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| Moretto da Brescia St Nicholas of Bari commending the Children of Galeazzo Rovelli to the Virgin 1539 oil on canvas Pinacoteca Tosio Martinengo, Brescia |
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| Moretto da Brescia Study for St Nicholas of Bari commending the Children of Galeazzo Rovelli to the Virgin ca. 1539 drawing Morgan Library, New York |
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| Moretto da Brescia Portrait of a Lady in White ca. 1540 oil on canvas National Gallery of Art, Washington DC |
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| Moretto da Brescia Portrait of a Gentleman with Lynx Fur Collar, probably Count Fortunato Martinengo Cesaresco ca. 1540-45 oil on canvas National Gallery, London |
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| Moretto da Brescia Christ blessing St John the Baptist ca. 1540 oil on canvas National Gallery, London |
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| Moretto da Brescia Adoration of the Shepherds ca. 1540-45 oil on canvas Gemäldegalerie, Berlin |
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| Moretto da Brescia Mary Magdalene ca. 1540-50 oil on canvas Art Institute of Chicago |
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| Moretto da Brescia Venus and Cupid ca. 1548-50 oil on canvas private collection |
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| Moretto da Brescia St John the Baptist ca. 1542-45 oil on canvas Pinacoteca del Castello Sforzesco, Milan |
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| Moretto da Brescia Prophet Jeremiah ca. 1542-45 oil on canvas Pinacoteca del Castello Sforzesco, Milan |
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| Moretto da Brescia Madonna and Child with Angel ca. 1540-50 oil on canvas Pinacoteca di Brera, Milan |
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| Moretto da Brescia Portrait of Bearded Man praying ca. 1545 oil on canvas National Gallery, London |
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| Moretto da Brescia Portrait of a Gentleman ca. 1545-50 oil on canvas Alte Pinakothek, Munich |
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| Moretto da Brescia Virgin and Child enthroned with four Fathers of the Church 1545 oil on canvas Städel Museum, Frankfurt |
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| Moretto da Brescia Christ at the Column ca, 1550 oil on panel Museo di Capodimonte, Naples |
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| Moretto da Brescia Madonna in Glory with St Jerome, St Francis and St Anthony Abbot 1543 oil on canvas Pinacoteca di Brera, Milan |
"The last half-dozen years of Moretto's career present a double-faced phenomenon. On the one hand they contain works that in authenticity and depth of feeling are the crown of his entire art, and in which his power to evoke – not just support – emotion through his use of light and colour is at its summit. In these works each effect is the masterly result of an unfailing hand. . . . But contemporaneously Moretto produced a group of altarpieces in which the classicist mode . . . is turned into mechanical rigidity. Feeling, structure and colour are now not just crystallized but congealed. Though these altarpieces are still veristic in detail, the effect of the whole is of unliving stiffness: it is as if reality should have been petrified to make an icon. These works do not assume this character of the iconic and the seeming primitive by any accident of execution: it is in their conception and represents a conscious choice."
– S.J. Freedberg from Painting in Italy - 1500 to 1600 in the Pelican History of Art series (London, 1971)
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| Moretto da Brescia Entombment 1554 oil on canvas Metropolitan Museum of Art, New York |