[13] Even though it be now proved that not Heinrich von Gmunden, but Marco Frisone da Campione, not a German, but a Milanese, was the first architect, this is none the less true about its style.

[14] See Vol.  I., Age of the Despots, p. 153.

[15] Pavia, it may be mentioned, has still many towers standing, and the two at Bologna are famous.

[16] Arnolfo was born in 1232 at Colle, in the Val d’Elsa.  He was a sculptor as well as architect, the assistant of Niccola Pisano at Siena, and the maker of the tomb of Cardinal de Braye at Orvieto.  This tomb is remarkable as the earliest instance of the canopy withdrawn by attendant angels from the dead man’s form, afterwards so frequently adopted by the Pisan school.

[17] Giov.  Villani, viii. 26.

[18] See Milizia, vol. i. p. 135.  These walls were not finished till some, time after Arnolfo’s death.  They lost their ornament of towers in the siege of 1529, and they are now being rapidly destroyed.

[19] From Perkins’s Tuscan Sculptors, vol. i. p. 54.  A recent work by Signor G.J.  Cavallucci, entitled S.  Maria del Fiore, Firenze, 1881, has created a revolution in our knowledge regarding this church.

[20] Giov.  Villani, x. 192.

[21] Illustrated Handbook of Architecture, book vi. chap. i.

[22] Ib.

[23] See Gruener’s Terra Cotta Architecture of North Italy, plates 3 and 4.

[24] Compare what Alberti says in his preface to the Treatise on Painting, Opere, vol. iv. p. 12.  “Chi mai si duro e si invido non lodasse Pippo architetto vedendo qui struttura si grande, erta sopra i cieli, ampla da coprire con sua ombra tutti i popoli toscani, fatta sanza alcuno aiuto di travamenti o di copia di legname, quale artificio certo, se io ben giudico, come a questi tempi era incredibile potersi, cosi forse appresso gli antiqui fu non saputo ne conosciuto?”

[25] What the church of S. Petronio at Bologna would have been, if it had been completed on the scale contemplated, can hardly be imagined.  As it stands, it is immense, and coldly bare in its immensity.  Yet the present church is but the nave of a temple designed with transepts and choir.  The length was to have been 800 feet, the width of the transepts 625, the dome 183 feet in diameter.  A building so colossal in extent, and so monotonously meagre in conception, could not but have been a failure.

[26] Vol.  II., Revival of Learning, chap, 1.

[27] The following passage quoted from Milizia, Memorie degli Architetti, Parma, 1781, vol. i. p. 135, illustrates the contemptuous attitude of Italian critics to Gothic architecture.  After describing Arnolfo’s building of the Florentine Duomo, he proceeds:  “In questo Architetto si vide qualche leggiero barlume di buona Architettura, come di Pittura in Cimabue suo contemporaneo.  Ma in tutte le cose e fisiche e morali i passaggi si fanno per insensibili gradagioni; onde per lungo tempo ancora si mantenne il corrotto gusto, che si puo chiamare Arabo-Tedesco.”