Laughing, the Child grasps the hand of the Virgin as she tickles him under the chin. Its small size suggests that it was painted for a private patron, probably the Sienese Cardinal Antonio Casini whose emblem appears on the reverse.
It has spatial and chromatic affinities with the Pisa Polyptych which was painted at the same time.

Painted for the Dominican nuns at the Florentine convent of St Peter Martyr. A 1429 document records an outstanding payment for the painting at the Convent of San Domenico in Fiesole.
The Gothic, tripartite nature of the panel did not prevent Fra Angelico from clearly establishing the individual setting of the figures, so that they form a semi-circle round the Madonna. The slight leftward rotation of the space used to achieve this demonstrates his debt to Masaccio.
The rich fabric covering the throne shows the influence of Gentile da Fabriano, who may have painted the narrative episodes in the interstices of the pinnacles.

Painted for the San Bonifacio chapel in Siena cathedral. The central panel with its aristocratic Madonna reflects Gothic tastes, while the predella (some scenes are illegible even after restoration) show, with a realism and simplicity reminiscent of the frescoes in the Carmine, the events leading to the founding of the Basilica of Santa Maria Maggiore in Rome by Pope Liberius.
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The figures and the elaborate marble throne have a massive quality deriving from Filippo Lippi's study of the frescoes of Masaccio in the church of Santa Maria del Carmine, where Lippi was a monk.
The rose held by the Virgin symbolizes her purity. The book held by the infant Christ is inscribed with a passage from the book of Ecclesiastes 24:19.

This and and two other frescoes are part of a street tabernacle painted at the Canto de' Carnesecchi, near the Piazza S. Maria Novella in Florence. (This is now the point where the Via de' Banchi meets the Via de' Panzani.) The two heads are fragments of two full-length saints who stood on either side of the tabernacle. Vasari says that this tabernacle was one of Domenico's first works in Florence.
The painting shows a dignified and aristocratic Madonna seated on an elegant throne decorated with cosmati work. The Christ Child gives a sign of blessing; above, the foreshortened figure of God the Father is seen to dispatch the dove of the Holy Spirit.
The elaborate and accurate perspective construction of the throne, to some extent influenced by Paolo Uccello, is indicative of Domenico's interest in the rules of perspective.

Painted for the high altar of the Uzzano in Santa Lucia dei Magnoli. The sacra coversazione takes place within an harmonious architectural structure inlaid with marble on the facade and rendered more delicate by pastel shades of rose and green.
The scene is flooded with natural light, perhaps Veneziano's greatest achievement.

Commissioned for the chapel of Trebbio Castle near Pontassieve by Andrea dei Pazzi, who had commissioned the Pazzi chapel in Santa Croce from Brunelleschi. Andrea's grandchildren, Niccolo and Oretta, appear at the sides of the fresco.
The Madonna and Child, flanked by Saints John the Baptist and Jerome, appear before a surprising background held by two angels descending head first. The tondo was probably a window in the chapel.
A wonderful contrast is drawn between the robust physicality of the saints and the delicate forms and lighting of the Madonna and Child and the donor's grandchildren.