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Andrea Contucci da Sansavino and his pupil Jacopo Tatti, called also Sansovino, after his master, must, however, next be mentioned as continuing the Florentine tradition without subservience to the style of Buonarroti. Andrea da Sansavino was a sculptor in whom for the first time the faults of the mid-Renaissance period are glaringly apparent.
To do so would be like trying to name the days on which spring in any particular season began and ended Yet we speak of spring as different from winter and from summer. The truth is, that in many senses we are still in mid-Renaissance. The evolution has not been completed. The new life is our own and is progressive.
They seem to have regarded their church fronts as independent of the edifice, capable of separate treatment, and worthy in themselves of being made the subject of decorative skill. In the so-called Santuario of Crema a circular church dedicated to S. Maria della Croce, outside the walls the Lombard style has been adapted to the manner of the Mid-Renaissance.
To do so would be like trying to name the days on which spring in any particular season began and ended. Yet we speak of spring as different from winter and from summer. The truth is that in many senses we are still in mid-Renaissance. The evolution has not been completed. The new life is our own and is progressive.
It is necessary, at the risk of some repetition, to keep this point before the reader, if only as an apology for the method of treatment to be followed in the next chapter, where the painters of the mid-Renaissance period will be reviewed less in relation to their schools and cities than as representatives of the Italian spirit.
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