A better artist seems to have been placed by the Comacine Guild in S. Lorenzo in Lucina, which was contemporary to this. The capitals of the same form are much more clearly and firmly cut, and in a better style of ornamentation. Here too are the Comacine lions, now built into the wall under the square lintels of the door. Of the Comacine work in the house of the Patriarch near S. John Lateran, _i.e._ the papal residence of those times, not much remains to show the hand of the Comacines, except the sculptures on the well in the cloister, the parapet of which is adorned with two zones of reliefs, divided by an interlaced band. The under one consists of alternate crosses and rude palms, the upper is a row of round arches, adorned with upstanding volutes, like vine-tendrils; under one arch is a dove with grapes in his beak, and in the other a cross. There are also two sculptured stones in the same cloister, one showing various interlaced patterns, the other a cross formed by weavings of the continued line, enriched in the groundwork of foliage. One of the most interesting churches of the Carlovingian era is that of San Pietro in Grado near Pisa. In the Middle Ages this was a great shrine for pilgrimages, being, it is said, built on the spot on which St. Peter first set foot in Italy. (_Gradus_--a step.) Legend (supported by the assertion of a certain Archbishop Visconti, who preached in Pisa in the thirteenth century) says that the Apostle Peter was driven ashore at that spot, and having made an altar he began to baptize--giving his disciples commands to build a church there. What the first church was like is not known; the present one was built between 600 and 800 A.D., and was decorated with frescoes before A.D. 1000. There is a great similarity in structure between this building and that of S. Apollinare in Ravenna; they are both of similar brick masonry, and three-apsed, and the aisles are in about the same proportion to the greater height of the nave. The proportions of the short round arches on the tall classic columns of the interior are extremely similar, as is the scheme of ornamentation, with the difference that at Ravenna the medium is mosaic, and at S. Pietro a Grado it is fresco. The line of Bishops in the spring of the arches in Ravenna is reproduced at Grado by a line of Popes in medallions, ending with Leo III., 795, which would probably mark the era of the foundation of the church.[82]