A recent publication on the Sienese church of San Martino has brought renewed attention to Ascanio Covatti of Cortona, a figure previously overlooked by scholars due to documentary references identifying him merely as a scalpellino (stonecutter). Active between 1587 and 1632, Covatti's career can now be reconstructed through a corpus of decorative elements integrated into architectural settings. He is distinguished by the elegant execution of highly polished, original marble faces with androgynous, youthful features – particularly on altar structures and ground-level funerary slabs. Covatti's connection with the influential Chigi family secured him commissions at Santa Maria della Scala under Agostino Chigi, and at the newly founded church of San Raimondo al Refugio, sponsored by Agostino's brother Aurelio. His name appears five times in Fabio Chigi's important inventory of Sienese artworks, attesting to his contemporary reputation and playing a key role in preserving his legacy from obscurity. He began his career with a sculptural group in Passignano sul Trasimeno, later working in churches in Cortona under the patronage of the Radi and Berrettini families before relocating to Siena – while maintaining ties with his native city. Working in an environment characterized by fluid boundaries between painting and sculpture, his association with Francesco Vanni may have advanced his career in Siena. Despite this, his memory faded quickly after his death, just as the Mazzuoli family – also of Cortonese origin – rose to prominence.