Gasparo Cairano  Gasparo Cairano, also known as Gasparo da Cairano, de Cayrano, da Milano, Coirano, and other variations (born Milan or Pieve del Cairo or Cairate, before 1489 – Brescia, died before 1517), was an Italian sculptor of the Renaissance. The artist emerged in 1489 as part of the cultural world of Milan, beginning a successful career that turned him into a leading exponent of Renaissance sculpture in Brescia, distinguishing himself with works of cultural import such as his cycle of the Caesars for the Loggia palace in Brescia, as well as the Mausoleum of Martinengo. He introduced a powerful and highly expressive classical taste, as opposed to the hitherto existing refined decorativeness. During the first decade of the sixteenth century, Gasparo was able to win over public and private clients who sought to translate into stone their pride in their supposed historical descent from ancient Rome. After his death, Gasparo's reputation fell into oblivion caused by unfavourable secular criticism. His complex artistic personality and catalog of works were only reconstructed from the end of the twentieth century, thanks to targeted critical studies that have for the first time allowed a thorough analysis and rediscovery of his works. Nothing is known of Gasparo Cairano before 1489. No information has been found about the date and place of his birth, education, or the circumstances that led him to Brescia. The appellation "da Milano", with which he is often recalled in the sources, however, does not provide a definitive fact of his origin because it could refer to the city as well as to the dukedom or diocese. The generic reference, in any case, is compatible with the cultural basis of his artistic work. Some conjectures can be made on the surname "Cairano", in particular that it leads one to Cairate in Varese province, which is to this day shortened to "Caira" in the local dialect. Cairano first documented work is from December 24, 1489 with his commission for the cycle of twelve statues of the Apostles to be installed in the first dome of the church of Santa Maria dei Miracoli, Brescia. The installation of Cairano's cycle is contemporaneous with Tamagnino's installation of the twelve angels in the lower section of the dome. In general, all the stone sculptures at the Santa Maria dei Miracoli laid down in the decade following the cycle of the Apostles were limited to the interior of the building, and were by Cairano and his associates.