In the North Italian painting of the edge of the 15th–16th centuries a group of painted altarpieces may be singled out to present their certain typological similarity. Put in a chronological order, those are —the Politico del Duomo di Camerino by Carlo Crivelli (1493), the “Madonna della Vittoria” (1496), the “PalaTrivulzio” (1497) by Andrea Mantegna, the “San Giobbe Altar” (1487), the “Trittico dei Frari” (1488), and the “Pala di San Zaccaria” by Giovanni Bellini (1505). Almost all of the above-mentioned pieces are large altars composed by their authors as neither triptych nor polyptych. The reason for that was the intentionto create a type of composition united exclusively by the common open space. The milieu is organized not by architecture, but a kind of a semi-circular apse, or something alike, and there is no doubt that an artist aimed at showing an open space constructed without any illusionistic effect. Another significant specificityof the discussed altars is also connected with spatial wholeness: the characters’ interrelations, as well as their relations  with all compositional elements, are based not on coordinating principles, as was specific of the mid-Quattrocento and its second half, but on subordinating ones. It seems likely that these observations allow us to highlight certain peculiarities, which were manifested in the works of those artists whose art generally belongs to Quattrocento. At the edge of the 15th and 16th centuries their monumental altarpieces present the tendency from which classical style originates. This is equally evident in paintings of such different artists as Giovanni Bellini, Andrea Mantegna or Carlo Crivelli.