CAMPIONESI, MAESTRI. – Sculptors, architects, and stonecutters originating from the Lake of Lugano, active in northern Italy, already known in the 12th century as a craft guild, began in the 13th century to sign their works, distinguishing individual personalities.
Emerging from the late Romanesque tradition, with a less tormented and more rounded modeling, they developed an original plastic style characterized by decorative balance, vivid anecdotal detail, restraint, and essentiality of expression. As centers of production at the beginning of the 14th century, they oriented themselves toward Modena and Verona, Bergamo and Milan.
The attribution of certain anonymous works remains debated, such as the Arca of St. Augustine in Pavia and the Altar of the Magi in S. Eustorgio in Milan; various scholarly orientations exist, among which the Veronese approach is most notable. Recent criticism denies significant value to the Tuscan contribution brought by Giovanni di Balduccio from Pisa, who worked in Milan in the 14th century.
In alphabetical order, the most notable personalities of the Campionese school are:
Ansellino (documents from 1244). Worked in the cathedral of Modena.
Bonino (1397). Perhaps the most important master of this school. One of his earliest works is the Sarcophagus of Lambertino Baldaino in the old cathedral of Brescia; followed by the Arca of Folchino degli Schizzi in the cathedral of Cremona (1357); the Monument to Stefano and Valentina Visconti in S. Eustorgio in Milan; the Arca of Bernabò Visconti in the Sforza Castle in Milan (between 1363–85); the Arca of Cansignorio della Scala in Verona (1370–75), a work of greater complexity and singularity for its play of light and shadow and certain pictorial accents that do not dissipate its robust plasticity.
Enrico. Carved the pulpit of the cathedral of Modena (1322) and worked on the bell tower.
Giacomo (d. 1398). Worked for the cathedral of Milan from 1387 onward. Notable is the sculptural work of the door of the northern sacristy of the cathedral of Milan, which displays Gothic features not devoid of transalpine influences.
Giovanni. Presents as the formative core of his art the Romanesque-Veronese experience: among his most notable works are the equestrian statue of St. Alexander in S. Maria Maggiore in Bergamo, marked by abrupt summariness; the Stories from the New Testament in the baptistery of Bergamo (1340); the north door of S. Maria Maggiore in Bergamo with its porch (1351–53), which can be usefully compared with that of the cathedral of Verona.
Matteo (d. 1396). Worked on the pulpit and facade of the cathedral of Monza.
Ugo. An uncertain personality to whom works of contrasting style are traditionally attributed, such as the Arca Maggi in the old cathedral of Brescia; the Sarcophagus of Alberico Suardi in Lucano; the Monument to Cardinal Langhi in S. Maria Maggiore in Bergamo, which appear to be works by an artist earlier than Giovanni, but not by Ugo.