His composed and confident posture alongside the mixed expressions on the crowd's faces capture the value and intensity of his message; Some of the figures are engaged and others are skeptical.

[4] The painting includes a variety of ethnic groups, reflecting on the passage in Acts 6:9 which describes the types of people present for St. Stephen's series of events.

Acts 6:9 describes a situation where "some men from what was called the Synagogue of the Freedmen, including both Cyrenians and Alexandrians and some from Cilicia and Asia, rose up and argued with Stephen".

The preaching of his faith to the combative audience of Jews ultimately led to his martyrdom by stoning, a powerful moment in Christian history.

By around the sixteenth century, the Turkish had become a commonly depicted theme in Italian art, reflecting the growing awareness of and interactions with different cultures.

[1] Many figures in the painting can be seen wearing turbans, indicative of people from Eastern regions (Turkish, Syrians, Arabians, and Nubians) resonating with the cultural context of the later Mameluke Empire.

[1] While many of the figures appear attentive, suggesting that his message resonated deeply, others seem to question or challenge it, creating a dynamic atmosphere in the painting.

The mix of turbans, colorful garments, conservative-clothed women, and hatted Greeks, alongside their perplexed faces, harmonize the setting, illustrating the rich tapestry of cultural identities present at the time.

[11] Found in the late 14th century, It was dedicated to St. Stephen, serving as a spiritual and social organization for wool merchants and craftsmen.

The Sermon of St Stephen became a part of the art collection at the Musee du Louvre in Paris, where it still resides today.