I incline, however, to another theory--that Cambij is a corruption of Campij, or Campione--for the following reason--As early as 1228 Jacopo Tedesco was already a _Magister_, and of such fame that he was chosen as master architect of the grand church of S. Francesco at Assisi, in conjunction with Fra Philippus de Campello. In spite of Fergusson's opinion that the architect of these large buildings was generally a mere builder, working under some ecclesiastic who drew the plan, the evidence goes to prove, in this case, that Jacopo the layman was _capo maestro_, and Fra Philippus the ecclesiastic only _aiutante_ (assistant). Campello was a corruption of Campiglione or Campione, which name, first taken from a place near Como, became afterwards the distinctive title of the Parma school of Comacine Masters. We find it spelt in different documents: Campillio, Campellio, Campilionum, Campione, often shortened into Campi͠o or Camp͠i. All the older writers say that Jacopo Tedesco was a Comacine or Lombard, and if so, he was one of the Campionesi. His name occurs in a stipulation made at Modena on Nov. 30, 1240, where he and Alberto are qualified as uncles of Magister Enrico, one of the contracting parties.[241] This may well have been the father of Arnolfo, especially as Baldinucci[242] asserts that Jacopo Tedesco lived at Colle in Val d'Elsa, where Arnolfo was born, while his father was building the castle there. With these lights Milanesi's documental "Arnolphus de Cambii" may be accounted for. If the members of the Campione school in the north took that as their name, why should not Jacopo also have signed himself Campione? It is more than probable he shortened it according to custom into Campi͠o, and may not have been very particular to distinguish between the kins-letters p and b, a very common fault in the sketchy spelling of old MSS., and especially likely to occur if, while Lombardy was a German province, he should have imbibed a German accent. This would reconcile all the dispute. Arnolfo was evidently closely connected with the elder Lapo, his style being so similar. Compare the Palazzo Vecchio and Bargello with Lapo's castle of Poppi, and the relation is evident. His connection with the younger Lapo is equally clear. In the list of qualified masters in painting at Florence, quoted by Migliore in _Firenze illustrata_, p. 414, is Niccolò Pisano's pupil, who is called Lapo di Cambio. This would suggest that Arnolfo and his fellow-pupil Lapo were brothers as well as fellow-pupils, so that when Lapo the younger finished Jacopo Tedesco's (Lapo the elder's) work at Colle, he was only following out the usual rules of the guild, in which the son succeeded the father. [Illustration: PALAZZO VECCHIO, FLORENCE. DESIGNED BY ARNOLFO. _See pages 257 and 317._]