A young couple, about to be married, have brought a quantity of gold to the patron saint of goldsmiths to be melted down and fashioned into rings. Christus shows the goldsmith's shop in great detail, including not only the tools of the trade, but also precious objects, such as the coral, carefully arranged on shelves. There is a convex circular mirror on the right-hand side of St Eligius's table: an allusion to the Arnolfini Marriage by Jan van Eyk, now in the National Gallery.

An elaborate limestone wellhead, related to a similar one in red Verona marble in the Victoria and Albert Museum.

From left to right, the roundels are:

• The Ascension (1443 -44)
  designed by Lorenzo Ghiberti
• The Lamentation (1444)
  designed by Andrea Castagno
• The Nativity (1434)
  designed by Uccello

Ghiberti and Uccello were each responsible for two more roundels - the eighth was designed by Donatello.

The embroidery is one of 27 surviving panels cut down from a set of liturgical vestments commissioned by the Merchants' Guild (Calimala). Vasari, and documents from the Calimala, state that the vestments took 26 years to make.
St John, in his camel hair garment, appears elevated on a podium with his accusatory gesture directed at Herod and Herodias. Salome is seated next to them, pointing back at the prophet.

The mosaic was commissioned for the cathedral in Orvieto. Leonardelli was a Franciscan friar employed full-time as a mosaicist by the Opera of the Duomo. Ugolini provided the cartoon - he also painted some frescoes in the cathedral.
At least St Anne seems to be about to get a decent meal!

The limbs of the mythical, muscle-bound athlete (who over-stretched himself), modelled in gesso and gilded, strain against the curvature of the shield.
The Victoria and Albert Museum has a large pageant shield bearing the emblems of the Villani family.

Part of a series of famous men that Justus executed for Federico da Montefeltro's studiolo in his new palace in Gubbio.
After he had painted The Institution of the Eucharist he went on to make twenty-eight portraits of famous men for the studiolo. He was assisted by Pedro Berruguette, who painted a portrait of Federico and his son.
(Pedro also painted Federico's hands on Piero della Francesca's Montefeltro Altarpiece).

Part of Justus's work for Federico da Montefeltro's studiolo in his new palace in Gubbio.
Inscribed on the entablature behind the throne is I (?)ECLESIE CONFALONERIVS. This draws the viewer's attention to Federico's office as Standard Bearer (Commander in Chief) of the papal armies.
Music, one of the Seven Liberal Arts, is enthroned and points to an organ. The kneeling youth may be Costanzo Sforza (born 1447), whose imprese was a spray of laurel which is seen hanging behind him.

Part of Justus's work for Federico da Montefeltro's studiolo in his new palace in Gubbio.
Inscribed on the entablature behind the throne is DVX VRBINI MONTIS FERETRI AC (Duke of Urbino, [Count of] Montefeltro and ...).
The enthroned figure, pointing to a book, is Rhetoric, one of the Seven Liberal Arts.

Colantonio was born in Naples in about 1420. He was the master of Antonello da Messina and was considered to have introduced oil painting to Italy. In the period of Aragonese rule between 1440 and 1470, Naples was the capital of a vast realm and a centre of culture and art where Spanish, Flemish, Burgundian and Italian styles came together.
This panel and St Francis giving the Rule formed part of the same altarpiece in San Lorenzo, Naples, and are part of the intense Franciscan debate over the poverty of the Order.