I think, that nobody with the trivial information, that first Venus was understood as planet and second, that the same planet was ALSO understood as morning and evening star (without doubt likely one of the most impressive stars), doubts, that there were Venus representations with stars or with a star at her hands (this seems to be quiet common, so I wouldn't think of a "Padovan style").
But actually the theme is not about a simple star, but about the relation of three (or four) compositions, once Sun-Moon-Star, second the 3 Magi and 3rd the theological virtues (and the theological colors).
Steve M. in the thread, where the theme opened, had the relaxed view, that ...
(in a shortened dialog)
Perhaps some "older source" connected the 7 virtues (cardinal and theological) to specific colors?
I've always presumed the theological colours at least to be an old one - Dante's dressing of Beatrice in red, white and green has long been interpreted as representing the theological virtues - as have representation in painting such the three angels in red, white and green in for example Sassetta's 'Mystic Marriage of St. Francis' (c.1450), or the theological virtues in 'The Triumph of St. Aquinas' in the Spanish Chapel of the Basilica of Santa Maria in Florence by Andrea da Firenze (14th century), or in Botticelli's 1501 Nativity (with it's illustration of the angels from Savanarola's (last?) Lent sermon, c.1498). Also note that the three Magi were associated with the theological virtues (as the 'Three gifts of baptism'), and as such were sometimes portrayed wearing their colours, as they are in the Procession of the Magi in the Medici Palazzo (in which the three feather device is also to be seen). The Medici were patrons of the Confraternity of the Magi, who held an elaborate annual procession in fancy dress.
I've argued in the past for a relation between 3 theological virtues and the symbols Sun-Moon-Star and the 3 Magi, just following my own analysis of "Trionfi card facts".
It's new to me, that " the three Magi were associated with the theological virtues (as the 'Three gifts of baptism')". That's interesting and confirming my own ideas. Who said so?
I'll have to look that up for you - but in general it was typical of medieval number symbolism to associate anything of the same number together - in the case of the Three Magi this can frequently be found reflected in their representation in several ways, for example as well as dressing them in the colours of the Medici/Theological colours, they were also associated with the three ages of Man, and one might be represented as a youth, one middle aged and one as on old man for example, they were also associated with the three (known) parts of the world, which might be represented by a variety of caps and/or skins tones, with one as a black man for example to represent Africa, the other two representing Europe & Asia.
On the base of this a rather interesting (and productive) collection was done to connections between the 3 or 4 compositions.
Now we have a difference of understanding: Ross thinks, that Faith relates to Star, and Hope to Moon, whereas Steve before had given some sources, in which Faith was ordered to Moon and Hope to Star.
Which context or relevance has now the question, if the Star was made in Padovan style or not? Isn't this more part of the general Star iconography?
Somehow this is a collection about "compositions", greater units, not about the representations of specific cards.
As we speak about compositions ... we have "Hope" (and also "Love") in a double role, and both are object to Tarocchi productions:
1. Hope and Love in the 4-elements scheme of Stoic passions: Hope, Love, Fear and Jealousy ... an object for Matteo Maria Boiardo and his deck.
2. Hope and Love as part of the 3 theological virtues ... object for Cary-Yale and Minchiate productions.
(3.) Isabella d'Este's personal motto "Nec spes nec metu" "("neither hope nor fear") seems to address stoic passions and was given to the Ace of cups at the versions of the Viscont-Sforza cards, which contained the Visconti viper and a falconer (in my opinion a deck of 1512).
Is there a relation between Hope (Stoic passion) and Hope (theological virtue)? At least in the mind of 15th century?
Stoic passions as a Quadrivium, made from the theological triad Love-Faith-Hope, in the manner, that Faith triumphs over Fear and Jealousy (and uniting these wild forces of the human soul to the better positioned "Faith")?
Then we have, that "2 forces become one" as a description of Faith, which fits well with the idea, that Faith was related to moon (with its natural dualistic appearance of full moon and new moon).