The painting is consistent with the style of Piero della Francesca's previous work for it conforms to the ideals of early Renaissance artwork by displaying Christian scenes and narratives from the Bible, which was a very common theme among patrons and artists. The 37 x 52 cm panel is a mixture of colour and tempera, which was a popular technique used for paintings during this period. The Stigmatisation of St Francis is part of a trio of paintings that reside on the predella of the Polyptych in which the three panels show the St Anthony of Padua resurrecting a dead child, the Stigmatisation of St Francis and St Elizabeth saving a boy who had fallen down a well.
Some scholars suggest that the predella was added at a later date due to the lack of unity between the individual pieces of artwork with the overall artwork. The characteristic and spatial value of the Polyptych of St Anthony: The Stigmatisation of St Francis is extraordinary because of the detail that has developed through the painting. The piece is completely three-dimensional, which was a revolutionary concept in the Renaissance period. The Stigmatisation of St Francis is particularly interesting because of the vastness between the characters, especially considering the size of the panel.
Piero della Francesca inspired many Italian painters for the latter of the fifteenth century including Perugino, Antonello da Messina and Bartolomeo della Gatta because of these techniques. His influence can be seen throughout their paintings. It was originally commissioned for the Franciscan convent of Sant'Antonio da Padova in Perugia, following Piero della Francesca sojourn in Rome. Polyptych of St Anthony: The Stigmatisation of St Francis now resides in Galleria Nazionale dell'Umbria, Perugia, and is still in its original state and colouring.