Francesco di Antonio del Chierico was a manuscript illuminator of the early Renaissance period in Florence. Francesco began as a goldsmith before changing occupations to become a successful illustrator. He was one of the pupils of Fra Angelico and became famous for being Lorenzo de' Medici's favorite illuminator. He worked under some of the most prestigious patrons of the time, including Lorenzo de' Medici (otherwise known as Lorenzo the Magnificent), Piero de’ Cosimo de' Medici, Cosimo il Vecchio, and Vespasiano da Bisticci. He gained a reputation for his well executed illustrations in varying types of books ranging in size from small books of hours to large choir books. His illustrations often included intricate floral arrangements, putti, and candelabras. He decorated both the borders of manuscripts and full pages.
Francesco's works are often compared to those of the Pollaiuolo brothers and Domenico Veneziano. He is most recognized for his work on the Disputationes Camaldulenses by Cristoforo Landino and in that manuscript, particularly the two profiles of Federico da Montefeltro and an unidentified figure. In his later life it is speculated that he was the master of Francesco Rosselli due to their strong stylistic similarities. There is often confusion with his name due to the many Francesco di Antonios or Francesco del Chiericos from 15th- and 16th-century Italy.
Francesco began his work as a goldsmith before turning to illuminating. No information has been uncovered about his family as a child or adult, or about how he began illuminating. Goldsmiths turned illuminists were very common at the time because goldsmiths were trained to create fine details in their work which translated well for illustrating tiny books. He was creative in the details he included in his work. For example, in Book of Hours of Lorenzo the Magnificent and Clarice Orsini he incorporates astrological symbols that correspond with each member of their family into his designs. This pleased the Medici so much that they hired him again to work on more books for them. Through Francesco's work it is also clear that he had at least some knowledge of ancient Roman works. In the fifteenth century, Roman works were popular, but only known to the public through descriptions and copies by famous artists. Only the best artists of the time were able to see the uncovered Roman works and less famous artists rarely got a chance. Nevertheless, it was very popular for artists to replicate the classics to the best of their abilities through descriptions of the Roman works. Francesco designed his floral arrangements and the many putti in a classical Roman way throughout his works. Putti are commonly shown in Renaissance art; they are depictions of small naked children or, more typically, cherubs. Francesco's boldness and creativeness is exemplified by the numerous putti, candelabras, and the use of a rare sketch watercolor technique.
Francesco was also recorded to have been enrolled in the Compagnia di San Paolo in Florence which was one of the minor guilds for doctors and apothecaries. There was not a specific guild for artists so many relocated to the guild of doctors and apothecaries because it was common practice for artists to buy their pigment from the apothecaries. It was not until the 16th century that a guild specifically for artists was created. These guilds are important to history because most of them kept meticulous documents on who joined them and what art they created.
Francesco was often compared to the Pollaiuolo brothers in terms of his artistic style. Antonio Pollaiuolo was renowned for his skill in depicting the human figure and was one of the first artists to practice anatomical dissection. Pollaiuolo's style has been described as pure and sober, except for his female faces which are comparable to bright elegance of the madonnas created by Baldovinetti. Francesco and Antonio Pollaiuolo's landscapes were very similar which can be seen in the composition of three Marys at the Tomb (E 204, fol. 2v), or in the Communion of the Apostles (fol. 169r). Piero Pollaiuolo, the other brother, also has direct links to inspiring Francesco. In Francesco's Disputationes he represents his connection to Piero through a design on rug. The pattern on the rug is exactly the same as one Piero used in one of his work, but instead of a rug he had the pattern featured on a throne. Francesco was also compared by the art historian Annaroza Garzelli to Domenico Veneziano in terms of his luminosity.
The books Francesco illustrated ranged in all sizes and covered varied literary, scientific, historical, and religious topics. He produced works for the book merchant Vespasiano da Bisticci, who in turn commissioned works for prominent court libraries outside of Florence, including for Ferdinand I of Naples, Louis XI of France, and Matthias Corvinus, king of Hungary. Francesco's work for Matthias Cornvinus was displayed in Biblioteca Corviniana, the first great humanist library that was not located in Italy. In 1456, Francesco created his first piece for the Petrarch manuscript which was documented in the guild Compagnia di San Paolo.

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