Abstract
Between 1440 and 1469 many artists worked for Piero de' Medici: the painters Domenico Veneziano, Alesso Baldovinetti, and Benozzo Gozzoli; the sculptors Luca della Robbia, Desiderio da Settignano, and Andrea del Verrocchio; the architects Leon Battista Alberti and Filarete; as well as sculptors in bronze, like Maso di Bartolomei and Vittore Ghiberti. In contrast to these artists, others, particularly Beato Angelico and Andrea del Castagno, found their inspiration in the Byzantine tradition and presented simple everyday images, quite possibly with philological overtones from Lorenzo Valla. Certain complexes Piero commissioned are examined: the Medici chapel, the Chapel of the Santissima Annunziata, and the crucifix tabernacle in the church of San Miniato, or others catering to his tastes: the SS. Sacramento tabernacle in the church of San Lorenzo, the Marsuppini tomb by Desiderio da Settignano in the Church of Santa Croce, and the Pazzi Chapel in Pienza. The author's purpose is to define their structures and ethical significance, and to distinguish them from the concepts of Brunelleschi and Donatello, which Cosimo preferred.
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