Probably a young pupil in the workshop of Luca della Robbia and Andrea della Robbia, he moved away from them to take this traditional Florentine technique outside Florence: the coat-of-arms of Pope Innocent VIII, datable to the years between 1484 and 1492, now in the Borgia rooms in the Vatican, can in fact be attributed to him, while the Descent of Christ to Limbo, for Santa Maria dei Servi (Annunziata) in Florence, probably dates from the same period.

His masterpiece is the statue of St. Christine in the collegiate church of Bolsena, probably executed between 1503 and 1508: the saint lies on her sarcophagus, delicate and harmoniously composed in her sweet sleep of death and Christian peace.

In all likelihood, the artist also executed the ciborium for the collegiate church of Bolsena, which, enlarged by the rich garland and the predella, constitutes the altarpiece: in the perspective flight of the arch and in the benedictory Jesus, it recalls the great tradition of Florentine sculpture, the one particularly linked to the name of Desiderio da Settignano.

In the church of S. Pietro in Radicofani, there is a Crucifix with Mary Magdalene that can be attributed to B. for the gentleness of certain passages, for that of its inscription in a country of trees, studied and distant in perspective.

The statuettes of St. Romulus and his companions in the cathedral of Fiesole, the Madonna and Child on the clouds in the Bargello, the coat-of-arms of the Spedale del Ceppo in Pistoia, which was paid to him on 26 March 1515, can still be safely attributed to him.