Commissioned in 1447 by Giovanni Dotto for the Church of St. Agnese. The contract stipulated that it should be delivered by the end of 1448 and that it should be similar to the one painted by Antonio Vivarini and Giovanni d'Alemagna for the Venetian church of S. Pantalon.
Giambono is noted for a sweetened form of Gothicism with rather affected colouring, influenced by Pisanello's work in the Palazzo Ducale.

One of the oldest Venetian paintings (tempera) on canvas.
The golden light suffusing the sumptuous, static, scene marks the highpoint of International Gothic, contrasting with the cheerful vivacity of the angels holding the poles.

In the foreground, there is an inscription indicating that the panel was commissioned by Gerolamo Amadi "Veneziano", who is shown kneeling in prayer before the saint.
The donor and his protecting saint appear to be conversing as equals; it was Piero's intention to exalt the dignity of his patron, as he was to do again for Sigismondo Malatesta in Rimini.

St. Vincent Ferrer was the champion of the Dominican Order, an ardent and controversial preacher, and later the bitter opponent of Pope Benedict XIII. The Spanish saint was canonised in 1455 whereupon the Dominican Order launched a vast campaign of propaganda and assertion of his cult.
The altarpiece comprises nine panels arranged in three rows:

• Top row: The Pietą with the Virgin and the Angel of the Annunciation on each side
• Middle row: St. Christopher; St Vincent Ferrer; St Sebastian
• Bottom row: the predella with five miracles of St Vincent:
  • The saint saves a woman from drowning and the saint rescues a woman and a child
  • The Toledo sermon: St Vincent raises two men from the dead
  • The saint revives a child and the saint frees the prisoners

Originally, the altarpiece was crowned by a lunette of God the Father which is now lost.

The body of the crucified Christ is propped up in the tomb, on which two extinguished candles are standing. Saint John the Baptist stands behind a parapet with another saint, who may be Saint Jerome, wearing a hermit's cowl over a blue cardinal's cape ­ as was normal until the 1460's ­despite the traditional iconography by which Jerome wears red.
The reverse is decorated to imitate marble, suggesting that it was painted as an independent work for private devotion.

Painted for the church of the Osservanti di San Donato in Urbino, this panel was transferred, after the death of Federico da Montefeltro in 1482, to his mausoleum in the church of San Bernardino. Federico, shown kneeling at the foot of the Madonna's throne, is portrayed in full armour but without the insignia awarded to him by Pope Sixtus IV in 1475.
Piero's mastery of proportion is demonstrated by the large ostrich egg hanging from the shell in the apse, whose shape is echoed by the near perfect oval of the head of the Madonna, placed in the geometric centre of the composition.
Federico's taste for Netherlandish art is reflected in some of the fine details, which Piero had painted by Pedro Berruguete, a Spaniard trained in Northern Europe.

Commissioned by Giovanni Mocenigo (Doge from 1478 to 1485), who kneels holding a banner in homage. He is identified by his family coat of arms which appears on the banner and against the altar; his features can be compared with those depicted on a contemporary medal.
The inscriotion on the altar reads VRBEM REM VE/NETAM SERVA/ VENETVMQ[UE]/ SENATVM/ ET MIHI SI ME/REOR VIRGO/ SVPERNA (F)AVE (Protect the city, the Venetian State and the Venetian Senate/government and, if I merit it, look down with favour on me, Virgin).
The work has been traditionally ascribed to Carpaccio; it has also been attributed to members of the Bellini family and to Bastiani. It is evidently a votive painting: such paintings were found both in palaces and chapels.

The Virgin is lying on a bier in the middle ground; above the Assumption of the Virgin is combined with the Coronation. The figures in the foreground are probably the apostles; the figure kneeling at the front may be the donor.
The setting in a contemporary town square reflects the kind of religious theatrical event that was common in fifteenth-century Italy; the heavenly figure of the Virgin is represented on a cloth suspended from the buildings on either side.