wealth of the clergy and the nature of the ecclesiastical
hierarchy, gradually developing from a critic to a radical
demagogue. His support came initially from the lower
clergy and devout women and later, more broadly, from
the lower classes in Rome, where antipapal communal-
ism had been active since 1143. This pressure forced
Pope Eugenius to fl ee in 1147, and from Brescia the
pope issued an ineffective bull branding Arnold as a
schismatic (though not a heretic) and forbidding the
clergy to have contact with him.
The Roman aristocracy, dueling with the pope for
political control of Rome, found the newly demagogic
Arnold a useful ally who could deliver and control the
support of the lower classes. The Roman senate and
Arnold exchanged oaths of loyalty, in regard of which
the senators refused to hand Arnold over to the pope,
who had returned and made his peace with the new
Roman republic in 1149. With this settlement between
Eugenius and the republic, Arnold’s infl uence began to
wane, although in mid-1152 he nonetheless attempted
a coup, supported only by the lower classes. According
to Eugenius’s agreement with the republic, his followers
were to be made senators, and a new emperor would
be elected in Rome but would remain only a symbolic
fi gure in the self-governing commune. Despite its fail-
ure, this move led the pope to arrange the Treaty of
Constance (1153) for mutual support with the newly
elected but uncrowned Frederick I Barbaxossa.
When Nicholas Breakspeare became Pope Hadrian
IV in 1155, he demanded Arnold’s expulsion and the
dismantling of the republic and put the city under in-
terdict during Holy Week to enforce his will. Both the
mob and the senate quickly abandoned their republic and
Arnold for the eucharist, and Arnold fl ed north toward
Tuscany. At Bricole he was captured by Cardinal Odo,
but he was soon rescued by the counts of Campagnatico.
When Frederick, advancing on Rome for his coronation,
captured one of the counts, Arnold was exchanged for
the hostage. In Rome, there was armed resistance to the
return of the pope and to the imperial coronation (18
June 1155); and the subsequent fl ight of emperor and
pope from Rome convinced Frederick that he should
put Arnold before a canonical tribunal The tribunal con-
demned Arnold, and the Roman prefect, or chief crimi-
nal magistrate, carried out the civil sentence of hanging
and burning. Arnold’s ashes were dumped into the Tiber.
Arnold’s legacy is twofold, lending subsequent sup-
port to Roman republican communalism and to radical
ecclesiastical reform: the poor and pure church. One
strand leads to Brancaleone and Cola di Rienzo and the
other to the Waldensians and Spiritual Franciscans. His
most immediate effect may have been the establishment
of the Arnoldist sect, whose members shared many of
Arnold’s ideas but in addition heretically denied the
effi cacy of the sacraments.
See also Abélard, Peter; Bernard of Clairvaux;
Boniface VIII, PopeFurther Reading
Bernard of Clairvaux. The Letters of Saint Bernard of Clairvaux,
ed. and trans. Bruno Scott James. Kalamazoo: Cistercian
Publications, 1998.
De Stefano, Antonino. Riformatori ed eretici del Medio Evo.
Palermo: Società Siciliana per la Storia Patria, 1990.
Frugoni, Arsenio. Arnaldo da Brescia nelle fonti del secolo XII.
Turin: Einaudi, 1989.
Giesebrecht, Wilhelm von. Arnold von Brescia: Ein akademischer
Vortrag. Munich: Veriag der Königliche Akademie, 1873.
Greenaway, G. W. Arnold of Brescia. Cambridge: Cambridge
University Press, 1931; New York: AMS, 1978.
John of Salisbury. Htstoria pontifi calis, ed. and trans. Marjorie
Chibnall. New York: Oxford University Press, 1986.
Merlo, Grado. Eretici e eresie medievali. Bologna: II Mulino,
1989.
Moore, R. I. The Origins of European Dissent. London: Penguin,
1977.
Otto of Freising. The Deeds of Frederick Barbawssa, trans. C. C.
Mierow with R. Emery. New York: Norton, 1966.
Joseph P. ByrneARNOLFO DI CAMBIO
(c. 1245 or 1250–1302 or 1305)
Arnolfo was one of the more prolifi c and innovative
Italian sculptors and architects of the late thirteenth
century. He was born near Florence, in the town of Colle
Val d’Elsa, and was trained in the workshop of Nicola
Pisano together with his contemporaries Giovanni
Pisano and Tino da Camaino. Arnolfo, Giovanni, and
Tino developed into strikingly different masters. While
Giovanni’s art became increasingly “expressionistic”
and leaned more toward French Gothic, Arnolfo’s and
Tino’s sculpture continued Nicola Pisano’s more clas-
sical, reserved manner. During his later years, Arnolfo
also distinguished himself as an architect in Florence.
Arnolfo is fi rst documented in 1265 as one of Nicola
Pisano’s assistants on the Area of San Domenico in
Bologna (1264–1267); he then worked on the pulpit
for Siena Cathedral (1265–1268); and the Fontana
Maggiore in Perugia (1277–1281). It is clear that by
the time of the commission in Perugia, Arnolfo was
already in the service of King Charles of Anjou. This
is confi rmed in a letter that Charles sent to the Perugian
authorities in 1277, releasing the mason “Magister Ar-
nulfus de Florentia” to work on a fountain. For Charles
himself, who was resident in Rome as the senator of
that city, Arnoifo served as a court mason, becoming
conversant with ancient Roman art and architecture and
the decorative manner of the contemporary Cosmati
workshops. Arnolfo’s appointment at the court put him
into position to receive royal commissions, such as a
seated portrait of Charles dated before 1278 (now inARNOLFO DI CAMBIO