[1] This altarpiece marks the first time Bellini used the concept of creating an illusionary space to house a sacra conversazione that appears as though it is an extension of the church architecture itself, and honored St. Job with the position closest to the Christ child.

This assumption is currently being debated, as the size and detail of this painting would warrant a large monetary compensation to Giovanni Bellini, which would be difficult for such a small church.

The Venetian scholar Marcus Antonio wrote about the piece in its completed form in his "De Venetae Urbis Situ" (A written guide to Venice), and Venetian historian Marin Sanudo had included a comment about the piece's beauty in a list of Venice's holy sites, both written in 1493, marking that year the very latest possible date of completion.

Eventually it was returned to its city of origin, but was given to the Galleria dell'Accademia in Venice, where it is displayed with the other altarpieces from the Church of San Giobbe.

On the viewer's far left (to the Madonna and Child's right) is St. Francis, to the right of him is John the Baptist, and in the most notable position and titular figure of the altarpiece's church, St. Job.

St. Dominic is posed with a religious text in his hands, and is clean-clothed, appearing to be a studious figure, even when placed in front of the Madonna and Child.

He also creates a fictive space in terms of architecture, with the plaster columns framing the piece and paralleling structures from the Saint Mark's Cathedral.

[1] Common to the genre at the time, sacra conversazione paintings included some form of sky, or were placed within a structure that is somehow open to the outside world.

[2] The upper part features a perspective coffered ceiling, flanked with pillars which are copies of the real ones at the original altar.

The older St. Job stands opposite the youthful St. Sebastian, the wild John the Baptist is across from the tame and studious St. Dominic, and the exuberant attire of St. Louis opposes St. Frances' plain robes.

[6] The altarpiece is a sacra conversazione, a piece of art that combines holy figures from across time into one place, surrounding the Virgin and Christ child, often with angels nearby playing music.

Her hand in the position of the Annunciation and the Latin phrase above on the vaulted-ceiling reads "Ave Virginei Flos Intemerate Pudoris", roughly translating to "Hail, undefiled flower of virgin modesty".

Not only were both St. Sebastian and St. Job associated with suffering and pain, but the Scuola di San Giobbe was originally a hospice that was built in response to a plague, hence the representation of these saints and their faith to give hope to patients.