Since its first appearance in 1890, a Madonna and Child formerly in the Vieweg and Goudstikker collections has been believed to be by Pasqualino Veneto, because of the initials ‘P.V.P.’, which Pasqualino in fact never used. Furthermore, he was mainly a follower of Cima da Conegliano, while this Madonna resembles the style of Bartolomeo Montagna, who lived and worked at Vicenza. So, Pietro da Vicenza seems the best candidate to be acknowledged in the initials ‘P.V.P.’, a signature this artist commonly used, as demonstrated by his fresco in the church of San Pietro at Valvasone.

Taking the above as a new point of departure, the author tries to bring some order into paintings and documents associated with the artist, reaching a conclusion that ‘Pietro da Vicenza’, ‘Pietro Fadelo da Vicenza’, and ‘Petrus Vicentinus’, always believed to be the same person, are probably three different artists. Documented facts of their lives sometimes help, because we find at the same time works made at a great distance apart, and clearly not by the same hand. The author hopes that this attempt might be the basis for further research on a little-known aspect of Veneto painting.