The work was finished before 1195. An ancient document shows that the _Rettori_ (civil governors) of Milan, Verona, Mantua, Modena, Brescia, Faenza, Bologna, Reggio, Gravedone, Piacenza, and Padua, with their suites, all met there in that year to form a league against Henry VI., son of Frederic Barbarossa, who seemed likely to carry on the hostility of his father.[133] We have no documents to show who was the architect of the fine Basilica of S. Donnino, but as the Comacines had their _laborerium_ at Parma, and as the work is clearly and distinctly Romanesque, we may believe the old authors who say that it arose _per lo scarpello dei Comacini_.[134] If internal evidence is wanting, the three lion portals of the ornate façade bear witness to the hand of the Comacines of the Romanesque epoch. Another of their buildings which shows a marked advance, was the cathedral of Trent--the gate of Italy leading into Germany. This had been built in the first Lombard style between 1124 and 1149, when it was consecrated by the Patriarch of Aquileja. In 1207 the Bishop Federigo Manga, Chancellor of the Emperor Otho IV., formed a design to enlarge and almost rebuild it. He commissioned a _Magistro Comacino_ to superintend the works, as appears from an inscription in Gothic letters on the tomb of that very _Magister_. Anglicized it would run--"In the year of our Lord 1212, the last day of February, Master Adam of Arogno, of the diocese and district of Como (_Magister Adam de Arognio cumanæ diocesis et circuito_), began the work of this church and constructed it. He with his sons and his _abbiatici_ (underlings) built the interior and exterior of this church with its adjoining parts. He and his sons lie below in this sepulchre. Pray for them." Prof. Cipolla, in an article in _Arte e Storia di Firenze_, quotes a poem written in 1309, in honour of the Duomo of Trent and of the Comacine Master who had achieved so much with his potent and clever hands (_Cumani Magistri qui potenti manu non inani complevit_). The church has since then undergone several restorations, but in none of them has its plan been materially altered. There is still the octagonal dome, the circular apse at one end of the building, and the narthex at the other. The façade still honestly follows the lines of the roof, and has its little rows of pillared galleries across. The outside of the apse shows the new tendency to Romanesque more than the façade does; here arches and friezes in horizontal circles around it, take the place of the perpendicular shafts, and the single row of archlets on the top. It is more in the style of the thirteenth and fourteenth-century Lucca churches. The arch of the north door rests on lions, which we may take as the secret sign of Romanesque Comacine work between the tenth and twelfth centuries, as the _intreccio_ or Solomon's knot had been their mark in the Lombard period.