Gerolamo Calvi, in his _Matteo de Campione, architetto e scultore_, says that nearly all the architecture and sculpture executed in and around Milan in the thirteenth and fourteenth centuries may be attributed to the Campionesi. He instances the Sala della Ragione at Padua, with its enormous span of roof, its characteristic arcades and galleries, and the Loggia degli Assi, or Loggia del Consiglio, once the Podestà's palace; the church of S. Agostino at Bergamo, built by Ugo da Campione and his son Giovanni, the castle of the Visconti at Pavia, and many others. Campione, though a place of importance in Roman times, and cited in Carlovingian documents, is now only a village on the side of a mountain, near Val d'Intelvi, containing 500 inhabitants. Calvi writes of it that from the earliest times before the renaissance of art,[146] the men of Campione dedicated themselves to building and sculpture, and diffused themselves throughout the north of Italy, working rudely at first, but gaining in style and experience till they produced great works worthy of eternal fame. It seems probable that in this school we have a link with Florence. The Jacopo de Campione, who was mentioned in 1244 as uncle of the petitioner Arrigo, is named in other documents as a Campionese, is thought by Merzario and other authors to be that famous architect, Jacopo il Tedesco--or the Lombard, who was for centuries taken with certainty to be the father of Arnolfo. We shall speak of his pedigree in another chapter. The builders of the Duomo of Ferrara were decidedly connected with the _laborerium_ at Modena, both lodges originating from the Campione school. The façade has the usual three perpendicular divisions formed by means of chiselled shafts, but each division is divided horizontally into three levels, each one enriched with Lombard galleries. Besides these is a wealth of ornamentation, figures, reliefs, _trafori_ (open work), and foliage of the most fantastic kind. This and the framework of the church are all that remain of the Comacine work, excepting the vestibule, which has all their signs on it. Four columns resting on four red marble lions support it; one of them guards a lamb, and another has a serpent beneath its paw. Here we have still the Comacine mysticism: the lion of Judah guarding the Paschal Lamb, and one of the House of Judah crushing the serpent. Over the porch are more sculptures, and an arched vestibule; over that a kind of Gothic gable, and above the gable a rose window. The whole speaks eloquently of its kinship with the churches of Verona, Parma, and Bergamo. Tradition says the interior and façade were built not much later than 1103. The inscription over the door runs--