A 15th-century tempera panel by Antonio Vivarini depicting a miracle performed by Saint Peter Martyr within a workshop setting.

This panel painting by Antonio Vivarini depicts a miracle attributed to Saint Peter Martyr. The scene is set within a workshop, indicated by the wooden planks and tools visible in the background. The saint, dressed in the black and white habit of the Dominican Order, kneels to touch the injured leg of a young man seated on a low bench. The narrative focus remains on the act of healing, while the surrounding figures observe the event with solemnity.

Vivarini, a Venetian painter, employs the traditional gold-leaf background common in the mid-fifteenth century, which provides a flat, decorative contrast to the figures. The composition is structured by the architectural elements of the workshop, creating a shallow space that directs the viewer toward the central interaction. The figures are rendered with a focus on clear outlines and distinct colour blocks, characteristic of the Murano school of painting during this period. The palette includes muted earth tones for the workshop interior, contrasted by the bright red of the young man's tunic and the soft pink of the woman's gown.

This work demonstrates the transition from Gothic stylistic conventions toward the naturalistic observations of the Renaissance. The attention to the tools of the trade and the specific posture of the figures provides a glimpse into the visual storytelling methods of the time. The painting serves as a record of the hagiographic traditions that informed religious art in Venice. The preservation of the original tempera surface allows for an appreciation of the artist's technique, particularly in the application of colour and the definition of form. This print captures the specific textures of the wood and the luminosity of the gold, offering a clear view of the narrative details present in the original panel.