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| Liberale da Verona Triumph of Love (front panel of cassone - detail) ca. 1475 tempera on panel, with giltwood surround Museo di Castelvecchio, Verona |
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| Liberale da Verona Triumph of Chastity (front panel of cassone - detail) ca. 1475 tempera on panel, with giltwood surround Museo di Castelvecchio, Verona |
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| Liberale da Verona Scene from a Novella - Encounter of Lovers (fragment of cassone) ca. 1475 tempera on panel Metropolitan Museum of Art, New York |
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| Liberale da Verona Scene from a Novella - Chess Game between Lovers (fragment of cassone) ca. 1475 tempera on panel Metropolitan Museum of Art, New York |
"Even as it is true that the city of Verona is very similar to Florence in its situation, manners, and other respects, so it is also true that in the first as well as in the second there have always flourished men of the finest genius in all the noblest and most honourable professions. Saying nothing of the learned, for with them I have nothing to do here, and continuing to speak of the men of our arts, who have always had an honourable abode in that most noble city, I come to Liberale da Verona, a disciple of Vincenzio di Stefano, a native of the same city. . . . Liberale imitated the manner of Jacopo Bellini, for when he was a young man, while the said Jacopo was painting the Chapel of S. Niccolò at Verona, he gave his attention under Bellini to the studies of design in such thorough fashion that, forgetting all that he had learned from Vincenzio di Stefano, he acquired the manner of Bellini and retained it ever after."
– from Lives of the Painters, Sculptors and Architects by Giorgio Vasari (1568), translated by Gaston du C. de Vere (1912)
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| Antonio Leonelli Portrait of a Young Patrician ca. 1475 tempera on panel Museo Correr, Venice |
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| Antonio Leonelli Holy Family and St John the Baptist adoring the Child ca. 1490 tempera on panel Fondazione Cavallini Sgarbi, Ferrara |
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| Bartolomeo Bonascia Pietà with the Virgin and St John the Evangelist ca. 1485 tempera on panel Palazzo dei Musei, Modena |
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| Bartolomeo Bonascia Pietà with the Virgin and St John the Evangelist (detail) ca. 1485 tempera on panel Palazzo dei Musei, Modena |
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| Bartolomeo Bonascia Pietà with the Virgin and St John the Evangelist (detail of antique sarcophagus with gryphons in relief) ca. 1485 tempera on panel Palazzo dei Musei, Modena |
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| Jacopo da Montagnana The Annunciation ca. 1494-97 tempera on panels Gallerie dell' Accademia, Venice |
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| Jacopo da Montagnana St Daniel of Padua and St Louis of Toulouse (altarpiece fragment) ca. 1495-99 tempera on panel Detroit Institute of Arts |
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| Andrea Mantegna Holy Family with Mary Magdalen (Castelvecchio Madonna) 1495 tempera on canvas Museo di Castelvecchio, Verona |
"Mantegna's impressive antique style, with its archaeological references and its tragic or epic character, would have had a particular impact in fifteenth-century Padua. Not only was the city proud of its Roman heritage, but it promoted the legend that it had been founded by the Trojan general Antenor, a story that made Padua out to be even older than Rome. Padua was the birthplace of Livy, the premier Roman historian, and there was great excitement when his bones were allegedly rediscovered there in 1413. The city supported one of the oldest and most distinguished universities in Europe, and Petrarch had resided in and near Padua in his later years. Yet Padua had also been made subject to a modern imperialist power from 1404, when the Venetian state drove out the last ruler of the Carrara dynasty and occupied the city; Venetians occupied most of the important administrative positions in the civic government and in the clergy."
– Stephen J. Campbell and Michael W. Cole, A New History of Italian Renaissance Art (Thames & Hudson, 2012)
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| Andrea Mantegna Holy Family with Mary Magdalen (Castelvecchio Madonna - detail) 1495 tempera on canvas Museo di Castelvecchio, Verona |
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| Andrea Mantegna Holy Family with Mary Magdalen (Castelvecchio Madonna - detail) 1495 tempera on canvas Museo di Castelvecchio, Verona |
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| Andrea Mantegna Virgin and Child with St John the Baptist and Mary Magdalen 1498 tempera on canvas National Gallery, London |