A great meeting of the _Magistri_ of the lodge, and the patron of the city, presided over by the Duke himself, met on June 27, to examine the several models, but none were chosen; and Amadeo and Dolcebuono were ordered to make a revised model, with the concurrence of Francesco Giorgio. The two former were then confirmed as joint architects, "to compose and ordinate"--as the Verbale quaintly puts it--"all the parts needful to constitute the said _Tiburio_, which must be beautiful, worthy, and eternal," if indeed earthly things can be eternal. Francesco di Giorgio departed laden with presents and payments, and with the honorary title of architect of the Duomo of Milan; and on September 9, the two others began their work, which they brought to a happy conclusion on September 24, 1500. The façade was, however, not completed. Indeed, the registers show that the insignia of the Comacine Masters, the marble lions which were destined for the great door, were in 1489 still in deposit in the _laborerium_. Dolcebuono died in 1506; and Andrea Fusina was elected in his place. The famous sculptor, Cristoforo Gobbo, entered the works in 1502, on the compact that he was not to be under the orders of other architects, but to make his own contracts. He executed much of the sculptural ornamentation of the cupola; such as the Doctors of the Church in medallions; while a master Andrea da Corcano, with other "brethren," did the pictures. Cristoforo also carved the famous statues of Adam and Eve on the façade, besides several other statues. He and Fusina being compatriots, fraternized, and opposed Amadeo, who had made a too daring design for the lantern on the cupola. Meetings after meetings were held, and at length Gobbo retired temporarily to pursue his sculpture in Rome and Venice, where he is entered as Cristoforo _da Milano_. His nephew, Michele da Merate, and Michele's son Paolo, both sculptors, worked with him at Milan, where he continued till his death, in 1527. Another long list of names from the books, given between 1500 and 1550 by Merzario, proves that the Comacines still reigned supreme in the _laborerium_, the Solari family preponderating. As if to connect the last link in the chain with the first, we find the old family of Bono da Campione still prominent. For nearly thirty years, _i.e._ between 1618 and 1647, Magister Gian Giacomo Bono da Campione sculptured in the _laborerium_ of the Duomo, and there his son Francesco was trained, besides two kinsmen--Carlo Antonio Bono, painter and sculptor, and his son, Giuseppe. All this family worked together in the seventeenth century at the façade of the cathedral, designed by Pellegrini. The fine central door was the work of Gian Giacomo Bono and Andrea Castelli, both Comacines by birth.