Manuscript illumination: the letter A(?). Saint Dominic is seated beside Saint Francis in the third tier of saints

The other side of the panel shows the Crucifixion and the Resurrection.

Cavallini, a Roman painter, is documented in the Angevin kingdom between 1308-9. The right hand saint might be St. Peter Martyr.

This is the front panel of the altarpiece from Tamarite de Litera in Huesca.

The work may have been made for the private devotion of Cardinal Niccolò da Prato (died 1321), a high-ranking Dominican who was Cardinal of Ostia and would therefore have had reason to venerate Saint Aurea of Ostia, otherwise rarely shown. This type of small-scale altarpiece with closing shutters was intended to be portable.
The seven Old Testament prophets in the tympanum are (left to right): Daniel, Moses, Isaiah, David, Abraham, Jacob and Jeremiah.

Saints of the Dominican Order, Dominic, Peter Martyr and Thomas Aquinas (not actually canonised until 1323) join SS. Jerome, Gregory and Augustine in a programme aimed at spreading the ideological message of the Order. Preaching is the primary activity of all the monks portrayed; scrolls, parchments, and books refer to their evangelising mission. In all, there are 27 books in the altarpiece.

The box is inscribed FRATER IACOBUS DE FERENTINI (CON)VERSUS ORDINIS FRA/TRUM PREDICATORUM PINXIT HOC OPUS AD LAUDEM ET/HONOREM UNDECIMILIUM/QUARUM UNUS CORPUS EST HIC (Friar Jacobus de Ferentino, a member of the Order of Friars Preacher, painted this work to the praise and glory of the 11000, from whom a body lies within). The 11000 martyrs were the companions of St Ursula - see The Golden Legend.
The donor(?) kneels in the centre, flanked by two bishop saints and two Dominican saints.

Detail of the above

Part of the predella belonging to an altarpiece painted for Santa Maria Novella.
The incident shown is taken from the Golden Legend's life of the saint. Saint Dominic at prayer in St. Peter's receives a vision of Saints Peter and Paul who offer him a book (a symbol of the Order's intellectual interests) and a sword (a symbol of the Order's role in the suppression of heresy).
The surface of the painting is much damaged.

Francesco d'Oberto is documented in connection with an altarpiece in the cathedral of Tortosa, and has close connections with the school of Taragona. He is included here as an example of the homogenous pictorial culture of the great mercantile cities around the Mediterranean at this period.