widely separated from the index and pinky finger. They also are usually distinguished by their symmetry, organization, equally distributed light, and plastic-like quality to the figures. Maturity (1499–1507) An altarpiece in San Michele at Vicenza (Virgin and Child with Four Saints and Music-making Angels) from 1499 is considered by many art historians to be a turning point in Montagna's style. This development in his style is characterized by change in tone and use of warmer and richer colors. This particular painting depicts an outdoor scene and is a variation of a work by Giovanni Bellini. Around this time he also completed another Bellinesque altarpiece for San Bartolomeo in Vicenza, Madonna and Child with Saint Monica and Mary. In 1500 Montagna completed a Pieta in the Church of the Madonna del Monte. The painting depicts the Virgin Mary holding Christ's dead body and Mary Magdalen kissing his feet. They are flanked by St. John and St. Joseph. This features dull color and the use continuous lines as a compositional element, a growing trend in renaissance paintings. This painting is characterized by a less rigid form than Montagna's previous works. In the same year he also completed the Virgin and St. Joseph Adoring Christ in the Church of Orgiano. This depicts the infant Jesus sitting upright, flanked by the soft figures of the Virgin and St. Joseph. Around this time the Bishop of Vicenza, Cardinal Battista Zeno, also commissioned Montagna to create a painting of the Virgin and Child with Eight Saints for the Cathedral of Vicenza. This work was lost after 1779 but is documented in multiple records. In 1504 Montagna travelled to Verona to complete frescos for the choir and vaults of the Cappella di San Biagio depicting many scenes of St. Blaise. Due to the success of this work, in 1507 he was commissioned to do the altarpiece for the Church of San Sebastiano in Verona, depicting the Virgin and Child Enthroned with St. Sebastian and St. Jerome. This work is characterized by brightly colored architecture, an oddly shaped throne, and elaborate outfits. After returning to Vicenza, Montagna completed a painting of Madonna between Saint Anthony and John the Evangelists for San Lorenzo. This is often considered the height of Montagna's paintings. Montagna's style at this time is noted for its eccentric qualities despite the trend of a more mellow style that was adopted by his peers. His paintings