Like most artists, Giovanni must have been Bohemian in his ways, or careless in his political expressions, for in October 1290 he was fined the large sum of 600 lire, and had not the wherewithal to pay. He got off by paying a third, but even this Fra Jacopo, one of the _Operai_ of the Duomo, had to advance. It was probably repaid from his salary by instalments.[221] From these documents we gather that the façade was not designed by Lorenzo Maitani, as has generally been supposed. If the Commune of Siena in 1284 acknowledged Giovanni's talent in building the Duomo and the façade, Lorenzo Maitani, who only began to be chief architect of Orvieto from 1310, certainly could not have been old enough to design the front of Siena cathedral. Moreover Milanesi expressly says that, with all his research in the archives, he can find no mention whatever of Maitani's being connected in any prominent manner with Siena cathedral.[222] He most likely worked at it as Giovanni's pupil, and this, with the general tenets of the guild, would sufficiently account for the similarity between the two churches. The tenets of the guild were certainly veering towards the Gothic, and each generation of its members made a new step. Jacopo Tedesco at Assisi, and Niccolò Pisano in his pulpit, showed the first sign of transition; their sons and pupils, Arnolfo at Florence, and Giovanni at Siena, developed the style still further, and their successors fully expanded it at Milan. Giovanni was a lover of the Gothic, but was not yet entirely converted. His windows, like Arnolfo's, were pointed, the points emphasized by ornate Gothic gables over them; but the three arches of the doorways are of a Lombard roundness, the pointed effect being only conveyed by the superimposed gables. Yet the turrets and saint-filled niches of the upper part of the façade are as rich, and pointed, and pinnacled as any Gothic cathedral could be. He had not discovered, as the Germans afterwards did, the beauty of the upward line. The old classic leaning to the horizontal line still cuts up the design; and the little Lombard pillared gallery still stretches across the front, though beautified and gothicized. He did not forget the sign of the guild in this transition period; for there on the columns, and beneath the arches, are the lions of Judah.