form, mediæval in ornamentation, and full of +Roman in form, mediæval in ornamentation, and full of ancient symbolism. Herr Stieglitz must have pre-dated his tradition. Besides this I can find no sign in Italian buildings, or writers about them, of any lasting Byzantine @@ -1419,7 +1380,7 @@ the eighth century takes us further back than this. Here we see a veritable Roman <i>Magister</i> directing his men. He stands in magisterial toga (and surely one may descry a masonic apron beneath it!), directing his men in the moving of a -marble column, and with the naïve simplicity of the primitive +marble column, and with the naïve simplicity of the primitive artist each man's name is written beside him. Albertel and Cosmaris are dragging up the column with a rope, the sons of Pute, who are possibly novices, are helping them, @@ -1587,7 +1548,7 @@ architects from some existing lodge.</p> <p>Giovanni Villani shows us the intimate connection of the Roman <i>Collegium</i> with Florence. He says that after -Cæsar had destroyed Fiesole he wished to build another +Cæsar had destroyed Fiesole he wished to build another city to be called Cesaria, but the Senate would not permit this. The Senate, however, gave his Generals Macrinus, Albinus, Cneus Pompey, and Martius equal power to @@ -1611,7 +1572,7 @@ we find from Villani (lib. iii. chap. 1) that Charlemagne <span class="pagenum"><a name="Page_15" id="Page_15">15</a></span> sent some Romans with "all the masters there were in Rome" (e vennero con quanti maestri n'avea in Roma per -più tosto murarla) to fortify Florence, which had appealed +più tosto murarla) to fortify Florence, which had appealed to him for succour against the Fiesolans. In this manner, says Villani, "the <i>Magistri</i> who came with the Romans began to rebuild our noble city of Florence."</p> @@ -1646,7 +1607,7 @@ while <i>Magister</i> signifies the architect who designs and commands. When a <i>Magister</i> carries out his own designs, <span class="pagenum"><a name="Page_16" id="Page_16">16</a></span> he is said to be <i>operator ipse magister</i>, as in the case of -Magister Rainaldus, who designed and sculptured the façade +Magister Rainaldus, who designed and sculptured the façade of the Duomo at Pisa.</p> <p>In warlike times such as the Middle Ages, the only @@ -1678,7 +1639,7 @@ the "Lion of Judah."</p> in its present entirely spiritual significance, and he gives Oliver Cromwell, of all people, the credit of this revival! The rites and ceremonies he describes are the -greatest tissue of mediæval superstition, child's play, blood-curdling +greatest tissue of mediæval superstition, child's play, blood-curdling oaths, and mysterious secrecy with nothing to <span class="pagenum"><a name="Page_17" id="Page_17">17</a></span> conceal, that can be imagined. All the signs of masonry @@ -1738,7 +1699,7 @@ Teutonized as <i>Freimur</i> into England.<a name="FNanchor_10" id="FNanchor_10" <p> <span class="pagenum"><a name="Page_19" id="Page_19">19</a></span></p> -<p>Cesare Cantù (<i>Storia di Como</i>, vol. i. p. 440) thus +<p>Cesare Cantù (<i>Storia di Como</i>, vol. i. p. 440) thus describes the Guild—</p> <p>"Our Como architects certainly gave the name to the @@ -1805,9 +1766,9 @@ the guild, and their meeting-place. They had an altar dedicated to the same saints at Siena, and another at <span class="pagenum"><a name="Page_21" id="Page_21">21</a></span> Venice. We find from the statutes of the Sienese guild as -late as the fourteenth century, that the <i>fête</i> of the "Quattro" +late as the fourteenth century, that the <i>fête</i> of the "Quattro" was kept in a special manner by the Masonic guild. All -the Church <i>fêtes</i> are classed together as days when no work +the Church <i>fêtes</i> are classed together as days when no work is to be done, but the day of the SS. Quattro has two laws all to itself, and is kept with peculiar ceremonies.<a name="FNanchor_13" id="FNanchor_13" href="#Footnote_13" class="fnanchor">[13]</a></p> @@ -1829,7 +1790,7 @@ is an ancient inscription, as follows—</p> <p>VIIII ACQVILINI ET PRISCI ARSEI</p> <p>AQVNI NARCISI ET MARCELLI</p> <p>NI FELICIS SIMETRII CANDI</p> -<p>DAE ATO PAVLINÆ ANASTASII</p> +<p>DAE ATO PAVLINÆ ANASTASII</p> <p>ET FELICIS APOLLIONIS</p> <p>ET BENEDICTI VENANTII</p> <p>ATO FELICIS DIOGENIS ET LI</p> @@ -1907,9 +1868,9 @@ The fate of Nineveh is already upon her...."<a name="FNanchor_14" id="FNanchor_1 <p>The Longobard invaders were more merciful than the Goths, for not long after their rule was over, another Pope -wrote to Pepin—"Erat sanæ hoc mirabile in regno +wrote to Pepin—"Erat sanæ hoc mirabile in regno Longobardorum, nulla erat violenta nulla struebantur -insidiæ. Nemo aliquem iniuste angariabat, nemo spoliabat. +insidiæ. Nemo aliquem iniuste angariabat, nemo spoliabat. Non erat furta, non latrocinia, unusquisque quodlibebat securus sine timore pergebat."—<i>Histor. Franc. Scrip.</i> Tom. III. cap. xvi.</p> @@ -1982,7 +1943,7 @@ of that province under the Romans, when it was a colony ruled by a prefect. Junius Brutus himself was one of these rulers, and Pliny the Younger a later one. At this time Como was a large and flourishing city. It had in -Cæsar's time a theatre whose ruins were found near S. +Cæsar's time a theatre whose ruins were found near S. Fedele; a gymnasium for the games, which was near the present church of Santa Chiara. A document dated 1500 speaks of the Arena of Como as then still existing. The @@ -1994,7 +1955,7 @@ tribunes, naval prefects, Decurions, etc. We have records also of Senators, Decemviri, and other municipal magistrates. The inscriptions also show that there were temples to Jove, Neptune, the <i>Dea Bona</i>, the Manes, the <i>Dea -Mater</i>, Silvanus, Æsculapius, Mars, Diana, Hygeia, and +Mater</i>, Silvanus, Æsculapius, Mars, Diana, Hygeia, and even Isis.</p> <p>Some Cippi are dedicated to Mercury and Hercules; @@ -2029,14 +1990,14 @@ with its beautiful porticoes and baths, etc., and of the many other villas, palaces, temples, forums, etc., which embellished Como and its neighbourhood.</p> -<p>Catullus lived here when the poet Cæcilius, whose works +<p>Catullus lived here when the poet Cæcilius, whose works have now perished, invited him to leave the hills of Como, and the shores of Lario, to join him in Verona.</p> <p>Pliny seems to confirm the existence of guilds,<a name="FNanchor_17" id="FNanchor_17" href="#Footnote_17" class="fnanchor">[17]</a> as he speaks of the institution of a <i>Collegium</i> of iron-workers, who wished to be patented by the Emperor, but Trajan -refused to form new guilds, for fear of the <i>Hetæriæ</i> or +refused to form new guilds, for fear of the <i>Hetæriæ</i> or factions which might infiltrate into them.</p> <p>Mommsen, in his work <i>De Collegiis et Sodalitiis @@ -2402,7 +2363,7 @@ Normans and Lombards, in adapting antecedent models, added something of their own, specific to themselves as northerners. The Lombard, like the Norman, or the Rhenish Romanesque, is the first stage in the progressive -mediæval architecture of its own district."</p> +mediæval architecture of its own district."</p> <p>It appears possible, however, that the Longobards had very little to do with the architecture of their era except as @@ -2488,12 +2449,12 @@ its ornamentation was suited to the taste of the Longobards.</p> <p>The Basilica, as Vitruvius explains it, was a room where the ruler and his delegates administered justice. But when, after the persecutions, Christians were allowed their -churches, the Basilicæ so well supplied the needs of +churches, the Basilicæ so well supplied the needs of Christian worship, that either the ancient ones were used as churches, or new buildings were erected in the same form; so that by the fourth century the word Basilica was understood to mean a church remarkable for its size, and of a set -form and grandeur, with a raised tribune. The Basilicæ +form and grandeur, with a raised tribune. The Basilicæ of Constantine were all dedicated to Saints—St. Peter, St. Paul, Beato Marcellino. The Sessorian Basilica was begun in 330, to hold the relics of the Cross, discovered by the @@ -2519,7 +2480,7 @@ atrium or portico.</p> <p>In Theodolinda's time, however, church architecture in Lombardy was wholly and purely Roman, with the -influences of mediæval Christianity. Ricci tells us that the +influences of mediæval Christianity. Ricci tells us that the construction of the first churches followed a symbolical expression. "Hermeneutic symbolism required that the apse or choir should face the east, so that the faithful while @@ -2569,11 +2530,11 @@ building of Theodolinda's church.</p> time, as its form was altered in the twelfth and fourteenth centuries. Ricci says that the antique Monza Basilica terminated at what is now the first octagon column, -on which rest the remains of the primitive façade. Four +on which rest the remains of the primitive façade. Four columns supported the arched tribune, and the high altar was raised above the level of the church. In front was the <i>atrium</i>, supported by porticoes, and he thinks that the -sculptures in the present façade are the old ones.</p> +sculptures in the present façade are the old ones.</p> <div class="figcenter"><a name="i_063" id="i_063"></a> <img src="images/i_063.jpg" width="347" height="200" alt="" /> @@ -2584,7 +2545,7 @@ sculptures in the present façade are the old ones.</p> <p>Cattaneo, the Italian authority on Lombard architecture, does not believe in the present existence of even this much -of Theodolinda's church, and in disclaiming the façade, +of Theodolinda's church, and in disclaiming the façade, disclaims also the sculpture on it, especially the one over the door, where Agilulf and Theodolinda offer the diadem of the cross to St. John the Baptist, and are shown as @@ -2662,14 +2623,14 @@ husband Agilulf there.</p> <p>Theodolinda also built a church to S. Julia at Bonate, near Val San Martino, in the diocese of Bergamo; but in these days not much sign is left of it. The author of the -<i>Antichità Long. Mil.</i> (Dissertation I., p. 120) says that +<i>Antichità Long. Mil.</i> (Dissertation I., p. 120) says that <span class="pagenum"><a name="Page_41" id="Page_41">41</a></span> Mario Lupo has published the plan and section of the church in his <i>Codice diplomatico</i> (<i>T. I.</i>, p. 204), together with another, still more magnificent, of almost the same date. It is dedicated to S. Tommaso, and stands near the river Brembo, at Lemine in the same diocese. "This -church," says the monk who wrote the <i>Antichità</i>, etc., "still +church," says the monk who wrote the <i>Antichità </i>, etc., "still exists (in 1792), and is of circular form, with inferior and superior <i>porticati</i> in the interior, recalling the design of the ancient church of S. Vitale at Ravenna." Lupo @@ -2691,7 +2652,7 @@ palace, with its paintings on the walls, representing Alboin and his wild hordes of Longobards, with their many-coloured garments, loose hosen, and long beards. We can believe that these paintings were as rude and -mediæval as their sculpture, whether they were done by +mediæval as their sculpture, whether they were done by savage Longobards or decayed Romano-Comacine artists. They prove, however, that painting was one of the branches of art in the guild.</p> @@ -2718,14 +2679,14 @@ was erected by her.<a name="FNanchor_28" id="FNanchor_28" href="#Footnote_28" cl was the finest building of the age. It had a nave and two aisles, with a gallery over the arches. The apse had the external colonnade, and practicable gallery, and the octagonal -dome. The façade, as usual, was divided into three parts, -and was rich in symbolical friezes. Half-way up the façade +dome. The façade, as usual, was divided into three parts, +and was rich in symbolical friezes. Half-way up the façade was an ambulatory, on six double arches and small columns, which communicated with the internal galleries for the women. This was reached by two spiral stairways cut in -the pilasters of the façade. (In reading this we seem to be +the pilasters of the façade. (In reading this we seem to be reading over again the description of Hexham in England.) -The lower half of the façade was of sandstone, the upper +The lower half of the façade was of sandstone, the upper half of brick adorned "a cacabus," <i>i.e.</i> inlaid with various convex plates in different-coloured smalto.<a name="FNanchor_29" id="FNanchor_29" href="#Footnote_29" class="fnanchor">[29]</a> It is a great pity that this interesting church was destroyed in 1811, and @@ -2786,7 +2747,7 @@ made frequent use of Lombard artificers. A letter from Gregory to Arichi, Duke of Lombardy, dated 596, asks him to send workmen and oxen to Brescia, to cut down and cart to Rome some trees for beams in the church of SS. Peter -and Paul, promising him in return a <i>dono che non sarà +and Paul, promising him in return a <i>dono che non sarà indegno di voi</i> (a gift not unworthy of you).<a name="FNanchor_32" id="FNanchor_32" href="#Footnote_32" class="fnanchor">[32]</a></p> <p>In <span class="s08">A.D.</span> 600, Cacanus, King of the Avari (Huns), sent to @@ -2801,7 +2762,7 @@ devotion to the Church, and consequently a great church-building era. King Luitprand realized this so strongly that he added to the laws of Rotharis, a clause permitting his subjects to make legacies to the Church <i>pro remedio -animæ suæ</i>; a law, by the way, which was not always +animæ suæ</i>; a law, by the way, which was not always healthy in its action; for it permitted the evil-disposed to indulge in crimes during their lifetime, and then, by <span class="pagenum"><a name="Page_45" id="Page_45">45</a></span> @@ -2832,11 +2793,11 @@ Pavia,<a name="FNanchor_35" id="FNanchor_35" href="#Footnote_35" class="fnanchor <i>fuori le mura</i> in the same city. Bertharis dedicated his church to S. Agatha because on the eve of S. Agatha's day he was miraculously saved from being assassinated by -Grimoald, his deposer. On the façade of the church is inscribed, +Grimoald, his deposer. On the façade of the church is inscribed, "Pertharitus Longobardorum Rex Templum hoc -S. Agathæ Virg. et Mart. dicavit anno Christi DCXXVII."</p> +S. Agathæ Virg. et Mart. dicavit anno Christi DCXXVII."</p> -<p>The church had the usual "three naves," and the façade +<p>The church had the usual "three naves," and the façade faced the west. It has since been turned round. As in the Middle Ages it menaced ruin, the central nave had to be supported by large external buttresses and internal arches, @@ -2850,7 +2811,7 @@ all the marks of Comacine work. One has two lions very well carved. They meet at the corner, where one head serves for both. On another is a human figure, his hands holding two dragons which he has conquered, but whose -tails still coil round him. A fine mediæval allegory of man's +tails still coil round him. A fine mediæval allegory of man's struggle with sin.</p> <p>Rodelinda's round church, S. Maria foris portam (now @@ -2985,7 +2946,7 @@ to the reversed plan of the old church, which the recent excavations have proved. He states that it was in the form of a Latin cross, had a nave, and four aisles and transepts; that its choir was at the west end, facing -east, its façade on the east. It is a misfortune that its +east, its façade on the east. It is a misfortune that its origin cannot be precisely proved, as the archives of S. Fredianus must have been burned in 1596, when the convent, with other houses, was set on fire, even if they had @@ -2993,7 +2954,7 @@ survived the former sacking and burning of the Ghibellines, under Uguccione della Faggiola in 1314.</p> <p>Next comes <i>Hic gloriosissimus Rex</i>, Luitprand, who, -we are told, built many Basilicæ in honour of Christ, in +we are told, built many Basilicæ in honour of Christ, in the places where he had his residences. He was to Lombard art what Lorenzo de' Medici was to that of the Renaissance. Luitprand was a great employer of our @@ -3022,7 +2983,7 @@ which were placed here by him." The corpse of the saint was redeemed from the Saracens in Sardinia in 743, and the relics remained in S. Pietro for ten centuries.<a name="FNanchor_39" id="FNanchor_39" href="#Footnote_39" class="fnanchor">[39]</a> Luitprand's church, we are told, was symmetrical and -graceful (<i>grazioso</i>). The façade was of the usual Lombard +graceful (<i>grazioso</i>). The façade was of the usual Lombard form, with a rather flat gable, and galleries beneath the eaves; it had narrow, round-arched windows, and a cross over the central one, cut deep in the stone, as we see in @@ -3060,9 +3021,9 @@ tending to the right, the right transept being longer and larger than the left. This is not, we are told, an accident, but one of the many symbolical forms used by the Comacines. Cordero and Vitet both refer to it. The latter -says—"Souvent le plan de l'église penché de gauche à -droite. Cette inclination est attribuée, comme on sait, au -pieux désirs d'imiter la position du Sauveur expirant sur la +says—"Souvent le plan de l'église penché de gauche à +droite. Cette inclination est attribuée, comme on sait, au +pieux désirs d'imiter la position du Sauveur expirant sur la croix."<a name="FNanchor_40" id="FNanchor_40" href="#Footnote_40" class="fnanchor">[40]</a> As a whole the interior is grand and imposing, and as it stands now, retains the general plan of the original church. Some parts have been restored in the @@ -3082,18 +3043,18 @@ Andrino d'Edesia, who lived about 1330. Some interesting relics in the church are the circular slabs of black and green marble, now in the floor of the nave. Tradition, confirmed by Padre Romualdo, says that these were the -stones on which the daïs was placed for the coronation of +stones on which the daïs was placed for the coronation of the Lombard kings.</p> <p>Just as the interior of S. Michele at Pavia is the most perfect existing example of the classical form reduced by the Comacines to Christian use and symbolism, so is the -façade as perfect a specimen of their mediæval-oriental +façade as perfect a specimen of their mediæval-oriental decoration at this time as can be found. We give an illustration of it.</p> <p>The Comacines at this era were perfectly sincere and -their façade was always a true face to the church. The +their façade was always a true face to the church. The eaves with the airy gallery of colonnettes beneath them followed the exact line of the low-pitched roof. It was only when they became eclectic, and their style got mixed @@ -3107,22 +3068,22 @@ and a large ugly round orifice was placed above the three Lombard ones. But in 1861 they had the good taste to open the original windows, indications of whose masonry were visible in the wall, and to add the cross, deep cut in -the stone, which was a distinctive feature in façades of +the stone, which was a distinctive feature in façades of this era. Indeed the church may be taken as a type, in all its aspects, of the Romano-Lombard building. The <span class="pagenum"><a name="Page_53" id="Page_53">53</a></span> most remarkable part is perhaps its ornamentation, which is unique and fanciful to the highest degree. Besides the -carvings on door and window, the whole façade is striped +carvings on door and window, the whole façade is striped with lines of sculptured stones, a queer mixture of angels, demons, saints, and monsters, that seems a nightmare -dream of mediæval superstitions, but are really a mystic +dream of mediæval superstitions, but are really a mystic Bible in stone. I shall speak more fully of this in the chapter on Lombard ornamentation.</p> <div class="figcenter"><a name="i_083" id="i_083"></a> <img src="images/i_083.jpg" width="509" height="364" alt="" /> -<p class="caption"><span class="smcap">Façade of San Michele at Pavia. Upper part restored to its original form; lower part antique. 7th century.</span></p> +<p class="caption"><span class="smcap">Façade of San Michele at Pavia. Upper part restored to its original form; lower part antique. 7th century.</span></p> <p class="caption"><i><a href="#Page_52">See page 52.</a></i></p> </div> @@ -3160,7 +3121,7 @@ and other noble Longobards accused of sacrilege against Callistus, Patriarch of Aquileja, one of them named Ersemar fled for refuge to the Basilica of St. Michael. Again in 774 a certain Trinidius, agent of King Desiderius, -left a house near the Pò at Gravenate, as a legacy to the +left a house near the Pò at Gravenate, as a legacy to the "Basilica beatissimi Archangeli Michaelis intra civitatem Ticinensum pro anima sua." All these things go to prove that the church existed before Luitprand's time, and that it @@ -3176,7 +3137,7 @@ go against himself if he hazarded it.</p> <p>When the Longobards went forth to war, they carried the effigy of St. Michael before them on their standard. It was also impressed on their coins with the inscription -<i>S. C. S. Màhel</i>, or sometimes <i>Mihail</i>, spelling in those +<i>S. C. S. Mà hel</i>, or sometimes <i>Mihail</i>, spelling in those days not being at all a fixed quantity.</p> <p>But to return to our church-building king, Luitprand.</p> @@ -3253,7 +3214,7 @@ and some in <i>arenaria</i>.<a name="FNanchor_44" id="FNanchor_44" href="#Footno taken by Ricci<a name="FNanchor_45" id="FNanchor_45" href="#Footnote_45" class="fnanchor">[45]</a> to be a proof of its really dating from the time of Desiderius, when the two styles got confused. Some capitals are entirely of Byzantine design, others imitate the -Corinthian. On one is a mediæval sculpture of the martyrdom +Corinthian. On one is a mediæval sculpture of the martyrdom of Santa Giulia, on another is the effigy of Queen Ansa. These two are doubtless Comacine work of the eighth century.</p> @@ -3283,7 +3244,7 @@ position of the altar, which is a low table without a reredos, standing on the tribune, to which five steps give access. The <i>palio</i> faces the choir, so that the priest when celebrating would confront the people, and face the east.<a name="FNanchor_48" id="FNanchor_48" href="#Footnote_48" class="fnanchor">[48]</a> It -would be a question for archæologists whether, considering +would be a question for archæologists whether, considering the reverse orientalizing of Lombard churches, in comparison to later ones, the front of the raised tribune was not the usual position of their altars. This is the only @@ -3383,7 +3344,7 @@ convex capital, often sculptured.</p> comlumnisque marmoreis extructum cui Turris adjacens ulnar. 130 proceritate erigebatur.</span></p> -<p class="caption"><span class="smcap">Tracing of an old print of the Tosinghi Palace, a mediæval building once in Florence, +<p class="caption"><span class="smcap">Tracing of an old print of the Tosinghi Palace, a mediæval building once in Florence, with</span> <i>Laubia</i> <span class="smcap">on the front</span>.</p> <p class="caption"><a href="#Page_61"><i>See page 61.</i></a></p> @@ -3428,7 +3389,7 @@ leading to it was known as <i>Strada de Civite Duce</i>.</p> <p>That King Desiderius also employed the Masonic guild in civil as well as ecclesiastical architecture seems implied by the tradition of his palace at S. Gemignano. Certain it -is that a solid mediæval building with decidedly Lombard +is that a solid mediæval building with decidedly Lombard windows and Lombard arches under the machicolations, exists at S. Gemignano, but whether it was really built by and for Desiderius, I leave wiser antiquaries to judge. @@ -3485,7 +3446,7 @@ in Lombardy.</p> <p>Luitprand's laws speak of the <i>asse</i>, <i>tavolati</i>,<a name="FNanchor_51" id="FNanchor_51" href="#Footnote_51" class="fnanchor">[51]</a> <i>scindule</i> (Longobardic term) by which the houses were internally divided, and of a cheap species of house-building called by -the Gauls <i>pisè</i>, probably from the same root as <i>pigiato</i> +the Gauls <i>pisè</i>, probably from the same root as <i>pigiato</i> (pressed together). According to that method, the walls were composed of masses of earth pressed, and then bound together so as to form a solid mass. The same method is @@ -3551,7 +3512,7 @@ this style.</p> <p>Here we have another link with ancient Rome. Promis instances an amphora found in the walls of an imperial edifice in Aosta. At the fountain of Egeria, near the Porta -Tiburtina in Rome, the walls are full of amphoræ and +Tiburtina in Rome, the walls are full of amphoræ and oil-jars.</p> <p>On the whole these Masonic laws show that the @@ -3612,7 +3573,7 @@ protected by <i>abietarii</i> or <i>cancelli</i> (gratings) made of wood.</p> which the <i>Magistri</i> were past masters in erecting. Their castles and forts and city walls stand to this day solid and strong, with towers standing up commandingly in all directions—all -the mediæval cities bristled with them; the tower +the mediæval cities bristled with them; the tower was, in fact, a weapon of war. On these, too, they set their seal—the pillared Lombard window becoming larger and more airy as the tower rises into the air, and the crowning @@ -3766,7 +3727,7 @@ come? Was this the origin of that characteristic Eastern mark of the Lombard style in Italy?—or was it an importation from Italy to Byzantium, where Procopius at least seems duly astonished by it? It is a question for experts -to solve. There is much for the archæologist to do yet in +to solve. There is much for the archæologist to do yet in finding the true pedigree of architecture. <span class="pagenum"><a name="Page_71" id="Page_71">71</a></span></p> @@ -3784,7 +3745,7 @@ primitive language of religion and art. The very smallest tracery had a meaning; every leaf, every rudely carved animal spoke in mystic language of some great truth in religion. But it was a language as yet artistically unformed, -because the mediæval man had more articles of creed than +because the mediæval man had more articles of creed than he could express in words, and his hand like his mind was as yet unpractised.</p> @@ -3834,7 +3795,7 @@ paganism, so in the East we may trace signs of the older Hebrew faith.</p> <p>Speaking of the Longobardic mixtures of labyrinths, -chimeræ, dragons, lions, and a hundred other things, which +chimeræ, dragons, lions, and a hundred other things, which at first sight do not seem to be connected with Christianity, Marchese Ricci asks—"If these queer mixtures were only the effect of the architects' caprice, whence came the first @@ -3893,7 +3854,7 @@ but dead.</p> edict of Leo, continued to carve his mythic animals, his symbolic birds and fishes, and even tried his hand at the first rude revival of the human figure in sculpture. His figures -were disproportionate and mediæval in form,—what could +were disproportionate and mediæval in form,—what could one expect from a man of the Middle Ages just reawakening to the conception of art?—but they were full of fire and life. Their mystic beasts were horrible as any nightmare could @@ -3945,13 +3906,13 @@ incorporated in Christianity. "We might," says Sacchi,<a name="FNanchor_61" id=" "define Christian symbolism as the representation of mysteries and religious truths by means of forms, cyphers, and determinate images." (<i>La rappresentazione di dogmi, -misteri e verità religiose, per mezzo di forme, cifre ed +misteri e verità religiose, per mezzo di forme, cifre ed immagini determinate.</i>)</p> <p>An older and more authoritative testimony is given by Dionysius the Areopagite, the associate of St. Paul, by whom he was consecrated. In his <i>De angelica seu celesti -Hierarchia, Epistola ad Timotheum Ephæsiæ civitatis +Hierarchia, Epistola ad Timotheum Ephæsiæ civitatis episcopum</i>, <span class="pagenum"><a name="Page_76" id="Page_76">76</a></span> he writes—"It is necessary to teach the mind as to the spiritual hierarchies, by means of material figures @@ -3996,7 +3957,7 @@ nearly 900 years after Dionysius, but this extract from his letter shows that Christian symbolism had not altered in all those centuries, and the church he describes is no more or less than a Comacine church of that era. The chase is -figured forth on the façades of S. Michele and S. Stefano +figured forth on the façades of S. Michele and S. Stefano at Pavia, and S. Zeno at Verona. The huntsman and his dogs are generally used as emblems of the faithful Christian driving out heresies.<a name="FNanchor_63" id="FNanchor_63" href="#Footnote_63" class="fnanchor">[63]</a> The fisherman symbolizes the priesthood, @@ -4007,7 +3968,7 @@ at Santa Maria Novella in Florence, where the fisherman is casting his line from the bank.</p> <p>Seen through the medium of these early lights, we no -longer look on the façade of S. Michele as Ruskin does, as +longer look on the façade of S. Michele as Ruskin does, as a sign of savage atrocity, but every line of the time-worn sculptured friezes stands out as full of meaning as an Egyptian hieroglyphic, to one who can interpret it. On @@ -4027,7 +3988,7 @@ between the two friezes is evident. First, the Church militant clad in the whole armour of God, and the second emblematizing the shield of the Gospel.</p> -<p>In the next compartment of the façade, that on the left +<p>In the next compartment of the façade, that on the left of the door, we have the chase of a deer and other animals flying from fierce dogs, which we have explained above; over this a frieze of vine-leaves. Here, again, the connection @@ -4159,7 +4120,7 @@ sacrifice of Isaac, and Daniel in the lions' den.</p> <p class="caption"><a href="#Page_80"><i>See page 80.</i></a></p> </div> -<p>So we see, that mediæval as he was at that time, the +<p>So we see, that mediæval as he was at that time, the Comacine Master of the seventh and eighth centuries, even though his execution were low, had a high meaning in his work. As to the rudeness of the handling, there is this @@ -4169,7 +4130,7 @@ not in durable marble, but in sandstone, which has a habit of getting its edges decayed, so we may fairly suppose the cutting looked clearer when the ornamentations were fresh. The form of both animals and men is, however, and -naturally always was, entirely mediæval, which seems +naturally always was, entirely mediæval, which seems synonymous with clumsy.</p> <p>The use of marble ceased for some centuries with the @@ -4183,7 +4144,7 @@ kind of animal, which will be a delightful spectacle" (<i>dilettoso spettacolo di veduta</i>). It was a stone peculiarly adapted to building, as it was easily cut, and yielded to all the imaginations of the sculptor with very little labour. I have -given an especially lengthy description of the façade of +given an especially lengthy description of the façade of S. Michele, because it embodies all the special marks of the ornamentation of the Comacine under the Longobardic era. The church of S. Fedele at Como is another instance; @@ -4404,7 +4365,7 @@ the extreme vitality and expression in the hippogriffs and the Solomon's knots which sign it, mark the work as Comacine; besides, we are told by the most early authors that the Longobards never employed Greek artists. There -is the usual mixture of Christianity and Mediævalism in the +is the usual mixture of Christianity and Mediævalism in the sculptures on the top of the tomb. Winged griffins with serpent tails prance on each side of a vine, from which serpents' heads look out. Fishes are in the corner, and an @@ -4448,20 +4409,20 @@ are surrounded with intricate scrolls and interlaced work; some of them clearly copied from Byzantine designs. The spaces between the arches are enriched with allegorical subjects. In one, the emblems of the apostles; in another, -a choir of angels, very mediæval and heavy-headed; in +a choir of angels, very mediæval and heavy-headed; in another, a winged archangel. At the corner is a man in Lombard dress, holding two animals, one in each hand. It is peculiarly suggestive of the Etruscan deity with the two leopards, which is so frequently seen on the black Chiusi vases, and confirms more than ever, the tendency in -mediæval Christians to cling to ancient pagan forms, giving +mediæval Christians to cling to ancient pagan forms, giving them a new Christian significance. The frieze above the arches which forms the base of the marble panels of the Ambone, is peculiarly Comacine. Here are all the mystic animals, representing the powers of evil;—dragons, wolves, etc., bound together in a knotted scroll of one continuous vine-branch, here and there training into foliage. Reading -the ornamentation by the light of mediæval symbolism, the +the ornamentation by the light of mediæval symbolism, the whole thing gives us lessons appropriate to a pulpit. It tells us that Christ the pillar of the Church, descended <span class="pagenum"><a name="Page_89" id="Page_89">89</a></span> @@ -4477,7 +4438,7 @@ up to Fiesole from Florence to his victory over Radagaisus the Goth. The Florentines had but just been converted to Christianity at that time. The sculpture, though Christian in subject, has many signs of debased Roman style -mingled with much of the mediæval.</p> +mingled with much of the mediæval.</p> <div class="figcenter"><a name="i_133" id="i_133"></a> <img src="images/i_133.jpg" width="358" height="454" alt="" /> @@ -4538,7 +4499,7 @@ Milan.</td> </table> <p>We may safely say that Charlemagne, who was more a -warrior than a man of æsthetic tastes, had no influence +warrior than a man of æsthetic tastes, had no influence whatever on Italian architecture; neither the form nor the symbolism was changed by him. The Italians were always conservative, and clung to old traditions. The Roman @@ -4657,7 +4618,7 @@ in Sapphic verse by Carducci, as follows—</p> <div class="stanza"> <p>Al bizantino crocefisso, atroce</p> <p>Ne gli occhi bianchi livida magrezza,</p> -<p>Chieser mercè de l'alta stirpe e de la</p> +<p>Chieser mercè de l'alta stirpe e de la</p> <p class="i8">Gloria di Roma.</p> </div> <div class="stanza"> @@ -4708,14 +4669,14 @@ many of the finest and most interesting churches in Central and South Italy. One is a deed of gift for the weekly distribution of bread and wine to the poor at Lucca in 805. It begins—"Ego Natalis, homo transpadanus, magister -casarius, Christo auxiliante, ædificavi Ecclesiam in honori -Dei et Mariæ et B. Petri Apostoli, intra hanc civitatem"—"I, -Natalis, a man from beyond the Pò, being a master +casarius, Christo auxiliante, ædificavi Ecclesiam in honori +Dei et Mariæ et B. Petri Apostoli, intra hanc civitatem"—"I, +Natalis, a man from beyond the Pò, being a master builder, by Christ's help have constructed within this city, a church in honour of God, of Mary, and of the blessed apostle Peter."<a name="FNanchor_75" id="FNanchor_75" href="#Footnote_75" class="fnanchor">[75]</a> Here we see the Comacine Master settled as leading architect in Lucca, far from his native land beyond the -Pò, and so flourishing that he can dispense large charities. +Pò, and so flourishing that he can dispense large charities. He seems to have done some public works too; there was a canal called the Fossa Natale, which ran through the city, and had a bridge over it. There must have been @@ -4739,7 +4700,7 @@ heightened by piers of a Gothic form, flanked by pilasters, which raise the arch over the central nave. This seems to be the first instance of an attempt to render the sanctuary of the high altar more grand and majestic than the rest of -the building. The façade is of quite a different epoch, and +the building. The façade is of quite a different epoch, and has nothing to do with the interior. It was the work of Guidectus in 1188, who also built the cathedral of Lucca.</p> @@ -4748,7 +4709,7 @@ S. Frediano they are large and classical, in S. Michele narrow and Neo-Gothic.</p> <p>The other document is less decisive, but has its -significance. An ancient mediæval <i>Memoriale</i>, in the +significance. An ancient mediæval <i>Memoriale</i>, in the monastery of Pontida,<a name="FNanchor_76" id="FNanchor_76" href="#Footnote_76" class="fnanchor">[76]</a> has the following entry—"Guglielmo de Longhi di Adraria built the church of San Giacomo di Pontida, employing Magister Johanne de @@ -4769,7 +4730,7 @@ that deadly peril, he would build a church in his honour. As soon as he had spoken the words, the horse on which he was mounted took fright and galloped away, so that the robbers could no more harm him. Thus he escaped safely -with all his belongings ('potè scampare sano con tutte le +with all his belongings ('potè scampare sano con tutte le sue cose'), and returning the following year with his <span class="pagenum"><a name="Page_96" id="Page_96">96</a></span> workmen, he began the building of the church of S. Zeno @@ -4864,7 +4825,7 @@ churches of the fifth century and the great Basilica of St. Simeon Stylites at Kaiat Senian, erected in 500, have signs of the same conformation. Whether these were of absolutely Oriental origin, or the result of some early -emigration of the <i>liberi muratori</i>, archæologists must judge. +emigration of the <i>liberi muratori</i>, archæologists must judge. The two rows of columns which divide the nave from the aisles, have solid piers of masonry interposed between each three columns; these are elongated above the colonnade to @@ -4889,7 +4850,7 @@ all sizes and shapes. It runs—</p> <div class="blockquot"> <p> -"DE DON IS D͠I ET S͠CE D͠I GENETRICIS MARIÆ. +"DE DON IS D͠I ET S͠CE D͠I GENETRICIS MARIÆ. TEMPORIBUS DO͞NI ADRIANI PAPE EGO GREGORIUS."</p> </div> @@ -4900,7 +4861,7 @@ other side in thirteenth-century mosaic.</p> <p>The church of S. Saba on Mount Aventine, which was also built under Adrian I., has every mark of Comacine -work, especially in the mediæval and unclassic form of +work, especially in the mediæval and unclassic form of capitals. Probably the supply of ancient capitals fell short after the building of the other churches, and the builders had to supply them with their own chisels. They made @@ -4959,7 +4920,7 @@ foundation of the church.<a name="FNanchor_82" id="FNanchor_82" href="#Footnote_ <span class="pagenum"><a name="Page_101" id="Page_101">101</a></span></p> <p>San Pietro, however, has one very great peculiarity. It -has no façade, but is built with the usual Lombard three +has no façade, but is built with the usual Lombard three apses at one end, and a single semi-circular tribune at the other. The only door is at the side. The priest, who is naturally proud of his church, and learned in its history, @@ -4981,7 +4942,7 @@ altar once stood at the west end, and the church, like so many Lombard ones, had formerly faced the opposite way; or else the semi-circular tribune, which seems to be of later work, has been added by restorers, to cover -in the three arches of the ancient façade. That, in fact, +in the three arches of the ancient façade. That, in fact, the large solid pilasters in the nave marked the ancient wall of the interior, and the four arches on the other side of them formed the narthex. To support the first @@ -4993,11 +4954,11 @@ opposite theory of the narthex having been at that end, may on its side be confirmed by one of the frescoes, the last but two on the south wall, which represents the church itself as it was prior to <span class="s08">A.D.</span> 1000. Here the artist has, -with a curious mediæval disregard of perspective and +with a curious mediæval disregard of perspective and <span class="pagenum"><a name="Page_102" id="Page_102">102</a></span> possibility, represented both ends of the church in one view, and here we see plainly the three apses with their -marble perpendicular ribs on one side, and the façade of +marble perpendicular ribs on one side, and the façade of large arches with a row of smaller ones across the building above them on the other. I leave the question of this puzzling west tribune to wiser judges than myself, and @@ -5215,7 +5176,7 @@ times, in which very few people thought of church-building, and if the Comacine Masters found work in their own land, it was more the building of castles and strongholds in their most solid <i>opera gallica</i>, than the sculpturing of saints or -the rearing of gorgeous basilicæ.</p> +the rearing of gorgeous basilicæ.</p> <p>After the Carlovingians came the House of Berengarius, which held the Italian throne from 888 to the intervention @@ -5290,7 +5251,7 @@ times to enrich architecture with a complete and well-ordinated system, which dominated wherever the Latin Church extended its influence from the shores of the Baltic to those of the Mediterranean."<a name="FNanchor_84" id="FNanchor_84" href="#Footnote_84" class="fnanchor">[84]</a> We will omit the witnesses, -Kugler of Germany and Ramée of France, and +Kugler of Germany and Ramée of France, and take the Italian great authority, Pietro Selvatico.<a name="FNanchor_85" id="FNanchor_85" href="#Footnote_85" class="fnanchor">[85]</a> He notes that art in Europe, from the seventh to the thirteenth century, consisted of a combination of Byzantine @@ -5350,7 +5311,7 @@ figures clinging to palm-branches, by which the Magister who carved it symbolized man clinging to Christ. The other is a veritable Comacine knot, formed of mystic winged creatures, with their serpent tails entwined. On the arches -of the crypt are a wealth of mediæval imaginings, mystic +of the crypt are a wealth of mediæval imaginings, mystic beasts, Christian symbols, scriptural characters and ancient myths, all mingled together as only a Freemason of the Middle Ages could mingle them. Otho's architects were @@ -5360,9 +5321,9 @@ from Pontida, who called on S. Zeno to save him from the brigands, was one of them.</p> <p>It is undeniable that later Comacines put the elegant -façade to the church in 1139, when Magistri Nicolaus and +façade to the church in 1139, when Magistri Nicolaus and Guglielmus carved the wonderful porch with its columns -resting on lions, and its very mediæval reliefs, in which we +resting on lions, and its very mediæval reliefs, in which we see Theodoric, King of the Goths, going straight to the devil in the guise of a wild huntsman. On the architraves are allegorical reliefs of the twelve months. But this front @@ -5379,7 +5340,7 @@ were not admitted into the body of the church till they were baptized. The atrium of S. Ambrogio is a square space surrounded by a portico composed of columns supporting round arches. The proportions are so fine and -majestic that it is looked on as the best mediæval edifice +majestic that it is looked on as the best mediæval edifice existing in Lombard style. The capitals are composed of foliage, strange ornaments, and groups of grotesque animals and monsters rudely sculptured; and yet with the imperfect @@ -5408,7 +5369,7 @@ buildings. The plan of this Basilica in its older form shows very clearly the leaning to one side which we have said was a symbol of Christ's head being turned in pain on the Cross. Here not only the left aisle reaches higher up -than the right, but the wall of the façade slopes considerably. +than the right, but the wall of the façade slopes considerably. In the ninth century Fortunato, Patriarch of Grado, who lived about 828, sent for <i>artefici Franchi</i><a name="FNanchor_86" id="FNanchor_86" href="#Footnote_86" class="fnanchor">[86]</a> to restore the Baptistery of S. Giovanni on the island which was @@ -5507,7 +5468,7 @@ smaller and shorter, but still graceful; they terminate in varied and bizarre capitals surmounted by a kind of bracket on which the large stones of the upper building rest. Among the sculptures of the little columns on the left as -one enters the court, is incised in mediæval characters and +one enters the court, is incised in mediæval characters and abbreviations the following—'<i>Lanfrancus magister filius Dom. Ersatii de Livurno</i>.'" Livurno most probably stands for Ligurno, a place a few miles from Voltorre. So our @@ -5559,7 +5520,7 @@ Frederic had reason to cultivate the Comaschi, for they sent 200 ships to the Venetian war for him. An edict of Barbarossa's in 1159, and another dated 1175, shows that he allowed the Comacines to rebuild their walls and city at -that date, <i>civitatem in cineres collapsam funditos re ædificavimus +that date, <i>civitatem in cineres collapsam funditos re ædificavimus nos</i>. This occupied them a long time. The tower towards Milan bears the date of 1192. The round tower that of 1250. There were eight gates in these new walls. @@ -5711,7 +5672,7 @@ English assistants not yet trained. The clerestory was a reflex of a later style, being added in 1410, to replace the so-called Norman one, which no doubt had the usual round-arched windows with a column in the centre. Indeed, -I think it would be worth the while of archæologists to find +I think it would be worth the while of archæologists to find out whether the whole church were not originally built by Italian architects, as Rahere, its founder, was in Rome on a pilgrimage, when he fell very ill of fever, and vowed to @@ -5800,7 +5761,7 @@ crowned King of Apulia and Sicily in 1130, that they began to give their minds to artistic architecture. This was a century and a half after Abbot Guillaume took his countrymen over to build at Dijon. The first stone of the -Duomo of Cefalù was laid in 1131, and the royal palace +Duomo of Cefalù was laid in 1131, and the royal palace <span class="pagenum"><a name="Page_127" id="Page_127">127</a></span> of Palermo begun during the next year. Under Roger's successors the fine churches of Martorana, and the cathedral @@ -5822,7 +5783,7 @@ the solemn mystery of those sublime arcades, profound lines and symbolic forms; the dim religious light, the ecstatic figures of prophets and saints with the gigantic Christ over the altar offering benediction to men, all shadow forth the -mediæval idea of Christianity—full and ingenuous faith, +mediæval idea of Christianity—full and ingenuous faith, vivified by conquest."</p> <p>Then he goes on grandiloquently to say—"The names @@ -5833,7 +5794,7 @@ soul made visible, with all its vigorous and fruitful activity."</p> <p>But if we cannot find the names it would at least be interesting to know whether the Norman-Siculo architecture were entirely the work of the Normans or not. -Gravina, Boitò, and other Italian writers think that the +Gravina, Boitò, and other Italian writers think that the Normans took a similar position in Sicily to that of the earlier Longobards in the north, <i>i.e.</i> that they were the <span class="pagenum"><a name="Page_128" id="Page_128">128</a></span> @@ -5874,7 +5835,7 @@ last planted a settled colony which has left its mark, not only in the language, but in the many Lombard place-names. <span class="pagenum"><a name="Page_129" id="Page_129">129</a></span> Thus there are in Sicily villages named Carona, -Gagliano, Novara, Palazzolo, Padernò, Piazza, Sala, and +Gagliano, Novara, Palazzolo, Padernò, Piazza, Sala, and Scopello, all of which are names of older places in the Comacine territory. Another name, "Sanfratelli" (the holy brethren), is very suggestive of the patron saints of @@ -5892,7 +5853,7 @@ Palermo in the time of Ludovico of Aragon, about 1349. It shows in a list of volunteers, several names of <i>Magistri</i> which seem to be familiar to us. Here is Magister Nicolao Mancusio, Magister Guillelmo, Magister Nicolao de -Meraviglia, Magister Chicco, Magister Juliano Guzù, +Meraviglia, Magister Chicco, Magister Juliano Guzù, Magister Roberto de Juncta (Giunta), Magister Vitalis, both from the Pisan lodge, Julianus Cuccio, Salvo di Pietro, etc. We find that Benedictus de Siri, a Lombard, was paid for @@ -5972,7 +5933,7 @@ is said by Fergusson to be very similar to this.</p> <p>Then there is the cathedral of Avignon in Provence, with its octagonal cupola, and its porch of Charlemagne's era in Romano-Lombard style. It is not unlikely that the -earliest Provençal churches were built by Italian architects, +earliest Provençal churches were built by Italian architects, for Avignon was closely connected with the Papacy at that time, and the Popes as we know were the especial patrons of the Masonic guild.</p> @@ -5999,7 +5960,7 @@ slightness, and with foliaged capitals of varied form and great freedom of design. Fergusson says that the freedom and boldness are unrivalled. The cloister at Elne is still more varied and unique; the capitals mix up Egyptian, -classic, and mediæval art in a manner truly unique.</p> +classic, and mediæval art in a manner truly unique.</p> <p>As for towers, those left in Provence show a distinctly Lombard style. The tower at Puissalicon near Beziers is @@ -6012,7 +5973,7 @@ Bordeaux, attributed to William the Good, Duke of Aquitaine, who died in 877, has its round-arched porch, decorated with a profusion of Comacine <i>intrecci</i> of intertwined vines; and spiral pilasters grouped at the angles. Hope quotes the -façade of the cathedral of San Pietro at Angoulême, as the +façade of the cathedral of San Pietro at Angoulême, as the finest Lombard one existing. There are numerous files of round arches, on elegant little columns, statues in niches, rich bas-reliefs, friezes, and arabesques. The nave is divided @@ -6022,7 +5983,7 @@ the arches are simply thrown across the three divisions of the nave; here they are arched into the shape of a dome. The tower is entirely Lombard in form. There are Lombard churches at Poictiers, Puy, Auxerre, Caen, Poissy, -Compiègne, etc., in all of which the style is perfectly +Compiègne, etc., in all of which the style is perfectly distinct from the Norman, as it was then developed; and also from the later Gothic. <span class="pagenum"><a name="Page_133" id="Page_133">133</a></span></p> @@ -6095,7 +6056,7 @@ Italian work on the construction of churches, named <i>L' Arcano Magistero</i>. This, however, was a secret book of the guild, and was kept most strictly in the hands of the <span class="pagenum"><a name="Page_135" id="Page_135">135</a></span> -<i>Magistri</i> themselves. Kügler relates that in 1090 a citizen +<i>Magistri</i> themselves. Kügler relates that in 1090 a citizen of Utrecht killed a bishop, who had taken <i>L' Arcano Magistero</i> away from his son who was an architect. I am strongly of opinion that Albertus Magnus was much @@ -6122,7 +6083,7 @@ those at Spires, Worms, Zurich, and several old ones at Cologne, built before or about the Carlovingian era, which have every sign of Lombard influence.</p> -<p>The Gross Münster of Zurich was begun in 966 as a +<p>The Gross Münster of Zurich was begun in 966 as a thank-offering of the Emperor Otho for his victories in Italy, and its plan, arches, windows, towers (excepting only the climatic addition of the pointed roofs) are all in @@ -6207,7 +6168,7 @@ that Albertus Magnus on his return from Padua formed the first Masonic association in Germany, making special laws and obtaining especial privileges for the immense number of builders he collected to put into execution his -cathedral at Cologne.<a name="FNanchor_100" id="FNanchor_100" href="#Footnote_100" class="fnanchor">[100]</a> Again, L' Abbé de Grandidier, +cathedral at Cologne.<a name="FNanchor_100" id="FNanchor_100" href="#Footnote_100" class="fnanchor">[100]</a> Again, L' Abbé de Grandidier, writing to a lady in November 1778, tells her that he has discovered an ancient document three centuries old, which shows that the much-boasted society of the Freemasons @@ -6255,7 +6216,7 @@ colleges of artists, of architects, builders, and artisans, as well as colleges associated with the administration and government, with religion and law.</p> -<p>The <i>Collegium</i> consisted of <i>Collegæ</i> or <i>sodales</i> (fellows, +<p>The <i>Collegium</i> consisted of <i>Collegæ</i> or <i>sodales</i> (fellows, as we should term them), with a president who was styled "<i>Magister</i>"; the <i>Collegium</i> was recognized by the State, which confirmed the regulations made by the @@ -6272,7 +6233,7 @@ in their craft, "so that when the cities of the empire of Gaul and the fortresses on the Rhine were destroyed, Constantius Chlorus, <span class="s08">A.D.</span> 298, sent to Britain for and employed British architects in repairing and re-edifying -them" (<i>Archæologia</i>, vol. ix. p. 100).</p> +them" (<i>Archæologia</i>, vol. ix. p. 100).</p> <p>Mr. Coote affirms that <i>Collegia</i> existed here after the final departure of the Romans from the island, and that the @@ -6291,7 +6252,7 @@ that the societies in Rome could scarcely escape observation, and we shall be prepared to hear that the college of architects and builders in that city removed from thence and took refuge elsewhere. According to tradition -they settled at or near Comum, where in mediæval times, +they settled at or near Comum, where in mediæval times, under the title of Comacine Masters, they gained fame as architects, and their services were in much request throughout the Continent and beyond it. Had the barbarians, @@ -6305,7 +6266,7 @@ appreciation of art, or demand for their services.</p> <p>It is true there is no documentary evidence to prove the continuous existence of the <i>Collegia</i> from Roman to <span class="pagenum"><a name="Page_141" id="Page_141">141</a></span> -mediæval times, or to show that the Roman college, which +mediæval times, or to show that the Roman college, which removed to Comum, was identical with the Comacine Guild which emerged from the darkness which shrouds the history of those early times;—there is, however, such @@ -6326,7 +6287,7 @@ workmen.<a name="FNanchor_103" id="FNanchor_103" href="#Footnote_103" class="fna <i>municipium</i>, stood at the head of Lacus Larii—the Lake of Como—on the northern shores of which, from Como to the island of Comacina, P. Strabo and C. Scipio settled -Greek colonies, which Julius Cæsar added to and consolidated. +Greek colonies, which Julius Cæsar added to and consolidated. The names of villages on these shores of the lake are still some guide to its extent and limits. Comum was made the chief seat of the colony.</p> @@ -6365,7 +6326,7 @@ marked traces of Byzantine influence, and none the less because in all probability there were Byzantine societies of a similar kind beside it.</p> -<p>Müller says, after the fall of Rome, Constantinople was +<p>Müller says, after the fall of Rome, Constantinople was regarded as the centre of mechanical and artistic skill, and a knowledge of art radiated from it to distant countries.<a name="FNanchor_105" id="FNanchor_105" href="#Footnote_105" class="fnanchor">[105]</a></p> @@ -6385,7 +6346,7 @@ by architects and builders, yet that is the only inference which can be drawn from his words, and from Pope Gregory's instructions to Mellitus.</p> -<p>It was a common practice in mediæval times for missionaries, +<p>It was a common practice in mediæval times for missionaries, whether bishops or monks, to have in their train builders and stone-cutters, and they themselves were often skilful architects. St. Hugh of Lincoln was not the only @@ -6509,7 +6470,7 @@ apse was the <i>confessio</i> or crypt, in which the body or relics of the saint to whom the church was dedicated were deposited. Plans of several Saxon crypts still remaining in England will be found in Mr. Micklethwaite's valuable paper -in the <i>Archæological Journal</i>, New Series, vol. iii. No. 4.</p> +in the <i>Archæological Journal</i>, New Series, vol. iii. No. 4.</p> <p>At a little later period a further change was made; on the floor of the nave from the chancel westward a @@ -6569,11 +6530,11 @@ church of S. Prassede in Rome. On comparing these interlaced patterns and convolutions with the carving on the ambo in the Basilica of S. Ambrogio, Milan, which is Comacine work, it will be seen how nearly they correspond; -whilst the ornaments and sculptured figures in the façade +whilst the ornaments and sculptured figures in the façade and round the portals of the doors of S. Michele, Pavia, an early Lombard church of the eighth century, show treatment similar to Saxon work. It appears to me -possible that this façade has been rebuilt presumably +possible that this façade has been rebuilt presumably about the twelfth century, but there can be little doubt that the carvings as well as a considerable portion of the church itself are of the earlier date.<a name="FNanchor_113" id="FNanchor_113" href="#Footnote_113" class="fnanchor">[113]</a></p> @@ -6694,7 +6655,7 @@ very splendid and very beautiful, according to Eddius.</p> <p>As regards the sculptures, the examples we have of Saxon sculptures show them to have been generally vigorous, -and often grotesque. A writer in <i>Archæologia</i>, vol. viii. +and often grotesque. A writer in <i>Archæologia</i>, vol. viii. p. 174, states that in the vaults of Hexham there were at the time he wrote many Roman inscriptions and grotesque carvings. The capitals of columns in Saxon as well as in @@ -6990,7 +6951,7 @@ and introduced them on their return.</p> <p>2. The architectural college of Rome is said to have removed from that city to the republic of Comum.</p> -<p>3. In early mediæval times, one of the most important +<p>3. In early mediæval times, one of the most important Masonic guilds in Europe was the Society of Comacine Masters, which in its constitution, methods, and work was essentially Roman, and seems to have been the survival of @@ -7057,7 +7018,7 @@ preceding chapter shows that it is precisely to these first missionaries that we are indebted for the imported architecture of the pre-Norman date in England, and presumably also in Ireland. This architecture has been an enigma and -a stumbling-block to archæologists for ages; because while +a stumbling-block to archæologists for ages; because while rejecting everything connected with the saints as legend, they also reject the only reasonable hypothesis of the genesis of these first stone buildings, which sprang up in a @@ -7081,7 +7042,7 @@ In his Prize Essay on the origin and uses of the Round Towers (<span class="s08">A.D.</span> 1820) he proves that no buildings except these towers were known to have cement in pre-Christian Ireland. For the Pagans and Druids have left us the great -fortresses of Dun Ængus, and Dun Connor on Aran Mor, +fortresses of Dun Ængus, and Dun Connor on Aran Mor, and the great sepulchres of Dowth and New Grange, all built without cement and of unhewn stones. Now the Round Towers are of hewn stones closely fitted and @@ -7201,7 +7162,7 @@ time of Fredianus, and you will see a fine collection of Comacine <i>intrecci</i> or interlaced work in sculpture. As for the crosses of Ireland, one may trace in them the development of Comacine work, from the early Christian -Roman style to the mediæval Lombard.</p> +Roman style to the mediæval Lombard.</p> <p>The beautifully illustrated article in the <i>Studio</i> for Aug. 15, 1898, by J. Romilly Allen, F.S.A., shows the whole line. @@ -7234,7 +7195,7 @@ Italian art. Here are the coiled serpent and the dove above, with the four mystic beasts of the Apocalypse below, two on each side of the stem of the cross; and the workmanship and designs are literally identical with those of the -sculptures on the façades of the first church of S. Michele +sculptures on the façades of the first church of S. Michele at Pavia, and S. Zeno at Verona, and that of S. Pietro at Spoleto, all of the fifth and sixth centuries. (Spoleto church was rebuilt in 1329, but the ancient Lombard sculptures @@ -7261,7 +7222,7 @@ to both of them. The cross of SS. Patrick and Columban at Kells has, too, all the marks of the Comacine work in the eighth and ninth centuries, as one sees it in the oldest churches at Como and Verona, at Toscanella and Spoleto. All these -things being considered, I think Irish archæologists would +things being considered, I think Irish archæologists would do well to work up the undoubted connection of the early Irish missionaries with Italy, and the influence their travels there had, not only on the religion, but the art of Ireland. @@ -7329,7 +7290,7 @@ degli Alessandri at Bergamo.</td> <td class="tdc">6.</td> <td class="tdc">1340</td> <td class="tdh" colspan="5">M. Giovanni, son of Ugone</td> -<td class="tdh">Built the Baptistery and façade +<td class="tdh">Built the Baptistery and façade of S. Maria Maggiore at Bergamo.</td> </tr> <tr> @@ -7359,7 +7320,7 @@ Gufredo da Asteno</td> <td class="tdh" colspan="4">M. Nicolino, son of Giovanni</td> <td> </td> <td class="tdh tdvc" rowspan="3">Helped Giovanni di Ugone in -the façade at Bergamo.</td> +the façade at Bergamo.</td> </tr> <tr> <td class="tdc">10</td> @@ -7522,7 +7483,7 @@ into all the vexed questions of how this Renaissance began, and which school was the link between that and classic art, but a slight glance must be given to the subject. <span class="pagenum"><a name="Page_173" id="Page_173">173</a></span> -Some make everything begin from Niccolò Pisano, as +Some make everything begin from Niccolò Pisano, as though he suddenly sprang ancestorless out of the darkness, a full-fledged artist. Some date the rise of art from the Byzantines in Aquileja and Venice; others again @@ -7552,7 +7513,7 @@ founded and propagated by them."<a name="FNanchor_125" id="FNanchor_125" href="# <p>From this it may be deduced that during the eleventh and twelfth centuries no indigenous Pisan school existed, -and that the mediæval buildings were of the Lombard type. +and that the mediæval buildings were of the Lombard type. Certainly the old church of S. Pietro a Grado, three miles out of Pisa on the Leghorn road, which we have described, is a standing witness to the presence of the Comacines @@ -7607,7 +7568,7 @@ arguments.</p> <p>It seems to me that each party is right as far as it goes. Venetian architecture has Oriental elements in it; -the Tuscan Renaissance truly dates from Niccolò Pisano, +the Tuscan Renaissance truly dates from Niccolò Pisano, and the Romanesque style was formed by the marriage of north and south in Sicily; but none of their advocates have got hold of the missing link in the development of each @@ -7647,7 +7608,7 @@ classic Roman.</p> <p>The part the Comacines had in forging the connecting chain between the Tuscan Renaissance and the classic -Roman, and the artistic pedigree of Niccolò Pisano, who is +Roman, and the artistic pedigree of Niccolò Pisano, who is the first link in that branch of the threefold chain, will be traced in a future chapter. We must now inquire how the first Romano-Lombard style of the Comacines, from the @@ -7679,7 +7640,7 @@ curve to their stilted arches.</p> <p>It must be remembered that the <i>Magistri</i> of the Comacine Guild were no longer of the same calibre as those -mediæval men who built for the Longobards. Those +mediæval men who built for the Longobards. Those were the products of an age of slavery and degeneration, who, lacking literature, clung to tradition, and could only act according to the small portion of intellectual light @@ -7732,7 +7693,7 @@ the two inextricably, as in Florence cathedral, where the windows are pointed with Gothic tracery, the interior arches round and Roman in form.</p> -<p>"The early Lombard architecture," said Cesare Cantù,<a name="FNanchor_128" id="FNanchor_128" href="#Footnote_128" class="fnanchor">[128]</a> +<p>"The early Lombard architecture," said Cesare Cantù,<a name="FNanchor_128" id="FNanchor_128" href="#Footnote_128" class="fnanchor">[128]</a> "was not an order, nor a system, so much as a delirium. Balance and symmetry utterly disregarded, no harmony of composition or taste, shameful neglect in form proportion; @@ -7751,7 +7712,7 @@ placed the arches, which in a good style should rest on the architrave. In fine, there was an endless <i>modanature</i>, <span class="pagenum"><a name="Page_179" id="Page_179">179</a></span> ribs, reliefs, and windows of elongated form and walls of -extraordinary height." In spite of Cantù's leanings to the +extraordinary height." In spite of Cantù's leanings to the classic, this tirade shows the first indication of the change towards the Gothic, and it only proves that the Comacine Masters did not take up new forms borrowed entire from @@ -7768,7 +7729,7 @@ acquired their Basilican forms, on Italian soil?</p> glorious Gothic from France or Italy, and nourished it right royally. But the pointed arch is much more ancient than German Gothic. It is to be seen in the tomb of -Atreus at Mycenæ, in an Etruscan tomb at Tarquinii, and +Atreus at Mycenæ, in an Etruscan tomb at Tarquinii, and even in the subterranean gallery at Antequere in Mexico.<a name="FNanchor_129" id="FNanchor_129" href="#Footnote_129" class="fnanchor">[129]</a> The pointed arches in the Mosque El Haram on Monte Morea date from Caliph Omar's time, between 637 and @@ -7839,7 +7800,7 @@ Basilica of S. Donnino, but as the Comacines had their distinctly Romanesque, we may believe the old authors who say that it arose <i>per lo scarpello dei Comacini</i>.<a name="FNanchor_134" id="FNanchor_134" href="#Footnote_134" class="fnanchor">[134]</a> If internal evidence is wanting, the three lion portals of the -ornate façade bear witness to the hand of the Comacines of +ornate façade bear witness to the hand of the Comacines of the Romanesque epoch.</p> <p>Another of their buildings which shows a marked @@ -7855,7 +7816,7 @@ the works, as appears from an inscription in Gothic letters on the tomb of that very <i>Magister</i>. Anglicized it would run—"In the year of our Lord 1212, the last day of February, Master Adam of Arogno, of the diocese and -district of Como (<i>Magister Adam de Arognio cumanæ +district of Como (<i>Magister Adam de Arognio cumanæ diocesis et circuito</i>), began the work of this church and constructed it. He with his sons and his <i>abbiatici</i> (underlings) built the interior and exterior of this church with its @@ -7872,10 +7833,10 @@ qui potenti manu non inani complevit</i>).</p> but in none of them has its plan been materially altered. There is still the octagonal dome, the circular apse at one end of the building, and the narthex at the -other. The façade still honestly follows the lines of the +other. The façade still honestly follows the lines of the roof, and has its little rows of pillared galleries across. The outside of the apse shows the new tendency to -Romanesque more than the façade does; here arches and +Romanesque more than the façade does; here arches and friezes in horizontal circles around it, take the place of the perpendicular shafts, and the single row of archlets on the top. It is more in the style of the thirteenth and fourteenth-century @@ -7906,7 +7867,7 @@ still predominates, and in the exterior walls of the apse, with its crown of arches and colonnettes.</p> <p>The parts due to the later brethren of the guild are -the rich ornamentation of the two façades with their +the rich ornamentation of the two façades with their grand and characteristic Comacine porches, and also the Baptistery. It was in 1340 that Giovanni, son of Ugone (Big Hugh) of Campione, a <i>celebre scultore ed architetto</i>, @@ -7927,19 +7888,19 @@ a descendant of the Magister Fredus mentioned <span class="pagenum"><a name="Page_184" id="Page_184">184</a></span> above—of Asteno, near Porlezza, to rebuild the church there, which had been ruined by age and repeated floods.<a name="FNanchor_136" id="FNanchor_136" href="#Footnote_136" class="fnanchor">[136]</a> -This church is in pure Lombard style, and has a façade in +This church is in pure Lombard style, and has a façade in black and white marble, with a fine rose window, encircled with terra-cotta foliaged decorations. After this Magister Giovanni of Campione was recalled to Bergamo to adorn -the façades of the church which Fredus had left in a rough -state 200 years before. These two façades faced north +the façades of the church which Fredus had left in a rough +state 200 years before. These two façades faced north and south. Strange to say, the part opposite the altar has no door. In this new emprise Giovanni brought as his assistants his son Nicolino, a relative named Antonio (probably the one who had worked with him at Bellano), and a certain Giovanni Cattaneo, also from Campione. Giovanni, who was head architect, decided not to renovate -the whole south façade facing the Piazza on which he +the whole south façade facing the Piazza on which he began first, but to concentrate his ornamentation on a fine vestibule and doorway, to form a species of frontal. The vestibule was finished in 1351, having taken only two @@ -7983,12 +7944,12 @@ church of S. Maria at Bergamo contains a sculptural work of much merit for the time, by Ugo da Campione, the father of Giovanni senior. It is the tomb of Cardinal Longhi degli Alessandri, who died at Avignon in 1329. -The almost mediæval artist compares not unfavourably +The almost mediæval artist compares not unfavourably with a very modern master from Como, Vincenzo Velada Ligurnetto, who in 1855 sculptured the neighbouring tomb of Donizetti placed near it.</p> -<p>Coming down the valley of the Pò to Cremona, we +<p>Coming down the valley of the Pò to Cremona, we find ourselves on a scene of great Comacine industry. There is the Baptistery, dating before <span class="s08">A.D.</span> 1000, and the Cathedral begun in 1100. These were both works of the @@ -8008,7 +7969,7 @@ Gothic characters used by them— fine one, and is not, as some writers think, an illiterate mis-spelling of <i>portam</i> (door). The rose window is prior to the one which Jacopo or Lapo, the so-called father of -Arnolfo, placed in the façade of the Duomo of Arezzo, and +Arnolfo, placed in the façade of the Duomo of Arezzo, and is even superior to it in richness of design. To Jacobus Porrata is also attributed the principal entrance of Cremona cathedral, with the statues of the four prophets beside it. @@ -8026,7 +7987,7 @@ and on the part of the Rev<sup>do.</sup> P. Cozzaconte, Bishop of Cremona, and the monk Ubertini, director and treasurer to the works of the Duomo, making a contract with Bonino and Guglielmo da Campione to build a stone stairway on -the north of the cathedral towards S. Nicolò, etc. etc. +the north of the cathedral towards S. Nicolò, etc. etc. The stairs still exist, with remains of some little turrets which formed part of the design.</p> @@ -8057,7 +8018,7 @@ belonged. It is now in the third chapel on the right. He also designed and erected the Baptistery, which, more than any building of the time, shows an originality of idea quite remarkable. It is built entirely of white marble, is of -course octagonal, that is <i>de règle</i>, and is surrounded by +course octagonal, that is <i>de règle</i>, and is surrounded by rows of little pillared galleries, but in these he has made his colonnettes classical, and has left out the arches entirely, except in the upper one, substituting a solid flat marble @@ -8071,7 +8032,7 @@ a story of John the Baptist beneath it. The west portal shows a realistic Last Judgment above, and on the sides the seven ages of man, and Christ performing the seven works of mercy. On the south door is the allegory of -Death from the mediæval religious romance of <i>Barlaam +Death from the mediæval religious romance of <i>Barlaam and Josaphat</i>. The arches between the doors are filled in with niches containing statues supported on black marble Corinthian columns.</p> @@ -8147,8 +8108,8 @@ members. The word <i>fratrum</i> certainly implies that the <i>laborerium</i> was in the hands of a guild. The Canonico Tonarelli writes in a letter from Parma, that in an estimate in the archives of the Chapter, dated 1354, the <i>Fabbriceria</i> -was denominated <i>Domus laborerii seu fabricæ ... majoris -Ecclesiæ</i>, and that the administrators were called <i>fratres de +was denominated <i>Domus laborerii seu fabricæ ... majoris +Ecclesiæ</i>, and that the administrators were called <i>fratres de Laborerio</i>. In Tuscany they were called <i>Operai</i>, and the office of administrator was the <i>Opera del Duomo</i>. The four names of the <i>fratres</i>, too, have a significance when read @@ -8176,13 +8137,13 @@ door was a slab with the inscription—"A.D. MCCXXVII Bartolomeus Mansionarius Hoc opus fieri fecit Per Manus Magistri Georgii de Episcopatu Com".... That the mutilated word is Como we prove by a similar inscription on -the cathedral at Jesi (the ancient Æsis where the Emperor +the cathedral at Jesi (the ancient Æsis where the Emperor Frederick II., grandson of Barbarossa, was born). The ancient cathedral of S. Septimus, a truly Lombard building, still exists in part. Here the inscription runs—"A.D. MCCXXXVII tempore D. Gregorii Papae domini Federici -Imperatoris, et domini Severini. episcope. æsini. Magister -Georgius de Cumo civis æsinus fecit hoc opus."</p> +Imperatoris, et domini Severini. episcope. æsini. Magister +Georgius de Cumo civis æsinus fecit hoc opus."</p> <p>Here we get the city as well as the bishopric to which Magister Giorgius belonged. He was a citizen of Jesi in @@ -8226,7 +8187,7 @@ church of S. Antonio in 1263.</td> <td class="tdc">1130</td> <td colspan="2">M. Guglielmo or Vigilelmo</td> <td rowspan="3"> </td> -<td class="tdh tdvc" rowspan="3">Sculptors on the façades of Modena and Ferrara cathedrals</td> +<td class="tdh tdvc" rowspan="3">Sculptors on the façades of Modena and Ferrara cathedrals</td> </tr> <tr> <td class="tdc">4.</td> @@ -8249,7 +8210,7 @@ church of S. Antonio in 1263.</td> <td class="tdc tdvc" rowspan="2">12th century</td> <td colspan="2">M. Meo di Cecco, and</td> <td rowspan="2"></td> -<td rowspan="2" class="tdvc tdh">Assist in the façade of Ferrara cathedral. There was +<td rowspan="2" class="tdvc tdh">Assist in the façade of Ferrara cathedral. There was a Marco di Frixone da Campione at Milan a century later in 1300, probably a descendant of this one.</td> @@ -8406,20 +8367,20 @@ is supported on sixty columns, the capitals of which are all Lombard, and of endless variety of form and sculpture. In the centre is the ark (tomb) of S. Gemignano. The wall <span class="pagenum"><a name="Page_196" id="Page_196">196</a></span> -of the façade, with its little pillared gallery, is also of +of the façade, with its little pillared gallery, is also of Lanfranco's time.</p> <p>The porch, with its knotted pillars supported on lions, is adjudged by Ricci to be the work of Anselmo of Campione -in 1209. The sculpture on the façade by Nicolaus +in 1209. The sculpture on the façade by Nicolaus and Guglielmo is said to date from early in the twelfth century, and probably belonged to Lanfranco's design before Anselmo put this doorway. They are to our eyes -most naïve Bible stories told in rude sculpture—the one +most naïve Bible stories told in rude sculpture—the one side representing the Creation, the other the first men as far as Noah. To contemporary eyes, however, they were great works, for an old grandiloquent low Latin inscription -on the façade says—"Inter scultores quanto sis dignus +on the façade says—"Inter scultores quanto sis dignus honore Claret scultura nunc Viligelme tua." "Worthy of honour art thou among sculptors. So shines, O William, this thy sculpture." Marchese Ricci, from the peculiar @@ -8430,8 +8391,8 @@ one of those queer reversals of consonants so common in illiterate Italians. If a poor Florentine has a son named Arturo, he will surely call him Alturo, or if Alfredo, he will always be Arfledo. In any way we can descry in this artist, -as in many others of his age, the forerunner of Niccolò -Pisano, and see in the art of Niccolò only a link in development, +as in many others of his age, the forerunner of Niccolò +Pisano, and see in the art of Niccolò only a link in development, not a new art entirely. To Nicolaus and Guglielmo are also attributed the sculptures in the choir, representing the Passion. We shall find them again at Ferrara.</p> @@ -8459,7 +8420,7 @@ fourteenth centuries may be attributed to the Campionesi. He instances the Sala della Ragione at Padua, with its enormous span of roof, its characteristic arcades and galleries, and the Loggia degli Assi, or Loggia del Consiglio, -once the Podestà's palace; the church of S. Agostino at +once the Podestà 's palace; the church of S. Agostino at Bergamo, built by Ugo da Campione and his son Giovanni, the castle of the Visconti at Pavia, and many others. Campione, though a place of importance in Roman times, @@ -8484,7 +8445,7 @@ his pedigree in another chapter.</p> <p>The builders of the Duomo of Ferrara were decidedly connected with the <i>laborerium</i> at Modena, both lodges -originating from the Campione school. The façade has the +originating from the Campione school. The façade has the usual three perpendicular divisions formed by means of chiselled shafts, but each division is divided horizontally into three levels, each one enriched with Lombard galleries. @@ -8501,7 +8462,7 @@ the serpent. Over the porch are more sculptures, and an arched vestibule; over that a kind of Gothic gable, and above the gable a rose window. The whole speaks eloquently of its kinship with the churches of Verona, Parma, -and Bergamo. Tradition says the interior and façade were +and Bergamo. Tradition says the interior and façade were built not much later than 1103. The inscription over the door runs—</p> @@ -8521,7 +8482,7 @@ e da Antonio di Frix. da Como."<a name="FNanchor_147" id="FNanchor_147" href="#F <div class="figcenter"><a name="i_275" id="i_275"></a> <img src="images/i_275.jpg" width="496" height="377" alt="" /> -<p class="caption"><span class="smcap">Façade of Ferrara Cathedral, 12th century.</span></p> +<p class="caption"><span class="smcap">Façade of Ferrara Cathedral, 12th century.</span></p> <p class="caption"><i><a href="#Page_198">See page 198.</a></i></p> </div> @@ -8539,10 +8500,10 @@ set to work to remedy their mistake. They assigned four thousand lire a year to the re-edification, until such time as the church should be completed. By 1307 all was complete except the cupola, which was added a -century later. Vasari attributes the design to Niccolò +century later. Vasari attributes the design to Niccolò Pisano; but his able commentator, Milanesi, who lived all his life studying archives, asserts that neither document, -inscription, nor tradition remain to prove Niccolò's connection +inscription, nor tradition remain to prove Niccolò's connection with Padua, while the style of the building is utterly unlike the edifices known to be his.</p> @@ -8569,9 +8530,9 @@ and so trained in the science of architecture.</p> <p>In any case, the buildings at Padua are neither true Lombard nor true Gothic, and not even Oriental, but a mixture of all three. The Lombard has partly had his way -in the façade, where the upper part is full of galleries and +in the façade, where the upper part is full of galleries and archlets; the lover of the new Gothic arches has put his -mark on the lower part of the façade; and the monks, who +mark on the lower part of the façade; and the monks, who remembered the native land of their saint, have put the seven domes and minarets; the domes, however, were beyond the Comacines of that time, and were not placed till @@ -8596,7 +8557,7 @@ the secular members.<a name="FNanchor_148" id="FNanchor_148" href="#Footnote_148 <span class="pagenum"><a name="Page_201" id="Page_201">201</a></span> Lodi is an interesting old painting, representing S. Bernardino directing a group of monks engaged in building -a convent. Beneath it is written—"Qualiter in ædificatione +a convent. Beneath it is written—"Qualiter in ædificatione monasterii Bernardinus fratres hortatus fuerit."<a name="FNanchor_149" id="FNanchor_149" href="#Footnote_149" class="fnanchor">[149]</a></p> <div class="figcenter"><a name="i_279" id="i_279"></a> @@ -8664,7 +8625,7 @@ Campione sculptured the last, there is no positive proof.<a name="FNanchor_152" <p>Great conjectures have been made as to the real author of the Arca di Agostino at Pavia. Vasari says—"La quale -è di mano <i>secondo che a me pare</i> di Agnolo e Agostino, +è di mano <i>secondo che a me pare</i> di Agnolo e Agostino, scultori senesi." His expression, "As it seems to me," is not very decisive proof, truly. Cicognara is not more exact. He "wonders that this most grand and magnificent @@ -8775,20 +8736,20 @@ THE TUSCAN LINK</h3> <p class="center p2">I.—<span class="smcap">Pisa</span></p> -<p>The very mention of Pisa brings to our minds Niccolò +<p>The very mention of Pisa brings to our minds Niccolò Pisano, whose name stands in all art histories as the fountain-head of that Tuscan development of art which -led to the Renaissance. But where was Niccolò Pisano +led to the Renaissance. But where was Niccolò Pisano trained and qualified for this high post of honour? A great architect and sculptor does not suddenly become famous and obtain important commissions without having some undeniable credentials.</p> -<p>In those mediæval days, when the arts protected themselves +<p>In those mediæval days, when the arts protected themselves by forming into constituted guilds, no one could call himself a Master unless he were trained and qualified in one of these guilds and had reached the higher grades. -To trace Niccolò's place in the great chain of the Masonic +To trace Niccolò's place in the great chain of the Masonic Guild, we must go back a little, and gather together the threads of information we have been able to glean, as to the expansion of the guild itself, and here the valuable @@ -8813,7 +8774,7 @@ novitiate.<a name="FNanchor_156" id="FNanchor_156" href="#Footnote_156" class=" certainly displays this right of heritage very strongly. The qualified Masters were entitled to take pupils and apprentices in their own studios. The large number of pupils -who studied under Niccolò Pisano suggests his eminent +who studied under Niccolò Pisano suggests his eminent position in the guild.</p> <p>Second: There was the <i>laborerium</i>, or great workshop, @@ -8892,10 +8853,10 @@ which to draw a history of the Masonic Guild.</p> <p>Sig. Merzario asserts that no school of art indigenous to Pisa existed there before the building of the Duomo. He -might almost have said before the time of Niccolò, for so +might almost have said before the time of Niccolò, for so far was the half-mythical Buschetto from being a Pisan, that the world has for eight centuries been arguing where -he came from! To arrive at Niccolò it is necessary to +he came from! To arrive at Niccolò it is necessary to start from Buschetto. Who was Buschetto? Whence came he? Vasari, in his ignorance of monumental Latin, says, "From Dulichium," and thus the idea was promulgated @@ -8903,7 +8864,7 @@ that he was a Greek. But the inscription (given on next page) on Pisa cathedral says nothing of the kind. It is a flowery eloquence which Cavalier Del Borgo reads as comparing him for genius to Ulysses, Duke of Dulichium, -and for skill to Dædalus.</p> +and for skill to Dædalus.</p> <p>Cicognara judges from his name that he was Italian. Most probably Buschetto was a nickname, "little bush," @@ -8970,7 +8931,7 @@ the head architect also a member of the Council of the Opera. Another old writer calls Buschetto <i>capo della scuola Pisana</i>.</p> -<p>Niccolò, Giovanni, and Andrea da Pisa are fine proofs +<p>Niccolò, Giovanni, and Andrea da Pisa are fine proofs that the school at Pisa flourished and brought forth brave artists. Even as late as the sixteenth century, when Sansovino was sculpturing the casing of the Holy House at Loreto, @@ -8981,7 +8942,7 @@ Contucci of Monte Sansovino.<a name="FNanchor_165" id="FNanchor_165" href="#Foot <p>Among the <i>Magistri</i> from other parts in Buschetto's time, one of the chief was doubtless Rainaldo, who, judging from <span class="pagenum"><a name="Page_212" id="Page_212">212</a></span> -the inscription near the principal door of the façade, was +the inscription near the principal door of the façade, was not only a working sculptor in the guild, but also a full-fledged Master—</p> @@ -9008,7 +8969,7 @@ There are no domes except the central one, which is seen in most Lombard churches; no Oriental arches resting on bulging capitals; but round arches supported on the identical Romano-Lombard composite capitals one sees in every -Italian church of the time. The façade too is a very +Italian church of the time. The façade too is a very wilderness of Lombard galleries in every direction. Instead of following the line of roof, they cover the whole front, one below another. If Buschetto had brought back from @@ -9041,7 +9002,7 @@ gorgeous church, and that it should be in a style hitherto unknown. The many antique capitals and columns among the spoils placed at his disposal suggested, of course, arches, so by way of being very original, Buschetto or Rainaldo, -whichever of the two designed it, made his façade with four +whichever of the two designed it, made his façade with four arcades, instead of one, or two, as his brethren in the north were accustomed to do. The colonnettes in these four galleries are fifty-eight in number, some of <i>rosso antico</i>, others @@ -9060,7 +9021,7 @@ custom a century later.</p> <p>The rude figures of saints at the extremities of the roof, both of the aisles and nave, mark the beginning of that revival of the human figure in sculpture, which was the -forerunner of the work of Niccolò Pisano. The tower and +forerunner of the work of Niccolò Pisano. The tower and <span class="pagenum"><a name="Page_214" id="Page_214">214</a></span> Baptistery are the natural results of the Duomo, the style being identical; the same round arches in the foundation, @@ -9093,16 +9054,16 @@ columns supporting the foundation circle of round arches, are Corinthian; and the two pillars at the chief portal are beautiful specimens of ancient work, similar to those in the <span class="pagenum"><a name="Page_215" id="Page_215">215</a></span> -façade of the Duomo. Between the classic remains incorporated +façade of the Duomo. Between the classic remains incorporated into the building, and the statues and sculptures which belong to a later century, it is difficult to distinguish which were the absolute work of Diotisalvi himself. The -sculptures on the door-jambs—rather mediæval scenes +sculptures on the door-jambs—rather mediæval scenes relating to Christ and David—and the hieroglyphics of the months were probably his own work. The Baptism of -Christ on the architrave, which has the mediæval expression +Christ on the architrave, which has the mediæval expression of baptism by immersion, may be his; and if so, it -seems to explain how the Greek element got into Niccolò +seems to explain how the Greek element got into Niccolò di Pisa's work, for here is his antecedent of a century, showing in his work signs of the same leaning to classicism in the midst of a rude and early style. How could he help @@ -9219,7 +9180,7 @@ called confusion and disorder. In the buildings, which are so many that they have infected the whole world, you see the portals adorned with thin columns twisted like a vine, and so slight that they could not be supposed to support -the weight. And then on their façades and other places +the weight. And then on their façades and other places they made a cursed mass of little tabernacles (archlets) one on the other, with many pyramids and points, and such foliage (here Vasari evidently has his eye on Pisa Baptistery), @@ -9309,7 +9270,7 @@ Lodge; the upper circle of arches belongs to his part of the work.</p> <p>At Pisa then we have an artistic sphere which might -well have produced Niccolò di Pisa, even without the influences +well have produced Niccolò di Pisa, even without the influences of the south. We will, as far as the few inscriptions and documents allow, see who were the members of this Masonic lodge, which had painters before even the rise of @@ -9346,14 +9307,14 @@ the distinctive title of <i>Magister</i>.</p> <p>Through this group of Pisan Masters a special connection was established with the south, a link which might -account for Pietro, the father of Niccolò, being called Pietro +account for Pietro, the father of Niccolò, being called Pietro da Apulia, for there certainly was an offshoot of the Pisan lodge in that part. Bonanno of Pisa cast the famous bronze doors of Monreale; Bartolommeo was at Foggia; and his son, Magister Lotoringus, passed most of his life -at Cefalù, where his name appears on a bell dated <span class="s08">A.D.</span> 1263. +at Cefalù, where his name appears on a bell dated <span class="s08">A.D.</span> 1263. The Emperor Frederic, his father's patron, nationalized -him in Cefalù, and after ten years of residence, in 1242 he +him in Cefalù, and after ten years of residence, in 1242 he <span class="pagenum"><a name="Page_222" id="Page_222">222</a></span> gave him permission to take a wife from Castro-Vetere in Calabria.</p> @@ -9369,12 +9330,12 @@ masterly.</p> <p>And now for the sculptors of the lodge. A famous master of the twelfth century was Biduinus, who sculptured -the façade of the ancient church of S. Cassiano, near Pisa, +the façade of the ancient church of S. Cassiano, near Pisa, the building of which was undoubtedly the work of the Pisan Lodge. It is a round-arched church of the usual large smooth square-cut blocks of stone, and is externally adorned by pilasters with capitals of varied form and -sculpture. Biduinus' façade has five round arches with a +sculpture. Biduinus' façade has five round arches with a simple double-light window above. The capitals and architraves are all carved with the mystic beasts and hippogriffs belonging to the religion of the day. The @@ -9396,38 +9357,38 @@ d'Agnello, 13th century.</span></p> <p class="caption"><i><a href="#Page_223">See page 223.</a></i></p> </div> -<p>The next great names are Niccolò and Giovanni Pisani, +<p>The next great names are Niccolò and Giovanni Pisani, the glory not only of their own lodge, but of the universal Guild. Until the time when his famous pulpit was sculptured, -Niccolò seems to have worked little in Pisa, though he +Niccolò seems to have worked little in Pisa, though he endowed it with one of his most original designs—the bell-tower <span class="pagenum"><a name="Page_223" id="Page_223">223</a></span> -of S. Niccolò. From the evidence of southern +of S. Niccolò. From the evidence of southern influence in his style, it is probable that his father Pietro was one of the artists whom Frederic called to South Italy, -and that Niccolò passed his novitiate with him there. In +and that Niccolò passed his novitiate with him there. In any case, by the time he wrote <i>Magister</i> before his name he had already attained a high rank as sculptor and architect, and was chosen for most important works out of Pisa, such as the Arca di S. Domenico at Bologna, and the building -of the church and convent near it. Niccolò Pisano's work in +of the church and convent near it. Niccolò Pisano's work in Florence was almost exclusively architectural; he also designed the cathedral churches of Arezzo and Cortona. His pupil, Fra Guglielmo, a relative of the Doge dell' -Agnello of Pisa who was Niccolò's assistant in the Arca +Agnello of Pisa who was Niccolò's assistant in the Arca di S. Domenico at Bologna in 1272, worked in 1293 at -the reliefs in the façade of Orvieto, and in 1304 put +the reliefs in the façade of Orvieto, and in 1304 put the Romanesque front to S. Michele in Borgo, in Pisa. The Virgin and Child over the door of the latter is a copy -of Niccolò's famous statue. Some authors give him the +of Niccolò's famous statue. Some authors give him the credit of being the <i>Tedesco</i> who Vasari says sculptured the fine pulpit in S. Gio. Fuorcivitas at Pistoja, and who assisted Bonanno in the tower of Pisa.</p> <p>A sculptor named Bonaiuto must, I think, have -belonged to Niccolò's school. Two interesting sculptured +belonged to Niccolò's school. Two interesting sculptured doorways by him still exist in what was once the Palazzo -Sclafani at Palermo (now the barracks of S. Trinità). +Sclafani at Palermo (now the barracks of S. Trinità ). The doorway is carved in <i>tufo</i>, and above it is a kind of gable supported by two small pilasters, enclosing the arms of the family, a pair of cranes; surmounting the gable is @@ -9453,7 +9414,7 @@ too, through his son Giovanni, came the best builders of the Siena cathedral, and their followers who worked at Orvieto.</p> -<p>Thus Niccolò and Giovanni are proved to be links in +<p>Thus Niccolò and Giovanni are proved to be links in the old chain that came from classic Rome through the Lombard Comacines to the Renaissance. All the famous names that ever were, may be traced in this universal Guild @@ -9617,7 +9578,7 @@ besides their having a long connection with Lucca, it is natural to suppose he chose them as his architects. Every sign of the work confirms this, although no names have come down to us. As was frequently the case, the -church was left without a façade for over a century, and at +church was left without a façade for over a century, and at the end of the twelfth century the Lucchesi wished to put this finishing touch.</p> @@ -9640,10 +9601,10 @@ of the Duomo. Probably the elder did not live to complete it, for although the commission was given to Maestro Guido Marmolario (<i>sic</i>), the inscription on the <span class="pagenum"><a name="Page_228" id="Page_228">228</a></span> -façade runs—"Mille C.C.|IIII.|condi|dit|ele|cti tam pul| +façade runs—"Mille C.C.|IIII.|condi|dit|ele|cti tam pul| chras. dextra|Guidecti."<a name="FNanchor_177" id="FNanchor_177" href="#Footnote_177" class="fnanchor">[177]</a> Among the sculptures is one figure with a very young face, supposed to be a portrait of -Guidetto. This façade is a perfect specimen of pure +Guidetto. This façade is a perfect specimen of pure Comacine-Romanesque, and shows that the Saracen influence under which the Masters had been placed in the south, when employed by the Lombard Dukes of Beneventum, @@ -9654,7 +9615,7 @@ errs against truth and good taste. It shows also the close connection between the Pisan and Lucchese Lodges.</p> <p>The row of archlets which used to form a cornice under -the roof now, as at Pisa, run wild over the whole façade. +the roof now, as at Pisa, run wild over the whole façade. The outlines which used to follow honestly the shape of nave and aisles, now, for the sake of heaping on more ornament, stretch up far beyond the roof-line, forming a @@ -9683,7 +9644,7 @@ of the imaginings of many minds.</p> <div class="figcenter"><a name="i_317" id="i_317"></a> <img src="images/i_317.jpg" width="575" height="373" alt="" /> -<p class="caption"><span class="smcap">Cathedral of Lucca (San Martino), erected 11th century; Façade 1204. By Guidectus.</span></p> +<p class="caption"><span class="smcap">Cathedral of Lucca (San Martino), erected 11th century; Façade 1204. By Guidectus.</span></p> <p class="caption"><i><a href="#Page_228">See page 228.</a></i></p> </div> @@ -9713,10 +9674,10 @@ and binds "Guido, Maestro marmoraio" of S. Martino of Lucca, to go to Prato on fair terms, and there to remain working, and <i>commanding others to work</i>, at the church of S. Stefano. After this he was recalled to Lucca, -to put the above-mentioned façade to S. Michele, which +to put the above-mentioned façade to S. Michele, which Teutprand had built in the eighth century, and which had been rebuilt, when in 1027 Beraldo de' Rolandinghi had left -a large legacy for the purpose. This façade, which, as I have +a large legacy for the purpose. This façade, which, as I have said, is precisely similar in style to that of the Duomo, was finished in 1246.<a name="FNanchor_178" id="FNanchor_178" href="#Footnote_178" class="fnanchor">[178]</a> Guido was then called to Pisa, to sculpture the altar and font in the Baptistery there. Not @@ -9736,7 +9697,7 @@ this time.</p> <p>Guido or Guidetto's last work appears to have been the pulpit in San Bartolommeo in Pantano, at Pistoja, executed in 1250. This is particularly interesting, as -being the immediate precursor of Niccolò Pisano's pulpit +being the immediate precursor of Niccolò Pisano's pulpit at Pisa in 1260. It has been thought that Guido, either from death or other cause, left the work imperfect, and his pupil Turrisianus finished it. The inscription as quoted by @@ -9750,7 +9711,7 @@ collector of inscriptions, has, in reporting this one, left out the last line altogether. He interprets it as implying that Guido having left the work unfinished, Turrisianus finished it. Whilst I was studying lately some old documents in -the archives of S. Jacopo at Pistoja, Signor Guido Macciò +the archives of S. Jacopo at Pistoja, Signor Guido Macciò of that city, who kindly assisted me to read the crabbed old characters, threw a new light on that inscription. He says Tolomei has misread it; that the cypher is not a K but @@ -9760,7 +9721,7 @@ Latin form of <i>operaio</i>. The same term <i>superstans</i> was used for the head of the <i>laborerium</i> in Rome up to the fourteenth or fifteenth centuries, and survived in the <span class="pagenum"><a name="Page_231" id="Page_231">231</a></span> -later lodges as <i>soprastante</i>. Signor Macciò interprets the +later lodges as <i>soprastante</i>. Signor Macciò interprets the inscription thus—"The famous sculptor Guido of Como has proved himself learned in art, and his name should be sung in verse, <span class="s08">A.D.</span> 1250. Turrisianus (Torrigiani) @@ -9770,7 +9731,7 @@ learned classics to say which interpretation is the true one. But as in most of the inscriptions, documents, etc. of the guild, the name of the head of the lodge, and often those of the councillors are put in, I incline to think Signor -Macciò may be right, and the inscription is another proof +Macciò may be right, and the inscription is another proof of a Masonic lodge in which Torrigiani was, at the time, the head of the administration.</p> @@ -9785,7 +9746,7 @@ square form, with eight panels in bas-relief. It rests on three columns; the first stands on a lion with a dragon at its feet, the second on a lioness suckling a cub, the third on a human figure. In this pulpit, and the older one at -Groppoli, we have a perceptible link, connecting Niccolò +Groppoli, we have a perceptible link, connecting Niccolò Pisano with the Comacine Guild, which we shall trace more closely when speaking of Romanesque sculpture.</p> @@ -9794,10 +9755,10 @@ neighbourhood. One in connection with the Opera del Duomo at Pisa, one at Pistoja in the Opera di S. Jacopo, and a third one at Lucca, where Guido and Guidetto were chief sculptors. Besides this there was another in Apulia, where -it is thought Niccolò's father Pietro worked. Niccolò's +it is thought Niccolò's father Pietro worked. Niccolò's work, and that of Guido the younger, are so very much alike as to warrant the suspicion that they were both pupils -of one master, but that Niccolò had in him these greater +of one master, but that Niccolò had in him these greater qualities which go to form an epoch-making artist.</p> <p>Little has hitherto come to light respecting the Masonic @@ -9815,7 +9776,7 @@ of history. The reading "Rodolfinus Operaius for the year 1167" would, like "Turrisianus, overseer in 1250," be quite intelligible in its connection with the guild.</p> -<p>The façade of S. Bartolommeo is a masterpiece of +<p>The façade of S. Bartolommeo is a masterpiece of Lombard work. It has the usual three round-arched doors, whose pilasters and architraves are rich with interlaced scrolls and foliage, and whose richly-carved @@ -9880,7 +9841,7 @@ Buono was its restorer. The style is certainly antique.</p> <p>Vasari's annotators agree that this Buono worked at Arezzo, where he built the bell-tower, and the ancient -palace of the Signoria of Arezzo (<i>cio è un palazzo della +palace of the Signoria of Arezzo (<i>cio è un palazzo della maniera de' Goti</i>), <i>i.e.</i> with large hewn stones; after which he came to Pistoja, where he built S. Andrea and other churches.</p> @@ -9889,7 +9850,7 @@ churches.</p> to decide whether the builder of S. Andrea at Pistoja, and the cathedral of Lucca was indeed named Buono or Gruamonte. There is an inscription on the sculpture -of the architrave of the façade which has been a +of the architrave of the façade which has been a great bone of contention. It proves, however, beyond a doubt that the usual organization, with the <i>Opera</i> as the administrative branch, existed in Pistoja in 1196. It @@ -9907,7 +9868,7 @@ habitually sign his name with a boastful adjective; and habitual it was, because on the white stripes of the architrave of the church of S. Giovanni Evangelista Fuorcivitas he has again signed himself "Gruamons magister bonus -fêc hoc opus." Knowing the Italian love of nicknames +fêc hoc opus." Knowing the Italian love of nicknames <span class="pagenum"><a name="Page_235" id="Page_235">235</a></span> from the earliest ages, I take it that the architect was really, as Vasari says, Master Bonus or Buono, and that @@ -9916,7 +9877,7 @@ use of a crane, he was nicknamed Gruamons, "the crane man,"<a name="FNanchor_187" id="FNanchor_187" href="#Footnote_187" class="fnanchor">[187]</a> <i>grue</i> being Italian for both bird and machine. That the Gruamons who carved the Magi on the architrave of S. Andrea was one of the very early Masters, is -evident from the mediæval grossness of his work in carving +evident from the mediæval grossness of his work in carving the human figure; that he may very likely be Comacine is suggested by the style and mastery of his <i>ornamento</i> and the life in the figures of his animals. The capitals supporting @@ -9927,7 +9888,7 @@ the signature <i>Magister enricus mi fecit</i>. These early sculptures are especially interesting, for they are the first efforts of the Comacines to show Bible events and truths by actual representation instead of by symbols, and so form -the link with the development under Niccolò Pisano. +the link with the development under Niccolò Pisano. Hence the greater want of practice in the human figures, compared to the animals and scrolls, with which the guild had been familiar for ages.</p> @@ -9939,7 +9900,7 @@ had been familiar for ages.</p> </div> <p>It is interesting to compare Gruamons' work with that -of the later sculptor of the façade of S. Bartolommeo, and +of the later sculptor of the façade of S. Bartolommeo, and note the rapid progress that art was making towards more perfect and natural form in sculpture. There are only <span class="pagenum"><a name="Page_236" id="Page_236">236</a></span> @@ -9981,7 +9942,7 @@ the right, is inscribed—</p> <div class="poetry-container"> <div class="poem"> <p class="o1">"MCCVI. Indict VIII Bonus Magister Restaurus.</p> -<p>Operarius Ecclesiæ Fesulanæ Fecit Ædificare</p> +<p>Operarius Ecclesiæ Fesulanæ Fecit Ædificare</p> <p>IIII columnas I. Allex P.P."</p> </div></div> <p><span class="pagenum"><a name="Page_237" id="Page_237">237</a></span></p> @@ -10032,15 +9993,15 @@ Simones, Magister Bonus fecit hoc opus," <i>i.e.</i> <span class="s08">A.D.</spa in the time when Paris Pagni and Simones were <i>operai</i>, Magister Bonus executed this work.</p> -<p>In 1270 Buono was commissioned to make the façade +<p>In 1270 Buono was commissioned to make the façade of the church of S. Salvatore in the same energetic little -town. The inscription on the pretty little façade is—</p> +town. The inscription on the pretty little façade is—</p> <div class="poetry-container"> <div class="poem"> <p class="o1">"Anno milleno bis centum septuageno</p> <p>Hoc perfecit opus qui fertur nomine Bonus</p> -<p>Præstabant operi Jacobus, Scorcione vocatus</p> +<p>Præstabant operi Jacobus, Scorcione vocatus</p> <p>Et Benvenuti Joannes, quos Deus omnes</p> <p>Salvator lenis millis velit augere penis. Amen."</p> </div></div> @@ -10074,7 +10035,7 @@ and another at Alba Fucense, are both signed by Giovanni Buono and Andrea his brother, but date a century later <span class="pagenum"><a name="Page_239" id="Page_239">239</a></span> than the Ciborium, <i>i.e.</i> precisely the time of our Giovanni -Buono of Pistoja. The façade of the same church at +Buono of Pistoja. The façade of the same church at Corneto Tarquinia is full of Comacine sculptures; and on the double-arched windows with the tesselated columns is an epigraph saying that the "inlaid work in porphyry, serpentine, @@ -10102,7 +10063,7 @@ Magister Cellini of the Masonic Guild from the lodge at Siena, who became Grand Master of the lodge at Pistoja. It runs—"Et per Magistrum Cellinum qui est caput magistrorum edificantium Ecclesiam rotundam S. Joannis -Baptistæ."<a name="FNanchor_190" id="FNanchor_190" href="#Footnote_190" class="fnanchor">[190]</a> There also exists in the archives the contract +Baptistæ."<a name="FNanchor_190" id="FNanchor_190" href="#Footnote_190" class="fnanchor">[190]</a> There also exists in the archives the contract made between the <i>Opera</i> (administrative council) and Magister Cellini on July 22, 1339, for the completion and ornamentation of the building which he had so far constructed. @@ -10124,17 +10085,17 @@ there is so much of the old work left. Besides the edifices we have already mentioned, are other two very interesting churches, S. Piero Maggiore and S. Paolo, although nothing but the outer shell of either is now remaining.<a name="FNanchor_191" id="FNanchor_191" href="#Footnote_191" class="fnanchor">[191]</a> The architrave -of S. Piero Maggiore has a very mediæval relief on +of S. Piero Maggiore has a very mediæval relief on it, representing Christ giving a huge key to St. Peter, while the Apostles and the Virgin stand in a row beside them. The capital of one pilaster has a man-faced lion, whose tail forms an interlaced knot. The other has upstanding volutes of a heavy kind of foliage. Lions lie beneath the spring of the arch, and winged griffins and other mystic -animals are on brackets along the façade. I think the +animals are on brackets along the façade. I think the capitals and mystic beasts must have belonged to the first Longobardic church built by Ratpert, son of Guinichisius, -in 748, as well as the lower part of the façade, which is +in 748, as well as the lower part of the façade, which is certainly of the most ancient <i>opus gallicum</i>, of large smooth stones closely fitted. The architrave and the upper part, which consists of an arcade patched on in white and black @@ -10149,14 +10110,14 @@ Order, with solemn rites and ceremonies.</p> in 748 by the first Comacines under the Longobards, and <span class="pagenum"><a name="Page_241" id="Page_241">241</a></span> evidences still remain that it was originally turned from -east to west, the façade being then where the choir is now. +east to west, the façade being then where the choir is now. It was rebuilt when S. Atto was bishop of the city in 1133, and besides a very pretty frontal, has a good specimen of the upper external gallery surrounding the church.</p> <p>I will end my chapter on Pistoja with a mention of an interesting old MS. from the archives of the Opera di -S. Jacopo, which, with Signor Macciò's aid, we found to be +S. Jacopo, which, with Signor Macciò's aid, we found to be the marriage contract of a certain Maestro Jacopo Lapi. The bridegroom is named as Jacobus Dominus Lapus, fili Turdi, di Inghilberti, who wishes to contract marriage @@ -10165,7 +10126,7 @@ according to Longobardic law." The deed then goes on to specify the lands and possessions he bestows on his bride as a <i>morgincap</i>. This might be interesting in art history, if it could be proved whether the Jacopo Lapi were that -pupil of Niccolò Pisano's who worked with him and Arnolfo +pupil of Niccolò Pisano's who worked with him and Arnolfo at Siena in 1266.</p> <p>In that case it gives the Jacopo Lapi's family an added @@ -10174,7 +10135,7 @@ Inghilbert. We further learn by the document that his great-grandmother's name was Molto-cara (very dear). This, taken together with the name Tordo (thrush) given to her son, proves how the nickname outweighed the family -or baptismal name in mediæval times. +or baptismal name in mediæval times. <span class="pagenum"><a name="Page_242" id="Page_242">242</a></span></p> <h3>CHAPTER IV<br /> @@ -10187,7 +10148,7 @@ set-by-rule building went out. The first use they made of their new ideas was to increase the richness of decoration, and this they did by the almost childish expedient of multiplying their old ornaments. Instead of one little pillared -gallery on the top of a façade, they now put whole rows of +gallery on the top of a façade, they now put whole rows of galleries, or covered the fronts all over with them, as in Lucca, Pisa, and Arezzo. There is a very early instance of this in the church of Santa Maria at Ancona, of which @@ -10195,14 +10156,14 @@ we give an illustration. Here the network of arches are not real galleries, but only sculpturesque simulations; each arch is simply placed on the top of the other, without architrave or frieze. The doorway has the usual Comacine -interlaced knots and no lions, so the façade may stand as +interlaced knots and no lions, so the façade may stand as an early sample of the transition into Romanesque, dating about the eleventh century.</p> <p>The style shows a much further advance in Magister -Marchionni's façade to the church of Santa Maria della +Marchionni's façade to the church of Santa Maria della Pieve at Arezzo, which is a fine sample of Romanesque. -It was done in 1216. The façade has four rows of arches, +It was done in 1216. The façade has four rows of arches, one on the other, "growing small by degrees and beautifully less" as they ascend. Of all the hundred columns which support them, no two are alike. They are round, @@ -10211,7 +10172,7 @@ square, octagonal, sexagonal, pentagonal, multi-angular, fluted, twisted, grotesque, crooked, Byzantine, Corinthian, Ionic, Doric, Gothic, Egyptian, Babylonian, caryatid, black, green, white, striped, or inlaid. Some have single bases, -a round on a square, or <i>vice versâ</i>, and so on <i>ad infinitum</i>. +a round on a square, or <i>vice versâ</i>, and so on <i>ad infinitum</i>. Yet with all this variety there is a certain unity of design, which bespeaks a multitude of Masters, each one using his own fancy in his particular part of the work, but one chief @@ -10273,7 +10234,7 @@ from the fourteenth century, you find the lion beneath the column. And in minor works of sculpture there is the same difference. In the pulpit of Sant' Ambrogio at Milan, the lions are beneath the spring of the arches; in the pulpits -of Niccolò Pisano at Siena and Guido di Como (thirteenth +of Niccolò Pisano at Siena and Guido di Como (thirteenth century) at Pistoja, they are beneath the column.</p> <p>A most beautiful instance of the transition between @@ -10311,7 +10272,7 @@ heavy and disproportionate, but as the centuries passed on, it grew in grace; and sculptors were able to express their conceptions more completely. The animal symbolism did not, however, entirely disappear. It is seen in every quaint -fancy of the Gothic artist of the north, in every naïve bit of +fancy of the Gothic artist of the north, in every naïve bit of church ornamentation in the south; but it is no longer the object and end of design. It had become subservient; the human figure now took the first place.</p> @@ -10321,7 +10282,7 @@ was more or less allegorical. As an interesting instance of the allegorical nature of Comacine sculpture, we may take the relief of the Crucifixion in the cathedral at Parma (third chapel on the right), carved by Benedetto da -Antelamo in 1178. In this almost mediæval relief, the +Antelamo in 1178. In this almost mediæval relief, the artist has managed to put a symbolical history of the greatest events of his own times—the defeat of Barbarossa, the fall of Victor Antipope, the triumph of Pope Alexander III., the @@ -10331,7 +10292,7 @@ the Church as a symbolic personage waving the flag of victory; and the schismatic enemy with his banner broken. Every figure in the composition has its meaning, and the whole displays a thinking mind, even though the hand be -still a little heavy and mediæval. That this is a veritable +still a little heavy and mediæval. That this is a veritable Comacine work the sculptor himself has chronicled. On the top of the relief is written in the Lombard Gothic characters— @@ -10353,7 +10314,7 @@ in S. Frediano at Lucca, sculptured by Maestro Roberto in the twelfth century. The figures which surround it are as usual full of meaning but grotesque in proportion; though one can see in the draperies a foreshadowing of that return -to classicality which Niccolò Pisano afterwards advanced +to classicality which Niccolò Pisano afterwards advanced towards perfection. We have here a queer representation of Adam and Eve, both clad in classical garments and standing by a conventional fig tree, out of which looks the head @@ -10361,10 +10322,10 @@ of the Eternal Father in a cloud like a medallion. Eve is clutching the tail of a monstrous serpent. In the next compartment the four Evangelists carry their emblems on their shoulders. St. Mark, with his lion, sits in a curule chair, and -looks like a Roman Prefect, mediævalized. St. John has his +looks like a Roman Prefect, mediævalized. St. John has his eagle standing on a Roman altar beside him, while St. Matthew carries the child on his shoulder like a St. Christopher. -As the work of a forerunner of Niccolò Pisano in the +As the work of a forerunner of Niccolò Pisano in the same brotherhood, the font is intensely interesting.</p> <p>The cathedral at Beneventum (one of the Lombard @@ -10395,22 +10356,22 @@ so-called Romanesque and Byzantine styles were but the dotage of second childhood (it was a childhood which grew and developed into virility, however), fumbling with the methods and materials of an irrevocable past. It is true -indeed that unknown mediæval carvers had shown an +indeed that unknown mediæval carvers had shown an instinct for the beautiful, as well as great fertility of grotesque -invention. The façades of Lombard churches are covered +invention. The façades of Lombard churches are covered with fanciful and sometimes forcibly dramatic groups of animals and men in contest; and contemporaneously with -Niccolò Pisano, many Gothic sculptors of the north were -adorning the façades and porches of cathedrals with statuary +Niccolò Pisano, many Gothic sculptors of the north were +adorning the façades and porches of cathedrals with statuary unrivalled in one style of loveliness. Yet the founder of a line of progressive artists had not arisen, and except in Italy the conditions were still wanting under which alone the plastic arts could attain independence." Here Symonds -goes on to speak of Niccolò Pisano, as the fountain-head +goes on to speak of Niccolò Pisano, as the fountain-head of sculpture.</p> <p>And now we can no longer evade the knotty question -of who and what Niccolò was, where did he arise from, and +of who and what Niccolò was, where did he arise from, and where was he trained in art?</p> <p>There are always those conflicting documents which @@ -10419,24 +10380,24 @@ of the Opera di S. Jacopo at Pistoja, dated July 11, 1272, which runs—<i>Magister Nichola pisanus, filius Petri de</i>—(here is an illegible word which Ciampi reads as <i>Senis</i><a name="FNanchor_193" id="FNanchor_193" href="#Footnote_193" class="fnanchor">[193]</a>). He chose this reading because another document dated -November 13, 1272, styles "Niccolò" Magister Nichola, +November 13, 1272, styles "Niccolò" Magister Nichola, quondam Petri de (Senis) Ser Blasii pisa ... (<i>hiatus</i>).</p> <p>Milanesi, however, who found at Siena the contract for <span class="pagenum"><a name="Page_248" id="Page_248">248</a></span> -Niccolò's pulpit there, dated October 5, 1266, says the word +Niccolò's pulpit there, dated October 5, 1266, says the word <i>Senis</i> should be read <i>Sancti</i>, for in the Sienese contract the words are plainly—<i>Magister Niccolus de parroccia ecclesie sancti Blasii de ponte de Pisis, etc. etc.</i> In another document -also at Siena, in which Niccolò is commanded to send for his +also at Siena, in which Niccolò is commanded to send for his pupil Arnolfo to work with him, we get <i>Magistrum Nicholam de Apulia</i>. In two others of the next year, <i>Magister Niccholus olim Petri lapidum de Pisis</i>. Now all this is very puzzling, and yet being documentary it must all be true. We will put Siena entirely out of the question, the word proving to be a misreading of <i>Sancti</i>, so that instead of the -second document meaning Niccolò son of the late Peter son -of Ser Blasius or Biagio of Siena, it must read Niccolò son +second document meaning Niccolò son of the late Peter son +of Ser Blasius or Biagio of Siena, it must read Niccolò son of Peter of the parish of St. Blasius at Pisa. We have then the two different nationalities of his father Pietro—Pisa and Apulia—to account for. Milanesi suggests that Apulia @@ -10445,13 +10406,13 @@ means a little place near Lucca called Puglia.</p> <p>The further light we have found thrown on the peregrinations of <i>Magistri</i> of the guild may assist us to reconcile the conflicting statements. It is certain, as we said before, -that Niccolò Pisano was a <i>Magister</i> of the guild, and +that Niccolò Pisano was a <i>Magister</i> of the guild, and being a man of genius he became one of its most important members. His membership was moreover hereditary; his father had been also a <i>Magister lapidum</i>. Now the Comacines had a lodge in Apulia, from the time of the Longobards, and traces of it still remained after 1100, in a small -colony in the valley of Æterno, which preserved as a kind +colony in the valley of Æterno, which preserved as a kind of monopoly the art of building.<a name="FNanchor_194" id="FNanchor_194" href="#Footnote_194" class="fnanchor">[194]</a></p> <div class="figcenter"><a name="i_351" id="i_351"></a> @@ -10464,7 +10425,7 @@ of monopoly the art of building.<a name="FNanchor_194" id="FNanchor_194" href="# <p>The church of S. Sofia at Beneventum, <span class="s08">A.D.</span> 788, and the monastery of S. Pietro were built by them, as well as the later cathedrals of Trani, Bari, and Ruvo. The latter still retains -its ancient Lombard façade covered with figures of animals, +its ancient Lombard façade covered with figures of animals, the portal being flanked by columns surmounted by a fine rose window. When the Normans succeeded the Longobards <span class="pagenum"><a name="Page_249" id="Page_249">249</a></span> @@ -10472,27 +10433,27 @@ and Saracens in Apulia, the Masonic Guild was still more busy there, and it was very probable that Pietro the sculptor worked in Apulia under the Norman dynasty, with many of his brethren. I am told that there is in Bari -cathedral a pulpit of the same form as that by Niccolò, but -of an earlier date. This is a significant proof of Niccolò's +cathedral a pulpit of the same form as that by Niccolò, but +of an earlier date. This is a significant proof of Niccolò's early training in Apulia, probably under his own father, as was the custom of the guild. It would also account for the Saracenic touch in his arches and ornamentation. The lions under the columns were used by the Masonic Guild a -century before Niccolò's time, so it is evident they were not, +century before Niccolò's time, so it is evident they were not, as Ruskin and others suppose, borrowed from the Saracens -by Niccolò. There is a most interesting pulpit of the older +by Niccolò. There is a most interesting pulpit of the older square form at Groppoli near Pistoja, dated 1194, with lions beneath the pillars. It offers one of the very early specimens of the sculptured scriptural story. The panels represent the "Nativity of Christ" and the "Flight into Egypt," both most -naïvely designed. The square pulpit of Guido da Como in +naïvely designed. The square pulpit of Guido da Como in S. Bartolommeo at Pistoja is dated <span class="s08">A.D.</span> 1250, and shows the immense improvement art had made in those sixty years. -In some ways Guido da Como quite equals Niccolò. He +In some ways Guido da Como quite equals Niccolò. He does not strain after the classic, but there is great and simple dignity, and even grace in his figures, some of which are almost worthy of Fra Angelico. It was ten years after -Guido's lion-pillared pulpit was finished, that we find Niccolò—who +Guido's lion-pillared pulpit was finished, that we find Niccolò—who had for some years been working at Pisa, where he was then domiciled—sculpturing his famous pulpit there, and though altering the form from square to octagon, using the @@ -10501,7 +10462,7 @@ his subject, as Guido had done before him. It would be a suggestive proof of the same influence in training, to compare the panels representing the Nativity, in the three pulpits. The Lombard one at Groppoli, Guido da Como's at Pistoja, -and Niccolò's at Pisa, and one might add a fourth, <i>i.e.</i> +and Niccolò's at Pisa, and one might add a fourth, <i>i.e.</i> Giovanni Pisano's pulpit in S. Andrea at Pistoja, which <span class="pagenum"><a name="Page_250" id="Page_250">250</a></span> is in some respects an advance on his father's design, @@ -10509,9 +10470,9 @@ although it is evidently not only inspired, but almost copied from it. There are in all four, the same kind of <i>lectis</i> for bed, the same cows, out of perspective, high up in the background, and in the two last the same treatment of -drapery. In some ways, however, Niccolò has passed far +drapery. In some ways, however, Niccolò has passed far beyond Guido. While Guido followed his forefathers' -traditions, Niccolò had been first revelling in the richness +traditions, Niccolò had been first revelling in the richness of Saracenic types in Apulia, and then living among the classic spoils of Pisa, where Diotisalvi had worked before him.</p> @@ -10535,13 +10496,13 @@ His greatest advance was in the modelling of the human figure, and here his classic models helped him. One suspects that he depended much on those models, for where he had no antique to copy from, he degenerated -into the mediævalism of his fraternity. The mixture of +into the mediævalism of his fraternity. The mixture of the two styles is very apparent in the different panels of his pulpit, some of which look as if they had come from Antonine's column, while others are heavier and less graceful by far than Guido da Como's simple natural figures. The fact was, that in his time the whole guild was developing -under the freer conditions of art, and Niccolò was one of +under the freer conditions of art, and Niccolò was one of its leading masters, and endowed with especial talent.</p> <p>With him the Romanesque period closes, and the Italian @@ -10554,14 +10515,14 @@ Angelo.</p> <div class="figcenter"><a name="i_357" id="i_357"></a> <img src="images/i_357.jpg" width="521" height="377" alt="" /> -<p class="caption"><span class="smcap">Pulpit in Siena Cathedral. By Niccolò Pisano. a.d. 1266.</span></p> +<p class="caption"><span class="smcap">Pulpit in Siena Cathedral. By Niccolò Pisano. a.d. 1266.</span></p> </div> <p class="caption"><i><a href="#Page_250">See page 250.</a></i></p> <p>Among the Comacines in Lombardy the same change was in progress. Jacopo Porrata, working at nearly the same time, carved the life-like prophets and bas-relief on -the façade of the cathedral of Cremona, which bears the +the façade of the cathedral of Cremona, which bears the legend, "Magister Jacobus Porrata de Cumis fecit hanc rotam MCCLXXIIII."</p> @@ -10588,18 +10549,18 @@ could be effectively sculptured.</p> <p>Between the solid Lombard round arch and the pointed traceried one stands the cusping of the circular arch. Ruskin -credits Niccolò Pisano also with this; saying grandiloquently -that "in the five cusped arches of Niccolò's pulpit you see +credits Niccolò Pisano also with this; saying grandiloquently +that "in the five cusped arches of Niccolò's pulpit you see the first Gothic Christian architecture ... the change, in a word, for all Europe, from the Parthenon to Amiens cathedral. For Italy it means the rise of her Gothic dynasty—it means the Duomo of Milan instead of the Temple of Paestum."<a name="FNanchor_195" id="FNanchor_195" href="#Footnote_195" class="fnanchor">[195]</a> This is very poetic, but it will not <span class="pagenum"><a name="Page_252" id="Page_252">252</a></span> -bear analysis. The cusps of Niccolò's arches were by no +bear analysis. The cusps of Niccolò's arches were by no means the first to be seen in Italy; we find them in several churches of the twelfth century; and as for Amiens cathedral, -that was nearly completed when Niccolò's pulpit was +that was nearly completed when Niccolò's pulpit was carved.</p> <p>The cusping of the round arch came up from the south; @@ -10612,7 +10573,7 @@ the pointed arch.</p> at Assisi, in the hands of Jacopo il Tedesco, and his fellow-countryman, Fra Filippo di Campello, or Campiglione. Jacopo stands to Italian Gothic architecture in the same -place as Niccolò Pisano stands to Renaissance sculpture. +place as Niccolò Pisano stands to Renaissance sculpture. In Italy, the land of classic Rome, true Gothic never developed in the form in which we see it further north. Her finest buildings retained in parts the older forms, and @@ -10651,7 +10612,7 @@ Buono, son of the fifteenth-century Zambono or Giovanni Buono. We give an illustration of one with allegorical representations of the classical goddesses, Venus, Minerva, and Juno, throned in acanthus leaves. Minerva looks like -a mediæval school-mistress as she teaches Hebe and the +a mediæval school-mistress as she teaches Hebe and the Loves, from a ponderous tome. The famous Adam and Eve capital, of which Ruskin writes so eloquently, was probably by the same hand. Bartolommeo's best carving @@ -10705,7 +10666,7 @@ Guild.</p> the Certosa of Pavia is of an entirely different style to those of the Scaligers. It is principally the work of Gio. Antonio Amedeo, and has the same ornate Renaissance style as -the façade of the Certosa in which he assisted. An arched +the façade of the Certosa in which he assisted. An arched base contains the sarcophagus, on which rests the beautiful and dignified figure of the Duke, guarded at head and foot by classic angels. Above this is a statue of the Virgin and @@ -10713,7 +10674,7 @@ Child in a central niche, flanked by reliefs of scenes from the life of the Duke. The whole surface of the marble is covered with sculpture, but of a style removed as far as the poles from the work of the Comacine Guild, 800 -years back. There all was life and <i>naïveté</i>, here all +years back. There all was life and <i>naïveté</i>, here all is classical decorum and convention. Pilasters covered with armour and coats of mail like a Roman trophy, friezes of set garlands and shields like a Roman pediment, vases @@ -10756,7 +10717,7 @@ name for them.</p> formed, the building of the fortress was less frequent, and the Communal Palace took its place. The guild was always gradual in its adoption of new styles, and the palace -of the Podestà or the "Signoria" differed only in form, and +of the Podestà or the "Signoria" differed only in form, and not in style, from the older castle. There is the same solid masonry—either <i>opus Gallicum</i> of smoothly-hewn stones fitted with nicety, or <i>opus Romanum</i> of flat wide bricks @@ -10863,7 +10824,7 @@ is to say that the architects were all brethren of the same guild, and had received the same training. The Florentine palace bore on its face the imprint of its race; you can trace it gradually from the Brolio of Lombard times, through -the mediæval fortress, and the republican public palace. +the mediæval fortress, and the republican public palace. Here in the Riccardi and Strozzi, the Pitti and Guadagni Palaces, is the same solidity of architecture; but instead of the smooth hewn blocks, the huge stones are left rough, @@ -11286,7 +11247,7 @@ that source must have been originally or partly Byzantine.</p> </div> <p>While mentioning that Giunta learned of Greek masters -in Italy, we may note that Vasari, <i>à propos</i> of Cimabue, +in Italy, we may note that Vasari, <i>à propos</i> of Cimabue, tells a story of the Florentines calling in Greek masters to teach painting there. The assertion has been much derided by modern authors, but it might contain a grain of truth @@ -11439,7 +11400,7 @@ how the frescoing of the wall was a component part of a Comacine church, and carried on, like their building, by the joint labour of many Masters. If proof of this is wanting, go where you will in Italy, and if you can find any church -that has a wall of its original early Christian or mediæval +that has a wall of its original early Christian or mediæval building remaining, of any age between the fourth and the fourteenth century, scratch that wall, and you will find frescoes have been there. For instance, in Santa Croce, @@ -11447,7 +11408,7 @@ and San Miniato at Florence, and at Fiesole, wherever the restorer's plaster has been taken off, precious works of the <span class="pagenum"><a name="Page_278" id="Page_278">278</a></span> old Masters have come to light. But in all these we have -to imagine what a mediæval church was like from the +to imagine what a mediæval church was like from the fragments that remain: to see the real Comacine church of the twelfth or thirteenth century, one must go to the ancient city of San Gimignano with its many towers, where they @@ -11536,15 +11497,15 @@ introduced by Giotto and Lorenzo Monaco, partially took their place.</p> <p>In 1386 the painters of the Florentine Lodge followed -the example of their <i>confrères</i> at Siena, and put themselves +the example of their <i>confrères</i> at Siena, and put themselves also under the protection of St. Luke. They called themselves -the <i>Confraternità dei Pittori</i>. The meeting-place +the <i>Confraternità dei Pittori</i>. The meeting-place of this Confraternity was in the old church of S. Matteo, now no more. Their first company lasted till the time of Cosimo I., who patronized it, and superintended its reorganization in 1562.</p> -<p>In Medicean times great <i>fêtes</i> were held on St. Luke's +<p>In Medicean times great <i>fêtes</i> were held on St. Luke's Day, by the Academy, and all the best pictures in Florence were hung in the cloisters of the Servite monks.</p> @@ -11633,7 +11594,7 @@ work in the cathedral.</td> <tr> <td class="tdc">6.</td> <td class="tdc">1266</td> -<td colspan="2">M. Niccolò Pisano</td> +<td colspan="2">M. Niccolò Pisano</td> <td class="tdh">Sculptured the pulpit in the Duomo of Siena.</td> </tr> @@ -11663,7 +11624,7 @@ made a citizen.</td> <td class="tdc">10.</td> <td> </td> <td>M. Johannes filius Niccoli (Giovanni Pisano)</td> -<td class="tdh">Son of Niccolò Pisano, who +<td class="tdh">Son of Niccolò Pisano, who was made a citizen of Siena. He was chief architect of the Duomo in 1290.</td> @@ -11682,7 +11643,7 @@ the Duomo in 1290.</td> <td rowspan="3"> </td> <td rowspan="2" class="tdh tdvc">Three <i>Magistri</i> employed at the Duomo, who witnessed -the payment to Niccolò +the payment to Niccolò Pisano for his pulpit.</td> </tr> <tr> @@ -12031,7 +11992,7 @@ C.M. at Orvieto, March 11, <td class="tdc">60.</td> <td class="tdc">1377</td> <td colspan="2">M. Giacomo di Buonfredi (detto Corbella) </td> -<td class="tdh">Sculptured the façade of the +<td class="tdh">Sculptured the façade of the Duomo of Siena, opposite the hospital.</td> </tr> @@ -12298,8 +12259,8 @@ to the Grand Master.</p> <p>Cap. XVII. On the salaries of officials of the guild.</p> -<p>Cap. XVIII. How <i>fêtes</i> must be kept (fines of five -soldi to all who work on <i>feste</i>. Forty-nine <i>fête</i> days +<p>Cap. XVIII. How <i>fêtes</i> must be kept (fines of five +soldi to all who work on <i>feste</i>. Forty-nine <i>fête</i> days are named).</p> <p>Cap. XIX. One who is sworn to another guild cannot @@ -12318,7 +12279,7 @@ rank).</p> <p>Cap. XXIV. No arguments or business discussions to be held in the public streets.</p> -<p>Cap. XXV. How the <i>fête</i> of the guild is to be kept, +<p>Cap. XXV. How the <i>fête</i> of the guild is to be kept, the rectors to have full power to command.</p> <p> @@ -12404,14 +12365,14 @@ no <i>capo magistro</i> at this date. Several of these are names known in other cities where the guild had lodges. Ventura's father, Diotisalvi, built the Baptistery at Pisa; Magister Gracii came from Padua, Stefano Jordanus had a son, -Johannes Stephani, who was witness to Niccolò di Pisa's +Johannes Stephani, who was witness to Niccolò di Pisa's receipt for payment by Fra Melano of 78 gold lire and IV denarii for his pulpit in the Duomo on July 26, together with Orlando, son of Orlando Bovacti, and Ventura -di Rapolano. Niccolò himself had with him his son Giovanni, +di Rapolano. Niccolò himself had with him his son Giovanni, who also graduated in the guild from the school of his father. Here, too, were Arnolfo, Lapo (the younger), -with Donato and Goro, who were students in Niccolò's +with Donato and Goro, who were students in Niccolò's <span class="pagenum"><a name="Page_292" id="Page_292">292</a></span> school of sculpture, and who worked so well at the sculpture at Siena that when they became <i>Magistri</i> in 1271, the @@ -12489,7 +12450,7 @@ his mission in Florence.</p> referring to Giovanni da Pisa's election, but he finds that, in 1284, the Sienese, in gratitude for the services he has rendered in the building of the Duomo, and especially -the façade, gave him the freedom of the city, and immunity +the façade, gave him the freedom of the city, and immunity from taxes.<a name="FNanchor_220" id="FNanchor_220" href="#Footnote_220" class="fnanchor">[220]</a></p> <p> @@ -12502,10 +12463,10 @@ had not the wherewithal to pay. He got off by paying a third, but even this Fra Jacopo, one of the <i>Operai</i> of the Duomo, had to advance. It was probably repaid from his salary by instalments.<a name="FNanchor_221" id="FNanchor_221" href="#Footnote_221" class="fnanchor">[221]</a> From these documents we gather -that the façade was not designed by Lorenzo Maitani, as has +that the façade was not designed by Lorenzo Maitani, as has generally been supposed. If the Commune of Siena in 1284 acknowledged Giovanni's talent in building the Duomo and -the façade, Lorenzo Maitani, who only began to be chief +the façade, Lorenzo Maitani, who only began to be chief architect of Orvieto from 1310, certainly could not have been old enough to design the front of Siena cathedral. Moreover Milanesi expressly says that, with all his research @@ -12518,7 +12479,7 @@ churches.</p> <p>The tenets of the guild were certainly veering towards the Gothic, and each generation of its members made a -new step. Jacopo Tedesco at Assisi, and Niccolò Pisano +new step. Jacopo Tedesco at Assisi, and Niccolò Pisano in his pulpit, showed the first sign of transition; their sons and pupils, Arnolfo at Florence, and Giovanni at Siena, developed the style still further, and their successors fully @@ -12531,7 +12492,7 @@ pointed, the points emphasized by ornate Gothic gables over them; but the three arches of the doorways are of a Lombard roundness, the pointed effect being only conveyed by the superimposed gables. Yet the turrets and saint-filled -niches of the upper part of the façade are as rich, +niches of the upper part of the façade are as rich, and pointed, and pinnacled as any Gothic cathedral could be. He had not discovered, as the Germans afterwards did, the beauty of the upward line. The old classic leaning @@ -12541,13 +12502,13 @@ though beautified and gothicized. He did not forget the sign of the guild in this transition period; for there on the columns, and beneath the arches, are the lions of Judah.</p> -<p>It is not positively certain whether the present façade +<p>It is not positively certain whether the present façade was the one originally designed by Giovanni or not. We find that in November 1310, a commission of ten Master builders was formed, to superintend the work of the mosaic, already commenced, and to guard against useless expenses. Milanesi supposes this to refer to some mosaics -destined for the façade, especially as in 1358 a Maestro +destined for the façade, especially as in 1358 a Maestro Michele di Ser Memmo was paid six gold florins for his work, "per la sua fadigha (fatica) e magistero di Santo Michele agnolo, a musaica (<i>sic</i>) che fecie a la facciata di @@ -12556,7 +12517,7 @@ mosaics; probably Giovanni Pisano's plan was modified in later days. It is certain that after Giovanni's death in 1299 great changes of design were made.</p> -<p>The interior has the same mixture as the façade; +<p>The interior has the same mixture as the façade; there are round arches below in the nave, and pointed windows above in the clerestory. The black and white marble, significant of the times though it be, detracts much @@ -12568,7 +12529,7 @@ pedigree of Siena cathedral.<a name="FNanchor_224" id="FNanchor_224" href="#Foot architects to adhere to the domical forms of the old Etruscans, which the Byzantines made peculiarly their own. It is much to be regretted that the Italians only, of all -the Western mediæval builders, showed any predilection +the Western mediæval builders, showed any predilection for this form of roof. On this side of the Alps it would have been made the most beautiful of architectural forms."</p> @@ -12741,21 +12702,21 @@ of the same brotherhood.</p> Giovanni di Pisa, at Siena, was called to Orvieto in 1310. His family lasted long in the guild, and won much fame. His father Vitale was a master sculptor who had worked -under Niccolò and Giovanni. His sons Vitale and Antonio +under Niccolò and Giovanni. His sons Vitale and Antonio both graduated in the Siena or Orvieto Lodge, and Vitale became chief architect at Orvieto for six months only, on Lorenzo's death, when Master Meo di Nuti di Neri succeeded him.</p> <p>It is not probable that beyond the design, Maitani had -much to do with the façade, which was incomplete till about +much to do with the façade, which was incomplete till about 1500. The beautiful Bible in stone which adorns the pilasters of the three fine doors may have been designed by Maitani, but the work was done by his sons, with the help of many sculptors of the guild from Siena, Florence, and Lombardy. The upper part was not added till the time of Michele Sanmichele of Verona, who in 1509 was -nominated chief architect of the façade at a salary of one +nominated chief architect of the façade at a salary of one hundred florins a year. He is described as "Magistrum <span class="pagenum"><a name="Page_301" id="Page_301">301</a></span> Michaelem, Magistri Johannis de Verona, principalem @@ -12771,7 +12732,7 @@ magistrum fabrice faciate de Urbe vetere."<a name="FNanchor_228" id="FNanchor_22 <p>The enthusiastic work of the numberless artists all vying with each other in beautifying this marvellous church bore rather heavily on the funds of the <i>Opera</i>, for in August 1521 -the <i>camarlengo</i> had to stop the expenses of the façade and +the <i>camarlengo</i> had to stop the expenses of the façade and finish some more needful parts of the church first. So "Mag. Michael Johannes Michaelis, Caput Magister dicte Fabrice," was given permission to absent himself for three @@ -12802,7 +12763,7 @@ in the Duomo for the Bishop of Siena. A contemporary of theirs was Giuliano da Como, who was of such repute in <span class="pagenum"><a name="Page_302" id="Page_302">302</a></span> the guild, that the Council of the <i>Opera</i>, "considering the -<i>virtù</i> of Maestro Giuliano and the desirability of keeping him +<i>virtù</i> of Maestro Giuliano and the desirability of keeping him in Siena, deliberated to accord to him a loan he requested, of seventy florins to buy a house."<a name="FNanchor_230" id="FNanchor_230" href="#Footnote_230" class="fnanchor">[230]</a></p> @@ -12881,7 +12842,7 @@ keeping them informed of the dangers that threatened Florence from the offensive alliance between Lorenzo de Medici and the Pope Innocent VIII., who designed to take <span class="pagenum"><a name="Page_304" id="Page_304">304</a></span> -Città di Castello for Francesco Cibo. This would have +Città di Castello for Francesco Cibo. This would have endangered the peace of Siena, so the architect warned them to be prepared.</p> @@ -13180,7 +13141,7 @@ and columns of the Duomo.</td> <tr> <td class="tdc">24.</td> <td> </td> -<td colspan="2" class="tdnbr">Niccolò Megli</td> +<td colspan="2" class="tdnbr">Niccolò Megli</td> </tr> <tr> <td class="tdc">25.</td> @@ -13299,7 +13260,7 @@ His three sons who assisted him.</td> <td class="tdc">40. <span class="pagenum"><a name="Page_310" id="Page_310">310</a></span></td> <td class="tdc">1367</td> -<td class="tdnbr">Bernabè Pieri</td> +<td class="tdnbr">Bernabè Pieri</td> <td rowspan="2"> </td> <td rowspan="2" class="tdh tdvc">Made a contract on Aug. 31, 1366, to carve some capitals.</td> @@ -13627,22 +13588,22 @@ with this Masonic company? He had much to do with it, inasmuch as he was an hereditary member, in fact one of the aristocracy of the guild, and he had a most complete training in it. The first trace we get of Arnolfo is -his instruction in the school of Magister Niccolò Pisano. +his instruction in the school of Magister Niccolò Pisano. The proof of this is a deed drawn up in Siena on May 11, 1266, in which these words occur—"requisivit Magistrum Nicholam Petri de Apulia quod ipse faceret et curaret ita; quod Arnolfus discipulus suus statim veniret Senas ad laborandum in dicto opere, cum ipso magistro Nichola." -Here we have Niccolò di Pisa as Master in the guild, and +Here we have Niccolò di Pisa as Master in the guild, and his disciple Arnolfo not yet having graduated.</p> -<p>Another paper relating to Niccolò's work on the pulpit +<p>Another paper relating to Niccolò's work on the pulpit <span class="pagenum"><a name="Page_313" id="Page_313">313</a></span> at Siena says—"Secum ducat Senas Arnolphum et Lapum, suos discipulos."</p> <p>By 1277 Arnolfo seems to have graduated, for when -Niccolò and Giovanni di Pisa were at work on the beautiful +Niccolò and Giovanni di Pisa were at work on the beautiful fountain at Perugia in that year, Fra Bevignate, the <i>soprastante</i> of the work, sent to call Magister Arnolfo from Florence to assist in the sculpture of the fountain. Arnolfo, @@ -13660,7 +13621,7 @@ they chronicle. They show how the guild was not only privileged by the reigning monarch, but that he was the active president of it. It explains all those queer words on Longobardic inscriptions, beginning—"In tempore Dominus -Honorius Episcopus," "In tempore præsule Paschalis, etc.," +Honorius Episcopus," "In tempore præsule Paschalis, etc.," showing that they point out the reigning king, pope, or patron bishop who was at the time president of the Great Guild. The name of this highest magnate is usually @@ -13682,12 +13643,12 @@ believe to have been the <i>pluteus</i> or parapet of the tribune in Arnolfo's time. It is in the Cosmatesque work which Arnolfo often executed. That he was as apt a pupil of the Cosmatesque revival of the <i>opus Alexandrinum</i> as he -had been of Niccolò's figure sculpture, and his father +had been of Niccolò's figure sculpture, and his father Jacopo's architecture, is evident by his tomb of Cardinal de Braye at Orvieto, where we next find him working in 1285.<a name="FNanchor_238" id="FNanchor_238" href="#Footnote_238" class="fnanchor">[238]</a> The tomb is a beautiful mixture of Cosmatesque ornamentation with the legitimate sculpture which he had learned -from Niccolò. The capitals of the spiral inlaid columns of +from Niccolò. The capitals of the spiral inlaid columns of the sarcophagus are of the true old Romano-Lombard form. In the simple grace of the recumbent figure we descry a forerunner of Donatello and Desiderio.</p> @@ -13699,7 +13660,7 @@ risen so high that he was chosen as architect of the Duomo of Florence. He was well known to the Florentines, his master, Jacopo Tedesco, otherwise Lapo, having left Colle to settle in Florence, where he was engaged to build the -Palace of the Podestà (Bargello). And this brings us to +Palace of the Podestà (Bargello). And this brings us to the vexed question of the parentage of Arnolfo.</p> <p>Vasari says that Jacopo or Lapo, whom he calls "il @@ -13728,7 +13689,7 @@ are fellow-disciples of one Master, it is not probable that the senior should be the son of the other. On the other hand, if "Jacopo il Tedesco," said to be Arnolfo's father, was elected head architect at Assisi in 1228, how could he -have been a young pupil of Niccolò di Pisa in 1266?</p> +have been a young pupil of Niccolò di Pisa in 1266?</p> <p>Recognizing these difficulties, Milanesi sets out in search of a father for Arnolfo, in place of Lapo, his fellow-pupil. @@ -13798,7 +13759,7 @@ Compare the Palazzo Vecchio and Bargello with Lapo's castle of Poppi, and the relation is evident. His connection with the younger Lapo is equally clear. In the list of qualified masters in painting at Florence, quoted by Migliore -in <i>Firenze illustrata</i>, p. 414, is Niccolò Pisano's pupil, who +in <i>Firenze illustrata</i>, p. 414, is Niccolò Pisano's pupil, who is called Lapo di Cambio. This would suggest that Arnolfo and his fellow-pupil Lapo were brothers as well as fellow-pupils, so that when Lapo the younger finished @@ -13813,7 +13774,7 @@ son succeeded the father.</p> </div> <p>The thirteenth century was a time of immense development -in art; what Niccolò and Giovanni di Pisa did for +in art; what Niccolò and Giovanni di Pisa did for sculpture, Jacopo Tedesco and Arnolfo did for architecture. Jacopo was the first to introduce the pointed arch into Central Italy, at Assisi; Arnolfo further developed it in @@ -13832,7 +13793,7 @@ ornamentation.</p> <p>That distinctive mark of the guild, the lion of Judah, takes a new position in the Italian Gothic. It is no longer between the pillar and the arch, but beneath the column, -as Niccolò and Guido da Como first placed it in their +as Niccolò and Guido da Como first placed it in their pulpits. You see it under the pillars of the north door of <span class="pagenum"><a name="Page_318" id="Page_318">318</a></span> the Florentine Duomo, where the transition into Renaissance @@ -13857,7 +13818,7 @@ the sepulchre of the Emperor Frederic in the abbey church of Monreale in Sicily. (Manfred died in 1266.)</p> <p>Jacopo also introduced a reform into Florence. In the -time when Messer Rubaconte of Como was Podestà of +time when Messer Rubaconte of Como was Podestà of Florence (1236, 1237), his compatriot, Jacopo Tedesco of Campione, near Como, proposed to him that the streets should be paved with stones instead of bricks, to which @@ -13871,10 +13832,10 @@ Jacopo the elder. He also continued Jacopo Tedesco's fortifications at Colle.<a name="FNanchor_243" id="FNanchor_243" href="#Footnote_243" class="fnanchor">[243]</a></p> <p>Whether we look on Arnolfo as the son of Jacopo -Tedesco, or only as the pupil of Niccolò Pisano, he was, +Tedesco, or only as the pupil of Niccolò Pisano, he was, either way, one of the guild; and more, a follower of <span class="pagenum"><a name="Page_319" id="Page_319">319</a></span> -Jacopo rather than of Niccolò, his bent being rather architectural +Jacopo rather than of Niccolò, his bent being rather architectural than sculptural. We can, then, place Arnolfo as the first head of the <i>laborerium</i> of Florence; and in tracing the formation of this branch of the guild, we shall @@ -13906,16 +13867,16 @@ councillors were Ugo Alessandri, Donato Velluti, Nicolo Caroli de Macignis, and Benedict <i>Cicciaporci</i> (pig's flesh); here's a nickname! They deliberated on the advisability of sending for a certain Francesco Livii de Gambasso, -<i>Comitatus Florentiæ</i>, who was at Lubeck in Germany, to +<i>Comitatus Florentiæ</i>, who was at Lubeck in Germany, to make the painted windows and mosaics. Francesco, when he came back to the city which he had known in his boyhood, and where he had learnt his art, bound himself to work in the <i>laborerium</i> of the <i>Opera</i>, "et in dicta civitate -Florentiæ in Laboreriis dictæ Operæ toto tempore suæ vitæ +Florentiæ in Laboreriis dictæ Operæ toto tempore suæ vitæ <span class="pagenum"><a name="Page_320" id="Page_320">320</a></span> eidem continuum, ac firmum inviamentum exhiberent, ita, et taliter, quod ipse una cum sua familia victum, et vestitum in -præfata Civitate erogare posset."<a name="FNanchor_244" id="FNanchor_244" href="#Footnote_244" class="fnanchor">[244]</a> This one document gives +præfata Civitate erogare posset."<a name="FNanchor_244" id="FNanchor_244" href="#Footnote_244" class="fnanchor">[244]</a> This one document gives valuable proof on several points.</p> <p>It proves that whether or not Italy got her architects @@ -13923,7 +13884,7 @@ from Germany, Italian Masters were employed in Germany.</p> <p>It proves that there was a guild in Florence, "Comitatus -Florentiæ," to which Francesco Livii belonged, and +Florentiæ," to which Francesco Livii belonged, and that there was a <i>laborerium</i> in Florence, in which Francesco, when a boy, had learned his art, and risen to the rank of Master. It proves, moreover, that the <i>laborerium</i> was @@ -13936,24 +13897,24 @@ the Duomo, marks this connection still more plainly.</p> <p>"Nobiles viri Johannes Sylvestri de Popoleschis, Johannes Tedicis de Albizzis, Johannes ser Falconis Falconi, Jacobus Johannis de Giugnis, et Hieronymus -Francisci dello Scarfa, Operarii dictæ Operæ, existentes -collegialiter congregati in loco eorum residentiæ pro factis -dictæ Opera utiliter peragendis, absque aliis eorum Collegis, +Francisci dello Scarfa, Operarii dictæ Operæ, existentes +collegialiter congregati in loco eorum residentiæ pro factis +dictæ Opera utiliter peragendis, absque aliis eorum Collegis, et servatis servandis:</p> <p>"Attendentes ad quandam Commissionem factam per -eorum Offitium de ordinatione Altaris majoris dictæ -Ecclesiæ, et Chori ipsius Ecclesiæ infrascriptis Civibus, et -Religiosis Sacræ Theologiæ, Magistro Jacobo Grægorii del +eorum Offitium de ordinatione Altaris majoris dictæ +Ecclesiæ, et Chori ipsius Ecclesiæ infrascriptis Civibus, et +Religiosis Sacræ Theologiæ, Magistro Jacobo Grægorii del Badia Ordinis Fratrum Minorum, Magistro Sandro de -Covonibus Converso Hospitalis Sanctæ Mariæ Novæ de +Covonibus Converso Hospitalis Sanctæ Mariæ Novæ de Florentia, Francisco alterius Francisci Pierotii della Luna -Nerio Gini de Capponibus egregio Medicinæ Doctori, +Nerio Gini de Capponibus egregio Medicinæ Doctori, Magistro Paulo M. Dominici, et Juliano Thomasii Gucci, -omnibus Civibus Civitatis Florentiæ, et ad quemdam rapportum +omnibus Civibus Civitatis Florentiæ, et ad quemdam rapportum <span class="pagenum"><a name="Page_321" id="Page_321">321</a></span> -per eos factum coram eorum Offitio infrascriptæ -continentiæ."<a name="FNanchor_245" id="FNanchor_245" href="#Footnote_245" class="fnanchor">[245]</a></p> +per eos factum coram eorum Offitio infrascriptæ +continentiæ."<a name="FNanchor_245" id="FNanchor_245" href="#Footnote_245" class="fnanchor">[245]</a></p> <p>Here follow the criticisms of this council on three designs for the choir: one by Filippo Brunelleschi; one by Nencio @@ -14002,7 +13963,7 @@ e noi ti faremo provedere.")<a name="FNanchor_247" id="FNanchor_247" href="#Foot <p>The way in which the <i>Provveditore</i>, Filippo Marsili, talks of himself, and puts down his orders from the <i>Operai</i> -just in their own words, is naïve in the extreme. His memoranda +just in their own words, is naïve in the extreme. His memoranda are certainly delightful.</p> <p>Here is another very busy day—</p> @@ -14043,7 +14004,7 @@ designs. Generally, several of the <i>Magistri</i> sent in their designs, or models made of wood. These were discussed in council, and votes taken before the final commission was given. The report of one of these meetings, where each -Master naïvely voted for his own design, is very amusing.</p> +Master naïvely voted for his own design, is very amusing.</p> <p>The Masters were strictly bound by contract to the <i>laborerium</i>. In some cases they were paid by the day. @@ -14063,14 +14024,14 @@ sculpture, and painting. One sees the remains of them in the Belle Arti at Florence, Siena, and other towns, and the Academy of St. Luke at Rome. Not all the <i>Magistri</i> were teachers, but there were certain of them -who held office as Professors. Niccolò di Pisa was +who held office as Professors. Niccolò di Pisa was certainly one of these, and so were Cimabue and <i>Magister</i> Giotto. <span class="pagenum"><a name="Page_324" id="Page_324">324</a></span></p> <p>This full art-education accounts for the artist of the Renaissance being such an all-round man. One finds a -painter like Giotto, or a sculptor like Niccolò Pisano, +painter like Giotto, or a sculptor like Niccolò Pisano, building grand architectural works. Sometimes they graduated in all three arts, as did Landi, Giotto, and Leon Battista Alberti.</p> @@ -14275,7 +14236,7 @@ of columns and a chapel made by Francesco Talenti and Orcagna, when each candidate elected two Masters as arbiters. Francesco Talenti chose Ambrogio Lenzi, a Lombard, and Frate Filippo Riniero of S. Croce. Andrea -Orcagna chose Niccolò di Beltramo, also a Lombard, +Orcagna chose Niccolò di Beltramo, also a Lombard, and Francesco di Neri. These could not decide, and Piero di Migliore the goldsmith was taken as umpire, the parties binding themselves to abide by his decision. Giovanni di @@ -14307,7 +14268,7 @@ entry is—"Lend him what he wants."</p> <p>In 1376 Francesco's son Simone became joint <i>capo maestro</i> with Benci Cione, Orcagna's father, at a salary of eight gold florins a month. Simone graduated also in the -sculpture school, and executed a figure for the façade, for +sculpture school, and executed a figure for the façade, for which he was paid thirteen florins on September 4, 1377. Zanobi Bartoli, also a <i>Magister lapidum</i> (sculptor), was at the same time paid twenty gold florins each for two marble @@ -14458,7 +14419,7 @@ It is remarkable that an ancestor and namesake of this "Ambroxius" was also written down as "filius Magistri Guglielmi" in 1130, two centuries earlier, when they were leading members of the Campione school at Modena, and -sculptured the façades of Modena and Ferrara cathedrals; +sculptured the façades of Modena and Ferrara cathedrals; so our Ambrogio of Florence was one of the distinguished aristocracy of the lodge, his family dating from its cradle in Lombardy. From the deed which we quote we find that @@ -14620,7 +14581,7 @@ is at a meeting of consuls, <i>Opera</i>, and Masters, convened on November 10, 1404, to consider a certain error in measurement committed by the <i>capo maestro</i>, Giovanni di Ambrogio. The question turned on the placing of the (<i>sprone</i>) brackets -on the façade which interfered with the windows.</p> +on the façade which interfered with the windows.</p> <p>It does not seem that Brunellesco belonged to the brotherhood. He is merely mentioned as Filippo the @@ -15113,7 +15074,7 @@ stone-carvers into the <tr> <td class="tdc">38.</td> <td class="tdc">1399</td> -<td class="tdh">M. Antonio A. Padernò</td> +<td class="tdh">M. Antonio A. Padernò</td> <td rowspan="2"> </td> <td rowspan="2" class="tdh tdvc">Two rising Masters in 1399, who fought the great @@ -15317,7 +15278,7 @@ resigned.</td> <tr> <td class="tdc">68.</td> <td> </td> -<td class="tdh" colspan="2">M. Antonio da Padernò (descendant of the older Antonio, No. 88)</td> +<td class="tdh" colspan="2">M. Antonio da Padernò (descendant of the older Antonio, No. 88)</td> <td class="tdh">Rectified the mistakes of John of Gratz.</td> </tr> @@ -15374,7 +15335,7 @@ replace Dolcebono in 1506.</td> <td class="tdc">1502</td> <td class="tdh" colspan="2">M. Cristoforo Gobbo</td> <td class="tdh">Sculptured Adam and Eve on -the façade of Milan +the façade of Milan cathedral, etc.</td> </tr> <tr> @@ -15484,7 +15445,7 @@ of their later Italian-Gothic style in its fulness.</p> <p>Like Florence, Siena, Pisa, Pistoja, and other cities, Milan, on freeing herself from Longobard and French tyrants, had become a commune, but she could not escape -the usual fate of a mediæval commune, <i>i.e.</i> party faction, +the usual fate of a mediæval commune, <i>i.e.</i> party faction, and the supremacy of a dominant family. As Florence had her Guelphs and Ghibellines, Pistoja her Bianchi and Neri, so Milan had her two warring families, the Torriani and @@ -15494,17 +15455,17 @@ Lodi, Bergamo, Pavia, Alexandria, and Vercelli. Azzo Visconti subjugated Piacenza and Como, etc. Luchino added Asti, Bobbio, and Parma; while his brother, the Archbishop Giovanni, acquired Brescia, Genoa, and Bologna. -His nephews, Bernabò and Galeazzo II., divided the state, +His nephews, Bernabò and Galeazzo II., divided the state, and lost part of it. Genoa freed herself from Galeazzo, -while Bernabò's vices and cruelties caused rebellion everywhere.</p> +while Bernabò's vices and cruelties caused rebellion everywhere.</p> <p>Galeazzo's son, Gian Galeazzo, who was only fifteen when his father died in 1378, married Isabella of France, he being then seventeen, and she a child still. By this he gained, as his bride's portion, the estate of Vertus in Champagne, and his descendants kept up the title, which -became Italianized into Conte di Virtù. His second wife -was his cousin, Caterina, daughter of Bernabò. To assure +became Italianized into Conte di Virtù. His second wife +was his cousin, Caterina, daughter of Bernabò. To assure himself of her heritage, he imprisoned his uncle in the castle of Trezza, where he died a few months after, some say by poison. However this be, Gian Galeazzo immediately rode @@ -15536,7 +15497,7 @@ beauty." This tower was thrown down and the church destroyed in the siege of Milan, 1162. After the Peace of Costanza, Sta. Maria was restored by public offerings, and the Milanese ladies, like the ancient Roman dames, -threw their jewels into the treasury. The façade of this +threw their jewels into the treasury. The façade of this restoration was of black and white marble in squares, and the church was so large that it could contain 7000 people.</p> @@ -15556,14 +15517,14 @@ their churches, and to pray God to bless the work."</p> <p>Again a year later he circulated another letter, to ask that all the offerings thus gathered should be transmitted -to Milan before the <i>fête</i> of St. Martin, as the faithful were +to Milan before the <i>fête</i> of St. Martin, as the faithful were anxious to continue the work begun. Gian Galeazzo did his part by promulgating two edicts; one dated October 12, 1386, instituting a <i>questua</i> (collection) in all the Ducal State for the benefit of the funds for the Duomo; the second, dated February 7, 1387, decreed that all the money from the <i>paratici</i> of the city, which shall be paid as offerings -during the <i>fête</i> of the Madonna in February of this and +during the <i>fête</i> of the Madonna in February of this and following years, shall be dedicated to the building fund. The results of all these appeals and decrees, and the small part the Visconti had in the giving, appears in a letter from @@ -15720,8 +15681,8 @@ d'Innspruck, also a Campionese, have been the cause of much misunderstanding, and have sent authors off on false scents. It was the custom, in the books of the Comacines, to name people from their <i>provenienza</i>, i.e. the last place they came -from. Thus at Siena you will find Niccolò da Pisa, while -at Pisa he is Niccolò di Apulia. Lorenzo Maitani was +from. Thus at Siena you will find Niccolò da Pisa, while +at Pisa he is Niccolò di Apulia. Lorenzo Maitani was Lorenzo da Siena to the Orvieto people, and Lorenzo d'Orvieto to the Florentines. Marco il Frisone, born at Campione, is therefore a link between the German guilds @@ -15785,7 +15746,7 @@ Pongione.</p> saw last at work on the Scaligers' tombs at Verona), and said that he not only agreed with the others, but found an error in the <i>piloni</i> in the body of the church, towards the -door of the façade.</p> +door of the façade.</p> <p>Gasparolo da Birago, worker in iron, Magistri Ambrogio da Melzo, Pietro da Desio, Filippo Orino, Ridolfo di @@ -15800,7 +15761,7 @@ supreme Master who made the design.</p> <span class="pagenum"><a name="Page_357" id="Page_357">357</a></span> and after him Marco the Frisian of Campione, whose salary is paid on March 31, 1389, naming him as "Mag. Marcho -de Campilione dicto de Frixono inzegnerio fabricæ." His +de Campilione dicto de Frixono inzegnerio fabricæ." His name often appears as chief architect till July 10, 1390, when "he died at the Ave Maria in the morning, and was buried with honours the same evening in the church of S. @@ -15849,7 +15810,7 @@ Masters of the Milan Lodge dared not dispute the will of the all-powerful Duke, and held a meeting on March 4, 1397, at which it was decided "that Jacopo di Campione, chief architect of the building, <i>qui acceptatus est super -laboreria Cartuxiæ</i>, should still retain his position in the +laboreria Cartuxiæ</i>, should still retain his position in the works of the Duomo, because the entire absence of the Master who began the building (<i>qui principiavit ipsam fabricam</i>) would cause grave peril and injury to the work. @@ -15897,19 +15858,19 @@ almost monotonous; yet Milan is but the natural northern development of the southern Italian Gothic. It was always the tendency of the guild to seek greater richness of ornamentation in multiplying forms already customary to -them. As the Romanesque façade was merely a multiplication +them. As the Romanesque façade was merely a multiplication of the Lombard single gallery, so the Gothic of Milan is but a multiplication and elongation of the turrets and pinnacles of Siena and Orvieto, and of the pointed gables over elongated arches, with almost an abuse of the perpendicular shaft. Of course I do not speak of the -façade in these remarks, that being a discord by the later +façade in these remarks, that being a discord by the later Renaissance architects. The changes may well have been induced by the strong German influence in the guild.</p> <p>There were also French artists, such as Jean Mignot de Paris, and Jean de Campanias of Normandy.<a name="FNanchor_267" id="FNanchor_267" href="#Footnote_267" class="fnanchor">[267]</a> We hear of -a Niccolò Bonaventura from Paris, but his name is too Italian +a Niccolò Bonaventura from Paris, but his name is too Italian for his nationality to be mistaken. He probably had been employed in France, and brought back the French sculptor-architects with him. All these names, with the Germans @@ -16036,7 +15997,7 @@ mentioned above, who were accepted, and came to Milan in made architect of the two sacristies. He coveted the supreme post of chief architect of the whole building, but he met with serious rivals in Marco da Carona and Antonio -da Padernò, two young <i>Magistri</i> who were fast rising in +da Padernò, two young <i>Magistri</i> who were fast rising in the guild to fill the place of Jacopo and Marco da Campione and Simone da Arsenigo.</p> @@ -16303,7 +16264,7 @@ dome. The contract with John of Gratz is signed May no payments being made to him after February 1486, and on January 26, 1488, the annals of the Duomo show the following entry—"To Maestro Antonio da -Padernò in recompense for his labours during the past year +Padernò in recompense for his labours during the past year in verifying the errors committed by Maestro Giovanni da Gratz, etc...." Like his forerunner Heinrich da Gmunden, John of Gratz had to retire from the Milanese Lodge; his @@ -16350,7 +16311,7 @@ Duomo of Milan; and on September 9, the two others began their work, which they brought to a happy conclusion on September 24, 1500.</p> -<p>The façade was, however, not completed. Indeed, the +<p>The façade was, however, not completed. Indeed, the registers show that the insignia of the Comacine Masters, the marble lions which were destined for the great door, were in 1489 still in deposit in the <i>laborerium</i>.</p> @@ -16365,7 +16326,7 @@ sculptural ornamentation of the cupola; such as the Doctors of the Church in medallions; while a master Andrea da Corcano, with other "brethren," did the pictures. Cristoforo also carved the famous statues of Adam and Eve on -the façade, besides several other statues. He and Fusina +the façade, besides several other statues. He and Fusina being compatriots, fraternized, and opposed Amadeo, who had made a too daring design for the lantern on the cupola. Meetings after meetings were held, and at length Gobbo @@ -16387,19 +16348,19 @@ Magister Gian Giacomo Bono da Campione sculptured in the <i>laborerium</i> of the Duomo, and there his son Francesco was trained, besides two kinsmen—Carlo Antonio Bono, painter and sculptor, and his son, Giuseppe. All this family -worked together in the seventeenth century at the façade of +worked together in the seventeenth century at the façade of the cathedral, designed by Pellegrini. The fine central door was the work of Gian Giacomo Bono and Andrea Castelli, both Comacines by birth.</p> <p>As for the names of other Comacines who worked at -the façade and on the wondrous roof, one finds them by +the façade and on the wondrous roof, one finds them by hundreds in the annals of the Duomo, as collected by <span class="pagenum"><a name="Page_372" id="Page_372">372</a></span> -Giulini in his <i>Memorie della Città e Campagna di Milano</i>. +Giulini in his <i>Memorie della Città e Campagna di Milano</i>. Here you see names repeated which have been familiar in the guild for centuries; such as the Bono and Solari -families, and Luca Beltrami, who worked at the façade in +families, and Luca Beltrami, who worked at the façade in the seventeenth century, and whose ancestors were architects at Modena and Parma two hundred years earlier.</p> @@ -16558,7 +16519,7 @@ books of the Fabbrica.</td> <td class="tdc">1460</td> <td class="tdh" colspan="2">M. Guiniforte Solari</td> <td class="tdh">C.M. in place of his father -Giovanni; designed the façade.</td> +Giovanni; designed the façade.</td> </tr> <tr> <td class="tdc">18.</td> @@ -16579,7 +16540,7 @@ monument at Bergamo.</td> <td class="tdh tdvc" rowspan="2">Came to the Certosa from their apprenticeship to Jacopo da Tradate at Milan. -Sculptured in the façade of +Sculptured in the façade of the Certosa on Guiniforte's plans.</td> </tr> @@ -16697,7 +16658,7 @@ chief architect.</p> <p>Again, on November 22, 1396, we read—"To Master Jacopo da Campione, architect of Milan cathedral (inzignerio -ecclesiæ majoris Mediolani), for fourteen days +ecclesiæ majoris Mediolani), for fourteen days during October and November, in which he remained working and superintending in the said <i>laborerium</i> (Certosa) at his own expense, and in payment for some designs @@ -16714,7 +16675,7 @@ builder who executed them. As a farther proof, there is the deliberation of the Administration of Milan, on March 4, 1397, to which we have already referred, in which it says that Jacopo was in command of the works at Certosa (qui -acceptatus est super laboreria Carthusiæ). +acceptatus est super laboreria Carthusiæ). <span class="pagenum"><a name="Page_376" id="Page_376">376</a></span></p> <p>Other Campionese names also appear in the registers; @@ -16803,15 +16764,15 @@ of sculptor-builders is at this epoch interwoven in a most complicated manner between Milan, Certosa, Como, Monza, and Venice.</p> -<p>The façade of the Certosa forms precisely the same -discord with the body of the building that the façade of +<p>The façade of the Certosa forms precisely the same +discord with the body of the building that the façade of Milan does, but here the Renaissance face is so rich and gorgeous that one almost forgives the discord. It has been attributed to Bramante of Urbino, whose name never appears in the books; to Bernardo of Venice, who died long before it was begun; and to Borgognone the painter, who was only invited to the Certosa by the Prior in 1490, -when the façade was well begun.</p> +when the façade was well begun.</p> <p>Sig. Merzario, with his documental evidence,<a name="FNanchor_275" id="FNanchor_275" href="#Footnote_275" class="fnanchor">[275]</a> proves that Guiniforte di Solario certainly designed it, and for the @@ -16819,11 +16780,11 @@ most part superintended its execution. On January 14, 1473, the notary Gabbi registered a contract between the Prior of the Certosa and the Administration of the Milan Lodge, for the furnishing of 200 cwts. of white marble of -Gandoglia, annually, for ten years, to serve for the façade +Gandoglia, annually, for ten years, to serve for the façade of the Certosa church. On October 7, 1473, the same notary makes the contract, by which the brothers Cristoforo and Antonio Mantegazza are commissioned to erect all -the façade, according to the plans given them by the +the façade, according to the plans given them by the monastery.<a name="FNanchor_276" id="FNanchor_276" href="#Footnote_276" class="fnanchor">[276]</a> <span class="pagenum"><a name="Page_379" id="Page_379">379</a></span></p> @@ -16863,7 +16824,7 @@ Beatrice d'Este, at the church of the Grazie there. In 1506 he became head architect at Milan.</p> <p>In 1499, a letter from B. Calco, dated May 1, declares -that the works at the Certosa are nearly finished (sarà +that the works at the Certosa are nearly finished (sarà presto presso el fine).<a name="FNanchor_277" id="FNanchor_277" href="#Footnote_277" class="fnanchor">[277]</a></p> <p>The church had already been opened for service since @@ -16888,7 +16849,7 @@ whether he would take Marco's place in the works. He was, like almost all the Comacines, a sculptor as well as architect. The baptismal font at Monza, which was once noted for its beauty, is now ruined and mutilated. The -pulpit and the sculptures on the façade of Monza cathedral +pulpit and the sculptures on the façade of Monza cathedral are attributed to Matteo's own hand. The pulpit is a fine piece of sculpture in white marble. It was originally square, but has been altered in form during the last century. @@ -16897,7 +16858,7 @@ Barnabas, are sculptured around it, and there are many small reliefs. It has a prominent part in the front, called by the Italians the <i>pulpitino</i>, or little pulpit. On this are sculptured the Redeemer with a book, and a thunderbolt -in His hands, and the four Evangelists. The façade is a +in His hands, and the four Evangelists. The façade is a curious instance of the transition of Comacine art, between the Romanesque and the Gothic. The door is very much like those of Verona and other Comacine churches of the @@ -16908,23 +16869,23 @@ are distinctly Gothic, with pointed arches, three lights, and Gothic tracery; the upper ones are round-arched Lombard <span class="pagenum"><a name="Page_381" id="Page_381">381</a></span> two-light windows, the archlets of which are a little cusped. -The lines of the façade are quite Lombard, the internal +The lines of the façade are quite Lombard, the internal divisions being marked on the front by pilasters running the whole height. The Lombard gallery is indicated like a memory of past time by a row of archlets beneath the eaves, but they rest on nothing, and are of no practical use as their prototypes were. Probably, as the interior was not rebuilt, Matteo da Campione so far respected the work of -his older brethren, as to adapt his façade to the rest of the +his older brethren, as to adapt his façade to the rest of the building. Over the portico is a fine rose window, and above that a row of saints in niches; the space between them is filled with geometrical sculpture. He has used the ancient sculpture of "Agilulf and Theodolinda" in the lunette of the doorway. Its style is much earlier than the figures above. Matteo was buried in the church, and on -his tomb is the inscription—"Hic jacet magnus ille ædificator +his tomb is the inscription—"Hic jacet magnus ille ædificator devotus magister Mattheus de Campiliono, qui hujus -sacrosanctæ Ecclesiæ fatiem ædificavit evangelistarium ac +sacrosanctæ Ecclesiæ fatiem ædificavit evangelistarium ac battisterium qui obiit anno Domini MCCCLXXXXVI die XXIV mensio maii." It is said that he has sculptured his own likeness in the rigid and thoughtful figure of the saint @@ -16932,7 +16893,7 @@ near the turret, over the rose window.</p> <div class="figcenter"><a name="i_533" id="i_533"></a> <img src="images/i_533.jpg" width="350" height="451" alt="" /> -<p class="caption"><span class="smcap">Façade of Monza Cathedral. Restored 14th century.</span></p> +<p class="caption"><span class="smcap">Façade of Monza Cathedral. Restored 14th century.</span></p> <p class="caption"><a href="#Page_380"><i>See page 380 et seq.</i></a></p> </div> @@ -16951,10 +16912,10 @@ promised his aid. The work was begun in 1396 and went on till 1513. Authors disagree as to whether the church were renovated, <i>i.e.</i> restored, or rebuilt. Whichever it was, <span class="pagenum"><a name="Page_382" id="Page_382">382</a></span> -there is no doubt that the whole façade was executed in +there is no doubt that the whole façade was executed in the fifteenth century. The north door is of rich ornate -Renaissance style, and much later than that on the façade, -although the lions are still under the columns. The façade +Renaissance style, and much later than that on the façade, +although the lions are still under the columns. The façade follows in its lines the old Lombard form, but the dividing pilasters here are lavishly enriched. They are in fact but a perpendicular line of niches with a statue in each. The @@ -16977,7 +16938,7 @@ to Milan, and then Duke Filippo Maria Visconti allowed the works to go on. On February 19, 1439, Pietro da Bregia near Como was elected master architect, and he continued Lorenzo de Spazi's work. He changed the plan -so as to bring the façade in a line with the Broletta and +so as to bring the façade in a line with the Broletta and tower of the fortress, which altogether made an imposing mass of buildings; very interesting as displaying at once the Comacine work in civil, military, and ecclesiastical architecture. @@ -17042,7 +17003,7 @@ to 1463.</td> <td class="tdc">1441</td> <td class="tdh" colspan="2">M. Elia da Bissone</td> <td class="tdh">Sculptured the door to the -Fraternità dei Calzolai.</td> +Fraternità dei Calzolai.</td> </tr> <tr> <td class="tdc">7.</td> @@ -17353,7 +17314,7 @@ Gemona, on the mountains near Tagliamento, was built by Giovanni Bono, another familiar Comacine name. The choir is in transition style, <i>i.e.</i> semi-Gothic. The two aisles are divided from the nave by a grand colonnade. -The façade is of the style of Siena and Orvieto, with cusped +The façade is of the style of Siena and Orvieto, with cusped arches under triangular gables; it has a large finely-traceried rose window in the centre, and a profusion of statues. At Venzone, also near Tagliamento, is an ancient Lombard @@ -17449,7 +17410,7 @@ no one was to work on that day under pain of a fine of bringing a wax candle when he attends a meeting, and on the day of the Patron Saints the candle must weigh four ounces. The fines for those who absent themselves -from the <i>fête</i> of the Patron Saints are the same as at Siena, +from the <i>fête</i> of the Patron Saints are the same as at Siena, and so also are the rules about matriculation of members, the making of contracts, the introduction of foreign Masters, etc.</p> @@ -17487,7 +17448,7 @@ were the tombs of the brethren of the lodge. Unfortunately none of the funereal inscriptions remain. Cicognara has, however, preserved two inscriptions on the building of the lodge, which are valuable as additional proof of -the guild. One beneath the relief on the façade runs—</p> +the guild. One beneath the relief on the façade runs—</p> <div class="poetry-container"> <div class="poem"> @@ -17530,7 +17491,7 @@ of the Ducal Palace, which in the first place had been built by Justinian and Narses. At the end of the tenth century, the Doge Pietro Orseolo restored Justinian's building. To this restoration belong probably some of the -fine mediæval capitals of the columns of the Loggia, of +fine mediæval capitals of the columns of the Loggia, of which we have given an illustration on <a href="#Page_257">page 253</a>. It has been said that Marino Faliero, when Doge, engaged his friend and fellow-conspirator Filippo Calendario to make a @@ -17542,7 +17503,7 @@ the Grand Consiglio was held on September 27, 1422, in which it was proposed to "rebuild the palace in a decorous and convenient form." On April 20, 1424, the decree went forth that the old walls were to be thrown down, and the -façade rebuilt. The first Masters mentioned in the books +façade rebuilt. The first Masters mentioned in the books are the three Buoni. A minute, dated September 6, 1463, registers that the Salt Office should pay "Maistro Pantalon," sculptor, for the work done for the Ducal Palace—that this @@ -17550,7 +17511,7 @@ work included many other works besides the figures; and that it should not remain incomplete, the Doge wished it to extend across the piazza and up to the last built Sala<a name="FNanchor_281" id="FNanchor_281" href="#Footnote_281" class="fnanchor">[281]</a>—<i>i.e.</i> the Sala del Squittinio. This would include all -the façade and its colonnades, with the internal Sala del +the façade and its colonnades, with the internal Sala del Squittinio and Scala Foscara leading to it, on which is <span class="pagenum"><a name="Page_391" id="Page_391">391</a></span> placed the statue of Francesco della Rovere.<a name="FNanchor_282" id="FNanchor_282" href="#Footnote_282" class="fnanchor">[282]</a> The part of @@ -17582,7 +17543,7 @@ of the Turks so well that they had to raise the siege, and Antonio, who was wounded, was rewarded by a pension for himself and children, and by the appointment of chief architect for the Ducal Palace, when it was restored after -the fire. It would seem that the façade built by the Buono +the fire. It would seem that the façade built by the Buono trio had not been injured, as Rizo turned his attention to the inner court, which he built in a beautiful style, together with the great staircase, now known as the @@ -17783,7 +17744,7 @@ ancestors in art. He has made a raised tribune with a dome, but it is square instead of semi-circular, and he has placed two ambones or pulpits, as in the early churches. Pietro could build in Gothic style as well as Renaissance, -as is shown in the cusped and pinnacled façade of S. +as is shown in the cusped and pinnacled façade of S. Cristofero della Pace at Murano. The original Torre dell' Orologio on Piazza S. Marco was also designed by him.</p> @@ -17794,7 +17755,7 @@ and Selvatico attribute to him, with his sons and nephews, the rich and beautifully sculptured capitals of the pillars which support the lower arches "from the Court of the Senators to the second part of the building"; and the -internal façade of the side towards St. Mark's, which +internal façade of the side towards St. Mark's, which Selvatico pronounces one of the finest examples of Lombard style. In the interior of the palace he restored the "Camera del Tormento," and built the hall of the Council @@ -17813,13 +17774,13 @@ wreaths of flowers, and all possible wealth of sculpture.</p> <p>In about 1490 Pietro was engaged on a great work of architecture at Treviso, where the bishop had commissioned him to improve the cathedral by putting a new and ornate -façade with a large window, besides building three new +façade with a large window, besides building three new <span class="pagenum"><a name="Page_398" id="Page_398">398</a></span> chapels.<a name="FNanchor_289" id="FNanchor_289" href="#Footnote_289" class="fnanchor">[289]</a> His sculpturesque tastes outweighed his talent for architecture. He left the building at Treviso in the hands of inferior Masters, and went to Venice to sculpture in the <i>laborerium</i> of the guild at San Samuele, the statues -and reliefs for its façade. The work not proceeding +and reliefs for its façade. The work not proceeding satisfactorily it was suspended, and on Pietro Lombardo's death even his design was lost in some mysterious manner. The church was not ultimately restored till two centuries later.</p> @@ -17865,9 +17826,9 @@ figures may be seen in the four kneeling angels which support the altar of the Incoronation of the Virgin in S. Giovanni Crisostomo; a most exquisite group. This work is signed, "Opus Tullii Lombardi." The fine -monument to the Doge Nicolò Marcello, at SS. Giovanni +monument to the Doge Nicolò Marcello, at SS. Giovanni e Paolo, and those of Marco and Amerigo Barbarigo, in S. -Maria della Carità, are also by him.</p> +Maria della Carità , are also by him.</p> <p>There is some confusion between the two cousins, Sante, eldest son of Giulio, and Sante, the second son of Tullio. @@ -17977,10 +17938,10 @@ fuori le mura in 1148.</td> <tr> <td class="tdc">14.</td> <td class="tdc">12th century</td> -<td class="tdh" colspan="2">M. Niccolò, son of +<td class="tdh" colspan="2">M. Niccolò, son of Angelo di Paulus</td> <td class="tdh">Sculptured the curious -mediæval candelabrum in +mediæval candelabrum in San Paolo fuori le mura.</td> </tr> <tr> @@ -18002,7 +17963,7 @@ cast the bronze doors of the sacristy of S. John Lateran.</td> <td class="tdc">17.</td> <td class="tdc">1190?</td> <td class="tdh" colspan="2">M. Lorenzo (ancestor of the Cosmati)</td> -<td class="tdh">Sculptured the façade of S. +<td class="tdh">Sculptured the façade of S. Maria in Falleri, and the pulpit at Ara Cœli in Rome.</td> @@ -18443,7 +18404,7 @@ consecrated the Duomo of Florence.</p> <p>The great Lombard Masonic Guild being under the especial protection of the Popes, we should expect to see its -members employed in the mediæval buildings of Rome. +members employed in the mediæval buildings of Rome. And truly, after Adrian's time, here they are. Hope, Schmarzow, Ricci, and Boito, besides other writers, have all decided that the ancient cloisters of San Lorenzo—built @@ -18494,7 +18455,7 @@ and their airy towers and arched churches were all more or less polychrome. The Lombards, having no marbles at hand, took from these same Saracens their rich traceries and cuspings, which they produced in the plastic clay, -throwing a veil of ruddy beauty over the façades and +throwing a veil of ruddy beauty over the façades and arches of their buildings.</p> <p>The name of the Cosmati family has become generic @@ -18543,13 +18504,13 @@ Filii. Pauli. Marmōr. Huj'. Opis. Magister Fuer. Ann d. M. CXLVIII. Ego. Hugo. Humilis. Abbs. Hoc. Opus. Fieri Feci.). The tabernacle is of the usual four-pillared form; the columns are ancient porphyry ones adapted; the -capitals the usual Comacine mixture of classic and mediæval—acanthus -leaves and cornucopiæ with the mystic beasts +capitals the usual Comacine mixture of classic and mediæval—acanthus +leaves and cornucopiæ with the mystic beasts climbing among them.</p> <p>Angelo, the third son of Magister Paulus, had a son -named Niccolò, and the two together made the candelabrum -of S. Paolo; a quaint mediæval piece of sculpture, of the +named Niccolò, and the two together made the candelabrum +of S. Paolo; a quaint mediæval piece of sculpture, of the style of Magister Roberto's font, but with some marvellously beautiful interlaced work. There is also Arnolfo with his partner Peter (Arnolfus cum suo socio Petro), who made @@ -18587,13 +18548,13 @@ in the fifth year of the pontificate of Pope Celestine III. the <i>Jubente</i>, or <i>camerarius</i> of the <i>Opera</i>, had it made.<a name="FNanchor_295" id="FNanchor_295" href="#Footnote_295" class="fnanchor">[295]</a></p> <p>This door had engraved on it the design of the ancient -façade of S. John Lateran—a perfectly Lombard front +façade of S. John Lateran—a perfectly Lombard front consisting of two round-arched arcades, with a little pillared gallery above.</p> <div class="figcenter"><a name="i_575" id="i_575"></a> <img src="images/i_575.jpg" width="354" height="469" alt="" /> -<p class="caption"><span class="smcap">Pulpit in Church of S. Cesareo in Palatio, Rome. Mediæval Sculpture inlaid in Mosaic</span>.<br /> +<p class="caption"><span class="smcap">Pulpit in Church of S. Cesareo in Palatio, Rome. Mediæval Sculpture inlaid in Mosaic</span>.<br /> (<i>From a photograph by Alinari.</i>)</p> <p class="caption"><i><a href="#Page_406">See page 406.</a></i></p> @@ -18656,13 +18617,13 @@ of them were <i>Magistri</i>—</p> </tr> </table> -<p>To Lorenzo belong the façades of Santa Maria in +<p>To Lorenzo belong the façades of Santa Maria in Falleri, and the Duomo in Civita Castellana, besides the pulpit in Ara Cœli at Rome. In all these works his son Jacopo worked with him.</p> <p>Jacopo alone, with the title of <i>Magister</i>, sculptured the -smaller doors in the façade of the Duomo at Civita Castellana, +smaller doors in the façade of the Duomo at Civita Castellana, and the door of San Saba at Rome in 1205; also the inlaid columns at S. Alessio in Rome, and the Cloister of Santa Scolastica at Subiaco. In Civita Castellana, above @@ -18764,7 +18725,7 @@ Stefano de' Surdi in Santa Balbina.</p> signs of Lombard principles, and traces in the development of style from father to son the same gradual movement from older forms towards the Gothic, which we notice between -Jacopo Tedesco and Arnolfo, and between Niccolò Pisano +Jacopo Tedesco and Arnolfo, and between Niccolò Pisano and his son Giovanni. Living in Rome, however, the Cosmati never really took up the Gothic style, as it developed further north; but always kept nearer to classical @@ -18893,7 +18854,7 @@ director of the works of fortification at Castel S. Angelo, while Maestro Stefano da Bissone di Como is named as a sculptor in the church of S. Spirito.</p> -<p>The next Pope, Pius II. (Æneas Silvio Piccolomini), +<p>The next Pope, Pius II. (Æneas Silvio Piccolomini), did so much building and embellishing in Siena—where the Lombard Masters divided the honours with their colleagues born in Siena, and trained by them—that he did @@ -18998,7 +18959,7 @@ in Rome and Frascati.</p> <p>In fact, he nearly made Cinque-cento Rome. His brother Giovanni was nominated architect in general to Pope Clement VIII.; and Paul V. made him chief architect of -St. Peter's, with his nephew Carlo Madernò. He too was +St. Peter's, with his nephew Carlo Madernò. He too was employed in Ferrara. For a century the name and race of Fontana flourished in Rome, some of the family emigrating to Naples, where they became equally famous. The @@ -19095,7 +19056,7 @@ at Capodimonte was built by a Lombard, Domenico Fontana of Melide, near Como, whose family we have seen was more famous in Rome than in Naples? Domenico, however, died in Naples in 1607, and was buried in S. Anna dei Lombardi, -where his sons Sebastian and Julius Cæsar (Giulio Fontana) +where his sons Sebastian and Julius Cæsar (Giulio Fontana) wrote on his tomb—"Patritius Romanus, Summus Romae Architectus. Summus Neapolis." Like so many of his predecessors in the guild, he had been given the citizenship @@ -19136,7 +19097,7 @@ the great Masonic Guild. <h2>EPILOGUE</h2> <p>When I began writing this work, my object was to -prove that the Comacine Masters were the true mediæval +prove that the Comacine Masters were the true mediæval link between Classic and Renaissance Art. The results have been greater than I then foresaw. In attaching this link in its true place, the chain of Art History takes a new @@ -19182,7 +19143,7 @@ very same titles, and having the same laws.</p> <p>In the Tuscan schools which have been traced direct from Lombard times, we have the same offices with the -titles translated into a more mediæval Italian—or late Latin—form; +titles translated into a more mediæval Italian—or late Latin—form; the <i>Gastaldo</i> here becomes <i>Arch Magister</i>. In some Lodges it is more significant still, the ancient Roman <i>Superstans</i> is modified into <i>Soprastante</i>, thus forming a very @@ -19266,7 +19227,7 @@ went on, and art developed. But in the great points the story of Art remains as it was. Certain masters still stand out as leaders and founders of schools, and every school had its own separate bias and special development -of style; but Niccolò di Pisa's influence on future ages +of style; but Niccolò di Pisa's influence on future ages is not lessened by our finding out the masters who trained him; the Lorenzetti, Memmi, and Gaddi are not the less famous because their frescoes illustrated with divine truths @@ -19285,9 +19246,9 @@ But its seeds are left to future ages. <p><span class="smcap">Troya.</span> "Codice diplomatico Longobardo."</p> -<p>"Antichità Longobardico-Milanese."</p> +<p>"Antichità Longobardico-Milanese."</p> -<p><span class="smcap">Difendente e Giuseppe Sacchi.</span> "Antichità Romantiche d'Italia. Saggio +<p><span class="smcap">Difendente e Giuseppe Sacchi.</span> "Antichità Romantiche d'Italia. Saggio primo intorno all' Architettura Simbolica civile e militare usata in Italia nei secoli VI, VII, e VIII." Milano, 1828. 8vo.</p> @@ -19297,7 +19258,7 @@ large 8vo., published at Milan by Giacomo Agnelli. "Via S. Margherita," No. <p><span class="smcap">Marchese Giuseppe Rovelli.</span> "Storia di Como."</p> -<p><span class="smcap">Cesare Cantù.</span> "Storia di Como." Como, 1829. Ostinello.</p> +<p><span class="smcap">Cesare Cantù.</span> "Storia di Como." Como, 1829. Ostinello.</p> <p><span class="smcap">Marchese Amico Ricci.</span> "Storia dell' Architettura in Italia dal secolo IV al XVIII." Modena, 1857. 3 vols. large 8vo.</p> @@ -19362,7 +19323,7 @@ Florence. 8 vols. 8vo.</p> <p><span class="smcap">Ciampi.</span> "Archivio del Duomo di Pisa."</p> -<p>"Instituzioni, riti e ceremonie dell' ordine dei Francs-maçons, ossia Liberi +<p>"Instituzioni, riti e ceremonie dell' ordine dei Francs-maçons, ossia Liberi Muratori." Venezia, 1788. Bassaglia.</p> <p><span class="smcap">Mrs. Jameson.</span> "Sacred and Legendary Art." London, 1879. Longmans, @@ -19385,7 +19346,7 @@ evo sino ai nostri giorni." Venice, 1847. Ripamonte.</p> <p>"Borgo San Donnino e suo Santuario" (anonymous).</p> -<p><span class="smcap">Affò.</span> "Storia della città di Parma," sino al 1347. Parma, 1837. Carmignana.</p> +<p><span class="smcap">Affò.</span> "Storia della città di Parma," sino al 1347. Parma, 1837. Carmignana.</p> <p><span class="smcap">Difendente Sacchi.</span> "L'arca di S. Agostino illustrata."</p> @@ -19652,7 +19613,7 @@ Lucca, 1844. Guidotti. <li>S. Michele, Monza, <a href="#Page_37">37</a> <i>et seq.</i></li> <li>S. Michele, Pavia, <a href="#Page_50">50</a> <i>et seq.</i>; <ul class="none"> - <li>its façade, <a href="#Page_77">77</a>-<a href="#Page_80">80</a></li> + <li>its façade, <a href="#Page_77">77</a>-<a href="#Page_80">80</a></li> </ul></li> <li>Monreale cathedral, <a href="#Page_127">127</a></li> <li>Or San Michele, Florence, <a href="#Page_333">333</a></li> @@ -19841,7 +19802,7 @@ Lucca, 1844. Guidotti. <li>Fredianus, S., bishop of Lucca, <a href="#Page_48">48</a>, <a href="#Page_164">164</a></li> -<li>Freemasons in mediæval times, <a href="#Page_12">12</a>, <a href="#Page_13">13</a></li> +<li>Freemasons in mediæval times, <a href="#Page_12">12</a>, <a href="#Page_13">13</a></li> <li>Freemasons, seventeenth century, Italian, <a href="#Page_16">16</a> <i>et seq.</i>; <ul class="none"> @@ -20026,7 +19987,7 @@ Lucca, 1844. Guidotti. <li>Anselmo (Tedesco) da Campione, and Arrigo, Alberto, and Jacopo, his sons, <a href="#Page_194">194</a> <i>et seq.</i></li> <li>Antonio of Como, <a href="#Page_260">260</a></li> <li>Antonio Mantegazza, <a href="#Page_378">378</a></li> - <li>Antonio da Padernò, <a href="#Page_369">369</a></li> + <li>Antonio da Padernò, <a href="#Page_369">369</a></li> <li>Antonio Rizo, or Riccio, <a href="#Page_391">391</a>, <a href="#Page_392">392</a>, <a href="#Page_397">397</a></li> <li>Apollonius, <a href="#Page_273">273</a></li> <li>Arnolfo, <a href="#Page_224">224</a>, <a href="#Page_291">291</a>, <a href="#Page_313">313</a>, <a href="#Page_407">407</a></li> @@ -20085,7 +20046,7 @@ Lucca, 1844. Guidotti. <li>Guglielmo Tedesco, <a href="#Page_220">220</a>, <a href="#Page_223">223</a></li> <li>Guglielmo, his porch at S. Zeno, <a href="#Page_112">112</a>; <ul class="none"> - <li>façade at Modena, <a href="#Page_196">196</a>;</li> + <li>façade at Modena, <a href="#Page_196">196</a>;</li> <li>at Ferrara, <a href="#Page_198">198</a></li> </ul></li> <li>Guidetto, his works at Lucca, <a href="#Page_227">227</a>-<a href="#Page_231">231</a></li> @@ -20111,10 +20072,10 @@ Lucca, 1844. Guidotti. <li>Martino di Giorgio da Varenna, <a href="#Page_302">302</a></li> <li>Matteo da Campione, <a href="#Page_197">197</a>, <a href="#Page_363">363</a>, <a href="#Page_386">386</a> <i>et seq.</i></li> <li>Niccolao Pela, <a href="#Page_336">336</a></li> - <li>Niccolò Pisano, <a href="#Page_211">211</a>, <a href="#Page_222">222</a>, <a href="#Page_247">247</a>, <a href="#Page_250">250</a>, <a href="#Page_291">291</a></li> + <li>Niccolò Pisano, <a href="#Page_211">211</a>, <a href="#Page_222">222</a>, <a href="#Page_247">247</a>, <a href="#Page_250">250</a>, <a href="#Page_291">291</a></li> <li>Nicolaus, his porch at S. Zeno, <a href="#Page_112">112</a>; <ul class="none"> - <li>façade at Modena, <a href="#Page_196">196</a>;</li> + <li>façade at Modena, <a href="#Page_196">196</a>;</li> <li>Ferrara, <a href="#Page_198">198</a></li> </ul></li> <li>Nino di Pisa, <a href="#Page_224">224</a>, <a href="#Page_225">225</a></li> @@ -20129,7 +20090,7 @@ Lucca, 1844. Guidotti. <li>Pietro Lombardi and his descendants, <a href="#Page_395">395</a> <i>et seq.</i>, <a href="#Page_398">398</a></li> <li>Pietro da Varese, <a href="#Page_413">413</a> <i>et seq.</i></li> <li>Rainaldo, <a href="#Page_212">212</a></li> - <li>Rainaldus, sculptures façade of Pisa cathedral, <a href="#Page_16">16</a></li> + <li>Rainaldus, sculptures façade of Pisa cathedral, <a href="#Page_16">16</a></li> <li>Ramo da Paganelli, <a href="#Page_293">293</a></li> <li>Roberto, <a href="#Page_246">246</a></li> <li>Simone da Arsenigo, <a href="#Page_352">352</a> <i>et seq.</i>, <a href="#Page_354">354</a></li> @@ -20312,7 +20273,7 @@ Lucca, 1844. Guidotti. <ul class="none"> <li>inscription to them, <a href="#Page_21">21</a>;</li> <li>sculptures representing them, <a href="#Page_207">207</a>;</li> - <li>their <i>fête</i>, <a href="#Page_289">289</a></li> + <li>their <i>fête</i>, <a href="#Page_289">289</a></li> </ul></li> <li>Quercia, Jacopo della, <a href="#Page_337">337</a></li> @@ -20486,7 +20447,7 @@ Lucca, 1844. Guidotti. <li>Zohak, emblem of remorse, <a href="#Page_79">79</a></li> -<li>Zurich, the Gross Münster, <a href="#Page_135">135</a></li> +<li>Zurich, the Gross Münster, <a href="#Page_135">135</a></li> </ul> </div> <p class="center p4">THE END</p> @@ -20524,8 +20485,8 @@ Hope's <i>Historical Essay on Architecture</i>, 1835, pp. 229-237.</p> <p class="footnote"><a name="Footnote_5" id="Footnote_5" href="#FNanchor_5"><span class="label">[5]</span></a> See Hope's <i>Historical Essay on Architecture</i>, 3rd edition, 1840, chap. xxi. pp. 203-216.</p> -<p class="footnote"><a name="Footnote_6" id="Footnote_6" href="#FNanchor_6"><span class="label">[6]</span></a> 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.—<i>Storia</i> +<p class="footnote"><a name="Footnote_6" id="Footnote_6" href="#FNanchor_6"><span class="label">[6]</span></a> 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.—<i>Storia</i> di G. Villani. Libro primo, cap. xlii.</p> <p class="footnote"><a name="Footnote_7" id="Footnote_7" href="#FNanchor_7"><span class="label">[7]</span></a> Cassiodorus, <i>Variorum</i>, Lib. VI. Epist. vi. <i>Ad Prefectum Urbis De @@ -20533,7 +20494,7 @@ Architecta Publicorum</i>.</p> <p class="footnote"><a name="Footnote_8" id="Footnote_8" href="#FNanchor_8"><span class="label">[8]</span></a> Morrona, <i>Pisa illustrata nelle Arti del Disegno</i>, p. 160. Pisa, 1812.</p> -<p class="footnote"><a name="Footnote_9" id="Footnote_9" href="#FNanchor_9"><span class="label">[9]</span></a> <i>Instituzioni, riti e ceremonie dell' ordine de' Francs-Maçons, ossia +<p class="footnote"><a name="Footnote_9" id="Footnote_9" href="#FNanchor_9"><span class="label">[9]</span></a> <i>Instituzioni, riti e ceremonie dell' ordine de' Francs-Maçons, ossia Liberi Muratori.</i>—In Venezia MDCCLXXXVIII, presso Leonardo Bassaglia, Con Licenza de' Superiori.</p> @@ -20580,7 +20541,7 @@ 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 +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 <i>Arte</i> of masons and @@ -20635,10 +20596,10 @@ the same century.</p> <p class="footnote"><a name="Footnote_29" id="Footnote_29" href="#FNanchor_29"><span class="label">[29]</span></a> Several of the Lombard towers in Rome have this peculiar ornamentation.</p> -<p class="footnote"><a name="Footnote_30" id="Footnote_30" href="#FNanchor_30"><span class="label">[30]</span></a> <i>Antichità Romantiche d'Italia</i>, da Difendente e Giuseppe Sacchi, p. +<p class="footnote"><a name="Footnote_30" id="Footnote_30" href="#FNanchor_30"><span class="label">[30]</span></a> <i>Antichità Romantiche d'Italia</i>, da Difendente e Giuseppe Sacchi, p. 70, <i>et seq.</i></p> -<p class="footnote"><a name="Footnote_31" id="Footnote_31" href="#FNanchor_31"><span class="label">[31]</span></a> Felice quoque meæ sorori ejus tres annulos transmisi due cum jacintis, +<p class="footnote"><a name="Footnote_31" id="Footnote_31" href="#FNanchor_31"><span class="label">[31]</span></a> Felice quoque meæ sorori ejus tres annulos transmisi due cum jacintis, et unum cum albula.—Gregor. <i>Epist. ad Teod.</i> lib. xiv.</p> <p class="footnote"><a name="Footnote_32" id="Footnote_32" href="#FNanchor_32"><span class="label">[32]</span></a> Paulus Diaconus, <i>Sto. Longo.</i> lib. iv. cap. 20.</p> @@ -20662,10 +20623,10 @@ reconsecrated it.</p> 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 +1786, moved into the modern church of Gesù, where it remained till placed in the cathedral, where it now is.</p> -<p class="footnote"><a name="Footnote_40" id="Footnote_40" href="#FNanchor_40"><span class="label">[40]</span></a> <i>Études sur l'histoire de l'art</i>, vol. ii. p. 157. Paris, 1864.</p> +<p class="footnote"><a name="Footnote_40" id="Footnote_40" href="#FNanchor_40"><span class="label">[40]</span></a> <i>Études sur l'histoire de l'art</i>, vol. ii. p. 157. Paris, 1864.</p> <p class="footnote"><a name="Footnote_41" id="Footnote_41" href="#FNanchor_41"><span class="label">[41]</span></a> Paulus Diaconus Warnefridi, <i>Chron. de gestis Langobardorum</i>, Lib. V. cap. iii.</p> @@ -20681,11 +20642,11 @@ restoration. There is now a modern church built over the old crypt.</p> <p class="footnote"><a name="Footnote_45" id="Footnote_45" href="#FNanchor_45"><span class="label">[45]</span></a> <i>Dell' Architettura in Italia</i>, viii. 257.</p> -<p class="footnote"><a name="Footnote_46" id="Footnote_46" href="#FNanchor_46"><span class="label">[46]</span></a> <i>See</i> Sacchi, <i>Antichità Romantiche d'Italia</i>, p. 98.</p> +<p class="footnote"><a name="Footnote_46" id="Footnote_46" href="#FNanchor_46"><span class="label">[46]</span></a> <i>See</i> Sacchi, <i>Antichità Romantiche d'Italia</i>, p. 98.</p> <p class="footnote"><a name="Footnote_47" id="Footnote_47" href="#FNanchor_47"><span class="label">[47]</span></a> Ricci (<i>Dell' Architettura</i>, 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 +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 @@ -20693,7 +20654,7 @@ 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 +times. There are endless instances of spiral colonnettes on the façades of Romanesque churches of the thirteenth and fourteenth centuries.</p> <p class="footnote"><a name="Footnote_48" id="Footnote_48" href="#FNanchor_48"><span class="label">[48]</span></a> I speak of the time when Signor Difendente Sacchi visited the church @@ -20717,7 +20678,7 @@ perfect specimen of Lombard tower.</p> <p class="footnote"><a name="Footnote_56" id="Footnote_56" href="#FNanchor_56"><span class="label">[56]</span></a> 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 -<i>Antichità Longobardica Milanesi</i> gives an illustration.</p> +<i>Antichità Longobardica Milanesi</i> gives an illustration.</p> <p class="footnote"><a name="Footnote_57" id="Footnote_57" href="#FNanchor_57"><span class="label">[57]</span></a> Sancti Ambrosii, <i>Comment. in S. Luc.</i> Lib. V. cap. vi.</p> @@ -20729,15 +20690,15 @@ where there was very early intercourse with the Phœnicians?</p> <p class="footnote"><a name="Footnote_60" id="Footnote_60" href="#FNanchor_60"><span class="label">[60]</span></a> Amantius, the fourth Bishop of Como, was translated from the See of Thessalonica to that of Como.</p> -<p class="footnote"><a name="Footnote_61" id="Footnote_61" href="#FNanchor_61"><span class="label">[61]</span></a> <i>Antichità Romantiche d'Italia</i>, Vol. I. capo iv. p. 138.</p> +<p class="footnote"><a name="Footnote_61" id="Footnote_61" href="#FNanchor_61"><span class="label">[61]</span></a> <i>Antichità Romantiche d'Italia</i>, Vol. I. capo iv. p. 138.</p> -<p class="footnote"><a name="Footnote_62" id="Footnote_62" href="#FNanchor_62"><span class="label">[62]</span></a> "Sophiæ patres, per quædam occulta et audacia enigmata, manifestant +<p class="footnote"><a name="Footnote_62" id="Footnote_62" href="#FNanchor_62"><span class="label">[62]</span></a> "Sophiæ patres, per quædam occulta et audacia enigmata, manifestant divinam, et misticam et inviam immundis veritatum."—Sancti Dionisii, <i>de Theologia Simbolica</i>, Epistola I. ad Titum Pontificem.</p> <p class="footnote"><a name="Footnote_63" id="Footnote_63" href="#FNanchor_63"><span class="label">[63]</span></a> 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" (<i>domini canes</i>—mediæval +monks are figured as the "dogs of the Lord" (<i>domini canes</i>—mediæval pun), fighting and overwhelming the heretical <i>paterini</i> 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 @@ -20748,11 +20709,11 @@ described by Southey as the emblem of remorse, is from an ancient Persian legend, and not of Indian origin.</p> <p class="footnote"><a name="Footnote_65" id="Footnote_65" href="#FNanchor_65"><span class="label">[65]</span></a> 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 +façade, where it has been replaced by two modern slabs, and the arch above filled in with masonry.</p> <p class="footnote"><a name="Footnote_66" id="Footnote_66" href="#FNanchor_66"><span class="label">[66]</span></a> Anglicized from Bigeri Thorlacii et Sebastiani Ciampi. "<i>De septentrionalium -gentium antiquitatibus, et literis runicis.</i>"—<i>Epistolæ Mediolani.</i></p> +gentium antiquitatibus, et literis runicis.</i>"—<i>Epistolæ Mediolani.</i></p> <p class="footnote"><a name="Footnote_67" id="Footnote_67" href="#FNanchor_67"><span class="label">[67]</span></a> <i>Architettura d'Italia</i>, Fig. 119, p. 201.</p> @@ -20792,7 +20753,7 @@ at Hexham in England.</p> <p class="footnote"><a name="Footnote_79" id="Footnote_79" href="#FNanchor_79"><span class="label">[79]</span></a> <i>L' Architettura in Italia</i>, ch. iii. p. 143.</p> -<p class="footnote"><a name="Footnote_80" id="Footnote_80" href="#FNanchor_80"><span class="label">[80]</span></a> Anastasii, <i>Bibliothecarii Vitæ Romanorum Pontificum</i>—in Muratori, +<p class="footnote"><a name="Footnote_80" id="Footnote_80" href="#FNanchor_80"><span class="label">[80]</span></a> Anastasii, <i>Bibliothecarii Vitæ Romanorum Pontificum</i>—in Muratori, <i>Sculptores Rerum Italicum</i>, tom. iii.</p> <p class="footnote"><a name="Footnote_81" id="Footnote_81" href="#FNanchor_81"><span class="label">[81]</span></a> S. Prassede in Rome, which was standing in the time of Pope @@ -20826,7 +20787,7 @@ Episcopo, Lib. III. cap. xxviii.</p> <p class="footnote"><a name="Footnote_89" id="Footnote_89" href="#FNanchor_89"><span class="label">[89]</span></a> "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. +alii scientia præditi; quorum ars et ingenium huic loco profuit plurimum."—Chron. S. Benigni Divion, quoted by D'Archery in <i>Spicilegio</i>, vol. ii. p. 384.</p> <p class="footnote"><a name="Footnote_90" id="Footnote_90" href="#FNanchor_90"><span class="label">[90]</span></a> Thomas Hope, <i>Storia dell' Architettura</i>, ch. xxxviii. p. 263.</p> @@ -20865,10 +20826,10 @@ conclusions. I have altered no fact or argument in either. (Leader Scott.)</p> <p class="footnote"><a name="Footnote_104" id="Footnote_104" href="#FNanchor_104"><span class="label">[104]</span></a> 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 +mediæval Italian, Greek art and architecture meant simply Byzantine, an entirely different thing. (Leader Scott.)</p> -<p class="footnote"><a name="Footnote_105" id="Footnote_105" href="#FNanchor_105"><span class="label">[105]</span></a> "According to Müller (<i>Archæologie der Kunst</i>) corporations of builders +<p class="footnote"><a name="Footnote_105" id="Footnote_105" href="#FNanchor_105"><span class="label">[105]</span></a> "According to Müller (<i>Archæologie der Kunst</i>) 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 @@ -20877,13 +20838,13 @@ century. Such associations of builders were introduced into southern Europe during the reigns of Theodoric and Theodosius."</p> <p class="footnote"><a name="Footnote_106" id="Footnote_106" href="#FNanchor_106"><span class="label">[106]</span></a> Prof. Merzario, in his <i>Maestri Comacini</i>, Vol. I. cap. ii. pp. 87, 88, -gives as his reference for this Bede's <i>Ecclesiasticæ Historiæ gentis Anglorum +gives as his reference for this Bede's <i>Ecclesiasticæ Historiæ gentis Anglorum libri quinque</i>, "Vita S. Benedicti Biscopi Abbatis Vuiremuthensis primi ecc." (L. S.)</p> <p class="footnote"><a name="Footnote_107" id="Footnote_107" href="#FNanchor_107"><span class="label">[107]</span></a> "Vita Sancti Hugonis Episcopi Lincolniensis."</p> -<p class="footnote"><a name="Footnote_108" id="Footnote_108" href="#FNanchor_108"><span class="label">[108]</span></a> "Vita S. Moduennæ virginis Hibernicæ."</p> +<p class="footnote"><a name="Footnote_108" id="Footnote_108" href="#FNanchor_108"><span class="label">[108]</span></a> "Vita S. Moduennæ virginis Hibernicæ."</p> <p class="footnote"><a name="Footnote_109" id="Footnote_109" href="#FNanchor_109"><span class="label">[109]</span></a> Montalembert, <i>I Monaci dell' Occidente</i>, p. 152.</p> @@ -20935,7 +20896,7 @@ Scriptores decem.</i>, et Raine's <i>Priory of Hexham</i>, p. 2.</p> <p class="footnote"><a name="Footnote_116" id="Footnote_116" href="#FNanchor_116"><span class="label">[116]</span></a> See <a href="#ChapV">Chap. V.</a>, "Comacines under Charlemagne."</p> -<p class="footnote"><a name="Footnote_117" id="Footnote_117" href="#FNanchor_117"><span class="label">[117]</span></a> Sermo beati Bedæ in natale sancti Benedicti Abbatis.</p> +<p class="footnote"><a name="Footnote_117" id="Footnote_117" href="#FNanchor_117"><span class="label">[117]</span></a> Sermo beati Bedæ in natale sancti Benedicti Abbatis.</p> <p class="footnote"><a name="Footnote_118" id="Footnote_118" href="#FNanchor_118"><span class="label">[118]</span></a> There is a much easier explanation than this. Lombardy was at that time part of Gaul—Cisalpine Gaul. The Comacines appear to have gone @@ -20975,7 +20936,7 @@ nostri giorni. <i>Studi di P. Selvatico</i>, cap. ii. p. 48.</p> <p class="footnote"><a name="Footnote_128" id="Footnote_128" href="#FNanchor_128"><span class="label">[128]</span></a> <i>Storia di Como</i>, vol. i. p. 537.</p> -<p class="footnote"><a name="Footnote_129" id="Footnote_129" href="#FNanchor_129"><span class="label">[129]</span></a> In a work by Luigi Mazara (<i>Temple antédiluvien découvert dans l'île +<p class="footnote"><a name="Footnote_129" id="Footnote_129" href="#FNanchor_129"><span class="label">[129]</span></a> In a work by Luigi Mazara (<i>Temple antédiluvien découvert dans l'île de Calypso</i>, 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 @@ -20991,23 +20952,23 @@ purposes of strength.</p> <p class="footnote"><a name="Footnote_132" id="Footnote_132" href="#FNanchor_132"><span class="label">[132]</span></a> Selvatico, <i>Sull' architettura e scultura in Venezia dal medio evo</i>, p. 90. Venezia, 1874.</p> -<p class="footnote"><a name="Footnote_133" id="Footnote_133" href="#FNanchor_133"><span class="label">[133]</span></a> Affò, <i>Storia di Parma</i>, tomo iii. p. 14.</p> +<p class="footnote"><a name="Footnote_133" id="Footnote_133" href="#FNanchor_133"><span class="label">[133]</span></a> Affò, <i>Storia di Parma</i>, tomo iii. p. 14.</p> <p class="footnote"><a name="Footnote_134" id="Footnote_134" href="#FNanchor_134"><span class="label">[134]</span></a> See <i>Borgo S. Donnino e suo Santuario</i>, pp. 59 and 112, by an anonymous author.</p> -<p class="footnote"><a name="Footnote_135" id="Footnote_135" href="#FNanchor_135"><span class="label">[135]</span></a> "Dicta ecclesia fundata fuit anno Dominicæ Incarnationis millesimo +<p class="footnote"><a name="Footnote_135" id="Footnote_135" href="#FNanchor_135"><span class="label">[135]</span></a> "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."—<i>Storia della -Città e Chièsa di Bergamo</i>, Tomo III. lib. x.</p> +Città e Chièsa di Bergamo</i>, Tomo III. lib. x.</p> <p class="footnote"><a name="Footnote_136" id="Footnote_136" href="#FNanchor_136"><span class="label">[136]</span></a> 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.</p> +tres magistri de muro et lignamine laboraverunt ad laborem Ecclesiæ +novæ," etc.</p> <p class="footnote"><a name="Footnote_137" id="Footnote_137" href="#FNanchor_137"><span class="label">[137]</span></a> Merzario, <i>I Maestri Comacini</i>, Vol. I. chap. iv. p. 145.</p> @@ -21028,10 +20989,10 @@ 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.</p> -<p class="footnote"><a name="Footnote_143" id="Footnote_143" href="#FNanchor_143"><span class="label">[143]</span></a> "Anno itaque MXCIX ab incolis præfatæ urbis quæstum est ubi -tanti operis designator, ubi talis structuræ edificator invenire posset: et +<p class="footnote"><a name="Footnote_143" id="Footnote_143" href="#FNanchor_143"><span class="label">[143]</span></a> "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 +ædificator, cujus concilio indicatum est ejus basilicæ fundamentum."—From Muratori, quoted by Merzario, <i>I Maestri Comacini</i>, Vol. I. chap. iv. p. 168.</p> <p class="footnote"><a name="Footnote_144" id="Footnote_144" href="#FNanchor_144"><span class="label">[144]</span></a> See <a href="#ChapVI">chapter</a> headed "Troublous Times."</p> @@ -21066,7 +21027,7 @@ throughout the world."</p> <p class="footnote"><a name="Footnote_154" id="Footnote_154" href="#FNanchor_154"><span class="label">[154]</span></a> Merzario, <i>I Maestri Comacini</i>, Vol. I. chap. viii. p. 248.</p> -<p class="footnote"><a name="Footnote_155" id="Footnote_155" href="#FNanchor_155"><span class="label">[155]</span></a> V. Vairina, <i>I Scriptiones Cremonenses Universæ</i>, p. 14, N. 53.</p> +<p class="footnote"><a name="Footnote_155" id="Footnote_155" href="#FNanchor_155"><span class="label">[155]</span></a> V. Vairina, <i>I Scriptiones Cremonenses Universæ</i>, p. 14, N. 53.</p> <p class="footnote"><a name="Footnote_156" id="Footnote_156" href="#FNanchor_156"><span class="label">[156]</span></a> Thomas Hope, <i>Historical Essay on Architecture</i>, chap. xxi.</p> @@ -21082,11 +21043,11 @@ called <i>colligantes</i> or <i>fratres</i>; in the later ones they were Italian originally thus—"Busketus iacet hic qui motibus ingeniorum Dulichio fertur prevaluisse Duci."</p> -<p class="footnote"><a name="Footnote_161" id="Footnote_161" href="#FNanchor_161"><span class="label">[161]</span></a> Dædalus was called by the ancients the Father of architecture and +<p class="footnote"><a name="Footnote_161" id="Footnote_161" href="#FNanchor_161"><span class="label">[161]</span></a> 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.</p> -<p class="footnote"><a name="Footnote_162" id="Footnote_162" href="#FNanchor_162"><span class="label">[162]</span></a> "Concorsero da straniere parti Maestri piú accreditati a prestare la loro +<p class="footnote"><a name="Footnote_162" id="Footnote_162" href="#FNanchor_162"><span class="label">[162]</span></a> "Concorsero da straniere parti Maestri piú accreditati a prestare la loro opera in si importante Edifizio, sotto la direzione di Buschetto."</p> <p class="footnote"><a name="Footnote_163" id="Footnote_163" href="#FNanchor_163"><span class="label">[163]</span></a> Book signed with the number 38, entitled <i>Santuario Pisano</i>, in the @@ -21158,7 +21119,7 @@ ANNO DN͞I MO. CO. OCTUAG͞O SEPTIMO. SEPULCRŪ.</span><br /> <p class="footnote"><a name="Footnote_178" id="Footnote_178" href="#FNanchor_178"><span class="label">[178]</span></a> Merzario, <i>I Maestri Comacini</i>, Vol. I. chap. vi. p. 193.</p> -<p class="footnote"><a name="Footnote_179" id="Footnote_179" href="#FNanchor_179"><span class="label">[179]</span></a> <i>S. Martin von Lucca, und die Anfänge der Toscanischen Sculptur im +<p class="footnote"><a name="Footnote_179" id="Footnote_179" href="#FNanchor_179"><span class="label">[179]</span></a> <i>S. Martin von Lucca, und die Anfänge der Toscanischen Sculptur im Mittelalter</i>, von August Schmarsow, pp. 56, 57. Breslau, 1890.</p> <p class="footnote"><a name="Footnote_180" id="Footnote_180" href="#FNanchor_180"><span class="label">[180]</span></a> Cav. F. Tolomei, <i>Guida di Pistoja</i>, p. 74. Pistoja, 1821.</p> @@ -21186,7 +21147,7 @@ hundreds and units it signifies 90, consequently the date is 1196.</p> <p class="footnote"><a name="Footnote_187" id="Footnote_187" href="#FNanchor_187"><span class="label">[187]</span></a> 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 +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 @@ -21251,9 +21212,9 @@ 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.</p> -<p class="footnote"><a name="Footnote_202" id="Footnote_202" href="#FNanchor_202"><span class="label">[202]</span></a> "Circa an. sal. 1210, Juncta Pisanus ruditer a Græcis Instructus +<p class="footnote"><a name="Footnote_202" id="Footnote_202" href="#FNanchor_202"><span class="label">[202]</span></a> "Circa an. sal. 1210, Juncta Pisanus ruditer a Græcis Instructus amoenitas primus ex Italia artem apprehendit."—Padre Angeli, <i>Collis -Paradisi seu sacri conv. assissiens. historiæ</i>, Liber I. Tit. xxiv.</p> +Paradisi seu sacri conv. assissiens. historiæ</i>, Liber I. Tit. xxiv.</p> <p class="footnote"><a name="Footnote_203" id="Footnote_203" href="#FNanchor_203"><span class="label">[203]</span></a> (See Vasari, <i>Life of Andrea Tafi</i>.) Tafi was a nickname. In his matriculation to the Arte de' Medici e Speziali, where the painters had to @@ -21280,7 +21241,7 @@ in majori Ecclesia S. Maria.</i>"—See Morrona, <i>Pisa Illustrata</i>, etc <p class="footnote"><a name="Footnote_205" id="Footnote_205" href="#FNanchor_205"><span class="label">[205]</span></a> Quoted by Del Migliore in <i>Firenze Illustrata</i>, p. 414.</p> <p class="footnote"><a name="Footnote_206" id="Footnote_206" href="#FNanchor_206"><span class="label">[206]</span></a> Gozzoli is in some books entered as Benozzo di Lese de Fiorenza, in -others as "di Cese de Florentia." So uncertain is mediæval spelling.</p> +others as "di Cese de Florentia." So uncertain is mediæval spelling.</p> <p class="footnote"><a name="Footnote_207" id="Footnote_207" href="#FNanchor_207"><span class="label">[207]</span></a> Extract from the book entitled in Latin: "Introitus et exilus facti et habiti a Burgundio Tadi Operario opere sc͠e marie dis. majoris ecclē. sub <span class="s08">A.D.</span> @@ -21329,7 +21290,7 @@ 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 <i>fête</i> of +had another greater feast of the Four Martyrs in June, the grand <i>fête</i> of the guild.</p> <p class="footnote"><a name="Footnote_217" id="Footnote_217" href="#FNanchor_217"><span class="label">[217]</span></a> In Florence and Venice the <i>riveditori</i> are called <i>probi viri</i>, sometimes @@ -21392,7 +21353,7 @@ etc., vol. ii. p. 298.</p> <p class="footnote"><a name="Footnote_236" id="Footnote_236" href="#FNanchor_236"><span class="label">[236]</span></a> (The five preceding artists were in the Council of July 1355.)</p> -<p class="footnote"><a name="Footnote_237" id="Footnote_237" href="#FNanchor_237"><span class="label">[237]</span></a> Milanesi's <i>Vasari, Vita Niccolò e Giovanni Pisano</i>, vol. i. p. 388.</p> +<p class="footnote"><a name="Footnote_237" id="Footnote_237" href="#FNanchor_237"><span class="label">[237]</span></a> Milanesi's <i>Vasari, Vita Niccolò e Giovanni Pisano</i>, vol. i. p. 388.</p> <p class="footnote"><a name="Footnote_238" id="Footnote_238" href="#FNanchor_238"><span class="label">[238]</span></a> The Cardinal died in 1290, so he must have given the commission during his lifetime.</p> @@ -21435,13 +21396,13 @@ the Opera del Duomo.</p> <p class="footnote"><a name="Footnote_251" id="Footnote_251" href="#FNanchor_251"><span class="label">[251]</span></a> <i>Cronaca di Lorenzo Ghiberti MS.</i> 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 +scolpite e disegnate. Nella mia età vidi provvedimenti di sua mano, di dette istorie egregissimamente disegnati."</p> -<p class="footnote"><a name="Footnote_252" id="Footnote_252" href="#FNanchor_252"><span class="label">[252]</span></a> "Compose et ordinò Giotto il campanile di marmo di Santa Reparata +<p class="footnote"><a name="Footnote_252" id="Footnote_252" href="#FNanchor_252"><span class="label">[252]</span></a> "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."—<i>Commento alla +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."—<i>Commento alla Divina Commedia d'Anonimo fiorentino del secolo XIV.</i>, vol. ii. p. 188. Bologna, 1868.</p> @@ -21469,9 +21430,9 @@ Magister in MCCCLII, indictione sexta, die XX ottubris" (<i>sic</i>).—Mila Vasari, <i>Vita di Andrea Orcagna</i>.</p> <p class="footnote"><a name="Footnote_259" id="Footnote_259" href="#FNanchor_259"><span class="label">[259]</span></a> Extract from the books of the <i>Opera</i>, 1372, December 13—"Francischus -Salvetti de sua propria et spontanea voluntæ qui erat caput magister +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."</p> +vult confirmus esse caput magistro in presentæ operarorum."</p> <p class="footnote"><a name="Footnote_260" id="Footnote_260" href="#FNanchor_260"><span class="label">[260]</span></a> Milanesi, <i>Vasari, Vita Filippo Brunelleschi</i>, vol. ii. p. 351, note.</p> @@ -21490,9 +21451,9 @@ document 116.</p> this chapter from Merzario's collection of documents, not being able to get at the archives of Milan.</p> -<p class="footnote"><a name="Footnote_266" id="Footnote_266" href="#FNanchor_266"><span class="label">[266]</span></a> Magister Marcus de Frixono Inzignerius Fabricæ, decessit die supra +<p class="footnote"><a name="Footnote_266" id="Footnote_266" href="#FNanchor_266"><span class="label">[266]</span></a> 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.</p> +sepultum fuit honorifice in Ecc. S. Teglæ ipsi die post prandium.</p> <p class="footnote"><a name="Footnote_267" id="Footnote_267" href="#FNanchor_267"><span class="label">[267]</span></a> Is this by chance a French rendering of Giovanni da Campione?</p> @@ -21500,7 +21461,7 @@ sepultum fuit honorifice in Ecc. S. Teglæ ipsi die post prandium.</p> <p class="footnote"><a name="Footnote_269" id="Footnote_269" href="#FNanchor_269"><span class="label">[269]</span></a> Merzario, <i>I Maestri Comacini</i>, Vol. I. chap. xviii. p. 512.</p> -<p class="footnote"><a name="Footnote_270" id="Footnote_270" href="#FNanchor_270"><span class="label">[270]</span></a> Giulini, <i>Memorie della città e Campagna di Milano</i>, lib. lxxxv. (anno +<p class="footnote"><a name="Footnote_270" id="Footnote_270" href="#FNanchor_270"><span class="label">[270]</span></a> Giulini, <i>Memorie della città e Campagna di Milano</i>, lib. lxxxv. (anno 1452), p. 497.</p> <p class="footnote"><a name="Footnote_271" id="Footnote_271" href="#FNanchor_271"><span class="label">[271]</span></a> Merzario, <i>Op. cit.</i> Vol. I. chap. xviii. p. 521.</p> @@ -21524,8 +21485,8 @@ Maestri Comacini</i>, Vol. I. chap. xvii. p. 508, note 51.</p> <p class="footnote"><a name="Footnote_278" id="Footnote_278" href="#FNanchor_278"><span class="label">[278]</span></a> <i>Sulle Consorterie delle Arti Edificative in Venezia</i>, capo ii. p. 14.</p> -<p class="footnote"><a name="Footnote_279" id="Footnote_279" href="#FNanchor_279"><span class="label">[279]</span></a> "I quattro martiri patroni de la dita arte cioè San Nicostrato, San -Claudio, San Castorio e S. Superian."—Sagredo, <i>Sulle Consorterie è, etc.</i></p> +<p class="footnote"><a name="Footnote_279" id="Footnote_279" href="#FNanchor_279"><span class="label">[279]</span></a> "I quattro martiri patroni de la dita arte cioè San Nicostrato, San +Claudio, San Castorio e S. Superian."—Sagredo, <i>Sulle Consorterie è, etc.</i></p> <p class="footnote"><a name="Footnote_280" id="Footnote_280" href="#FNanchor_280"><span class="label">[280]</span></a> Agostino Sagredo, <i>Sulle Consorterie delle Arti Edificative in Venezia</i>, capo ix. pp. 84, 85.</p> @@ -21543,10 +21504,10 @@ Cadorin. Venezia, 1838.</p> <p class="footnote"><a name="Footnote_285" id="Footnote_285" href="#FNanchor_285"><span class="label">[285]</span></a> Monsignor Paolo Giovio wrote a poem on Antonio.</p> <p class="footnote"> -<span class="i2">"Un Riccio nel contado all 'età nostra</span><br /> +<span class="i2">"Un Riccio nel contado all 'età nostra</span><br /> <span class="i2">Nacque di Como, che fu buon scultore</span><br /> <span class="i2">E l'opre di costui Venezia mostra:</span><br /> -<span class="i2">Fece un Adamo, ch'è di tanto valore</span><br /> +<span class="i2">Fece un Adamo, ch'è di tanto valore</span><br /> <span class="i2">Che di bellezza cogli antichi giostra," etc.</span></p> <p class="footnote"><a name="Footnote_286" id="Footnote_286" href="#FNanchor_286"><span class="label">[286]</span></a> To show how difficult it is to trace names through the queer old @@ -21597,7 +21558,7 @@ Lateran were made. By this date he has risen to be Abbot.</p> <span class="i2"><span class="s08">DNI.</span> Honorii III. <span class="s08">PP.</span> subdiacon' et capellan'</span><br /> <span class="i2">C obolos aureos erogavit. Magist. Cosmos hoc op fecit.</span></p> -<p class="footnote"><a name="Footnote_298" id="Footnote_298" href="#FNanchor_298"><span class="label">[298]</span></a> <i>Storia della città di Roma nel medio evo</i>, translated into Italian by +<p class="footnote"><a name="Footnote_298" id="Footnote_298" href="#FNanchor_298"><span class="label">[298]</span></a> <i>Storia della città di Roma nel medio evo</i>, translated into Italian by Renato Manzato, vol. vii. p. 744. Venice, 1875.</p> <p class="footnote"><a name="Footnote_299" id="Footnote_299" href="#FNanchor_299"><span class="label">[299]</span></a> Merzario, <i>I Maestri Comacini</i>, Vol. II. chap. xxxviii. p. 413.</p> @@ -21610,7 +21571,7 @@ buildings at Pietrasanta.</p> <p class="footnote"><a name="Footnote_302" id="Footnote_302" href="#FNanchor_302"><span class="label">[302]</span></a> "Superstans marmorariis laborantibus, lapides marmoreas pro ecclesia et palatio Sancti Marci presidens fabrice palatii apostolici."—Muntz, <i>Les -Arts à la Cour des Papes</i>, vol. i. p. 606. It is interesting to note that the +Arts à la Cour des Papes</i>, vol. i. p. 606. It is interesting to note that the head of the <i>laborerium</i> bore the same title as in <span class="s08">A.D.</span> 1250, when Guido da Como wrote on his pulpit, "Superstans Turrisianus."</p> @@ -21618,8 +21579,8 @@ Como wrote on his pulpit, "Superstans Turrisianus."</p> <p class="footnote"><a name="Footnote_304" id="Footnote_304" href="#FNanchor_304"><span class="label">[304]</span></a> Merzario, <i>I Maestri Comacini</i>, Vol. II. chap. xxxvi. p. 359.</p> -<p class="footnote"><a name="Footnote_305" id="Footnote_305" href="#FNanchor_305"><span class="label">[305]</span></a> "Petrus de Martino Mediolanensis ob triumphalem arcis novæ arcum -solerter structum et multa statuariæ artis suo munere hinc œdi oblata, a +<p class="footnote"><a name="Footnote_305" id="Footnote_305" href="#FNanchor_305"><span class="label">[305]</span></a> "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, <i>Op. cit.</i> Vol. II. chap. xxxvi. p. 375, note 4.</p> @@ -21627,382 +21588,6 @@ sepulcro pro se ac posteris suis donari meruit MCCCCLXX."—Merzario, <p class="footnote"><a name="Footnote_306" id="Footnote_306" href="#FNanchor_306"><span class="label">[306]</span></a> Milanese State Archives. Documents of the Dukes Sforza.</p> </div> - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of The Cathedral Builders, by Leader Scott - -*** END OF THIS PROJECT GUTENBERG EBOOK THE CATHEDRAL BUILDERS *** - -***** This file should be named 42072-h.htm or 42072-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/2/0/7/42072/ - -Produced by Melissa McDaniel and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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