"Libras quinquaginta quatuor, et solidos decem et octo den. pisanorum minutorum pro pretio centinarum quatuor olei linseminis ad operaio Magiestatis, et aliarum figurarium que fiunt in majori Ecclesia, ad rationem denariorum XXVIII pro qualibet libra." Upechinus Pictor[208] pro libris quadraginta tribus vernicis emptis Comunis an. 1303, is named as a painter of Pisa. These entries clearly prove what a large part the painters took in the work of the Masonic brotherhood, and how the frescoing of the wall was a component part of a Comacine church, and carried on, like their building, by the joint labour of many Masters. If proof of this is wanting, go where you will in Italy, and if you can find any church that has a wall of its original early Christian or mediæval building remaining, of any age between the fourth and the fourteenth century, scratch that wall, and you will find frescoes have been there. For instance, in Santa Croce, and San Miniato at Florence, and at Fiesole, wherever the restorer's plaster has been taken off, precious works of the old Masters have come to light. But in all these we have to imagine what a mediæval church was like from the fragments that remain: to see the real Comacine church of the twelfth or thirteenth century, one must go to the ancient city of San Gimignano with its many towers, where they remain untouched by the restorer, and unwhitewashed by the seventeenth-century destroyer. There the whole churches, every inch of them, are covered with scripture or saintly story in glowing colours. Our illustration shows one by Barna of Siena before the painters seceded. The Spanish chapel at S. Maria Novella is another unspoiled and entire specimen of the profuse use of fresco by the guild. Most of these churches were decorated by fresco artists who belonged to the Masonic Guild before the secession of the painters, and being so, it is probable that they worked together, as the architectural Masters were accustomed to do, and this would account for the difficulty of distinguishing in the Spanish chapel between the work of the Memmi and that of the Lorenzetti, who certainly worked together at Siena, and probably also in Florence. Cimabue and Giotto were undoubtedly _Magistri_ of the Masonic Guild, for both of them were builders as well as painters, and were employed together with other Masters. When Cimabue discovered Giotto drawing his sheep, he took him into his school in the lodge, he being then a qualified Master. But the boy must have passed his novitiate, not only in Magister Cimabue's own _atelier_, but also in the wider teaching of the school and _laborerium_, or he would never have got the commission to build the tower, nor the power to sculpture his "Hymn of Labour" around it.