Name by which the Italian sculptor and architect Bernardo Gambarelli (Settignano 1409 – Florence 1464). At work mostly in Tuscany, he starter working as a sculptor creating the sort of fifteenth century funerary monument, shaped as a niche flanked by pilasters and surmounted by an arch (Leonardo Bruni's tomb, Florence, S. Croce, 1444-50; Beata Villana's sepulcher, Florence, S. Maria Novella, 1451). In these works the influxes of the great Florentine maestros (Ghilberti, Donatello, Michelozzo) are originally relived in virtue of the singular agreement between sculpture and painting, with the predomination of plastic masses. Bruni's tomb specially, is a high masterpiece: a solemn structure, with plain spaces and others soberly decorated, it houses a double sarcophagus, upon which the deceased's calm statue lays; on top of the side parastades a harmonious lunette appears, decorated with the image of the Virgin and of the Son, surmounted by a crowning in the shape of a circular coat-of-arms held by two angels. None of the following sculptures reaches an equal clarity of composition nor the same plastic sensitiveness, not even the Annunciazione (1447) for the oratory of the Nunziata of Empoli, that is among Rossellino 's best works. However, he dedicated himself more actively to architecture, although his work in this field can hardly be reconstructed due to successive destructions or on account of insufficient documentation. As an architect Rossellino owes his formation to Alberti, whose projects he often executed, for instance in Palazzo Rucellai in Florence; afterwards he worked in Rome, perhaps participating to the building of Palazzo Venezia's courtyard (iter 1), commencing the reconstruction of the New Suburb in the Vatican (iter 9) and carrying out S. Stefano Rotondo's restoration. But the work of greatest proportions and of best result was the urbanistic arrangement carried out in Corsignano, the modest suburb in which Pio II Piccolomini was born, that the pope had completely rebuilt and re-baptized with the name of Pienza. Articulated in accordance to a modern urbanistic concept albeit in its fundamental perspective scenography, Pienza's piazza accomplishes an ideal of limpid classical fashion; among the Renaissance's family palaces of the Piccolomini, Canonici and Borgia, Rossellino framed the Cathedral's façade and, facing it, he built Palazzo dei Priori. If the prospects of these buildings aspire to Alberti's ways, the Cathedral's inside is entirely original, this inner ambiance by will of the pope, repeats the scheme of the German aulic churches (hallenkirche) interpreted in original forms. From Bernardo Rossellino 's office numerous sculptors came out, among which his brother Antonio, also called Rossellino, and Desiderio da Settignano.