BONINO DA CAMPIONE

The architecture and the statues of the altar are by Bonino da Campione, the fresco decoration with the Madonna and Child is by Stefano da Ferrara (active in Veneto, died before 1440).

The architecture and the statues of the altar are by Bonino da Campione, the fresco decoration with the Madonna and Child is by Stefano da Ferrara (active in Veneto, died before 1440).

The beutiful Crucifixion relief in the right transept of the basilica of San Nazaro Maggiore is attributed to Bonino da Campione. It was formerly in Sant’Antonio Abate, Milan.

Several Madonnas are attributed to Bonino by various scholars, for example in the Art Institute of Detroit, in the Ospedale Maggiore in Milan (formerly in the church of Santa Maria delle Selve in Vedano al Lambro) in Santa Maria Segreta and San Nicolao (from Porta Vercellina) in Milan. They reflects different styles and probably are not autographs.

Several Madonnas are attributed to Bonino by various scholars, for example in the Art Institute of Detroit, in the Ospedale Maggiore in Milan (formerly in the church of Santa Maria delle Selve in Vedano al Lambro) in Santa Maria Segreta and San Nicolao (from Porta Vercellina) in Milan. They reflects different styles and probably are not autographs.

Several Madonnas are attributed to Bonino by various scholars, for example in the Art Institute of Detroit, in the Ospedale Maggiore in Milan (formerly in the church of Santa Maria delle Selve in Vedano al Lambro) in Santa Maria Segreta and San Nicolao (from Porta Vercellina) in Milan. They reflects different styles and probably are not autographs.

The picture shows the Madonna della Misericordia from San Nicolao in Milan. It is a work of the school of Bonino.

The group of sculptors and architects, who were active in northern Italy and elsewhere from the mid-12th century to the late 14th and originated from Campione (Campigliono) di Lugano, has been termed “Campionesi” in the 19th century.

Among the Campionesi active in the second half of the 14th century, the most eminent was Bonino da Campione. Gothic elements appear in three dated works by him: the signed tomb of Folchino degli Schizzi (d 1357) in Cremona Cathedral; the monument of Bernabò Visconti (equestrian statue, 1363, sarcophagus, 1380-85; both Castello Sforzesco, Milan), formerly in San Giovanni in Conca, Milan; and the signed tomb of Cansignorio della Scala (d 1375) at Santa Maria Antica, Verona.

Bonino da Campione set the seal upon the Veronese equestrian figure and the Veronese sepulchral monument, initially at Milan in the tomb of Bernabò Visconti and later at Verona in that of Cansignorio della Scala.

The tomb of Bernabò Visconti consists of two parts, a sarcophagus carved after the tyrant’s death in 1385 and an equestrian figure completed more than twenty-two years earlier. A chronicle of 1363 describes the mounted statue, heightened with gold and silver, over the high altar of San Giovanni in Conca in Milan, and it needs no effort of imagination to recapture the awe which this particularized, formidably lifelike image must have inspired. The head, with its impassive gaze and cruel mouth, opens a chapter in the history of sculptured portraiture, and the horse (stripped of the accoutrements which hide the horses at Verona) has its place in the history of the equestrian monument. In both respects the Bernabò Visconti figure occupies a special place in the work of Bonino da Campione, for when, between 1370 and 1374, the same sculptor came to carve the equestrian statue at the apex of the monument of Cansignorio della Scala, he reverted to the heraldic convention of the Scaliger tombs.

Bonino da Campione sculpted the equestrian statue of Bernabò Visconti for the church of San Giovanni in Conca around 1363. Its positioning near the church’s main altar was regarded as highly problematic by contemporaries. The equestrian statue was reused - with changes and additions carried out by Bonino in 1385-86 - as Bernabò’s funerary monument in the same church. It is now preserved in the Castello Sforzesco in Milan.

The group of sculptors and architects, who were active in northern Italy and elsewhere from the mid-12th century to the late 14th and originated from Campione (Campigliono) di Lugano, has been termed “Campionesi” in the 19th century.

Among the Campionesi active in the second half of the 14th century, the most eminent was Bonino da Campione. Gothic elements appear in three dated works by him: the signed tomb of Folchino degli Schizzi (d 1357) in Cremona Cathedral; the monument of Bernabò Visconti (equestrian statue, 1363, sarcophagus, 1380-85; both Castello Sforzesco, Milan), formerly in San Giovanni in Conca, Milan; and the signed tomb of Cansignorio della Scala (d 1375) at Santa Maria Antica, Verona.

Bonino da Campione set the seal upon the Veronese equestrian figure and the Veronese sepulchral monument, initially at Milan in the tomb of Bernabò Visconti and later at Verona in that of Cansignorio della Scala.

The tomb of Bernabò Visconti consists of two parts, a sarcophagus carved after the tyrant’s death in 1385 and an equestrian figure completed more than twenty-two years earlier. A chronicle of 1363 describes the mounted statue, heightened with gold and silver, over the high altar of San Giovanni in Conca in Milan, and it needs no effort of imagination to recapture the awe which this particularized, formidably lifelike image must have inspired. The head, with its impassive gaze and cruel mouth, opens a chapter in the history of sculptured portraiture, and the horse (stripped of the accoutrements which hide the horses at Verona) has its place in the history of the equestrian monument.

Bonino da Campione set the seal upon the Veronese equestrian figure and the Veronese sepulchral monument, initially at Milan in the tomb of Bernabò Visconti and later at Verona in that of Cansignorio della Scala.

The tomb of Bernabò Visconti consists of two parts, a sarcophagus carved after the tyrant’s death in 1385 and an equestrian figure completed more than twenty-two years earlier. A chronicle of 1363 describes the mounted statue, heightened with gold and silver, over the high altar of San Giovanni in Conca in Milan, and it needs no effort of imagination to recapture the awe which this particularized, formidably lifelike image must have inspired. The head, with its impassive gaze and cruel mouth, opens a chapter in the history of sculptured portraiture, and the horse (stripped of the accoutrements which hide the horses at Verona) has its place in the history of the equestrian monument.

The tomb of Bernabò Visconti consists of two parts, a sarcophagus carved after the tyrant’s death in 1385 and an equestrian figure completed more than twenty-two years earlier. A chronicle of 1363 describes the mounted statue, heightened with gold and silver, over the high altar of San Giovanni in Conca in Milan, and it needs no effort of imagination to recapture the awe which this particularized, formidably lifelike image must have inspired. The head, with its impassive gaze and cruel mouth, opens a chapter in the history of sculptured portraiture, and the horse (stripped of the accoutrements which hide the horses at Verona) has its place in the history of the equestrian monument.

This is the equestrian tomb of Bernabo Visconti, lord of Milan. It formerly stood behind the high altar of the now demolished San Giovanni in Conca in Milan. The group is of marble, and the rider figure was at one stage covered in silver and had golden spurs and shield. These trappings and attachments, familiar from northern monuments, are now lost. It is not known how the monument of Bernabo was allowed to occupy a position usually reserved for the chief relics.

Bernabò Visconti (died 1385), the iron-fisted despot of Milan, who married Regina della Scala of Verona, forged both a political and aesthetic alliance between the two cities. He commissioned the monument (which remained unfinished) from Bonino. The horse and intensely fierce rider dates from 1363, while the sarcophagus dates from Visconti’s death.

The history of the free-standing Veronese tabernacle tomb opens about 1320 with the Castelbarco Monument outside Sant’Anastasia. This supplied the basis of the monument of Mastino II della Scala, where we find the scheme enriched with reliefs above the arches, small tabernacles at the corners of the tomb, and a surrounding grille adorned with statuary.

Bonino da Campione’s tomb of Cansignorio della Scala is planned on the same lines but with greater complexity. The rectangular surround of the Mastino monument gives way to a six-sided grille, on the support of which are tabernacles containing statues of warrior saints. In the tomb proper heavily decorated spiral columns are substituted for the simple pillars of the earlier monuments, the small angels keeping guard over the effigy have an unwonted prominence, and the figurative content of the sarcophagus reliefs is much increased. Above, a heavy cornice lends coherence to the upper section of the monument, where niches contain figures of the Virtues.

The Cansignorio monument is an impressive work, which, in its subordination of sculpture to ornate architectural forms, anticipates the style practised in Lombardy in the last decade of the century.

The sculptural history of northern Italy in the fourteenth century is punctuated by a series of magnificent tombs. The most impressive group was raised to members of the Scaliger family, lords of Verona. The tombs followed an existing tradition of external monuments. The latest monument to Cansignorio della Scala is also the most complicated. This monuments stands amidst a large number of others in a cemetery adjacent to the entrance of the church.

Although this monument, commissioned by Cansignorio, is signed by Bonino Campione, it has little in common with his other works. It is probably a composite work hurriedly designed and erected at the request of the youthful ruler during his final illness. (Cansignorio was only thirty-six when he died in 1375.)

The history of the free-standing Veronese tabernacle tomb opens about 1320 with the Castelbarco Monument outside Sant’Anastasia. This supplied the basis of the monument of Mastino II della Scala, where we find the scheme enriched with reliefs above the arches, small tabernacles at the corners of the tomb, and a surrounding grille adorned with statuary.

Bonino da Campione’s tomb of Cansignorio della Scala is planned on the same lines but with greater complexity. The rectangular surround of the Mastino monument gives way to a six-sided grille, on the support of which are tabernacles containing statues of warrior saints. In the tomb proper heavily decorated spiral columns are substituted for the simple pillars of the earlier monuments, the small angels keeping guard over the effigy have an unwonted prominence, and the figurative content of the sarcophagus reliefs is much increased. Above, a heavy cornice lends coherence to the upper section of the monument, where niches contain figures of the Virtues.

The Cansignorio monument is an impressive work, which, in its subordination of sculpture to ornate architectural forms, anticipates the style practised in Lombardy in the last decade of the century.

The history of the free-standing Veronese tabernacle tomb opens about 1320 with the Castelbarco Monument outside Sant’Anastasia. This supplied the basis of the monument of Mastino II della Scala, where we find the scheme enriched with reliefs above the arches, small tabernacles at the corners of the tomb, and a surrounding grille adorned with statuary.

Bonino da Campione’s tomb of Cansignorio della Scala is planned on the same lines but with greater complexity. The rectangular surround of the Mastino monument gives way to a six-sided grille, on the support of which are tabernacles containing statues of warrior saints. In the tomb proper heavily decorated spiral columns are substituted for the simple pillars of the earlier monuments, the small angels keeping guard over the effigy have an unwonted prominence, and the figurative content of the sarcophagus reliefs is much increased. Above, a heavy cornice lends coherence to the upper section of the monument, where niches contain figures of the Virtues.

The Cansignorio monument is an impressive work, which, in its subordination of sculpture to ornate architectural forms, anticipates the style practised in Lombardy in the last decade of the century.

The reliefs on the lintel above the door in the church of San Marco, Milan are attributed to Bonino da Campione. They represents the symbols of Evangelists Matthew and Mark between St Ambrose and God the Father at the left side, and the symbols of Evangelists Luke and John between God the Father and St Augustine at the right side.

The reliefs on the lintel above the door in the church of San Marco, Milan are attributed to Bonino da Campione. They represents the symbols of Evangelists Matthew and Mark between St Ambrose and God the Father at the left side, and the symbols of Evangelists Luke and John between God the Father and St Augustine at the right side.

Works attributed to Bonino include the tomb of Bishop Balduino Lambertini (d 1349) in the old cathedral at Brescia; parts of the restored mausoleum of Stefano and Valentina Visconti (1359; Sant’Eustorgio, Milan); the frontal of the sarcophagus of Protaso Camaini (Sant’Eustorgio, Milan); and probably the tomb of Regina della Scala (1384; Castello Sforzesco, Milan).

Works attributed to Bonino include the tomb of Bishop Balduino Lambertini (d 1349) in the old cathedral at Brescia; parts of the restored mausoleum of Stefano and Valentina Visconti (1359; Sant’Eustorgio, Milan); the frontal of the sarcophagus of Protaso Camaini (Sant’Eustorgio, Milan); and probably the tomb of Regina della Scala (1384; Castello Sforzesco, Milan).

The group of sculptors and architects, who were active in northern Italy and elsewhere from the mid-12th century to the late 14th and originated from Campione (Campigliono) di Lugano, has been termed “Campionesi” in the 19th century.

Among the Campionesi active in the second half of the 14th century, the most eminent was Bonino da Campione. Gothic elements appear in three dated works by him: the signed tomb of Folchino degli Schizzi (d 1357) in Cremona Cathedral; the monument of Bernabò Visconti (equestrian statue, 1363, sarcophagus, 1380-85; both Castello Sforzesco, Milan), formerly in San Giovanni in Conca, Milan; and the signed tomb of Cansignorio della Scala (d 1375) at Santa Maria Antica, Verona.

Folchino degli Schizzi (born in Cremona and died in 1357) was a jurist who was linked to the Visconti dynasty at least from 1329.

Works attributed to Bonino include the tomb of Bishop Balduino Lambertini (d 1349) in the old cathedral at Brescia; parts of the restored mausoleum of Stefano and Valentina Visconti (1359; Sant’Eustorgio, Milan); the frontal of the sarcophagus of Protaso Camaini (Sant’Eustorgio, Milan); and probably the tomb of Regina della Scala (1384; Castello Sforzesco, Milan).

Beatrice Regina della Scala (1331-1384) was Lady of Milan by marriage to Bernabò Visconti, Lord of Milan, and politically active as the adviser of her spouse. She was the youngest child and only daughter of Mastino II della Scala and Taddea da Carrara. Bernabò and Beatrice Regina had at least between 15 documented children. She gave her name to the church of Santa Maria alla Scala in Milan, and by extension, the La Scala opera house (Teatro alla Scala) which was built on the same site four hundred years later.

The picture shows the central relief on the front of Regina della Scala’s sarcophagus.

Works attributed to Bonino include the tomb of Bishop Balduino Lambertini (d 1349) in the old cathedral at Brescia; parts of the restored mausoleum of Stefano and Valentina Visconti (1352; Sant’Eustorgio, Milan); the frontal of the sarcophagus of Protaso Camaini (Sant’Eustorgio, Milan); and probably the tomb of Regina della Scala (1384; Castello Sforzesco, Milan).

Stefano Visconti (c. 1287-1327) was a member of the House of Visconti that ruled Milan from the 14th to the 15th century. In 1318 he married Valentina Doria (1290-1359), daughter of Bernabò Doria, with whom he had three children, Bernabò Visconti (died 1385) being the youngest.

Works attributed to Bonino include the tomb of Bishop Balduino Lambertini (d 1349) in the old cathedral at Brescia; parts of the restored mausoleum of Stefano and Valentina Visconti (1352; Sant’Eustorgio, Milan); the frontal of the sarcophagus of Protaso Camaini (Sant’Eustorgio, Milan); and probably the tomb of Regina della Scala (1384; Castello Sforzesco, Milan).

Stefano Visconti (c. 1287-1327) was a member of the House of Visconti that ruled Milan from the 14th to the 15th century. In 1318 he married Valentina Doria (1290-1359), daughter of Bernabò Doria, with whom he had three children, Bernabò Visconti (died 1385) being the youngest.

The picture shows the relief on the front of the tomb of Stefano and Valentina Visconti. It depicts in the centre Sts Stephen and John the Baptist presenting the Stefano and Valentina to the Madonna.