With a common origin, each lodge nevertheless developed its own distinct style, yet so much was general to the whole guild, that in the thirteenth and fourteenth centuries one spirit seemed to permeate them all, and only experts can tell a Lorenzetti from a Memmi, or a Giotto from a Spinello Aretino. We find them working now in one lodge, now in another. Cimabue, though his principal work was in Florence where his school was, is found working in the Pisan Lodge in 1301. The archives of the Duomo there have three documents of that year referring to him. One proves the payment of X solidi II libr. a day to "Magister Cimabue" and his _famulus_ (apprentice) for their work there. Who knows whether the _famulus_ may not have been young Giotto, or Joctus, as he is written in old deeds! The second paper is Cimabue's receipt for the payment by the _Lord operaio_ (_Dominus operarius_) for a figure of St. John, painted for that guild (_Magiestatem_). The third seems to be the payment for a coloured glass window which had been painted on glass by Baccio, son of Jovenchi of Milan, from Magister Cimabue's design.[204] Cimabue's school in Florence must have prospered greatly. A long list of names of painters between 1294 and 1296, who are qualified and who agree to teach their art in Florence, may be made from an ancient law register kept at that date by the notary Ser Matteo Biliotti, which is preserved in the general archives of Contracts in Florence.[205] Here we find several of the Masters trained at Pisa, such as Lapo de Cambio, Lapo di Beliotto, Lapo di Taldo, Corso di Buono, Andrea di Cante, Grifo di Tancredi, Tura di Ricovero, Vanni di Rinuccio, Michele di Pino, Ranuccio di Bogolo, Guiduccio di Maso, Cresta di Piero, Bindaccio di Bruno, Guccio di Lippo, Bertino della Marra, Rossello e Scalore di Lettieri, Dino and Lippo Benivieni, Asinello d'Alberto, Lapo di Compagno, called Scartapecchia, Vanuccio di Duccio, and Bruno di Giovanni, the companion of Buffalmacco and Calandrino, of whom Vasari tells such funny stories. Another act, dated 1282, is a contract by which Azzo, son of the late Mazzetto painter, of the parish of S. Tommaso, engaged to teach his art for six years to Vanni di Bruno; probably Giovanni the father of Bruno mentioned above. Rossello di Lottieri was the great-grandfather of Cosimo Rosselli. Vanuccio was the son of the famous Duccio of the Sienese Lodge. Indeed I think we could find, by close investigation, that most of these _Magistri pittori_ were connected with one or other of the Tuscan Lodges.