In 1586, Adriano Valerini published a work entitled *Le Bellezze di Verona* (The Beauties of Verona), an opportunity for the author to highlight the city's unique geography, the majestic character of some of its buildings, and also Verona's importance in the liberal arts, particularly music. Valerini cites, among the great Veronese musicians, Gabriel Martinengo, Pietro Cavatone, Vincenzo Ruffo, and Marc-Antonio Ingegneri. To this list should also be added Giovanni Matteo Asola, Giovanni Nasco, and Ippolito Baccusi, musicians who gravitated around two important Veronese institutions: the cathedral and its school, the *scuola degli accoliti*, and the Philharmonic Academy, which contributed to a significant artistic flourishing in the 16th century. These two musical centers also benefited from the teaching of one of Baccusi's pupils, a certain Paolo Fonghetti. In 1595, he published lamentations for Holy Week as well as a three-voice mass whose style reveals a wealth of contrapuntal inventiveness. La Quintina continues its exploration of the uncharted corners of music history by unveiling the portrait of a forgotten musician from the late Renaissance.