[63] The chimneys so common in Venice are ancient, but yet hardly redeemed from ugliness. They are cylindrical, with heads sloping out in a strange fashion, and in the form of inverted truncated cones. See p. 224. [64] This building has recently (1872) been restored, and with not much gain, though the barber’s shop which used to occupy the ground-floor has been removed. [65] Mr. Grüner has published some very careful drawings of these details, in which he has restored the painted decorations with which the coloured construction of the walls was enriched. The style of decoration was much like that of Sta. Anastasia, Verona. [66] This was written in 1855 [67] Said to have been carved by Nicolò, who is supposed to be the same man who wrought on the west door of San Zenone, Verona. This does not appear to me to be likely; the work at Verona being, I think, earlier than that at Ferrara. [68] The complete church was to have been 800 feet long, and 525 feet across the transepts, with a central dome 130 feet in diameter.--Fergusson’s ‘History of Architecture,’ ii. 210. [69] Mr. Perkins, ‘Italian Sculptors,’ p. 251, says that the nationality of Wiligelmus has been much disputed. Kreuser says that he came from Nürnberg; and the representation of King Arthur’s victories over the Visigoths is adduced as a proof that he was not an Italian. [70] The inscription on the north door is as follows:-- “Bis binis demptis. Annis de mille ducentis Incepit dictus, opus hoc sculptor Benedictus.” [71] It is commonly said to have been designed by Heinrich von Gmünden in 1387; but in a most interesting note at p. 116 of ‘Italian Sculptors,’ Mr. Perkins gives the evidence for and against the claim of a German to be the architect of this cathedral. He believes that there is no longer any reasonable doubt that the first architect was Marco Frisone da Campione. Heinrich Adler von Gmünden, who has commonly been stated to be the architect, did not come to Milan until five years after the foundation of the church. Marco da Campione died in 1390; and the church was ready for divine service in 1395. The criticisms I have made in the text appear to me to be equally applicable to an Italian architect trained in Germany, or to a German working in Italy; and if Marco da Campione was the architect, one is compelled, by the logic of the building itself, to say that either he had studied north of the Alps with a view to perfecting his design, or that he depended very largely on the help given him by such men as Henry of Gmünden, whom he had called in to his assistance. [72] When I first saw this I thought it was an entirely modern device. In 1871, however, in passing through France, I found at La Fère a church of flamboyant character, with all the cells of its groining covered with sunk traceries; and at Chambéry the painting on the roof of the Sainte Chapelle is said to be old.