The Comacines here are still in the transition stage, though near its end, for the sign of the lion of Judah holds its place above the pillar, under the spring of the arch. In the Italian Gothic, their next development, it is always beneath the column. One of the lion-capped columns is entirely covered with sculptures representing the genealogical tree of the Virgin. The statue above the door, of St. Martin dividing his cloak with the beggar, is sufficiently well modelled as to suggest its belonging to a later century. Signor Ridolfi, who has studied much in the archives of Lucca for his learned work _L' Arte in Lucca_, thinks that, in 1204, Guidetto the younger was only just beginning his career. His father must have died about this time, for the son loses his diminutive, and becomes in his turn Guido _Magistro_. In 1211 he was called to Prato to work at the Duomo there (then known as S. Stefano). The contract, which still exists, does not specify what part of the church he was to build. It is drawn up by the Notary Hildebrand, and binds "Guido, Maestro marmoraio" of S. Martino of Lucca, to go to Prato on fair terms, and there to remain working, and _commanding others to work_, at the church of S. Stefano. After this he was recalled to Lucca, to put the above-mentioned façade to S. Michele, which Teutprand had built in the eighth century, and which had been rebuilt, when in 1027 Beraldo de' Rolandinghi had left a large legacy for the purpose. This façade, which, as I have said, is precisely similar in style to that of the Duomo, was finished in 1246.[178] Guido was then called to Pisa, to sculpture the altar and font in the Baptistery there. Not much remains of the altar--which appears to have been the usual edifice on four columns--except some very ancient sculpture, and two small columns with extremely rude statues on them. The inscription, however, is preserved, and runs--"A.D. MCCXLVI, sub Jacobi Rectore loci--Guido Bigarelli da Como fecit hoc opus."[179] This valuable discovery was made by the German Schmarzow. Here we have the family name of this busy sculptor, and of his father Guido of Como. It is one of the first instances, for surnames only became fixed about this time. Guido or Guidetto's last work appears to have been the pulpit in San Bartolommeo in Pantano, at Pistoja, executed in 1250. This is particularly interesting, as being the immediate precursor of Niccolò Pisano's pulpit at Pisa in 1260. It has been thought that Guido, either from death or other cause, left the work imperfect, and his pupil Turrisianus finished it. The inscription as quoted by Cav. Tolomei is--"Sculptor laudator qui doctus in arte probatur|Guido de Como quem cunctis carmine promo| Anno domini 1250|Est operi sanus superestans Turrisianus |Namque fide prova vigil K Deus indi corona."[180]