In Benedetto's bas-reliefs at San Gemignano, carved for the altars of those unlovely Tuscan worthies, S.Fina and S.Bartolo, we find a pictorial treatment of legendary subjects, proving that he had studied Ghirlandajo's frescoes.
The same is true about his pulpit in S.Croce at Florence, his treatment of the story of S.Savino at Faenza, and his "Annunciation" in the church of Monte Oliveto at Naples.

Benedetto, indeed, may be said to illustrate the working of Ghiberti's influence by his liberal use of landscape and architectural backgrounds; but the style is rather Ghirlandajo's than Ghiberti's.

If it was a mistake in the sculptors of that period to subordinate their art to painting, the error, we feel, was aggravated by the imitation of a manner so prosaic as that of Ghirlandajo.

That Benedetto began life as a _tarsiatore_ may perhaps help to account for his pictorial style in bas-relief.[109] In estimating his total claim as an artist, we must not forget that he designed the formidable and splendid Strozzi Palace.
It will be observed that all the sculptors hitherto mentioned have been Tuscans; and this is due to no mere accident--nor yet to caprice on the part of their historian.

Though the other districts of Italy produced admirable workmen, the direction given to this art proceeded from Tuscany.
Florence, the metropolis of modern culture, determined the course of the aesthetical Renaissance.