In a depiction related to Christ's crucifixion, the woman is in an elevated position against the sky, looking up to her salvation, balanced by a large crowd gathered at the foot of the cross, including executioners and common people, with the typical element of a fainting man supported by his neighbours.

The restoration revealed the saint is bearded, reinforcing the identification as Saint Wilgefortis (also known as St Uncumber in England, or as St Liberata in Italy); she was a young woman who reputedly took a vow of virginity, and prayed to lose her beauty to avoid an unwanted marriage at her father's instigation to a Muslim king: the engagement was cancelled when she miraculously grew a beard, and her father had her crucified.

[3] The half-size side panels depict, to the left, a hermit with a dark hood (perhaps St. Anthony in Meditation) on a parapet before a city with people fleeing from a fire.

To the right, a monk and a soldier – traditionally identified as slave-dealers – point at the central panel, with a port in the background which has fanciful domed buildings and several sunken ships in the harbour.

[4] The earliest mention of the triptych comes from the 1771 treatise Della pittura veneziana, as located in the "Sala dell'Eccelso Tribunale" at the Palazzo Ducale (the Doge's Palace).