I have before remarked that the lines of architecture gradually take a more upward tendency the further north we go. The slight point of the arch, as seen in Siena and Orvieto and Florence, is much sharpened in Milan; the rows of little round archlets which covered a Romanesque building with rich horizontal lines, have here become elongated and pointed, all the lines tending upwards, till they become almost monotonous; yet Milan is but the natural northern development of the southern Italian Gothic. It was always the tendency of the guild to seek greater richness of ornamentation in multiplying forms already customary to them. As the Romanesque façade was merely a multiplication of the Lombard single gallery, so the Gothic of Milan is but a multiplication and elongation of the turrets and pinnacles of Siena and Orvieto, and of the pointed gables over elongated arches, with almost an abuse of the perpendicular shaft. Of course I do not speak of the façade in these remarks, that being a discord by the later Renaissance architects. The changes may well have been induced by the strong German influence in the guild. There were also French artists, such as Jean Mignot de Paris, and Jean de Campanias of Normandy.[267] We hear of a Niccolò Bonaventura from Paris, but his name is too Italian for his nationality to be mistaken. He probably had been employed in France, and brought back the French sculptor-architects with him. All these names, with the Germans mentioned below, are to be found in the report of a meeting of _Magistri_ in 1391. They are qualified as _Magistri di pietra viva_ (sculptors). The German names are, Ulrich de Frissengen di Nein, Aulx di Marchestein, and Johannes Annex di "Friurgo" (Freiburg?). This last has been confused by writers with Giovanni de Fernach, who was a Campionese. Giovanni da Campione worked for many years in Germany, and when he returned was as usual dubbed a German, being called John from Fernach. He brought a hundred stone-cutters to the service of the Duomo of Milan in February 1391. The Administrators approved of him, and considering that he knew Germany and its language, and was a judge of good work, they sent him to Cologne to try and procure some good architects. He went, but finding no one of great talent, he returned unsuccessful, and was obliged to refund to the guild half the cost of his journey. As a compensation, the Administration commissioned him to prepare a design for the southern sacristy. He appears to have shut himself up to prepare this great plan in secret, for on November 1, 1391, the Deputies of the Administration order the _Provveditore_ to send "Giovannolo and Beltramolo" to get the Archbishop's order to command Giovanni de Fernach to explain his intention about the work on which he was engaged; because, "if his plan was not approved, they would not wish it proceeded with."