Although the style of the work is thoroughly classicising, the overall form reflects the grandest type of the medieval Italian wall tomb, in which the vertical piling-up of a series of different elements is characteristic. Italian Gothic sculpture always retained considerable elements of classicism, and it was not necessary for Donatello and Michelozzo to adopt a radically original overall scheme from those of Tino di Camaino (c. 1285–1337), the Siennese sculptor whose wall-tombs of a century before had been very influential throughout Italy. A life-size marble effigy lying on top of an elevated protruding sarcophagus is highly typical. The motif of curtains at the top is often found in monuments using Gothic decorative details, and the shape recalls the triangular gable tops of monuments in a more thoroughly Gothic style; other monuments have curtains, often held open by angels, around the effigy, and then sculptures above. The Cossa monument is often compared to the monument to Doge Tommaso Mocenigo of Venice, of 1423, which has high relief saints in shell niches on and above the sarcophagus, above which a large pair of curtains sweep up to a single terminal; however the architectural detailing here is Gothic. The design of the Cossa tomb itself was elaborated on, and adapted to local conventions, in the tomb by the same team for Cardinal Brancacci in Naples, and influenced the monument to Leonardo Bruni by Bernardo Rossellino, of about 20 years later, in the Basilica of Santa Croce, Florence.