[89] I believe I am correct in this. Photographs seem to show it clearly, but I have not verified this point in the monuments themselves. [90] _Op. cit_., vol. 1, p. 240. [91] _Le Vite_, etc., vol. 2, p. 433. [92] Cf. p. 144. [93] These ornamental features usually have, however, in Gothic art some real structural function. [94] _Op. cit._, bk. 3, p. 53. [95] _Milizia_, vol. 1, p. 346. [96] _Milizia_, vol. 1, pp. 346–347. [97] _Ibid_., p. 351. [98] “Sansovino lo sciolse con allungar il fregio quanto bastasse per supplire al difetto di quella porzione di metopa: ed il problema, e ’l ripiego sono un’inezia.” [99] _Memorie_, etc., vol. 2, p. 34. [100] _I Quattro Libri dell’ Architettura_, bk. 3, p. 41. [101] “Non dubito che questa fabrica non possa esser comparata à gli edifici antichi e annoverata tra le maggiori, e le più belle fabriche che siano state fatte da gli antichi in quà, si per la grandezza, e per gli ornamenti suoi, come anco per la materia, che è tutta di pietra viva durisima, e sono state tutte le pietre commesse e legate insieme con somma diligenza.” _Op. cit._, bk. 3, p. 41. [102] They were grammatical, not in the sense of using the classic orders with correctness,--this, as we have seen, they did not do,--but in the sense of arranging their architectural details, such as they were, on a basis of grammatical order. [103] Sir William Chambers, in his _Treatise on the Decorative Part of Civil Architecture_, London, 1791, p. 121, referring to this form of opening, says, “It is an invention of Scamozzi’s.” [104] Cf. Casati, _I Capi d’Arte di Bramante da Urbino nel Milanese_, Milan, 1870, p. 24 _et seq._ That the design of San Satiro was made by Bramante, Casati gives the evidence of a document printed in the year 1500 by the deputies of the church in which it is said, “ ... _Come vi si diede principio dopo l’anno 1470 con disegno del celebre Bramante_.” And he finds further confirmation of Bramante’s authorship in a commentary on Vitruvius by Cesare Cesariano, printed in Como in 1521, where this author states that the church and sacristy of San Satiro were designed by his preceptor, Donato of Urbino, called Bramante. [105] Salient ribs of stucco are carried up in the angles of the dome of the sacristy as they are in the vaulting of the apses of Todi. [106] Cf. Casati, _op. cit._, p. 44. [107] Cf., p. 134, the window sometimes called that of Scamozzi. [108] _Op. cit._, vol. 2, p. 434. [109] Melani, _Architettura Italiana_, vol. 2, p. 154. [110] Cf. _Architettura Italiana_, by Alfredo Melani, Milan, 1887, vol. 2, p. 157. [111] Coin of Metapontum. [112] Vitruvius, bk. 7, chap. 5, refers with disapproval to the tasteless and meaningless monstrosities embodied in the ornamental art of his time, and the remains of Roman reliefs offer many examples of such design.