erent from that in which
it is usual to speak of Norman. To suppose that either the Lombards or
the Normans had a style of their own, prior to their occupation of
districts from the monuments of which they learned rudely to use the
decayed Roman manner, would be incorrect. Yet it seems impossible to deny
that both 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 mediaeval architecture of its own district.

[11] I use the term Lombard architecture here, as defined above (p. 31,
note), for the style of building prevalent in Italy during the Lombard
occupation, or just after.

[12] The essential difference between Italy and either Northern France or
England, was that in Italy there existed monuments of Roman greatness,
which could never be forgotten by her architects. They always worked with
at least half of their attention turned to the past: nor had they the
exhilarating sense of free, spontaneous, and progressive invention. This
point has been well worked out by Mr. Street in the last chapter of his
hook on the _Architecture of North Italy_.

[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remarkable as the earliest instance of the canopy withdrawn by attendant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 Archi