and petition of Magister Arrigo (Henry), son of Magister Ottaccio, who was the son of Anselmo aforesaid; and in the presence of the aforementioned Signori, Bishop, and Archpriest, and of the subscribing witnesses, promises and agrees that to the said Magister Arrigo, for himself and his sons and heirs, and for Magister Alberto and Magister Jacopo, his paternal uncles (_patruis suis_), and the sons and heirs of the same, shall be given over and above to them, and to their said sons, or successors, who shall be masters in that art (_qui magistri fuerint hujus artis_), eight imperials for each day they work, from the calends of April to the calends of October. In the days of the remaining months in which they shall have worked at the will of the Administrator of the building, they should, and shall have, only six imperials, receiving nevertheless their food from the said lodge, not only on festal days, but on all others, as they have from the beginning been accustomed to have. And if at the will of the said Administrator they shall bring other competent Masters necessary to the said works, these shall receive seven imperials for each day, from the said calends of April to those of October, but in other months only five imperials per diem." This deed was drawn up in the Canonica of Modena, and duly signed by witnesses. Tracing the predecessors of Arrigo of Campione, father and grandfather, back from 1244, we come very near the time of the first Lanfranco; and following his descendants from Arrigo, head architect in 1244, to his grandson, who finished the tower of the Dome,[145] and made the marble pulpit in the cathedral in 1322, we get a family line of builders lasting unbroken for nearly two hundred years. There still exists an inscription in bad Latin on the cornice of the pulpit, which says that Tomasino di Giovanni, treasurer of the _Fabbriceria_, S. Gemignano, had the pulpit carved, and the tower built by Arrigo or Enrico, the Campionese sculptor (_actibus Henrici sculptoris campionensis_). It would be difficult now to assign his due share to each of this long line of master-builders; but the Italian critic, Marchese Ricci, gives Lanfranco the credit of the interior, which is in pure Romano-Lombard style, with two aisles and a nave. The nave is much higher than the aisles, and is supported on columns with high Corinthian capitals from some ancient Roman temple. Lanfranco has given a clumsier Lombard air to them by a very large abacus. The crypt is supported on sixty columns, the capitals of which are all Lombard, and of endless variety of form and sculpture. In the centre is the ark (tomb) of S. Gemignano. The wall of the façade, with its little pillared gallery, is also of Lanfranco's time.