艺术家: Liberale Da Verona
日期: 1520
博物馆: Castelvecchio Museum (Verona, Italy)
术: 混合技术
文艺复兴版面板以古典派生为框架,由用可兰经装饰的柱子分出三部分,呈现出中央厢房(Genesis,22)中以撒克的祭祀(Sacrifice of Isaaac)和侧面的两个全长的捐赠者: 在左侧是一位贵族女子,在右侧是一位绅士,两者都属于米尼斯卡尔奇家族,内部柱上方被断裂的活佛所被插入的两件臂被打出. 从女性捐献者出现在荣誉的一面这个特殊的事实来看,我们可以想象出她为委托作品扮演了最重要的角色,很可能她是贵族的妹妹. 米尼斯卡尔奇两个角色都表现出自己,尽管是在神圣形象之外,长而全,站而活,没有圣人或甚至作为礼拜者进行交涉,几乎与主桌的亚伯拉罕处于同一水平. 然而向中心看去,捐赠者却想用眼睛与观众接触,并用右手来吸引人们注意圣经的场景,他的伴侣也被她手中的一朵玫瑰所转向. 这些是维罗内塞画中已知的第一幅全长肖像.
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