THE ROMAN LODGE
THE ROMAN LODGE
-------+-----------+--------------------------+----------------------------
1. | A.D. 88 | Magister Mutius | Pliny's architect.
| | |
2. | 7th or | M. Sisinius | Architect represented in
| 8th | | the ancient frescoes of
| century | | the subterranean church of
| | | St. Clement, as directing
| | | the building of it.
| | |
3. | | { M. Alberto } |
| | { } |
4. | | { M. Cosma } | His assistants in the
| | { } | work.
5. | | { M. Carboncelle } |
| | { } |
6 & 7. | | { "Sons of PVTE." } |
| | |
8. | about | M. Paschalis, named RITA | Sculptured the marble
| 11th | | candlestick and inlaid
| century | | pulpit of S. Maria in
| | | Cosmedin.
| | |
9. | 1148 | M. Paulus | A sculptor in marble.
| | |
10. | | M. Johannes } |
| | } |
11. | | M. Petrus } | His four sons who carved
| | } | the ciborium in S. Lorenzo
12. | | M. Anges (Angelo) } | fuori le mura in 1148.
| | } |
13. | | M. Sassone } |
| | |
14. | 12th | M. Niccolò, son of | Sculptured the curious
| century | Angelo di Paulus | mediæval candelabrum in
| | | San Paolo fuori le mura.
| | |
| | | { Two brothers from the
15. | 1196 | M. Ubert | { lodge at Piacenza, who
| | | { cast the bronze doors of
16. | | M. Petrus | { the sacristy of S. John
| | | { Lateran.
| | |
17. | 1190? | M. Lorenzo (ancestor of | Sculptured the façade of S.
| | the Cosmati) | Maria in Falleri, and the
| | | pulpit at Ara Cœli in
| | | Rome.
| | |
18. | 1205-10 | M. Jacopo, his son | Sculptured at Civita
| | | Castellana, San Saba, Rome,
| | | and at Subiaco.
| | |
19. | 1210-77 | M. Cosimo, son of Jacopo | Worked at Anagni. His four
| | | sons made the name of
| | | Cosimo famous, and were
| | | known as the Cosmati.
| | |
20. | 1231-35 | M. Luca, eldest son of | Died young.
| | Cosimo |
| | |
21. | 1231-95 | M. Jacopo, second son | C.M. of Orvieto in 1293.
| | |
22. | 1294 | M. Adeodatus, or | Made the ciborium in S.
| | Deodatus, third son. | Maria in Cosmedin; the
| | | cloister of S. John
| | | Lateran, etc.
| | |
23. | 1290-1303 | M. Giovanni, fourth son | Made several famous
| | | monuments in Rome.
| | |
24. | | M. Arnolfo, cum socio } | Made the tabernacle of S.
| | } | Paolo fuori le mura.
25. | | M. Petro } |
| | |
26. | 1224 | M. Rainaldo | Canon of Anagni, and member
| | | of the Masonic Guild.
| | |
27. | 13th | M. Bassaletti (written | His name is on the column
| century | Vassalecti or Basalecti) | of S. John Lateran, and on
| | | a marble lion in the porch
| | | of the S. Apostoli in Rome.
| | |
28. | 1447 | M. Beltramo da Varese | C.M. of the Roman Lodge
| | | in 1447: he designed
| | | the restorations of the
| | | Campidoglio, and built the
| | | Palace of the Conservators.
| | |
29. | " | Magister Pietro da | Assisted his uncle. He
| | Varese (nephew) | also worked at Orvieto in
| | | 1450.
| | |
30. | " | M. Paolo da Campagnano | Worked with his
| | (near Varese) | fellow-countrymen in
| | | 1452-3. Restored the roof
| | | at S. Pietro, 1460.
| | |
31. | 1455 | M. Antonio di Giovanni | { Joint architects of the
| | | { Pontifical Palace in
32. | | M. Paolino da Binasco | { the reign of Pope
| | | { Calixtus III.
| | |
33. | " | M. Bartolommeo of Como | Directed the works of
| | | fortification at Castel S.
| | | Angelo.
| | |
34. | " | M. Stefano da Bissone of | Sculptured in S. Spirito.
| | Como |
| | |
35. | 1460 | M. Manfred of Como } | Joint C.M. of the Vatican
| | } | from 1460 to 1463.
36. | " | M. Domenico of Lugano } |
| | |
37. | " | M. Angelo of Como } | Adorned some of the rooms
| | } | of the Vatican.
38. | " | M. Martino Lombardo } |
| | |
39. | 1466 | M. Giacomo di Cristoforo | A famous builder and
| | | sculptor, C.M. of the
| | | _laborerium_ at Rome. He
| | | designed Palazzo Venezia.
| | |
40. | " | M. Andrea of Arzo | Sculptor working under
| | | Giacomo. He carved some
| | | inlaid doors at the
| | | Vatican.
| | |
41. | 1466-70 | M. Giacomo di Giovanni } |
| | da Como } |
| | } |
42. | | M. Alberto di Giovanni } |
| | da Como (his brother) } |
| | } |
43. | | M. Nicola di Guglielmo } |
| | da Varese } |
| | } |
44. | | M. Pietro di } |
| | Cristoforo da Bregnano } | All these were Lombard
| | } | _Magistri_ receiving pay
45. | | M. Simone di Giovanni } | in the Roman Lodge between
| | da Binego } | 1460 and 1470.
| | } |
46. | | M. Giovanni di Antonio } |
| | da Bellinzona } |
| | } |
47. | | M. Michele Lombardo } |
| | } |
48. | | M. Benedetto Lombardo } |
| | } |
49. | | M. Domenico di Martino } |
| | Lombardo (son of } |
| | No. 38) } |
| | |
| | | { Two members of the
50. | 1475 | M. Baccio Pontelli | { Florentine Lodge who were
| | | { employed as architects at
51. | " | M. Giuliano da Majano | { the Vatican under
| | | { Manfred.
| | |
| | | { Florentine brothers,
52. | " | M. Giovanni di Dolci | { architects at the
| | | { Vatican, the Sistine
53. | " | M. Marco di Dolci | { Chapel, and the fort of
| | | { Civitavecchia.
| | |
54. | 1484-92 | M. Antonio di San Gallo | A Lombard, naturalized
| | | Florentine. He built the
| | | Borgia apartment.
-------+-----------+--------------------------+----------------------------
NAPLES BRANCH OF THE ROMAN LODGE
-------+-----------+--------------------------+----------------------------
1. | 1470 | Magister Pietro di | C.M. and designer of the
| | Martino Lombardo (from | triumphal arch at Castel
| | Milan). | Nuovo.
| | |
2. | | M. Isaja da Pisa } |
| | } |
3. | | M. Antonio da Pisa } |
| | } |
4. | | M. Domenico di } | Sculptors and architects
| | Montemignano } | employed by Pietro di
| | } | Martino in the work of the
5. | | M. Francesco Arzara } | arch.
| | } |
6. | | M. Paolo Romano } |
| | } |
7. | | M. Domenico Lombardo } |
| | di Sumalvito } |
| | |
8. | 1484 | M. Tomaso da Como | Sculptured monuments in
| | | Monte Oliveto.
| | |
9. | 1509 | M. Giovanni di Tomaso | Built the crypt of S.
| | (his son) | Gennaro at Naples.
-------+-----------+--------------------------+----------------------------
Mention has been made, in the second chapter, of the early Christian
Basilicas erected under Constantine, and the forty-six churches of the
same era, which Genseric destroyed, and how the three Basilicas which
were then saved--_i.e._ S. Agnese, San Lorenzo, and S. Maria in
Cosmedin--have, during subsequent restoration, revealed, in the parts
of the original buildings discovered, a style precisely analogous to
the Basilicas which sprang up in the north of Italy in the time of the
Lombards. The only difference between the fourth-century Roman
churches and the seventh-century Lombard ones is not in form or style,
but merely a deterioration in workmanship. This may easily be
accounted for by the two or three centuries of decadence between the
destruction of Rome by Genseric and his successors, in about A.D. 460,
when it is supposed the remnants of the _Collegio_ of architects fled
to Como, and their revival under the Longobardic kings. During those
centuries, no great buildings, or even restoration of edifices, took
place. The Eternal City seemed, even when free of invaders, to be
perishing in the clutches of time. Charlemagne led the way by
rebuilding one or two ancient temples and palaces, and he established
several schools, one of which was for Lombards--a proof that he was
interested in those architects, and that they still had a seat in
Rome, where the church of their four Patron Saints had stood, from the
far-off time of Pope Melchiades--A.D. 311.
Pope Adrian I. followed the example of his imperial ally, by restoring
several churches, to do which he had to ask Charlemagne for the
builders of the guild under his protection; a proof that no _Collegio_
existed in Rome at that time. Among these churches, one of the most
interesting was that of S. Agnese fuori le Mura, a beautiful
round-arched Basilica, built by Constantine in 324. As it now stands,
it is so far below the level of the ground that there is a long
descent of forty-five wide marble steps, to reach the vestibule of
the church. The Basilica itself is extremely interesting, as it
remains in its original eighth-century form, as Pope Adrian I.
restored it in 775. The plan is a pure and simple Comacine Basilica,
with its nave and two aisles, circular tribune and an upper gallery,
with the _cochleus_ or spiral staircase leading to it all complete.
The columns of the nave seem to have been taken from an ancient Roman
building. The capitals are all classical except the four nearest the
tribune, which are quite Comacine, with their simple upright volutes.
But the building space being limited, the extremely tall columns had
to be placed in such close juxtaposition, that the round arches
between them are diminished out of all harmonic proportion. The
triforium gallery, having shorter columns, gives a more pleasing
effect.
The spiral staircase leading to this is cut in the thickness of a
pilaster. The mosaics in the tribune are the original ones of Pope
Honorius' time, and of Byzantine style; the decorative paintings over
the whole church are mere modern frescoes.
But that the sculpturesque decorations were done by the Comacines, and
not by the Greek mosaicists, is suggested by several remains of the
ancient decorations of the church, which are preserved on the walls of
the stairway descending to it. Here is a _pluteus_, or stone panel,
probably from the front of the ancient tribune, and it is a beautiful
_intreccio_ precisely like the ones at S. Clemente. Two other panels
of the same parapet are of Roman design. One might imagine that the
Lombard architect copied them from the inner roof of the Arch of
Titus. Probably the guild, being of Roman origin, kept all these
classical decorative designs in its _laborerium_.
Now and then, in the ages following Adrian, we find a large-minded
Pope, who gave his thoughts to restoring the beauties of Rome: such as
Leo III. (796), Leo IV. (845), Innocent III. (1178), Nicholas III.
(1277), and Boniface VIII. (1294). This latter was the Pope who
consecrated the Duomo of Florence.
[Illustration: APSE OF THE CHURCH OF SS. GIOVANNI E PAOLO, ON THE
CŒLIAN HILL, ROME.
(_From a photograph by Alinari._) _See page 405._]
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. 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 under
Honorius III. in the beginning of the thirteenth century--as well as
the primitive churches of St. Peter, S. John Lateran, and S. Lorenzo,
were all early Comacine work; and that the exquisite cloister of S.
John Lateran, and the churches of S. Paolo fuori le Mura, Ara Cœli,
San Giovanni e Paolo, S. Maria sopra Minerva, etc., are all equally
Lombard churches of the twelfth and thirteenth centuries. Several
friezes and inscriptions go to prove the truth of this, besides those
eloquent lions that crouch beneath the columns in the cloister of S.
John Lateran and other places.
As this is not an architectural dissertation, but merely a tracing of
the work of this great guild, I will keep more to the inscriptions
relative to _Magistri_, than to a description of their works, which
has been done by so many writers.
In the old times before the painters and sculptors, and after them the
metal-workers, split off and formed companies of their own, every kind
of decoration was practised by the Masters. A church was not complete
unless it were adorned in its whole height and breadth with either
sculpture, mosaic, or paintings, and this from the very early times of
Constantine and his Byzantine mosaicists, and of Queen Theodolinda and
her fresco-painters, up to the revival of mosaics by the Cosmati, and
the fresco-painting in the Tuscan schools. But never were those arts
entirely lost.
The ideas which the Lombard architects brought up from Sicily, when
working there under the Normans, were the seeds of re-vivification,
and caused a tremendous evolution in the art of the guild. They saw
the decorative value of mosaic as it was used in the twisted Saracenic
columns, and they were charmed by the rich use of sculpture in the
graceful arches. From that time, every lodge throughout the land
seemed to invent a new style peculiar to itself.
The Romans, with their traditions of classic mosaics, revived the art
in Saracenic style as a means of decoration. The Tuscans, with their
wealth of coloured marbles, enlarged chromatic decoration into
chromatic architecture, 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 arches of their buildings.
The name of the Cosmati family has become generic for the peculiar
chromatic sculpture of Rome in the twelfth century; the family were
complete masters of the art. But though they may have taken the idea
of its revival as a decorative aid to sculpture, it was by no means
their invention, or even their monopoly. If you look at a Cosmati
pillar or panel, and then at the floor of any Roman church, you will
see that Cosmatesque decoration is but an adaptation of the old Roman
_opus Alexandrinum_. And we have plenty of proof of the fact that
other _Magistri_ of the guild also practised it. The ambone in S.
Cesareo in Palatio at Rome, of which we give an illustration, is
earlier than any of Cosimo's family.
[Illustration: BASILICA OF S. PAOLO _fuori le mura_, ROME.
_See page 405._]
There exists at Florence (in S. Leonardo) the ancient pulpit from S.
Piero Scheraggio, and which was said to have been brought there from
Fiesole. Its date is supposed to be before 1000 A.D. Though of a ruder
style, we have the Cosmatesque inlaying of glass and marble, as a
setting to sculptures distinctly Comacine, and of almost Longobardic
antiquity. In Sta. Maria in Cosmedin are two fine pulpits, on one of
which is a beautiful candlestick formed of a twisted column, inlaid in
the same style. The Comacine lion crouches beneath it, and on the base
is the inscription in Gothic letters, telling us that the worthy and
learned man Paschalis (called Rita), with great study made this
candlestick.[290] Then we have Nicolao di Rannuncio, whose name is
inscribed on the door of inlaid marble in the church of S. Maria at
Toscanella,[291] and a whole family whose names are inscribed on the
ciborium of S. Lorenzo fuori le Mura:[292] where it is written--"John,
Peter, Angelo, and Sasso, sons of Paul the sculptor, Magisters of this
Opera. I, the humble Abbot Hugh, had this work executed"[293] (Johs,
Petrus, Angĕs, et. Sasso. 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 climbing among them.
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 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 the
inlaid and sculptured tabernacle in S. Paolo fuori le Mura in 1285.
Merzario says that we must not confuse this Arnolfo with the
Florentine architect. Camille Boito, however, opines that he is the
same. Arnolfo had certainly a taste for the polychrome in
architecture, which may or may not have been imbibed in Rome, while
working at that lodge with Peter--whom Cavalcaselle considers was one
of the Cosmati, and who certainly did the ciborium at S. Paolo, though
Arnolfo's name is absent in that work. I have found some other members
of the Roman Lodge inscribed above a bronze door in S. John Lateran.
On the archivolt is written--"Hui opis Ubert et Petr: [^Fr]s.
Māgistri Lausenen. Fece[[^ru]nt." Over another
bronze door in the sacristy they are written as--"Ubert Magister, et
Petrus. Ei: Fr. Placentini Fecerunt Hoc. op.," and the date A.D. 1196.
Boito[294] sees nothing in this but a perplexing contradiction, that
in one place the brothers say they are from Lausanne, and in another
from Piacenza. It is to me plain enough. They are natives of Lausanne,
and consequently Lombards: they are also brethren of the lodge of
Piacenza, where they had most likely worked while the cathedral and
other buildings were being erected.
The date of the Baptistery door, and the connection of its maker with
the guild, are verified by the inscription on the other panel of the
bronze door, which says it was done in the fifth year of the
pontificate of Pope Celestine III. (_i.e._ 1196), and that Father
Giovanni, Cardinal of S. Lucia, the _Jubente_, or _camerarius_ of the
_Opera_, had it made.[295]
This door had engraved on it the design of the ancient façade of S.
John Lateran--a perfectly Lombard front consisting of two round-arched
arcades, with a little pillared gallery above.
[Illustration: PULPIT IN CHURCH OF S. CESAREO IN PALATIO, ROME.
MEDIÆVAL SCULPTURE INLAID IN MOSAIC.
(_From a photograph by Alinari._) _See page 406._]
The door of the Sacristy must have been cast before that of the
Baptistery, as in the first work Uberto is entitled _Magister_, and
Petrus only named as his brother, whereas in the second the younger
brother must have also graduated, and has in his turn attained to the
dignity of _Magister_.
We trace the same gradual progress through the ranks of the Guild in
the Cosmati family, whose connection with the Roman lodge we must now
trace. Several generations of them were _Magistri_--
Lorenzo
|
Jacopo (some works, 1205-1210)
|
Cosimo, 1210-1277
|
+------------+------+------+------------+
| | | |
Luca Jacopo Adeodatus Giovanni
1231-1235 1231-1293 1294 1296-1303
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.
Jacopo alone, with the title of _Magister_, sculptured the 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 the magnificent portal, is inscribed "Laurentius cum
Jacobo Filio suo, Magistri doctissimi Romani H(oc) opus fecerunt."
This proves my assertion that they had graduated in the Roman Lodge,
and if further proof is required, this portal bears the universal mark
of the Comacine Masters at this era--its columns rest on lions.
Similar inscriptions are on the ambone of Ara Cœli, and the doorway
at Falleri. The inscription on the door of San Saba, dated 1205,
is--"Ad honorem domini nostri I͞HU [^XP]I Anno VII. Pontificatus
domini Innocentii III. PP Hoc opus domino Johanne, Abbate
Jubente[296] factum est per manus magistri Jacobi." Up to this time we
have no proof that the family was of Roman origin; they are merely
given as members of the Roman Lodge, which we have seen was of Lombard
origin. They were afterwards made Roman citizens.
After these works we find Cosmato, the son of Jacopo, old enough to
assist him. That same frontal of the Duomo at Civita Castellana has on
the cornice over the portico these words inlaid in letters of
gold--"Magister Jacobus civis Romanus cum Cosma filio suo, Fieri fecit
hoc opus A. D͠NI. MCCX." Cosmato's name is also inscribed as
assisting his father in the door of the church of San Tommaso in
Formis at Rome. Next, in 1224, we find young Cosmato a full-fledged
_Magister_, working at the cathedral of Anagni, which was in those
days an important city, and the residence and birthplace of several
Popes. The whole pavement there is a beautiful work of inlaid marbles,
and bears an inscription saying that the Venerable Lord Bishop Albert
had the pavement made; Magister Rainaldo, Canon of Anagni to Pope
Honorius III., and the honourable sub-deacon and chaplain assisting in
the expense, which was a hundred gold _oboli_; Magister Cosmato
executing the work.[297] Magister Rainaldo, the Canon, must have been
one of the ecclesiastic members of the guild, and showed so much
respect for the privilege that he preferred the title of _Magister_ to
the grander one of _Venerabilis_, to which his office of Canon would
have given him right.
After this time, Cosmato is always written as Magister; his name
appears on the altar of the crypt of S. Magnus in the cathedral of
Anagni, which was also a commission of Bishop Alberto in 1230. Next,
we perceive that Cosmato has married and has a goodly family of sons,
who, according to ancient custom, are all educated in the guild.
Luca and Jacobo, the two eldest, helped him in the mosaic pavement of
the crypt at Anagni, and in the cloister of Santa Scolastica at
Subiaco. This is a most beautiful work in transition style. The
columns are alternately single and double, the single ones with a wide
projecting abacus. Some are slight and straight, others spiral and
beautifully inlaid between the sculptured ribs. The arches resting on
these fanciful columns are on two sides round, but on the other sides
are slightly pointed. Above the arches is a sculptured cornice and a
frieze of mosaic. It is altogether very beautiful.
In 1277 Cosmato was employed by Pope Nicholas III. to restore the
chapel "Sancta Sanctorum" in the Basilica of S. John Lateran, the
altar of which was reserved for the Popes alone. Luca appears to have
died young, but Jacopo at eighty years of age was a master builder at
the cathedral of Orvieto, where in 1293 he is written in the books as
"Maestro de' Muratori Jacopo di Cosma Romano."
The third son, Adeodatus, or Deodatus, rose high in the guild. In the
pavement of S. Jacopo alla Lungara, before it was destroyed, the
following epigraph was inlaid, which was copied by Crescimbeni--"Deodatus
filius Cosmati, et Jacobus fecerunt hoc opus." In a later work, the
ciborium once in S. John Lateran, now in the cloister, we find that
Deodatus has risen to the rank of _Magister_. It was a commission from
the Colonna family, whose arms are sculptured on it. The ciborium in
S. Maria in Cosmedin, ordered by Cardinal Gaetani, nephew of Pope
Boniface VII., must have been earlier than this, for he has merely
signed "Deodat. me fec."
Cosmato's fourth son, Giovanni, first appears in an independent work
in 1296, when, on the elegant sepulchre of Bishop Durante, he
signs--"Jo͞hs filius Magri Cosmati fec̄ hoc op." Similar epigraphs
are on the tomb of Cardinal Gonsalvo in S. Maria Maggiore, and a
monument to Stefano de' Surdi in Santa Balbina.
In all these works of the Cosmati, Camille Boito finds 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 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 forms, and so prepared Rome
for the Renaissance style, which arose from the humanist movement in
the Cinque-cento epoch.
The next great patron of the Lombard Guild in Rome was Pope Nicholas
V. (Thomas of Sarzana), of whom Gregorovius said--"This man had only
two passions--collecting books and building." His dominating idea was
the directing of a new Renaissance. According to him, "Rome ought to
become the imperishable monument of the Church, or rather the Papacy,
and re-arise in admirable magnificence before the eyes of all
people."[298] Nicholas V. had the first idea of the rebuilding of St.
Peter's, and the Vatican, but one man's life was not long enough for
such great works. He, however, restored the Campidoglio, Castel S.
Angelo, San Todaro, S. Stefano Rotondo, the palace of S. Maria
Maggiore, the fountain of Trevi, the walls of Rome, and several of the
State fortresses.
[Illustration: CANDELABRUM IN S. PAOLO AT ROME, 12TH CENTURY.
_See page 407._]
He got some of his architects, such as Leon Battista Alberti and
Rossellino, from the Florentine Lodge, but by far the greater part of
them were Lombards. The chief of these was Master Beltramo da Varese,
of whom we have heard much in the Lombard Lodges. With him were his
nephew Maestro Pietro di Giovanni, Maestro Paolo da Campagnano (a
village near Varese), and Maestro Giacomo di Cristoforo. Rossellino
had begun the works at St. Peter's in a kind of reverse fashion,
starting with the apse. The continuation of this tribune was confided
to Maestro Beltramo, who set to work in good earnest. He made vast
lime and brick furnaces, filled the _laborerium_ with wood, ropes,
ladders, etc., engaged sub-architects and _Magistri_ with bands of
workmen under them, most of whom came down from the Como region. In
fact, there was an army of Lombards.[299] The registers of the
_Opera_, now in the Vatican, mark large payments to Magistro Beltramo
and his nephew Pietro di Giovanni, who became chief architect after
his uncle's death.
Besides the Tribune of St. Peter's, the two relatives were employed to
rebuild the Campidoglio. Muntz publishes some notes taken from the
registers of the Apostolic Camera, recording payments made between
1447 and 1448 to Maestro Beltramo, and some of his associates
(_socii_), for the roof and marble windows of the Campidoglio and the
palace of the Conservators. In 1452 Pietro da Varese is found
continuing the work alone. The documents recently published from the
registers of the Vatican have these entries--
"1452. _December 31._--To Maestro Pietro da Varese, nephew of Maestro
Beltramo, 1000 gold ducats for part of the Tower he is building behind
the Campidoglio, at the side where they sell salt by retail. T. S.
1452, fol. 216, cf. fol. 194."
"1453. _March 9._--D. 112, b. 56, d. c., for remainder and completion
of the contract of the Tower he (Pietro) has made at the Campidoglio,
which in full amounts to 1212 ducats, of which he received last year
at different times, 1000 (and 100) ... and thus it is registered by
Janni di Jordani (Notary V. fl. 126. 10. 93)."[300]
We find Pietro in 1450 sculpturing in the cathedral at Orvieto, where
in a public act he is described as a good and clever sculptor
("lapidum sculptor bonus et doctus"), and prayed to remain at Orvieto
in the service of the lodge there.
Muntz speaks very highly in praise of the Lombard sculptor, Giacomo di
Cristoforo[301] da Pietrasanta, saying that although his name is
little known to biographers, he holds a high place in Roman art of the
fifteenth century, and merits to be ranked among the most celebrated
artists of his time. Many of the buildings which Vasari ascribes to
Giuliano da Majano and Baccio Pontelli are in reality due to him; for
instance, the Palazzo Venezia, which was rebuilt under Pope Paul II.
(Pietro Barbo, who succeeded to the papal throne in 1464). Now
Giuliano da Majano only came to Rome towards the end of the reign of
Pope Sixtus IV., and could not therefore have been employed by Paul
II. In fact, Muntz, after many researches, concludes that the chief
architect was Maestro Giacomo da Pietrasanta, who is in the registers
of 1467 qualified by the title of _Soprastante_ in the _laborerium_ of
the church and palace of S. Marco at Rome, and in 1468 is written as
the president of the building of the Palazzo Apostolico or
Vatican.[302] In fact, Giacomo da Pietrasanta, the Lombard, was Grand
Master of the whole Roman Lodge during these years.
But Maestro Giacomo was not the only Comacine employed in the Palazzo
Venezia. A contract dated June 16, 1466, names Magister Manfred of
Como and Andrea of Arzo, whom we have seen in Venice, as _magistros
architectos_,[303] and the registers reveal a whole army of master
builders and sculptors whose names will be found in the list appended.
Muntz quotes no less than twenty-five, many of whom have been familiar
to us at Milan, Siena, and Florence.
Although when Calixtus III. (Alfonso Borgia) succeeded Nicholas V. in
1455, he had no great ideas about resuscitating the architectural
glories of ancient Rome, he nevertheless employed the Lombard Masters
to finish the works begun. Maestro Pietro da Varese, and Maestro Paolo
da Campagnano, with Maestro Antonio di Giovanni from Milan, and
Maestro Paolino da Binasco, were joint architects of the Pontifical
Palace. Maestro Bartolommeo da Como, whom we have known at Milan and
Pavia, was 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.
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 little for Rome. He employed the same Pietro da
Giovanni and Paolo da Campagnano between 1460 and 1463, for the roof
of S. Pietro, which menaced destruction. The palace of the Vatican was
placed under the architectural superintendence of Maestro Manfred of
Como and Domenico of Lugano. The first appears to have been designing
architect, and the second master builder, as he commanded squadrons of
workmen, and was assisted in ruling them by his brother Antonio.
Maestro Angelo da Como, and a certain Martino Lombardo, rebuilt the
chambers which had been destroyed by fire, and adorned the "Hall of
the Pavilion" and "Hall of the Parrot."
In the time of Sixtus IV. (Francesco della Rovere, 1471-1484) the
Lombards of the Roman Lodge were joined by their brethren from
Florence, and now we find the two groups inextricably mixed. Baccio
Pontelli and Giuliano da Majano work together with Manfred the Lombard
and Paolo da Campagnano in the administration of the works of the
Vatican; while Francesco and Andrea, both Lombards, are found carving
in wood and executing beautiful doors in _intarsia_, together with
Giovanni and Marco di Dolci, Florentines; Giovanni de' Dolci with his
colleagues (chiefly Comacines) worked at the Sixtine Chapel, some
parts of the Vatican, and the fortress of Civita Vecchia, which Baccio
Pontelli finished. Pope Innocent VIII. (Cibo, 1484-92) added the
Loggia Belvedere to the already immense palace of the Vatican, and
Alexander VI., a Spaniard, built the Borgia apartment, for which he
employed Antonio di San Gallo, or from St. Gall, a Lombard naturalized
Florentine, whose assistants in the work seem to have been chiefly
Lombards.
It was this influx of Florentines, who were fresh from the humanistic
influences of the classic revival of literature under the Medici, and
therefore more open to further inspirations from the influences of
antique Rome, which brought about the revival of classic forms in
architecture in Rome. Bramante and San Gallo began it in 1503, Raphael
and Michael Angelo carried it on; and such hold did the Renaissance
style take on the minds of people in the late Cinque-cento era, that
it spread, and overpowered the Gothic from end to end of Italy.
Vasari raved about the faults of the old architecture and its
_goffissima_ style, upholding the chastened order of the new, but
whatever may have been the merits of Renaissance, as Bramante and
Michael Angelo practised it, their later followers committed quite as
many sins against reason and good taste as any Comacine or Romanesque
architect ever did. Look, for instance, at the church of S. Carlo, in
the Corso at Rome, with its gigantic pilasters running up the whole
height of a front, which is, by its square windows, cut up into three
storeys, giving the lie to the unity of space implied by the mock
columns; and at San Firenze in Florence, where half an arch runs up
into the air and stops short, as a defiance to all laws of gravity.
Arches or pediments, with a _hiatus_ where the key-stone should be,
and which, logically speaking, can support nothing, are the most
common blots on a late Renaissance building.
But we have nothing to do with this era. It was only a late survival
of a side issue of the Comacine Guild which had been practically
dissolved before Michael Angelo's time, although the influence of its
smouldering ashes vivified the art even of that great genius.
The great family of sixteenth-century architects, the Fontana, was of
Comacine origin, though I believe the guild was dissolved by their
time. Domenico Fontana was born at Melide near Como; his elder brother
Giovanni, famous for his stucco work, had preceded him in Rome, but
Domenico was an artist of a wider kind. The Cardinal Felice di
Montalto soon discovered his capacities, and entrusted him with the
erection of the Cappella del Santissimo in S. Maria Maggiore. Here a
very unusual episode occurred. The Cardinal had not means enough to
finish the work, and the brothers Fontana, instead of suing him for
their pay, lent him 1000 scudi. Of course the Cardinal was their great
patron after this, and recommended them to Pope Sixtus V., who
employed them in the Vatican to build the Belvedere and the Library.
Domenico also enshrined the Scala Santa at S. John Lateran; he placed
the obelisks on Piazza S. Giovanni and Piazza S. M. Maggiore; set up
the Castor and Pollux on the Quirinal; built the bridge at Borghetto,
the hospital of S. Sisto, and restored the Alessandrini-Felice
aqueduct; embanked the Fiumicino near Porto; made the water conduit at
Civita Vecchia, which implied tunnelling under a mountain; and the
great aqueduct of Acqua Paola from Bracciano to Rome, thirty-five
miles long; besides constructing fountains everywhere, in Rome and
Frascati.
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 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 number of their buildings was
legion; they and the family Della Porta, who also came to Rome from
Lake Lugano, divided the renovation of Rome between them. Girolamo
della Porta, like the Fontanas, was a naturalized Roman.
The Fontana family forms a link with Naples, though not the only
connection of that city with the guild. The Comacine Masters kept up
their connection with Naples long after the time of the Normans, when
Maestro Buono built the Castel Capuana for William I. Merzario claims
for one of his descendants, Buono dei Buoni, the credit of having
first invented painting in oils, which he is supposed to have taught
privately to Antonello of Messina.[304] Several names of the Solari
family, so famous at Milan and Venice, turn up at Naples in the
fifteenth century, and then a famous work was put into Lombard hands.
When Alphonso of Aragon made his entry in 1443, the governors of the
city decreed that a triumphal arch should be built to commemorate the
event. It was placed at the entrance of Castel Nuovo, and consists of
two round towers, with an arch between them, supported on Corinthian
columns. The arch is surmounted by a frieze and cornice, with a
parapet above, enriched with bas-reliefs representing the entry of
King Alphonso. The whole is surmounted by statues of saints and the
cardinal virtues.
The construction of this fine arch has been attributed to Giuliano da
Majano, but as he was at the time only a boy of ten or twelve years
old, this could not be. Sig. Miniero Riccio, after a diligent search
in the Neapolitan archives, has found some acts, which give the names
of sculptors employed on this. We find Pietro di Martino from Milan,
head architect; Isaja da Pisa, Domenico di Montemignano, Antonio da
Pisa, Francesco Arzara, Paolo Romano, and Domenico Lombardo. This
authorship is confirmed by the epigraph in the church of S. Maria la
Nuova in Naples, dated 1470, in memory of Pietro di Martino, Milanese,
who, for his merit in erecting the arch at Castel Nuovo, was created
Cavalier by King Alphonso, and a sepulchre was given in this church
for him and his descendants.[305]
If the date had only been a little later, we might have supposed this
to be Pietro Lombardo, son of Martino Solario, who had won such fame
in Venice; but as he died in 1512, it is scarcely likely he would have
been well-known enough to have obtained such an important commission
in 1440. Knowing how a certain succession of names was, and is, kept
up in Italian families, this Pietro and Martino might have been the
father and grandfather of the Martino da Carona, father of Pietro
Lombardo, especially as they had Domenico, also a Solari, with them.
King Alphonso was a good patron to the Comacine Masters, and greatly
appreciated them. On February 16, 1456, a gentleman at Terracina wrote
to the Duke Francesco Sforza, saying that _some master builders from
Como_, in leaving the realm of Naples, had been made to forfeit 190
ducats, on which they appealed to the King. Alphonso ordered the
restitution of the money, excepting a small tribute to the
confiscators, which he made good to the Comacine Masters out of his
own purse.[306]
From 1484 to 1508, a Maestro Tomaso da Como, sometimes called _Tomaso
delle parti di Lombardia_, master sculptor, was living in Naples. He
was paid for the carving of the principal door of the church of the
Annunziata, which his son Giovanni finished after his death. His will
still exists. It is dated July 2, 1508, and says that "Mastro Tomaso
de Sumalvito (now Sanvito) de la terra de Como de la parti di
Lombardia, marmorario habitante in Napoli: istituisce herede Joan
Thomaso de Sumalvito de Napoli suo figlio," and declares besides that
a debt of three ducats is still owing to him on the work for the great
doorway of the church of the Annunziata. The fine monument to Signor
Antonio d'Alessandro and his wife, Maddalena Riccio, in the church of
Monte Oliveto, and that of the Bishop of Aversa in the same church,
were sculptured by Tommaso de Sanvito, as he is called in the books of
Orvieto, where he was head architect.
His son Giovanni built, in 1509, the fine chapel of the Macellai in
the church of S. Eligio, and the "Confession" of S. Gennaro under the
tribune of the cathedral of Naples, where the yearly miracle of the
liquefaction of the blood of S. Gennaro takes place. Even the
beautiful Royal Palace 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) 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 of
the towns he had embellished. It is this which makes it so difficult
to trace the artists--the same man may appear successively as being a
citizen of Rome, of Orvieto and Siena, and yet have been born at Como
in spite of all.
Enough has been said to show that at Rome and Naples, as well as in
other cities, the great Lombard Guild led the way. The guild, which
may be looked on as the flower of the Renaissance, had, however,
reached the period when its blossoming time was over; its many petals,
too much spread, were falling from all its branches. Some had dropped
off long since, and new suckers formed in the painting academies, and
the sculptors' companies, at Siena, Florence, Venice, and other parts.
These suckers had, by the fifteenth century, grown into independent
plants, that threatened to overshadow and choke the ancient trunk. Art
knowledge of all kinds had now become dispersed outside the jealous
custody of the once secret Freemasonry, and the Cinque-cento artist
stood alone on his own merit, without needing the _cachet_ of the
Masonic title of _Magister_. There were, after this time, Masters in
every other art or trade guild, the nomenclature of this most ancient
and universal of guilds having been adopted by all other guilds
whatsoever; so that even in our own England we find Master Humphrey
the iron-worker, or Master Ambrose the cloth-weaver; and in Italy
Maestro Giorgio the maker of majolica, and Maestro Pollajuolo the
metal-worker; and in Germany the "Little Masters," who, I opine, were
a German group of painters, who, like their brethren of the South,
seceded from the Masters _par excellence_, i.e. the great Masonic
Guild.
FOOTNOTES:
[290] VIR P(RO)BUS. | DOCT' PASCA- | LIS RI | TA, VO CAT: S͞VMO CUM
STUDIO | C͞ODIDIT | H͞UC CEREVM:
[291] Marchese Ricci, _Dell' Architettura in Italia_, Vol. I. chap. ii.
p. 467.
[292] _Ibid._
[293] _Ibid._
[294] Boito, _Architettura del Medio Evo. I Cosmati_, p. 124.
[295] † ANNO V̊ PONT[^IF] [^DN]I
CELESTINI III [^PP] [^GE] GIO
CA͠DIN LUCE ET DE [^DN]I PP CAMERARIO JUBENE OPUS ISTUD
FACTÛ Ê.
[296] This Giovanni, _Jubente_ or President of the lodge, would
probably be the same one under whom the bronze doors of the Baptistery
of S. John Lateran were made. By this date he has risen to be Abbot.
[297]
D͠NS. Albertus. Venerabilis an
agnin e͞ps fecit hoc fieri paviment͠u pi (pro illo) construendo
magister Rainaldus anagnin canonicus,
DNI. Honorii III. PP. subdiacon' et capellan'
C obolos aureos erogavit. Magist. Cosmos hoc op fecit.
[298] _Storia della città di Roma nel medio evo_, translated into
Italian by Renato Manzato, vol. vii. p. 744. Venice, 1875.
[299] Merzario, _I Maestri Comacini_, Vol. II. chap. xxxviii. p. 413.
[300] Merzario, _I Maestri Comacini_, Vol. II. chap. xxxvii. p. 415.
[301] Probably the son of Cristoforo di Milano, who worked so much in
Venice and Udine. He may have been employed by the Medici in their
buildings at Pietrasanta.
[302] "Superstans marmorariis laborantibus, lapides marmoreas pro
ecclesia et palatio Sancti Marci presidens fabrice palatii
apostolici."--Muntz, _Les Arts à la Cour des Papes_, vol. i. p. 606.
It is interesting to note that the head of the _laborerium_ bore the
same title as in A.D. 1250, when Guido da Como wrote on his pulpit,
"Superstans Turrisianus."
[303] Merzario, _I Maestri Comacini_, Vol. II. chap. xxxviii. p. 424.
[304] Merzario, _I Maestri Comacini_, Vol. II. chap. xxxvi. p. 359.
[305] "Petrus de Martino Mediolanensis ob triumphalem arcis novæ arcum
solerter structum et multa statuariæ artis suo munere hinc œdi
oblata, a divo Alphonso rege in equestrem adscribi ordinem et ab
ecclesia hoc sepulcro pro se ac posteris suis donari meruit
MCCCCLXX."--Merzario, _Op. cit._ Vol. II. chap. xxxvi. p. 375, note 4.
[306] Milanese State Archives. Documents of the Dukes Sforza.
EPILOGUE
When I began writing this work, my object was to 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 and changed aspect, and instead of several loose strands with
here and there detached links, it becomes one continuous whole, from
early Christian Rome to the Rome of Raphael and Michael Angelo.
The famous artists who formed the rise of the different schools of the
Renaissance, were not each a separate genius inspired from within, but
brethren of one Guild, whose education was identical, and whose
teachers passed on to them what they received from their
predecessors--the accumulated art-teaching of ages.
I am aware that in tracing the progress of this great Guild, the weak
points are the derivation of the Comacines of Lombard times from the
Roman public architects, who built for Constantine and Pope Adrian;
and the connection of this Lombard Guild with the early Cathedral
builders of the eleventh and twelfth centuries.
Between each of these transitions there lies a century or two of
decadence, during the barbaric invasions and general demoralization
which I have indicated in the earlier chapters. But I think I have
given arguments enough to prove these affinities. For the first, we
have the identity of form and ornamentation in their works, and the
similarity of nomenclature and organization between the Roman
_Collegio_ and the Lombard Guild of _Magistri_. Besides this, the
well-known fact that the free republic of Como was used as a refuge by
Romans who fled from barbaric invasion, makes a strong argument.
For the second, we may plead again the same identity of form and
ornamentation, and a like similarity of organization and nomenclature.
Just as King Luitprand's architects were called _Magistri_, and their
grand master the _Gastaldo_, so we have found the great architectural
Guild in Venice, in the thirteenth, fourteenth, and fifteenth
centuries, using the very same titles, and having the same laws.
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; the _Gastaldo_ here becomes
_Arch Magister_. In some Lodges it is more significant still, the
ancient Roman _Superstans_ is modified into _Soprastante_, thus
forming a very suggestive connection between early Christian Rome and
Tuscany. Again, the hereditary descent is marked by the patron saints
of the Lombard and Tuscan Lodges, being four martyr brethren from a
Roman _Collegio_. All these and other indications are surely as strong
as documental proof.
The lists of the Comacine Guild begin with a few masters, who are
seemingly members of three or four families only, the men of the
Buoni, Antelami, and Campione schools forming the aristocracy of the
Guild.
We have seen how, as the church-building era developed, the
brotherhood grew and multiplied.
The Antelami family founded Lodges in Parma, Padua, and Verona; the
Campione at Modena, Bergamo, and Cremona; the Buoni family spread
eastwards to Venice, and southwards to Tuscany, founding everywhere
_laboreriums_ and schools.
Three hundred years later we see the descendants of the Buoni and
Campione artists together, building the Gothic and Renaissance palaces
at Venice; masters of the Graci and Antelami families rearing the
cathedrals of Siena and Orvieto; and in all the ages dispersing about
Italy from north to south. We have seen how all these schools
increased; native artists joining the Lombard ones, and working
together with them, and though a distinctive local style was the
characteristic of each school, yet in their fundamental principles
they all had one rule and one teaching.
As the Guild increased and multiplied, in the times of the foundation
of rival Communes, all vying with each other in building glorious
churches, noble palaces, and fine houses, it frequently happened that
the primitive Lombard element was overpowered by the newer local one,
and then schisms and disintegration took place.
Separate local Guilds were thus formed at Venice, Siena, and Florence.
The painters next seceded, and started painting as an art independent
of church decoration; and thus the Academies of Art were formed. This
split took place so late after the city _Arti_ or Guilds were
established, that the painters of Florence, having left the
Freemasons, had no Guild of their own; and if they wished to enjoy
civic privileges, they had to enroll themselves in the Company of the
Gold-workers, or that of the Apothecaries. Here we get at once a clear
explanation of the goldsmith painters in Florence.
This disintegration reached its climax when Brunellesco defied the
_Maestranze_ or Masonic Magisters, proving that the Freemasons had not
the exclusive right to genius; and that genius had its own claims to
be heard, even without the pale of that monopolizing Guild. I think
that his dome literally crushed out the almost effete institution of
Freemasons, and that the Florentine Lodge was broken up soon after;
for by Michael Angelo's time the Medici had to supply a school for
sculptors, which we have seen was placed under the instruction of old
Bertoldo,--a lingering relic of the great company.
At first sight it might appear that this revelation of the universal
fraternity would materially alter the history of art. In some aspects
it does; for we can no longer say that Maitani built Siena cathedral,
or Arnolfo that of Florence, nor assert that St. Mark's at Venice was
entirely Byzantine, or Milan cathedral the work of a German architect.
They were all the joint labours of the same brotherhood of artists,
the plans made by the first Arch-master being modified a score of
times as the centuries 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 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 the
walls built by the hands of their brethren of the great Guild.
The recognition of the complex brotherhood only renders history more
compact and concentrated, giving it a rich and perfect unity, and
showing a gradual and consistent development, like some perfect flower
which grows leaf by leaf, bud by bud, until the petals fall from its
own over-blossoming. But its seeds are left to future ages.
AUTHORITIES CONSULTED
TROYA. "Codice diplomatico Longobardo."
"Antichità Longobardico-Milanese."
DIFENDENTE E GIUSEPPE SACCHI. "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.
PROF. MERZARIO. "I Maestri Comacini." Milano, 1893. Two volumes, large
8vo., published at Milan by Giacomo Agnelli. "Via S. Margherita," No.
2; price 12 frs.
MARCHESE GIUSEPPE ROVELLI. "Storia di Como."
CESARE CANTÙ. "Storia di Como." Como, 1829. Ostinello.
MARCHESE AMICO RICCI. "Storia dell' Architettura in Italia dal secolo
IV al XVIII." Modena, 1857. 3 vols. large 8vo.
RAFFAELLO CATTANEO. "L' Architettura in Italia dal secolo sesto al
decimo." Venezia, 1889. Ferdinando Ongania.
DOTT. GAETANO MILANESI. "Documenti per la storia dell' Arte Senese."
Siena, 1854. Porri. 2 vols. 8vo.
DOTT. GAETANO MILANESI. "Annotazioni alle opere di Vasari." Florence,
1882. Sansoni. 8 vols. large 8vo.
JAMES FERGUSSON, M.R.I.B.A. "Handbook of Architecture." London, 1859.
Murray.
ALESSANDRO DA MORRONA. "Pisa illustrata nelle arti del disegno."
Livorno, 1812. 3 vols.
CAV. FRANCESCO TOLOMEI. "Guida di Pistoja per gli amanti delle Belle
Arti." Pistoja, 1821.
CESARE GUASTI. "La Cupola di Santa Maria del Fiore." Illustrata con i
documenti dell' archivio. Barbera. Florence, 1857.
CESARE GUASTI. "Santa Maria del Fiore." La costruzione della chicesa
del campanile, secondo i documenti tratti dall' archivio dell' opera
secolare e da quello di stato. Firenze. Ricci, 1887.
AGOSTINO SAGREDO. "Sulle Consorterie delle Arti Edificative in
Venezia. Studi storici con documenti inediti." Venezia, 1857.
TOMMASO HOPE. "Storia dell' Architettura." Italian translation of
Hope's "Historical Essay on Architecture," by Sig. Gaetano Imperatori.
Milano, 1841.
"Archivio storico Siciliano." Nuova serie, Anno IX. "Una scultura di
Bonaiuto Pisano."
"Archivio storico Longobardico," 1898. "Descrizione di una chiesa
antica sul monte di Civate."
GIOVANNI VILLANI. "Storia di Fiorenza." Filippo e Jacopo Giunti, 1587.
MURATORI. "Annali d'Italia." Milano, 1744. 13 vols. quarto.
MURATORI. "Scriptores Rerum Italicarum."
CAMILLO BOITO. "I Cosmati" (pamphlet).
DOTT. GIOVANNI GAYE. "Carteggio inedito d'artisti dei secoli XIV, XV e
XVI." Firenze, 1839. Molini. 3 vols. 8vo.
DOTT. CARLO DELL' ACQUA. "Dell' insigne reale Basilica di S. Michele
Maggiore in Pavia." Pavia, 1875. Fusi.
FATHER MULROODY. "The Basilica of San Clemente."
DEL ROSSO. "L' Osservatore Fiorentino." Third Edition. 1821. Ricci.
Florence. 8 vols. 8vo.
CIAMPI. "Archivio del Duomo di Pisa."
"Instituzioni, riti e ceremonie dell' ordine dei Francs-maçons, ossia
Liberi Muratori." Venezia, 1788. Bassaglia.
MRS. JAMESON. "Sacred and Legendary Art." London, 1879. Longmans,
Green and Co.
PAULUS DIACONUS. "Storia dei Fatti dei Longobardi." Udine, 1826.
Mattiuzzi.
JOHN ADDINGTON SYMONDS. "Renaissance of Art: Fine Arts." London, 1877.
Smith and Elder.
MONTALEMBERT. "The Monks of the West" (Italian translation).
PIETRO SELVATICO. "Storia estetico-critica dell' arti del disegno."
PIETRO SELVATICO. "Sull' architettura e sulla scultura in Venezia nel
medio evo sino ai nostri giorni." Venice, 1847. Ripamonte.
MILMAN. "A History of Latin Christianity."
"Borgo San Donnino e suo Santuario" (anonymous).
AFFÒ. "Storia della città di Parma," sino al 1347. Parma, 1837.
Carmignana.
DIFENDENTE SACCHI. "L' arca di S. Agostino illustrata."
MICHELE RIDOLFI. "Sopra alcuni monumenti delle belle Arti di Lucca."
Lucca, 1844. Guidotti.
INDEX
Abadia on Lake Maggiore, 114
Abbondio, S., bishop of Como, 34, 142
Accademia delle Belle Arti, Florence, 280
Adelgiso, son of Desiderius, 56
Adrian I., pope, 403
Agilulf, king, marries Theodolinda, 33;
shelters St. Columban, 86
Alachi, duke of Brescia, 47, 54
Alba Fucense, its pulpit, 238
Albertus Magnus, 12, 134, 137, 201
Alboin, enters Italy, 31, 32
Alexander II., pope, 226
Alfonso, duke of Calabria, 304
Alfred, king, founds Ripon cathedral, 150
Alphonso of Aragon, 419
Amalasunta, queen, her hospital, 107
Amantius, bishop of Como, 34, 78
Anagni, 410
Ancona, the Pieve at, 242, 243
Andrea Pisano, 211, 328
Andrea from Serra di Falco, 114
Annex, a German, 355
Anselberga, daughter of King Desiderius, 56
Ansige, abbot of Fontanelles, 103
Antelami (Magistri), 188, 189, 232, 424
Antonio di San Gallo, 416
Antonio, S., 200
Aquisgrana (Aix-la-Chapelle), the Basilica, 103
Arca di S. Agostino, 50, 202 _et seq._
Arches, first pointed, 178, 179;
cusped arch, 252
Ardoin, 128
Arezzo, its palace, 234
Aribert II., 46
Arichi, duke of Lombardy, 44
Arnolfo di Cambio, 224, 291, 313;
his death, 325
Arte della Lana, 337, 343
Arte dei Maestri di Pietra, Senese, 286
Arte dei Maestri di Pietra, at Florence, 338, 343
Arte de' Medici e Speziali, 273
Arte degli Orafi, 339, 425
Arte della Seta, 338, 343
Arte dei tajapiere, Venice, 387 _et seq._
Assisi, first parts Gothic, 252;
painting, 272
Asteno, near Porlezza, its church, 184
Astolfo, king, 55
Autharis, king, takes Comacina, 28, 141;
marries Theodolinda, 32;
builds church of Farfa, 35
Ava, the Longobard, 285
Azzo Visconti, 381
Baptisteries, their form, 115
Barbarossa, Frederic, 116
Bargello at Florence, 61, 149
Barnack church, 149
Basle, Comacine work there, 135
Beneventum, dukes of, 114;
cathedral of, 246
Benozzo Gozzoli, 276
Berengarius, the house of, 109
Bertharis, king, dethroned and recalled, 45;
saved by his servants, 53
Bianchi and Neri factions, 236
Biscop (Benedict), abbot of Wearmouth, 150
Boniface, St., his mission to Germany, 133
Bradford-on-Avon, 149, 157
Bramante, 416
Bregno, Antonio, 393
Brixworth, 147
Broletto at Como, 382
Brunellesco, Filippo, 321;
his dome, 340 _et seq._, 428
Buono, Giovanni, fights for Como, 116;
his descendants, 233, 239
Buono (Maestro), 236, 237.
_See_ Gruamons, 393
Buschetto, 209 _et seq._
Byzantine work, compared with Comacine, 75, 158
Cadoc, St., 147
Cambio, or Exchange, 315
Campione school, 196 _et seq._, 232, 352, 425
Carloman, 58
Casciano, San, near Florence, the pulpit, 225
Castel Capuana, 233
Castle of Branigola, 41
Castle of Perleda, 40
Castle of Tivoli, 260
Certosa at Pavia, 358 _et seq._
Charlemagne, emperor, rebuilds Rome, 15;
defeats Desiderius, 58, 97;
takes Comacines to France, 105
Churches:
S. Abbondio, Como, 84
S. Agatha al Monte, Pavia, 45
S. Agnese _fuori le mura_, 9, 97, 152, 403
S. Ambrogio, Milan, 83, 84;
its pulpit, 88, 148;
its atrium, 112, 147, 244
S. Andrea, Pistoja, 233, 249
S. Antonio, Padua, 199
S. Apollinare in Classe, 153, 157
Ara Cœli, 409
S. Bartholomew, Smithfield, 124, 125
S. Bartolommeo, Pistoja, 153, 230, 235, 249
S. Benigno at Dijon, 122, 123
S. Cassiano, near Pisa, 222
S. Clemente, panel of altar, 9;
fresco, 10;
door, 156;
paintings, 266
S. Croce, 277, 333
S. Donato at Polenta, 92, 93
S. Donnino, near Parma, 181
S. Fedele, Como, 81, 104
S. Francesco at Assisi, 179
S. Fredianus, Lucca, 48, 49, 94, 246
S. Gemignano, Modena, 193
S. George, Brescia, 47
S. Giovanni in Borgo, Pavia, 42
S. Giovanni Evangelista Fuorcivitas, Pistoja, 223, 234, 236
S. Giovanni Laterano, 408
S, Giovanni e Paolo, Rome, 65
S. Giusto, Lucca, 244
S. Julia at Bonate, 40, 41
S. Lorenzo _fuori le mura_, Rome, 407
S. Lorenzo in Lucca, 99
S. Lorenzo, Verona, 96, 153
S. Marco dei Precipazi, 84
S. Maria in Cosmedin, 97-99, 404, 405, 411
S. Maria _foris portam_, 46
S. Maria dei Fiori, Florence, 312 _et seq._, 337
S. Maria Novella, Florence, 278
S. Maria Maggiore, Bergamo, 182 _et seq._
S. Maria Maggiore, Brescia, 47
S. Maria Maggiore, Toscanella, its pulpit, 89
S. Maria del Tiglio, at Gravedona, 40, 152
S. Martino at Lucca, 226
S. Michele in Borgo, Pisa, 223, 245
S. Michele, Lucca, 228, 243
S. Michele, Monza, 37 _et seq._
S. Michele, Pavia, 50 _et seq._;
its façade, 77-80
Monreale cathedral, 127
Or San Michele, Florence, 333
S. Paolo _fuori le mura_, Rome, 407
S. Paolo, Pistoja, 240
S. Pier Scheraggio, 91;
its pulpit, 406
S. Piero in Grado, 37, 50;
its foundation, 100;
its form, 101, 173, 268
S. Piero Maggiore, Pistoja, 240
S. Pietro in Ciel d'oro, Pavia, 50
S. Pietro le Dome, Brescia, 47
S. Pietro di Monte Civate, 56 _et seq._
S. Prassede, 97, 148
SS. _Quattro Coronati_, 22
S. Salvatore, Pavia, 46
S. Sofia, Beneventum, 248
S. Sofia, Constantinople, 69, 70
S. Tommaso at Lemine, 41
S. Zeno, Verona, 95, 96, 111
Cimabue, 271, 274;
his scholars, 275, 278, 323
Cione family, 331 _et seq._
Clement VIII., pope, 418
Cloisters, San Lorenzo, Rome, 65;
S. John Lateran, 66;
Voltorre, 115;
S. Zeno, Verona, 66
Colle in Val d'Elsa, 316, 318
Collegia, Romana, 7, 10, 11, 138 _et seq._, 403
Cologne, churches at, 136
Colonies, Lombard, in Sicily, 128, 129
Comacina island a refuge for Romans, 23
Comacine Masters, who they were, 5 _et seq._
Comagene, now Eufratisia, 69
Como, a Roman colony, 5, 141;
its antiquities, 25, 26;
is besieged, 116;
its war with Milan, 233;
its cathedral, 381 _et seq._
Confraternity of painters at Florence, 280
Constantine the Great, 53;
his Basilica, 403
Constantinople, 142
Contract of apprenticeship, 292
Convents, Comacine, their form and style, 65
Corneto Tarquinia, 227;
ciborium there, 238
Cortelona, Luitprand's villa, 54
Cosimo I., Grand Duke, 280
Cosimo Rosselli, 275
Cremona, its cathedral, 185, 186
Crosses:
Bewcastle, 147
Clonmacnoise, 166
Collingham, 147
Kells, 166
Kirkdale, 147, 148
Whalley, 145
Yarm, 147
Cunibert, king, 47;
goes to Lucca, 48;
fights Alachi, 54;
erects tomb to Theodata, 87
Desiderius, abbot, 114, 210
Desiderius, king, 55 _et seq._
Diotisalvi, Pisan architect, 214
Donatello, 306, 337
Donnino, Borgo San, its church, 181
Duccio of Siena, 276
Edwin, king, builds York cathedral, 145
Eginbert, biographer of Charlemagne, 103
Eriprand, duke of Cremona, 45
Ermelind, queen, 87
Ethelred, king, rebuilt Oxford cathedral, 159
Fabiola, her hospice, 107
Faliero, Doge Marino, 390
Falleri, 409
Fermo cathedral, 190
Ferrara, its cathedral, 198
Fiesole destroyed, 14;
its cathedral, 236
Filippo Maria Visconti, 382
Florence founded, 14;
its baptistery, 213 _note_;
its Duomo, 312 _et seq._
Fontana family, 417 _et seq._
Fontana, Giovanni, 258
Fontana, Melide, 258
Fortresses, Comacine, 66;
Baradello, 68;
Civita Vecchia, 416
Fortunato, patriarch, of Grado, 113;
employs Comacines, 175, 176
France, Lombard architecture in, 131, 132
Francesco del Coro, 300
"Franchi Artefici," meaning of the term, 113
Frederic, emperor, 128, 318
Fredianus, S., bishop of Lucca, 48, 164
Freemasons in mediæval times, 12, 13
Freemasons, seventeenth century, Italian, 16 _et seq._;
English building Freemasons, 18
French Masters in Italy, 359
Frescoes, early Christian, 266 _et seq._;
Byzantine, 268;
Tuscan, 405, 426
Galeazzo, Gian, 351 _et seq._, 358;
his death, 364, 373, 381
Gastaldo, Grand Master, 86, 388 _et seq._, 424
Genseric destroys Roman churches, 403
German Masters in Italy, 320, 358, 360 _et seq._
Germany, Lombard architecture there, 133 _et seq._;
its cathedrals, 216
Ghiberti employed at the Duomo, 341 _et seq._
Ghini family, 331
Giotto, 278, 323, 326 _et seq._
Giovanni da Gratz, 369
Giuliano da Majano, 414, 416, 419
Giunta di Pisa, 271;
his scholars, 276
Glass, early manufacture of, 156
Grado, near Pisa, church at, 100 _et seq._
Grado, near Venice, its Basilica, 113, 174
Greek Masters in Italy, 74, 273
Gregory, pope, 143, 144
Grimoald, duke of Beneventum, 45, 47
Groppoli, near Pistoja, its pulpit, 249
Gruamonte, 234 _et seq._
Guazetta, 335
Guido da Siena, 272, 275
Guidotti dal Colle, 271
Guillaume, S., abbot of S. Benigne, 122, 126, 175
Gundeberg, queen, 42;
builds churches, 42;
her rings, and the ring fair, 43, 44
Gunduald, Luitprand's doctor, 54
Heinrich or Ulric of Gmunden, 361, 369, 374
Heinrich of Ulm, 361, 362
Hexham church, 150 _et seq._
Honorius, Bishop of Canterbury, 145
Hospices, 106, 107
Iconoclastic edict, 73
Justinian, emperor, rebuilds Sta. Sofia, 69
Laborerium, 207:
at Canterbury, in fourth century, 148
Certosa di Pavia, 376 _et seq._
Cremona, 186
Florence, 207, 319, 339;
closed, 344
Lucca before 1000 A.D., 20
Milan in 1383, 20;
fifteenth century, 355 _et seq._
Modena under the Campione Masters, 19, 195, 198
Parma in 1200 A.D., 19, 186, 189, 238
Pisa, 211, 214, 223, 231, 312
Pistoja, 190, 231, 233, 236, 238, 241, 247
Rome, 410 _et seq._
Siena and Orvieto, 285 _et seq._, 305
Leo III., the Isaurian, 73, 74
Leonardo da Vinci, 369
Lion of Judah, sign of Comacine work, 243, 244
Loggie (Lodges), 19, 61, 201, 208, 288, 305
Lombard colonies in Sicily, 128
Lombard kings, chronological table of, 30
Lombard Masters, table of, 31
Lombards in Rome, 412;
in Venice, 386;
Siena, 301, 305
Lombardi Solari family, 395 _et seq._
Lorenzo il Magnifico, 280
Lothaire, bishop, his church of S. Zeno, 96
Lothaire, king, his wars, 108
Lucca, 225 _et seq._, 246
Luitprand, king, his laws for Comacines, 24, 44, 63 _et seq._, 160;
his foot, 50;
his churches, 50 _et seq._
Magister, what the term means, 15;
Arch Magister, 17;
Magisters in Sicily, 129;
Magistri frati, 200, 287;
different kinds, 265
Magistri:
Adam, atrium of S. Ambrogio, 112
Adam, de Arogno, 182
Agostino da Siena, 298
Albertinus Buono, 239
Albertus Buono, 239
Ambrogio Lenzo, 334
Andrea Fusina, 371
Andrea da Modena, 352 _et seq._
Andrea di Pisa, 211, 220, 224
Anselmo (Tedesco) da Campione, and Arrigo, Alberto, and Jacopo,
his sons, 194 _et seq._
Antonio of Como, 260
Antonio Mantegazza, 378
Antonio da Padernò, 369
Antonio Rizo, or Riccio, 391, 392, 397
Apollonius, 273
Arnolfo, 224, 291, 313, 407
Auripert, a painter, 55
Bartolo Fredi, 276
Bartolommeo Buono, 253, 260, 390, 393, 398
Bartolommeo de Gorgonzola, 368
Bartolommeo di Pisa, bronze worker, 221
Beltramo, 413 _et seq._
Benedetto da Antelamo, 187, 188, 245
Bernardino da Bissone, 386, 391
Bernardo da Venezia, 374
Bertrando of Como, 260
Biduinus, 222
Bonaiuto di Pisa, 223
Bonanno, 220, 221
Bonino da Campione, 203
Buono, 236, 237, 238
Cellini, 239
Cimabue, 274
Cosmato, and his family, 409 _et seq._
Cristoforo Gobbo, 371, 379
Cristoforo Mantegazza, 378
Diotisalvi of Pisa, 214, 250, 291
Dolcebono Rodari, 368, 377
Enrico Buono, 239
Filippino degli Argani, 364 _et seq._, 366
Francesco di Giorgio Martini, 303, 370 _et seq._
Francesco Talenti, 328 _et seq._, 334
Franciscus da S. Simone, 276
Fredus, 183
Giacomo Dolcibuono, 370
Giacomo da Pietrasanta, 414
Giorgio degli Argani, 366
Giorgio da Iesi, 190
Giovan Antonio Amadeo, 370, 377
Giovanni di Ambrogio, 336
Giovanni Balducci di Pisa, 225
Giovanni Buoni da Bissone, 189, 233, 385
Giovanni Buono, 253;
builds Ca d'Oro, 389
Giovanni da Campilione, 184
Giovanni da Carona, 366 _et seq._
Giovannino dei Graci, 363, 375
Giovanni di Lapo Ghino, 328 _et seq._, 334
Giovanni Pisano, 222, 224, 291, 293 _et seq._
Giovanni Solari, 377
Graci, 237;
a later one, 291
Gufredo, 182
Guglielmo Tedesco, 220, 223
Guglielmo, his porch at S. Zeno, 112;
façade at Modena, 196;
at Ferrara, 198
Guidetto, his works at Lucca, 227-231
Guido da Como, 227, 249, 250
Guiniforte, 367, 378, 395
Jacobus Porrata, 186, 251
Jacopo da Campione, 257 _et seq._, 375 _et seq._
Jacopo Dagurro da Bissone, 261
Jacopo della Quercia, 298 _et seq._
Jacopo (Tedesco) da Campione, 197, 252, 294, 315 _et seq._
Jacopo da Tradate, 363;
his sons, 364
Lando, 297 _et seq._
Lanfrancus, 115, 193
Lorenzo di Mariano, 302
Lorenzo de' Spazi, 382
Luca Fancelli, 369
Manfredo of Como, 260
Marco da Carona, 356, 358, 365
Marco da Frixone, 353 _et seq._
Martino di Giorgio da Varenna, 302
Matteo da Campione, 197, 363, 386 _et seq._
Niccolao Pela, 336
Niccolò Pisano, 211, 222, 247, 250, 291
Nicolaus, his porch at S. Zeno, 112;
façade at Modena, 196;
Ferrara, 198
Nino di Pisa, 224, 225
Pantaleone Buono, 393
Paolo da Campagnano, 260
Paulinus, 145
Paulus and his sons, 407
Philippus, an Englishman, 69
Piccone, 54
Piero di Beltrami, 301
Pietro di Apulia, 221, 247
Pietro Lombardi and his descendants, 395 _et seq._, 398
Pietro da Varese, 413 _et seq._
Rainaldo, 212
Rainaldus, sculptures façade of Pisa cathedral, 16
Ramo da Paganelli, 293
Roberto, 246
Simone da Arsenigo, 352 _et seq._, 354
Simone Talenti, 331, 336
Fra Sisto and Fra Ristoro, 125, 318
Tommaso di Como, 420
Uberto and his brother Pietro, 408
Ugone da Campione and his sons, 183
Urbano da Cortona, 306
Ursus, his ciborium, 85
Zeno da Campione, 363
Majorca, 213
Manfred, king, 318
Maniace, Lombard colony there, 128
Margaritone of Arezzo, 275
Maximilian, emperor, 138
Mellitus, the monk, 144
Michael Angelo, 416
Milan, its Duomo, 350 _et seq._
Missions (early) to Normandy, 123 _et seq._;
to Germany, 133 _et seq._;
to England, 143 _et seq._;
to Ireland, 160 _et seq._
Modena, its Duomo, 116, 193
Monasteries:
S. Abbondio at Bercela, 54
S. Fredianus, Lucca, 48
S. George, 47, 48
Sta. Giulia, Brescia, 53
Monte Barro, 40
Palazzolo at Lucca, 54
Subiaco, 179
Monkswearmouth, Durham, 156
Monreale, its cathedral, 127
Monte Cassino, convent, 66, 114
Monza, its church, 380 _et seq._
Mosques, El Haram and Amrou, 179
Murano, its church, 113
Mythic sculpture, 75, 80
Nanni di Banco, 337
Nicholas V., pope, 412
Nicknames, their common use, 235 _note_
Nino di Pisa, 225
Norman architecture, 123, 126, 130
Normans, their connection with Sicily, 121, 128
Oil paintings, 277, 418
Opera. _See_ Laborerium
Orcagna, 329, 332 _et seq._
Orseolo (Doge Pietro), 390
Orsino (Virginio), Duke of Bracciano, 304
Orso Orseolo, patriarch of Aquileja, 122
Orvieto, its Duomo, 224, 300 _et seq._;
Chapel of Three Kings, 301, 414
Otho, emperor, confirms Comacine privileges, 27
Otho, his decree, 27, 28;
he conquers Italy, 109, 135
Otho Orseolo, Doge of Venice, 122
Padua, church of S. Antonio, 199, 237
Painters of the Guild, their secession, 265 _et seq._
Palaces (private), Florentine, 258;
Venetian, 260
Palace of Desiderius at S. Gemignano, 62, 257
Palace, Luitprand's, at Milan, 62
Palazzo Pubblico, 256;
at Perugia, 257;
at Todi, 257;
at Udine, 258;
Capodimonte, 421
Palazzo Vecchio (Florence), 61, 259
Palazzo Venezia (Rome), 415 _et seq._
Palermo, its cathedral, 126, 213
Papal forts, 260, 261, 415
Parma, 238
Paulinus, assists St. Augustine, 145
Pavia, its church, 50, 77 _et seq._;
its castle, 202;
its Certosa, 373 _et seq._
Penna, inscription there, 191
Pepin, king, founds church of S. Lorenzo, 96
Peter Martyr, St., his tomb, 225
Piacenza, its walls, 106
Pisa, beginning of the Duomo, 173, 209 _et seq._;
baptistery, 214
Pistoja, 223, 225 _et seq._;
its baptistery, 240
Pius II., pope, 260
Pliny's villa at Como, 26
Prato, its Duomo, 229
_Provveditore_, his office, 208 _et seq._;
his books, 322 _et seq._
_SS. Quattro Coronati_, 20;
inscription to them, 21;
sculptures representing them, 207;
their _fête_, 289
Quercia, Jacopo della, 337
Rahere, founder of St. Bartholomew, Smithfield, 124
Rainaldo, Magister at Pisa, 211, 212
Raphael, 416
Ratchis, king, becomes a monk, 55
Ravenna, towers at, 153, 154
Richard, prior of Hagustald, 160
Richard II., of Normandy, duke, 123, 158
Roger I., duke, 126
Roger II., king of Apulia, 126
Rome, Comacine fortresses near, 260;
Lombards in Rome, 412 _et seq._
Rotharis, king, his laws, 5, 6, 160
Runic inscriptions, 148
Saints:
Augustine, 143, 145
Boniface, 133, 271, 233, 239
Columban, founds convent at Bobbio, 86, 164, 167
Cumianus, his tomb, 86
Fredianus, 48, 164
Gregory, 264
Hugh of Lincoln, 143
Luke, the company of, 280, 332
Modwen, 143
Nilus, his letter, 81
Patrick, 163
Sansovino, Jacopo, 394
Saracenic architecture, 121, 177, 406
Saxon architecture, Book II. ch. iii.
Sculptured animals, their meaning, 72, 73
Scuola di S. Giovanni Evangelista, 396
Scuola di San Marco, 396, 399
Sforza, Francesco, 365, 367, 420
Sicily, the revival there, 126 _et seq._, 175, 406
Siena cathedral, 224, 285 _et seq._
Sixtus IV., pope, 261, 416
Sixtus V., pope, 418
Solari family, 395 _et seq._
Solomon's knot, its meaning and origin, 72, 82, 243
Spanish chapel, 278, 326
Statutes of the Masonic Guild in Siena, 287, 291
Steepleton church, Dorset, 149
Stilicho the Goth, his tomb, 89
Strasburg, Freemasons there, 137
Symbolism of the Comacine Guild, 71 _et seq._
Talenti, Francesco, 328 _et seq._
"Tedesco," what the word means in architecture, 216, 218
Theodata, her tomb at Pavia, 87
Theodolinda, her marriages, 32 _et seq._;
her churches, 37-40
Theodosius, his laws on building in marble, 81
Toller Fratrum, Dorset, 149
Tomb of:
Can della Scala, Verona, 203, 204, 252
Cardinal Longhi degli Alessandri, 185
S. Domenico, Bologna, 223
Folchino de Schicci, 204
Gian Galeazzo Visconti, 254
Mastino II., dei Scaligeri, 253
The Bishop of Siena, 301
Theodoric at Ravenna, 218
Tommaso de Mutina (Modena), 275
Torcello, 73
Torriano family of Milan, 385
Toscanella, pulpit there, 89
Towers, Comacine, their form, 67, 153;
San Marco, Venice, 233;
round towers of Ireland, 161 _et seq._;
Pisa, 219, 220;
Fiesole, 237
Trent, its cathedral, 181 _et seq._
Turrisianus of Pistoja, 230, 238
Vatican, 414 _et seq._
Vecchietta, 306
Venice, 8, 113;
its fifteenth-century restorations, 385 _et seq._, 397
Verona fortified by Charlemagne, 106
Visconti family, 349, 364, 373 _et seq._
Vitale, 300
Voltorre, its cloister, 115, 193
Wenceslaus, king, 350
Wilfrid, bishop of York, 150, 155
William of Normandy, 123
Winchester tower, 153
Zambono, northern Italian for Giovanni Buono, 237
Zohak, emblem of remorse, 79
Zurich, the Gross Münster, 135
THE END
_Richard Clay & Sons Limited, London & Bungay._