[49] Much discussion has taken place as to who this Pietro--“Petrus Romanus Civis”--was. Virtue, as quoted by Walpole, says it was Pietro Cavallini, but he was only a child when this work was done. The ciforium in the Church of St. Paul without the Walls bears this inscription; †HOC OPUS FECIT ARNOLFUS CUM SUO SOCIO PETRO!! Monsegnor Xavier Barbier de Montault, who wrote a chapter for Mr. Parker’s work on Rome, says that this was Pietro Cavallini. If so, he was probably the father of the more celebrated artist. The date of the work last named is 1285, being sixteen years later than that at Westminster. [50] For east and west windows, see “Digression concerning Windows,” inserted between Lectures VII. and VIII. [51] For illustration, see Lecture IV., Fig. 109. [52] More recently, on opening out other walled-up arches, etc., the greater part of this substructure has been found. The fragments--about 2000 in number--have been fitted together and built up in their old place. (G. G. S. 1878.) [53] Since this was written, the church has gained additional interest through the opening out of the wall paintings, which probably formed a sort of reredos over each of the small altars which stood against the Norman piers in the nave. (G. G. S.) [54] This is really somewhat later. (G. G. S. 1878.) [55] This notion has since been entirely disproved, and the architect proved to have been a member of an English family. (G. G. S. 1878.) [56] For illustration, see Lecture IV., Fig. 87. [57] See Lecture III. p. 121, Fig. 82. [58] For a bay of this chapter-house, see “Digression concerning Windows,” inserted between Lectures VII. and VIII. Fig. 170. [59] See Lecture XV., vol. ii. [60] For illustration, see Lecture IV. p. 164. [61] The practical and universally acknowledged success of the Assize Courts at Manchester, as compared with those at Liverpool, speaks volumes as to the _rationale_ of our style. (G. G. S.) [62] It is amusing to observe the triumphant tone with which modern writers delight to parade the bits of untruthfulness which they chance to find in ancient Classic and other structures. I wonder whether the old architects would enjoy the compliment if they could see works of _our_ day. (G. G. S. 1878.) [63] For illustration, see Lecture III., Fig. 81. [64] See Lecture IV., Fig. 87. [65] The manner in which our glass painters turn out these fragments--more precious than gold--to make way for their (often vile) memorial windows is only paralleled by the ruthlessness with which they tear away the iron-work which once sustained the painted glass. (G. G. S. 1878). [66] There seems to be a perfect crusade going on against these relics which give such a charm to our villages, though nothing shows more painfully the contrast between the tastefulness of former times and the tastelessness of the present than a comparison between these despised remains and the structures by which they are constantly being replaced. (G. G. S.)