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Arnolfo, sometimes called di Cambio and sometimes di Lapi, was the first of the group of Cathedral builders in Florence. Who Arnolfo was seems to be scarcely known, tho few architects after him have left greater works or more evidence of power.
This suspicion increasing, multiplied oppressions; which again, instead of diminishing the suspicion, augmented it; so that most men lived in the utmost discontent. To put a period to the outrageous conduct of Giorgio, it happened that a servant of his accused Giovanni di Cambio of practices against the state, but the Capitano declared him innocent.
The door of the Cambio proved to be one that we had passed several times, while seeking for it, and was very near the church just mentioned, which fronts on one side of the same piazza.
Lapis lazuli, malachite, and jasper were used largely, as well as bloodstones, onyx, and Rosso Antico. In Florentine Pietra Dura work, the inlay of two hard and equally cut materials reached its climax. Arnolfo del Cambio, who built the Cathedral of Sta.
The following privileges were enjoyed by the nobles of the Castelli, or founders of the towns. The right to special contributions from the country people, and the jus patronato of the churches. The sacristan, without their assent, could not give the third signal of the Mass, nor of Vespers on festival days, a usage which is still observed at Castel Cambio and Castel Vitturi.
But the best master among all the aforesaid disciples of Pietro was Andrea Luigi of Assisi, called L'Ingegno, who in his early youth competed with Raffaello da Urbino under the discipline of Pietro, who always employed him in the most important pictures that he made; as may be seen in the Audience Chamber of the Cambio in Perugia, where there are some very beautiful figures by his hand; in those that he wrought at Assisi; and, finally, in the Chapel of Pope Sixtus at Rome.
Likewise disciples of Pietro, and also natives of Perugia, were Eusebio San Giorgio, who painted the panel of the Magi in S. Agostino; Domenico di Paris, who made many works in Perugia and in the neighbouring townships, being followed by his brother Orazio; and also Gian Niccola, who painted Christ in the Garden on a panel in S. Francesco, the panel of Ognissanti in the Chapel of the Baglioni in S. Domenico, and stories of S. John the Baptist in fresco in the Chapel of the Cambio.
She was also commissioned to paint an altar-piece, representing St. Stephen, for the same church. Her interiors are admirable. She exhibited an "Interior of the Great Hall of the Exchange of Perugia" in 1884, at Turin. She painted two interior views of the church of San Giovanni del Cambio in Perugia, and an interior of the vestibule of the Confraternity of St. Francis.
They have been published by the Arundel Society. These frescoes were begun in 1499. It may be mentioned that in this year, on the refusal of Perugino to decorate the Cappella di S. Brizio, the Orvietans entrusted that work to Signorelli. Uffizzi and Sala del Cambio.
The architect of this huge mass of masonry was Arnolfo del Cambio, one of the greatest builders of the Middle Ages, a man who may be called the Michael Angelo of the thirteenth century . In 1298 he was ordered to erect a dwelling-place for the Commonwealth, to the end that the people might be protected in their fortress from the violence of the nobles.
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