CAMPAGNA, Girolamo

At around 1606 Campagna returned to the use of bronze, producing the statue of St Anthony Abbot for San Giacomo di Rialto in 1605, bronze statuettes of St Agnes and St Anthony of Padua for Santa Maria Gloriosa dei Frari in 1608-09, and the high-relief figures of the Angel and Virgin Annunciate for the Loggia del Consiglio (now Castelvecchio), Verona, in 1609-10. The St Anthony Abbot evokes the proto-Baroque style of Palma Giovane’s figures in his later paintings, while the Annunciation figures exploit the dramatic contrasts of the theme in a manner reminiscent of Veronese.

This funerary monument with the recumbent figure of Doge Pasquale Cicogna (1585-1595) is placed at the door of the sacristy.

The high altars for the Venetian churches of Il Redentore and San Giorgio Maggiore are among Girolamo Campagna’s most impressive achievements. These altars represent Campagna’s first known attempt at bronze statuary and include the first monumental bronze figures cast in Venice since those for the Zen Chapel in San Marco (1504-22).

Campagna was commissioned to execute the bronze high altar of San Giorgio Maggiore on 20 January 1592. He is said to have worked after a design and several sketches by the painter Antonio Vassilacchi (called Aliense). The subject is the Trinity, with the four Evangelists supporting on their shoulders a large copper globe, on which stands God the Father. The theme extends back to early Christian iconography but is uncommon for a high altar. Campagna here transformed the theme into a three-dimensional composition of compelling authority.

The altar was finished in 1593 and clearly met with approval since the abbot of San Giorgio ordered a marble altarpiece of the Virgin and Child with Angels from Campagna in August 1595.

The High Altar for Palladio’s San Giorgio Maggiore reveals Campagna’s potential. The complex, based on a drawing by the painter Vassilacchi, expanded the conventions of the altarpiece. In unprecedented fashion, Campagna transformed the pictorial design into three dimensions (but retained its painterly qualities), which allowed a view of Palladio’s magnificent double colonnade behind the altar.

The pyramidal structure consists of a gilded copper globe supported by bronze Evangelists as Atlas figures. Their poses echo Michelangelo’s four late “Slaves” but they are individualized and finished. The Dove of the Holy Spirit descends to a crucifix in front of the globe, on which stands God the Father, completing the Trinity on the central axis. This Counter-Reformation image, whose metal surface reflects the light in the sanctuary, is worthy of the intense visions of Tintoretto and the physicality of Verone. Its illusionism anticipates Bernini, especially his Cathedra Petri.

The design and the sculptures of the High Altar are attributed to Girolamo Campagna. The centre has the particularity of not having an altarpiece but a cross. Initially the two groups of four wooden columns contained the statues of St Francis of Assisi and St Anthony of Padua. In the nineteenth century, these statues were removed from the altar and placed above the side doors of the choir of brothers. The pediment of the triumphal arch shows the Eternal Father and the Annunciation on the sides. These painted wood sculptures are attributed to Girolamo Campagna.

The photo shows the back of the High Altar.

The detail shows the Evangelists supporting on their shoulders a large copper globe, on which stands God the Father.

On the High Altar of the church the pediment of the triumphal arch shows the Eternal Father and the Annunciation on the sides. The painted wood sculptures are attributed to Girolamo Campagna.

Campagna received the two most important Venetian sculptural commissions of the late 16th century, for the high altars of Il Redentore and San Giorgio Maggiore. These altars represent Campagna’s first known attempt at bronze statuary and include the first monumental bronze figures cast in Venice since those for the Zen Chapel in San Marco (1504-22).

In the cases of the high altars, Campagna was called upon to design a new kind of altar, unprecedented in Venice, to meet the requirements of Counter-Reformation architecture. Beyond that, both churches were projects by Palladio, with whose ideas Campagna had an evident sympathy. Palladio intended each church to have a free-standing altar, to be seen in the round. The altar of the Redentore was the earlier of the two, probably conceived in 1589 and finished the following year.

At the Redentore, Campagna created a variation on the medieval meditation on the Crucifixion, with St Mark and St Francis flanking the cross. Campagna later described the Crucifixion as ‘famosissimo’, and its combination of pathos and beauty must have excited admiration at the time. The sensuous treatment of the nude male figure is inspired by Donatello’s bronze Christ in Il Santo in Padua. The poses of the two saints (originally placed nearer to the cross) complement its sinuous contrapposto. The St Mark’s dynamic gesture and expressive features have the proto-Baroque style of many of Campagna’s later figures.

Campagna received the two most important Venetian sculptural commissions of the late 16th century, for the high altars of Il Redentore and San Giorgio Maggiore. These altars represent Campagna’s first known attempt at bronze statuary and include the first monumental bronze figures cast in Venice since those for the Zen Chapel in San Marco (1504-22).

In the cases of the high altars, Campagna was called upon to design a new kind of altar, unprecedented in Venice, to meet the requirements of Counter-Reformation architecture. Beyond that, both churches were projects by Palladio, with whose ideas Campagna had an evident sympathy. Palladio intended each church to have a free-standing altar, to be seen in the round. The altar of the Redentore was the earlier of the two, probably conceived in 1589 and finished the following year.

At the Redentore, Campagna created a variation on the medieval meditation on the Crucifixion, with St Mark and St Francis flanking the cross. Campagna later described the Crucifixion as ‘famosissimo’, and its combination of pathos and beauty must have excited admiration at the time. The sensuous treatment of the nude male figure is inspired by Donatello’s bronze Christ in Il Santo in Padua. The poses of the two saints (originally placed nearer to the cross) complement its sinuous contrapposto. The St Mark’s dynamic gesture and expressive features have the proto-Baroque style of many of Campagna’s later figures.

This marble relief is a detail from the Altar of the Sacrament. Indebted to Sansovino, this early relief depicts Christ supported by two angels, a favourite image in Venetian painting. It contains a dexterous manipulation of sources - ancient, central Italian and Venetian. The lyrical forms are grounded in nature, whereas the drilling of the angels’s hair is from the antique. Its elegance and serenity recall the tone of Veronese’s paintings.

The monument to the doge Leonardo Loredan (died 1521) was erected towards 1572. The design is by Girolamo Grapiglia; the statue of the doge by Girolamo Campagna; the allegorical statues of Venice (to the left), the League of Cambrai (to the right), the Abundance and the Peace (between the columns) and the low-reliefs are by Danese Cattaneo, a disciple of Sansovino.

The seated marble statue of Doge Leonardo Loredan (completed c. 1605) was very influential. The design for the figure was probably conceived by Cattaneo before his death, but Campagna executed it, introducing a new iconographic type into Venetian funerary monuments.

The seated marble statue of Doge Leonardo Loredan (completed c. 1605) was very influential. The design for the figure was probably conceived by Cattaneo before his death, but Campagna executed it, introducing a new iconographic type into Venetian funerary monuments.

This monument, attributed to Girolamo Campagna, is above the door giving access to the sacristy in San Francesco della Vigna. Marcantonio Trevisan (c. 1475-1554) was the 80th doge of the Republic of Venice.

This amusing bronze by the Veronese sculptor Girolamo Campagna is a salt cellar. The figure holds a sea shell with water lapping over its edge, a charming allusion to the source of salt.

At around 1606 Campagna returned to the use of bronze, producing the statue of St Anthony Abbot for San Giacomo di Rialto in 1605, bronze statuettes of St Agnes and St Anthony of Padua for Santa Maria Gloriosa dei Frari in 1608-09, and the high-relief figures of the Angel and Virgin Annunciate for the Loggia del Consiglio (now Castelvecchio), Verona, in 1609-10.

The statuette of St Agnes is adorning a holy water stoup at the foot of the altar of St Anthony in the right aisle of the church.

Thei bronze statuette is above a nice holy water stoup at the foot of the altar of St Anthony in the right aisle of the church.

Unfortunately, few of Campagna’s later works equal the power and authority of his altarpieces for the Redentore and San Giorgio Maggiore. An exception can be made for the bronze statue of St Anthony Abbot on the altar of the goldsmiths’ guild in the ancient church of San Giacomo del Rialto (or San Giacometto). The figure demonstrates some of the dynamism that informed the bronzes for the high altar of San Giorgio Maggiore while anticipating somewhat the fervour of Counter-Reformation iconography.

At around 1606 Campagna returned to the use of bronze, producing the statue of St Anthony Abbot for San Giacomo di Rialto in 1605, bronze statuettes of St Agnes and St Anthony of Padua for Santa Maria Gloriosa dei Frari in 1608-09, and the high-relief figures of the Angel and Virgin Annunciate for the Loggia del Consiglio (now Castelvecchio), Verona, in 1609-10.

The statuette of St Anthony of Padua is adorning a holy water stoup at the foot of the altar of St Anthony in the left aisle of the church.

Originally the wooden statues of St Francis of Assisi and St Anthony of Padua were part of the High Altar. In the nineteenth century they were removed from the altar and placed above the side doors of the choir brothers.

Originally the wooden statues of St Francis of Assisi and St Anthony of Padua were part of the High Altar. In the nineteenth century they were removed from the altar and placed above the side doors of the choir brothers.

Between 1600 and 1604 Campagna produced two tombs in Venice for the Doges Pasquale Cicogna and Marino Grimani. The first, now in Il Gesuiti (Santa Maria Assunta), consists of a triumphal arch with an applied Composite order framing the semi-recumbent marble figure of Cicogna on his sarcophagus in the central bay.

The Grimani monument is a double tomb for the Doge and Dogaressa, filling virtually the whole of one wall of their parish church of San Giuseppe (or Sant’Iseppo). Here the architecture serves merely as an imposing framework on to which marble statues, caryatids and reliefs are applied.

Between 1600 and 1604 Campagna produced two tombs in Venice for the Doges Pasquale Cicogna and Marino Grimani. The first, now in Il Gesuiti (Santa Maria Assunta), consists of a triumphal arch with an applied Composite order framing the semi-recumbent marble figure of Cicogna on his sarcophagus in the central bay. The architecture recalls that of Scamozzi, but the chief novelty lay in the presentation of the Doge. Although Palladio had incorporated the semi-recumbent effigy into his designs for tombs in the middle of the 16th century, this composition was used rarely in Venice and the Veneto. Campagna’s revival did not prove influential, possibly because this pose lacked the dignity appropriate for a ruler.

This funerary monument with the recumbent figure of Doge Pasquale Cicogna (1585-1595) is placed at the door of the sacristy.

Between 1600 and 1604 Campagna produced two tombs in Venice for the Doges Pasquale Cicogna and Marino Grimani. The first, now in Il Gesuiti (Santa Maria Assunta), consists of a triumphal arch with an applied Composite order framing the semi-recumbent marble figure of Cicogna on his sarcophagus in the central bay. The architecture recalls that of Scamozzi, but the chief novelty lay in the presentation of the Doge. Although Palladio had incorporated the semi-recumbent effigy into his designs for tombs in the middle of the 16th century, this composition was used rarely in Venice and the Veneto. Campagna’s revival did not prove influential, possibly because this pose lacked the dignity appropriate for a ruler.

This funerary monument with the recumbent figure of Doge Pasquale Cicogna (1585-1595) is placed at the door of the sacristy.

At around 1606 Campagna returned to the use of bronze, producing the statue of St Anthony Abbot for San Giacomo di Rialto in 1605, bronze statuettes of St Agnes and St Anthony of Padua for Santa Maria Gloriosa dei Frari in 1608-09, and the high-relief figures of the Angel and Virgin Annunciate for the Loggia del Consiglio (now Castelvecchio), Verona, in 1609-10. The St Anthony Abbot evokes the proto-Baroque style of Palma Giovane’s figures in his later paintings, while the Annunciation figures exploit the dramatic contrasts of the theme in a manner reminiscent of Veronese.

The Virgin is seated on a plinth, with her head inclined slightly downwards and turned three-quarter profile to the right. On the left the Child stands on a fold of the Virgin’s drapery spread over the top of the plinth. The Virgin appears to restrain the Christ Child’s movement by holding his right arm as he takes a step towards the viewer. It was a common practice for worshippers at a statue of the Virgin to kiss her foot. This may explain why the left foot is here extended and exposed.

The group is documented as being executed for the church of the Madonna dell’Arsenale, Venice, in 1578.

Campagna received notable private commissions, including that for a marble Virgin and Child with Angels in San Salvador (Salvatore), executed for the Dolfin family. This group, Campagna’s first surviving attempt at this theme, betrays an obvious debt to Sansovino, but Campagna invested his figures with the more monumental forms of late Cinquecento art also to be seen in the paintings of Tintoretto and the sculpture of Giambologna.