se-window, finished in 1531, and of
similar details which occur in undoubted work by Giorgio in Ancona.

The door of the lions in the north aisle is quite Gothic in character,
yet the arms above it are those of Leonardo Vernier (1453-1454), Bishop
George Sisgoreo ([Symbol: cross]1453), and of Bishop Vignacco (elected
1454), apparently fixing its date thirteen years after Massegna had
received his _conge_. If it be contended that these arms are a later
insertion, which the arrangement of the masonry makes possible, the
value of all the coats of arms as fixing the dates of the portions of
the building on which they occur must be discounted. The design of the
lowest portions of the shafts in the right-hand jamb is different and
apparently later than the rest of the work, and the foliage on the
brackets beneath the lions also is very different from the fine caps to
the west of the crossing, so that one scarcely likes to assume that they
are by the same hand. Upon the pier, above one of the capitals
attributed to Giorgio, which has been compared disparagingly with the
caps last named, is the date 1524. This is below the level of the door
of the sacristy, which we know Giorgio built, and one would assume that
the pier must be anterior to the door, as the construction of the
sacristy would scarcely precede the roofing in of the aisle from which
it is entered. Moreover, the baptistery is beneath the apse which
terminates this aisle, and it was certainly completed in 1452, since it
is mentioned in the contract for the sacristy. The mixture of Gothic and
Renaissance forms is characteristic of Giorgio's work throughout; and it
is difficult to agree wholly either with Mgr. Fosco or Mr. T.G. Jackson
in the different conclusions on this subject which they draw from the
same data. The fact of Massegna having been dismissed on the definite
ground of errors made and defects discovered, with the additional
complaint of the throwing away of money upon ornament, suggests that the
earlier portion was not left as we now see it by the first architect, of
whom Mr. Jackson says: "To us there seems no fault in the design of
Antonio." The design of the western pair of caps of the piers at the
crossing is as different from that of the nave caps, which are certainly
Massegna's, as from that of the two eastern piers. Mr. Jackson says,
probably quite rightly, that the torus moulding decorated with the
laurel above the leaf cornice of the nave marks th