In her exemplary book, which began as a doctoral dissertation in 1992, Alison Wright provides a comprehensive examination of the Pollaiuolo brothers’ substantial artistic productivity in Florence and Rome during the second half of the quattrocento, contextualizing their working lives and era. Although she adopts a traditional monographic approach to her subject, the author seeks to reveal the professional reputations of these artists and the innovative characteristics of their works of art. Wright implements a roughly chronological arrangement for her ambitious project, examining Antonio’s and Piero’s works categorically, by medium or project. In fourteen chapters, she explores the iconography, reception, and social and cultural contexts of the two brothers’ surviving works. The first chapter formulates a biography of the siblings, which is gleaned from numerous original and secondary sources and serves as the foundation for the subsequent sections. Their paintings are discussed in chapters 3 (the earliest paintings and the lost Labors of Hercules), 4 (secular and mythological subjects), 5 (portraiture), 7 (altarpieces), 8 (civic imagery), and 10 (Piero’s later independent works). Their sculpture is addressed in chapters 11 (small-scale bronzes), 12, and 13 (the tombs of Sixtus IV and Innocent VIII, respectively). Antonio’s designs, drawings, goldsmith work, and engraving...