. Brick and marble in the middle ages: notes of tours in the north of Italy . ect of this cathedral. He believes that there is no longer anyreasonable doubt that the first architect was Marco Frisone da Adler von Gmiinden, who has commonly been stated to be thearciiitect, did not come to Milan until five years after tlie foundation of theciiureh. Marco da Campione dieil in i:390 ; ami the ciiurch was ready fordivine service in The criticisms I have made in the text appear to meto b^ equally applicable to an Italian architect trained in Germany, or lo aGerman working in
. Brick and marble in the middle ages: notes of tours in the north of Italy . ect of this cathedral. He believes that there is no longer anyreasonable doubt that the first architect was Marco Frisone da Adler von Gmiinden, who has commonly been stated to be thearciiitect, did not come to Milan until five years after tlie foundation of theciiureh. Marco da Campione dieil in i:390 ; ami the ciiurch was ready fordivine service in The criticisms I have made in the text appear to meto b^ equally applicable to an Italian architect trained in Germany, or lo aGerman working in Italy; and if Marco da Campione was the arciiitoct, oneis compelled, by tlic logic of the building itself, to say that eitiier he hadstudied north of the Alps with a view to perfecting his design, or that hedepended very largely on the ludp given him by sucli men as Henry of(iiniinden, whom be had called in to his assistance. Chap. XIL] THE CATriEDRAL. 317 in l)rick. The buttresses are bold in their formation andscale, but poor and weak-looking in their design, and finish. GROUND-PLAN—MILAN CATHEDRAL. at the top with pinnacles, whose thin outline, seen againstthe deep blue sky, is painfully bad and unsatisfying. The 318 MILAN. [Chap. XIT. panelling of the walls is continued up to their whole heightwithout any decided line of parapet or cornice, and finishesin a rough serrated line of small gables, which is particu-larly restless and wanting in repose. Great flying but-tresses span the aisles, and then in the clerestory is repeatedexactly what we have already seen below, the same panelling,the same parapet, and the same light pinnacles; thewindows, however, are here very small and insignificant,whilst those in the aisles are remarkable for their large sizeand for the singular traceries with which they are the lower windows are transomed with a line of tracery,surmounted in each light by a crocketed canopy runningup into the light above. In the apse this tracery fil
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