Pellegrini Chapel (Santa Anastasia)

The following year, Pellegrini died, so his mother, carrying out his will, had her son's chivalrous virtues celebrated by means of Pisanello's fresco and in the chapel's terracottas, where he is depicted in military uniform and kneeling to the Virgin on the altar.

Giorgio Vasari, in Lives of the Most Excellent Painters, Sculptors, and Architects', spoke of the frescoes with admiring emphasis, stating that "to put it in a word one cannot contemplate this work done with design, grace, and extraordinary wisdom without infinite wonder, rather than amazement.

[2] The fairy-tale landscape, also populated with exotic characters and numerous animals depicted with great naturalness, presents in the background an ideal city with elegant towers and openwork architecture.

Beneath the right side is the inscription "SANTVS GIORGIVS" and the coat of arms of the Pellegrini family, a pilgrim placed on a precious painted cloth bordered with ermine, whose etymological meaning coincides with that of the name Giorgio.

[4] The work (which fewer recent studies interpret differently) may allude to the events of the Pellegrini family and the anti-Venetian sentiment that had arisen in Verona during the early fifteenth century because of its loss of autonomy.

It is characterized by an aedicule with a fresco by Martino da Verona, who depicted the Madonna col Bambino surrounded by four Musician Angels, addressing the three Bevilacqua introduced by Saints Catherine, Dominic, Anthony Abbot, George and Zeno.

In the fresco, also characterized by the colors and intonations of Martino da Verona, there is a depiction of Tommaso Pellegrini in dark red robes, who is introduced by St. Thomas to the Virgin and the Child, while on the other side there is St. John the Baptist.