Madonna to the child between Saint Mary Magdalene and Saint Lucia.

Montagna's large altarpiece showing the Madonna enthroned between Mary Magdalene and Saint Lucy, now in Vicenza Cathedral, represents his mature contribution to the civic and ecclesiastical fabric of his adopted city. Vicenza Cathedral was among the most prestigious commissions available in the city, and Montagna's long association with Vicentine institutions made him the natural choice for major ecclesiastical work there. The pairing of Magdalene and Lucy as flanking saints reflects specific dedicatory or congregational considerations: Magdalene as emblem of repentance and love, Lucy as patron of sight and light. The cathedral context demanded a monumental scale and formal dignity that Montagna achieved through elevated throne architecture, hieratic figure arrangement, and the measured use of rich colour. This altarpiece has remained in situ at Vicenza Cathedral, preserving its original contextual meaning in a way impossible for panels that entered the art market.

A large canvas altarpiece for a cathedral setting requires a compositional approach calibrated for viewing from a considerable distance — simplified silhouettes, bold colour contrasts, and legible attribute presentation replace the intimate detail appropriate for panel painting viewed close up. Montagna's colour scheme uses strong primaries and deep tones for the principal figures against a luminous background to maintain visual authority across the nave.