Here are tirades from the old chronicler of art, who swore by the three classic orders, and worshipped Michael Angelo and the Renaissance style! Certainly the flat pilaster, triangular pediments, and straight unadorned lines of that art were as far removed as the poles from the florid but meaningful sculpture-architecture of the Comacines in Romanesque times, or its rich Norman and Gothic developments. However, we gather plainly from this, that when Vasari calls a master _Tedesco_, he means merely Lombard. The reason is easy to see. Lombardy and North Italy, down to Lucca, were from about 1170 under the rule of the German Emperors, consequently the Comacines were no longer Lombards, nor French as in the Carlovingian times, but Germans. This is curiously emphasized by an episode in the building of the cathedral at Pisa. When the Pisans wanted to endow the building fund of the church, they wished to buy some land on the Serchio, near Lucca, to help to form a revenue. They had, however, to send Gualando Orlandi and Aldebrando de' Visconti as ambassadors to Germany to obtain permission from the Emperor Henry IV., that the lands close by Lucca might be ceded to Pisa.[170] The tower of Pisa is too well known to need any description here. The joint masters were Bonanno of Pisa, and a very confusing _Tedesco_. In some authors he is called Giovanni d'Innspruck, in others Guglielmo from Germany. On inquiry as to how Innspruck comes into the question, we find the following perplexing passage in Morrona. After quoting the inscription on the tower, "A.D. MCLXXIV campanile hoc fuit fundatum mense Agusti," he continues--"We find from ancient documents belonging to the _Opera_, that the building was begun on the vigil of San Lorenzo, and the two above-mentioned architects (Bonanno and Guglielmo) are precisely indicated, excepting only that instead of _Guglielmo Tedesco_, it is written _Giovanni Onnipotente of Germany_--a misinterpretation of the word Oenipons or Oenipontanus, which signifies native of Innspruck."[171] The italics are my own, and emphasize what Sig. Morrona styles a precise indication! The passage is an astounding bit of unreason, but as neither Giovanni nor Guglielmo is a German form of name, I do not think this theory need trouble us. Whether the builder were German or Italian, whether named John or William, he only carried out the general design of the two buildings, and made a veil of Lombard archlets all over his leaning tower. We shall find both Bonanno and Guglielmo working at Orvieto some time later. The tower was finished much later, when Andrea di Pisa was Grand Master of the Pisan Lodge; the upper circle of arches belongs to his part of the work.