Nor did Ulrich da Ulm, whom we have mentioned, achieve much more than his compatriot. He came in 1391, and only stayed a few months. In 1394, however, he again offered his services, and was reinstalled on a profitable contract. But he too had the national spirit of criticism, and vaunted his own plans of improving the church, while he detailed his opinion of the flaws in the existing plans, and doubts on the stability of the building. Of course a meeting of the lodge was called, and as before the majority went against Ulrich's new improvements. However, they sent to Pavia to ask the Duke to let his architect, Nicola de Lelli, come to Milan and arbitrate. He replied that they had better send a deputation with all the plans to Pavia, as he could not spare the architect. So the _capo maestro_, Jacopo da Campione, and Giovannino de' Grassi accompanied Ulrich to Pavia, to confer with the Duke and his architects, with the result that the present work was pronounced good, and Ulrich's designs and innovations rejected. The _spenditore_ records that Ulrich's salary was paid: he too was sent off (ad eundum pro factis suis). During the three following years no German names are met with in the books. Then came the death of Jacopo da Campione in 1398, and the _laborerium_ seems to have had no capable Master to replace him. And now we shall see how this Masonic Guild was ramified throughout Europe. The Deputies sent to Giovanni Alcherio, a Milanese living in Paris, to see if some architect could be spared from the works at Notre Dame. He proposed Jean Campanias from Normandy and Jean Mignot of Paris, mentioned above, who were accepted, and came to Milan in 1399, with a painter named Jacopo Cova. Mignot was made architect of the two sacristies. He coveted the supreme post of chief architect of the whole building, but he met with serious rivals in Marco da Carona and Antonio da Padernò, two young _Magistri_ who were fast rising in the guild to fill the place of Jacopo and Marco da Campione and Simone da Arsenigo. There was schism in the guild. Mignot found fault with everything in the Duomo, the size, the proportions, the _piloni_, the capitals, the windows, the tracery, and all the ornamentation. Marco and Antonio declared that Mignot's sacristy was of a false rule of measurement, and the arch of his window wrong in its lines. There were meetings in the lodge, and endless disputes, till Mignot also disappeared from the scene.