Master of the Marble Madonnas

Various mannerisms can be seen in this group, as well; among these has been what is described as "a peculiar feline smile from heavy-lidded eyes and a taut jaw, at its best radiating inward joy but often acerbic or bordering on the manic."

[2] Gregorio was trained in the workshop of Desiderio da Settignano, absorbing through him characteristics common to the Rossellino brothers.

Previous attempts to identify van Bode's Master of the Marble Madonnas with either Giovanni Ricci, Domenico Rosselli, or Tommaso Fiamberti did not gain wide acceptance.

[5] Gregorio di Lorenzo is known also to have worked in the ducal courts of Urbino and Ferrara, also making trips to Hungary to serve Matthias Corvinus and to Italian outposts along the eastern Adriatic.

His significance to the Italian Renaissance lies not so much in any particular work but in the overall contribution he rendered in spreading the Florentine approach to sculpture to a wider audience.