This work, which is sculpted in the round but is only painted on the front, depicts a warrior in body armour, but without any particular attributes. The position of the right hand suggests that he may have originally carried a hanging object, such as a balance, while the left seems positioned to hold a sword. One can reasonably surmise that it is the Archangel St. Michael (as Hermanin, 1948, had already suggested, though not Santangelo, 1954, who defined it more generically as a saint), though he has no wings, which are not, in fact, always present in depictions of the subject (see Nicola Pisano’s pulpit in the Baptistry in Pisa). St. Michael, the angel-warrior of God in continual struggle with the demon, the defender of Christians and the church, and the weigher of souls, is shown frontally to the viewer, in a standing position. His body weight rests on his right leg, while his left is slightly bent. His head leans to the right, with a pensive, rapt look; his hair, which is short at the front, falls over his shoulders. Under the elaborate, though classical and fantastically decorated armour, his body can be seen, particularly beneath the breastplate where the musculature is clear, a sign of strength and youth. Hermanin (1948) attributed the work to a Venetian artist at the end of the 15th century, comparing it to Tullio Lombardo, Andrea Vendramin, Antonio Rizzo and Pietro Lombardo. Santangelo, though, rather inexplicably, postdated the work by nearly a century, seeing the hand of an artist from Veneto and unfairly judging it to be of only minor interest. As well as Venetian styles, there are also elements of Renaissance sculpture from Umbria and Le Marche, as exemplified in the St. Sebastian in the church of San Rocco in Sanseverino, by Domenico Indivini, and in the same group of works by the Master of the Madonna in Macereto. Technical-scientific tests carried out in 2009 by IVALSA-CNR in Florence identified the wood used as poplar (Populus sp.), with willow (Salix sp.) for the hands.