Historians of fifteenth-century sculpture traditionally distinguish works that are portable from those that are site-specific, and in general this distinction is warranted. After all, an artist who made a medal, a plaquette, or a statuette – all genres that became newly fashionable in the Quattrocento – did so with full knowledge that the object he made would be held, carried, or circulated. Scaled down and operating freely from any one spatial context, these artifacts often anticipated the vast distances they would span – as diplomatic gifts, for example – and even the diverse audiences they might reach: in their subject matter, for instance, which, being predominantly mythological, had the attraction of being universal. Site-specific works meanwhile, especially those of a monumental sort, were different. Made for a fixed location and often integrated into an architectural fabric, these objects were subject to institutional constraints and typically addressed a local, or localized, audience.