The comacini masters (in Italian: maestri comacini; in Latin: Magistri comacini or commacini or comeceni[1]​) were a group of builders, stonemasons, masons, stuccoers and artists united in a guild of construction companies composed of specialized professionals, active since the century in the area near Como - today between the province of Como and the canton of Ticino—and in general throughout Lombardy.

The first document that cites the Magister Commacinus is the edict of Rotary of November 22, 643. Also the edict of Liutprand "of February 28, 713 reports in an appendix a memoratorium de mercedibus commacinorum, a tariff guide.

The name "comacini" was always thought to derive from Como, the land of origin of these masters. At the beginning of the century, Professor Monneret de Villard rejected this etymology, maintaining that the adjective derived from Como is "comasco" or "comense" and preferred the etymology that makes it come from "cum machinis" or "cum macinis", referring to the scaffolding and winches that these craftsmen used in the construction of their works. In any case, geographical etymology is preferred.[2]​.

Some anonymous artists belonging to the corporation were also decorators, sculptors, stonemasons and carvers and were among the first masters of Lombard Romanesque. These sculptors moved very easily and their works are documented in the region of the pre-Alps and in the Padana plain, in the canton of Ticino, in Lazio at the beginning of the century, and some of them even moved to Germany, Denmark and Sweden.

Among the best works of this school are in Como the external decoration of the basilica of Sant'Abbondio and the choir of the church of san Fedele "Basilica of San Fidel (Como)"), with zoomorphic figures, monsters, griffins, etc. In these representations the human figures are rare and characterized by a chubby and unrealistic appearance. Their mastery is greater when representing figures of animals or plant complexes: this is perhaps due to the fact that these sculptors could count on models and other support objects. The relief is flat and stylized, extensive use of the drill to create a total separation with the background, of fixed depth and to give chiaroscuro effects.

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