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After his first contract expired at Sebenico, where the work apparently progressed very slowly, he went again to Spalato in 1448 to make the chapel of S. Anastasius in the cathedral. Here he had to compete with the work of Gaspare Bonino of Milan, who had made the corresponding chapel on the other side in 1427. They are both rather late Gothic in style.
The stained glass windows by Bonino, a native of Assisi, render a soft and mellow harmony of light no less charming than that of the mosaic interior of San Marco, Venice. Famous frescoes which influenced all the great movements of art that followed, cover the walls of the church. Those in the sanctuary by Giotto are particularly fine. They represent St.
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.
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.
At each side of it are the altars of S. Ranier and S. Anastasius, the latter made by George of Sebenico in 1448 to match the former, made in 1427 by the Milanese Gasparo Bonino, and both Gothic. To the left is the very beautiful pulpit shown in the illustration. It bears considerable resemblance to that at Traù, but is superior to it both in design and execution.
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