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Balduccio, invited by Azzo Visconti to Milan, carved the shrine of S. Peter Martyr in the church of S. Eustorgio, and impressed his style on Matteo da Campione, the sculptor of the shrine of S. Augustine at Pavia. These facts, though briefly stated, are not without significance.
After the collapse of the Roman Empire the district of Como seems to have maintained more vividly than the rest of Northern Italy some memory of classic art. Magistri Comacini is a title frequently inscribed upon deeds and charters of the earlier middle ages, as synonymous with sculptors and architects. This fact may help to account for the purity and beauty of the Duomo. It is the work of a race in which the tradition of delicate artistic invention had never been wholly interrupted. To Tommaso Rodari and his brothers, Bernardino and Jacopo, the world owes this sympathetic fusion of the Gothic and the Bramantesque styles; and theirs too is the sculpture with which the Duomo is so richly decorated. They were natives of Maroggia, a village near Mendrisio, beneath the crests of Monte Generoso, close to Campione, which sent so many able craftsmen out into the world between the years 1300 and 1500. Indeed the name of Campionesi would probably have been given to the Rodari, had they left their native province for service in Eastern Lombardy. The body of the Duomo had been finished when Tommaso Rodari was appointed master of the fabric in 1487. To complete the work by the addition of a tribune was his duty. He prepared a wooden model and exposed it, after the fashion of those times, for criticism in his bottega; and the usual difference of opinion arose among the citizens of Como concerning its merits. Cristoforo Solaro, surnamed Il Gobbo, was called in to advise. It may be remembered that when Michelangelo first placed his Piet
Bonino da Campione, the Milanese, who may have had a hand in the Arca di S. Agostino, carved the tomb of Can Signorio. That of Mastino II. was executed by another Milanese, Perino. See Trucchi, Poesie Italiane inedite, vol. ii. See the Illustrated work, Il Tabernacolo della Madonna d'Or sammichele, Firenze, 1851.
Thus, however subordinated to architecture, sculpture in Italy still had more scope for self-assertion than in Germany or France. See Perkins, Italian Sculptors, p. 109, for a description of the Arca di S. Agostino, which he assigns to Matteo and Bonino da Campione. This shrine, now in the Duomo, was made for the sacristy of S. Pietro in Cielo d'Oro, where it stood until the year 1832.
They enjoyed a pleasant meal and then sat through the June twilight in Virgilio's rose garden, smelled the fragrance of oleanders and myrtles in the evening breeze, saw the fireflies flash their little lamps over dim olive and dark cypress, and heard the summer thunder growling genially over the mountain crowns of Campione and Croce. Mr.
Street in the last chapter of his hook on the Architecture of North Italy. Even though it be now proved that not Heinrich von Gmunden, but Marco Frisone da Campione, not a German, but a Milanese, was the first architect, this is none the less true about its style. See Vol. I., Age of the Despots, p. 153.
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