Pietro Lombardo came not by usura Duccio came not by usura nor Pier della Francesca; Zuan Bellin' not by usura nor was 'La Calunnia' painted. Came not by usura Angelico; came not Ambrogio Praedis, Came no church of cut stone signed: Adamo me fecit.
In the second half of line 27, Pound mentions someone named Pietro Lombardo. We shouldn't be surprised, since it's pretty clear to us by now that Pound adored a lot of guys with Italian names.
And sure enough, this guy was an Italian sculptor from the 1400s. In other words, he was a pre-modern artist who was sponsored by rich patrons to create his art, so he wasn't concerned with how well his art would sell on the free market.
It makes sense here that Pound would say that artists like Lombardo existed in a world before usury, when they could just care about good art and nothing else.
The rest of the stanza is similarly a bunch of things Pound thinks would never have been made in the modern, money-hungry world. La Calunnia is an allusion to a painting called Calumny by Sandro Botticelli. Angelico and Ambrogio Praedis were also 15th-century Italian painters.
In line 33, Pound finishes by saying that in a world with usury, there would be no church made of stone that is signed "Adamo me fecit." This phrase translates as "Adam me made." The allusion is to the Church of San Zeno in Verona, Italy. Pound likely admired this church very much, and he also knew that the stone of the church had been signed with the phrase "Adam made me," meaning that Adam from the Bible had made the church as a holy object.
Not by usura St. Trophime Not by usura Saint Hilaire, Usura rusteth the chisel It rusteth the craft and the craftsman It gnaweth the thread in the loom None learneth to weave gold in her pattern;