Saint Peter is enthroned at left, holding a book and with his gold and silver keys on the dais below him, which is appropriately made of petra, stone.
 Pope Alexander VI, the pope at the time of the battle, presents the kneeling Jacopo Pesaro to him.
 Pesaro carries a standard with Alexander's coat of arms.
Below the saint classical-style sculpted reliefs are shown at two levels.
 As in the similar reliefs in the later Sacred and Profane Love, their exact subject matter has eluded identification, but Venus and Cupid seem to feature.
 This may just allude to Paphos, which in classical times was sacred to Venus, or, as the museum suggests, be an allegory which "demonstrates how Pesaro, through his love of God, achieved victory on Santa Maura".
 
Pesaro has taken off his helmet, which sits beside the dais.
 Alexander had contributed 13 galleys to the mainly Venetian war effort, the Venetian fleet being commanded by Benedetto Pesaro, Jacopo's cousin.
Between Pesaro's head and Peter war-galleys can be seen in action, and to the right of Alexander more sea, ending at the town of Lefkada, or perhaps one on Paphos.

Apart from these specifics, the composition adapts the usual Venetian formula for an ex-voto of the donor being presented to the Virgin Mary by their patron saint, especially as developed by Giovanni Bellini, in whose studio Titian spent some time.
The museum suggest that Bellini designed the painting, leaving the execution to Titian.
Undoubtedly the figure of the saint is strongly reminiscent of Bellini's style, as is the pose of the pope.
The latter's features were evidently copied from a medal or other image, so he is much less lively in appearance than the bishop, who was probably painted from live sittings.

The tablet at centre bottom is a later addition, which identifies the artist and explains the subject (in notably vague terms), reading "Ritratto di uno di casa Pesaro in Venetia che fu fatto generale di S.ta Chiesa.
Tiziano F.[ecit]" ("Portrait of one of the Pesaro family of Venice who was made a general of the holy church.
 Titian made this").

Despite some faults in the painting, Pesaro must been sufficiently satisfied to commission Titian in 1518–19 to paint the important Pesaro Altarpiece, still in the church of Santa Maria Gloriosa dei Frari, a key work in the artist's development, which again dwells on his victory in 1502.
Saint Peter is enthroned at left, holding a book and with his gold and silver keys on the dais below him, which is appropriately made of petra, stone.  Pope Alexander VI, the pope at the time of the battle, presents the kneeling Jacopo Pesaro to him.  Pesaro carries a standard with Alexander's coat of arms. Below the saint classical-style sculpted reliefs are shown at two levels.  As in the similar reliefs in the later Sacred and Profane Love, their exact subject matter has eluded identification, but Venus and Cupid seem to feature.  This may just allude to Paphos, which in classical times was sacred to Venus, or, as the museum suggests, be an allegory which "demonstrates how Pesaro, through his love of God, achieved victory on Santa Maura".  
Pesaro has taken off his helmet, which sits beside the dais.  Alexander had contributed 13 galleys to the mainly Venetian war effort, the Venetian fleet being commanded by Benedetto Pesaro, Jacopo's cousin. Between Pesaro's head and Peter war-galleys can be seen in action, and to the right of Alexander more sea, ending at the town of Lefkada, or perhaps one on Paphos.
Apart from these specifics, the composition adapts the usual Venetian formula for an ex-voto of the donor being presented to the Virgin Mary by their patron saint, especially as developed by Giovanni Bellini, in whose studio Titian spent some time. The museum suggest that Bellini designed the painting, leaving the execution to Titian. Undoubtedly the figure of the saint is strongly reminiscent of Bellini's style, as is the pose of the pope. The latter's features were evidently copied from a medal or other image, so he is much less lively in appearance than the bishop, who was probably painted from live sittings.
The tablet at centre bottom is a later addition, which identifies the artist and explains the subject (in notably vague terms), reading "Ritratto di uno di casa Pesaro in Venetia che fu fatto generale di S.ta Chiesa. Tiziano F.[ecit]" ("Portrait of one of the Pesaro family of Venice who was made a general of the holy church.  Titian made this").
Despite some faults in the painting, Pesaro must been sufficiently satisfied to commission Titian in 1518–19 to paint the important Pesaro Altarpiece, still in the church of Santa Maria Gloriosa dei Frari, a key work in the artist's development, which again dwells on his victory in 1502.
Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter