Naslov
Statua di San Nicola di Bari a Terravecchia di Pago: un'aggiunta alla bottega di Paolo Campsa
(Statue of St Nicholas of Bari in the Old Town on the island of Pag: contribution to the workshop of Paolo Campsa)

Autori
Goja, Bojan

Izvornik
Ricche minere (2284-1717) 7 (2017); 23-31

Vrsta, podvrsta i kategorija rada
Radovi u časopisima, članak, znanstveni

Ključne riječi
Venezia, Dalmazia, Pago, Terravecchia, Paolo Campsa, scultura di San Nicola di Bari
(Venice, Dalmatia, island of Pag, Old Town (Stari Grad), Paolo Campsa, statue of St Nicholas of Bari)

Sažetak
The paper analyzes the polychrome, wood-carved and gilded statue of St Nicholas of Bari showing Renaissance stylistic features. The statue is kept in the collegiate church of the Assumption of the Blessed Virgin Mary in the Old Town on the island of Pag in Croatia. Originally it ornated the homonymous altar that had been erected in the left apse. Based on the comparison with the Venetian wooden sculpture production during the first half of the 16th century, the author concludes that the Pag statue of St Nicholas of Bari shows distinct similarities with the statue of St Nicholas of Bari from the altar of St Heliodorus (originally dedicated to St Martin) in the Church of the Assumption of the Blessed Virgin Mary on Torcello, that is in saint’s physiognomy, gesture and in the manner of modelling the drapery folds. The altar of St Heliodorus (except the statue of St Heliodorus), together with the opposite altar of St Liberale, were made in the workshop of Paolo Campsa in 1526. Both statues of St Nicholas of Bari – those from Pag and Torcello - show significant resemblance in the modelling of the drapery of the fabrics. Particularly indicative is somewhat exaggerated fold of the chasuble in the height of the chest. In addition, both statues show how an unknown master shaped the curves of the alb, that is of its edge bending over the feet in dense and realistic folds. The beard locks are also equally modelled. Two statues feature the same physiognomic characteristics even regarding prominent cheekbones and frontal bones. Taken into account the date of its Torcello counterpart, the Pag statue of St Nicholas of Bari may be dated to the third decade of the 16th century. Earlier thorough evaluation of Campsa’s sizeable oeuvre identified the typological and stylistic similarity between the individual statues and reliefs that have allowed their classification into certain groups which are considered works of the same or unknown artists from his workshop. Thus, it was concluded that the statues of St Anthony the Abbot and St Nicholas of Bari from the altar of St Heliodorus in Torcello can certainly be considered the work of the same unknown master. The author believes that the closeness of the Pag statue of St Nicholas of Bari to the statue of St Nicholas of Bari on Torcello provides more than sufficient grounds for its assigning to the same group of Campsa’s works. In addition to the typological and stylistic similarities, the statue of St Nicholas of Bari from Pag shows alikeness with some famous works of Paolo Campsa and his workshop also regarding the material from which it was made. During the recently conducted restoration works on Pag statue it was found to be carved from linden wood, meaning from the same material as the statues on the altar in Motovun (Montona, Istria) dated to around 1530.

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