At Orvieto we find the same preponderance of Lombards as in Siena. The register of the _Opera_ there for August 30, 1293, gives the salaries of the _Magistri_ in the Loggia (lodge) of the Fabbrica. Here we find many of our Sienese friends; Magistro Orlando and Guido da Como receive six soldi a day; Magistro Martino da Como seven. We find also Pietro Lombardo, Giacomo and Benedetto da Como, sculptors; Martino, Guido, and Aroldo as successive chief architects in the Fabbrica or _Opera_. In 1305 the _camarlengo_ had to write to Lombardy for more builders and sculptors, for, says Della Valle, "la fama di volo ne spargesse il grido fin oltre ai confini d'Italia," and in December four _Magistri_ arrived--"Mag. Franciscus Lombardus, Mag. Marchettus Lombardus, Mag. Benedictus Lombardus, and Johannes de Mediolano (Milan)." I do not know which of these sculptured the door of which we give an illustration, but the artist has set the sign of his fraternity on it in the lions beneath the pillars. (One is now missing.) The Lodge of Orvieto, sometimes spelt _Loya_ or _Loja_, is described as a large, spacious, and airy building, in which the sculpturing of stones and marbles was done, and where the stores and the schools were.[233] The use of the word "Lodge" for this complicated organization seems a sign of Freemasonry, and suggests that the Comacines followed the ancient rules of Vitruvius, and kept up the organization of the Roman _Collegium_. We have, I think, proved this to be true, and shown that the same organization held good up to the fifteenth century, if not longer. Signor Milanesi's interesting collection of Sienese documents, if studied closely, contains endless indications of the existence of the guild. We find several cases of arbitration, such as when Doctor Filippo Francesconi, and Maestro Lorenzo di Pietro, called Vecchietta, were chosen on September 20, 1471, as arbiters between Maestro Urbano di Pietro of Cortona, sculptor, and Bastiano di Francesco, stone-cutter, his workman, who lodged a complaint against his master on account of unpaid wages and loss of tools. This same Urbano appears to have been frequently in need of arbiters, for on Jan. 27, 1471-72, Bertino di Gherardo was called on to settle a cause between Madonna Caterina, wife of Silvio Piccolomini, and the sculptor Urbano, and decided that the lady must pay the artist 100 lire within the term of four years, the payments to be made quarterly. It was at the lady's option to pay in kind, such as corn or wine, if it suited her better.[234] Then there are frequent meetings of councils for appraising the work of other Masters, and we find the _Operaio_, or Head of Administration, fixing the salaries of underlings. Precisely the same meetings, arbitrations, appraisings, went on in Florence. Indeed, in the fifteenth century the two lodges of Siena and Florence were so closely intermingled, the Masters appearing now in one city