Tamagnino

[2][3] In general, all the lapidary work during the construction of the Santa Maria dei Miracoli that followed the Apostle cycle and in the interior of the building was due to Cairano and his workshop.

[5][6] It is likely, therefore, that Cairano's capture of all subsequent lapidary work at the Santa Maria dei Miracoli stemmed from some local support, which enabled him to sideline Tamagnino.

[15] The palazzo which had opened in 1492 following Tamagnino's first departure from Brescia was at the time in the firm control of Gasparo Cairano, who had for some years become the sculptor of choice for the Brescian elite, both public and private.

[15] But in the following seven months, Cairano records successive advances and balances for trophies in full production mode that does not affect his other works, whereas Tamagnino only realises two Caesars and seventeen leonine busts.

[13] The creation of leonine busts was considered repetitive and could be consigned to low calibre stonecutters,[13] and Tamagnino was paid much less than the average payment received by Cairano for artefacts of the same type.