The paper discusses sculptural activity of Pietro di Martino da Milano, from his sculptural beginnings in his native Lombardy, more precisely in Milan, then during his two-decade-long stay in Ragusa, all the way to his work at the Neapolitan court of Alfonso I of Aragon and the court of the Angevins in the south of France. The very introduction consists of an opening of the issue of the attribution of works in the Ragusan area in the literature and a brief synthesis of various conclusions related to that topic. Works attributed to Pietro Martino but have not been preserved are also mentioned as we can learn about them only from archival sources. Then follows an extensive chapter on individual works that Pietro Martino did in Ragusa between 1431 and 1452. It is about the sculptural decoration of the Rector's Palace, which Pietro Martino carved out as part of the reconstruction after the fire in 1435, under the leadership of an architect Onofrio di Giordano della Cava. The features of the soft late Gothic style are described, as well as the penetration of stylistic patterns of the early Renaissance in works such as the Aesculapian capital, the console with the relief of Solomon's judgment, the Rector's verdict, the relief of Wisdom and the figure of the Sacra Mens. The four consoles of the portico of the Rector's Palace and the sculptural decoration of the Small Fountain are also described. The paper also discusses the introduction of the putta motif in the sculpture of our coast, which is considered the beginning of the Renaissance. The next chapter deals with Pietro's part in Alfonso's triumphal arch at Castel Nuovo in Naples. Finally, Peter's medals, which he made at the court of the Angevins in France, are also mentioned.