There were multiple relations between the Veneto artist and the city of Bergamo. It is not only the memory of a long stay, which began in 1513 with the Altar Piece of St. Bartholomew and ended in 1525 in the Stories of Mary in St. Michael at the White Well, with the ideal extension of the commitments taken for the intarsia of the choir of Santa Maria Maggiore: and not even the remark that there are many churches in Bergamo (from the Holy Spirit to St. Bernardino to the two churches dedicated to the patron saint, St. Alexander: St. Alexander of the Cross and St. Alexander in Colonna) to be decorated with altarpieces by Lotto; nor is it sufficient to recall the many figures of Bergamo (including the mysterious Lucina Brembati) whose portraits he painted. It is even more important to underline how the artist, after multiple cultural experiences which had brought him into contact with artists like Giovanni Bellini and Giorgione in Venice, with Bramante and Raphael in Rome, and lastly with Leonardo da Vinci, found a sort of ideal homeland in Bergamo, sensing its inclination for a direct and cordial naturalism, far from all emphasis, and a serene and almost everyday conception of religion and faith.

St. Bartholomew (17th century) in Via Tasso

Behind the great altar there is the large altarpiece "Madonna with Child on the throne and saints" (1516) (520 x 250 cm.). The Madonna with Child are surrounded, from the left by the St. Alexander, the protector of the city and by Alessandro Martinengo Colleoni, who commissioned the altarpiece, and then by Sts. Barbara, James, Dominic, Mark, the patron saint of Venice, Catherine, Stephen, Ambrose, John the Baptist, Sebastian. Two angels hold the crown of the Virgin Mary.
The work was commissioned from Lotto by Martinengo to celebrate the good governance of the Republic of Venice and the subject of the altarpiece, Salvation, seems to allude to a double meaning, both religious and political.
In the mid-18th century, the work was broken up, the wooden frame burnt and the paintings sold to connoisseurs except the predella, with three compartments which was kept at the Carrara Academy, whilst the upper panel, showing an angel with the signs of the dominion, the globe and sceptre, is in Budapest.

St. Michael at the White Well

Mentioned in documents as early as the 8th century, the church owes its current structure to work done in the 15th century. The chapel on the left, frescoed by Lorenzo Lotto in 1525 is dedicated to the life of the Virgin Mary: on the outer part, “the Visitation”; in the vault, “the Eternal Father”, in the lunettes, on the left "the Annunciation", in the centre "the Nativity of Mary”, and on the right “the Presentation of Mary at the temple and the Wedding of the Virgin Mary”; in the pendentives, the symbols of the four Evangelists.

Santa Maria Maggiore

Intarsia of the choir done between 1522 and 1555 by G.F. Capoferri, Giovanni Belli and other artists, to designs almost exclusively by Lorenzo Lotto. The four large intarsia on the front of the presbytery represent (and the subject of the relative ceiling is also to be mentioned):
- "Passage of the Red Sea" (1527); (the Pharaoh’s folly)
- "The Universal Flood" (1526); ("Restauratio humana" – the reinstatement of man)
- "Judith and Holofernes" (1527); ("Viduitatis gloria" – the glory of widowhood)
- "David and Goliath" (1526); ("Maximi certaminis victoria" – the victory of the greatest duel)
Many different types of wood were used to produce the different colours. In some cases, the different shades were obtained with hot sand and the colour was intensified with infusions of herbs.

Holy Spirit (14th – 19th centuries)

Inside, reconstructed to the design of the Bergamo architect Pietro Isabello, the fourth chapel on the right has the altarpiece "The Madonna with Child on the throne and saints" (1521).
The work shows the Virgin Mary with the Child, surrounded by the saints (from the left) Catherine, Augustine, Sebastian, Anthony the Abbot and at the feet of the throne St. John tenderly embracing the Mystic Lamb. An orchestra of angels dominates the delicate scene which induces meditation on the mystery of the Incarnation, celebrated in the altarpiece.

After leaving the Church of the Holy Spirit, the itinerary follows Via Pignolo where, at the crossroads with Via San Giovanni there is the Church of St. Bernardino which has the altarpiece “Madonna with Child and Saints” painted by Lotto in 1521 behind the great altar.
The Virgin Mary, under a canopy supported by four frenetic angels in flight, is in holy conversation with the saints (from the left) Joseph, Bernardino, John the Baptist and Anthony the Abbot. At the feet of the throne, a graceful angel scribe looks at the faithful with very expressive eyes.

Another work which offers important evidence of Lotto’s faith is the canvas of the “Trinity” (170 x 115 cm.), in the sacristy of the Church of St. Alexander of the Cross (17th century – façade early 20th century) built in a symmetrical position compared to that of St. Alexander in Column.

St. Alexander in Colonna (18th century)

In the sacristy, the “Deposition of Our Lord”, tempera on canvas 175 x 175 cm., is one of the most dramatic sacred representations by the artist and a document of the pietistic vein that marks the spirituality of Lotto’s art.

Lotto in Ponteranica

A polyptych with two orders, signed and dated 1527 (or 1525): in the upper one the image of the Christ the Redeemer with the signs of the Passion appears between Mary and the Angel, the "announcement" of the Redemption; below, St. John the Baptist precursor of Christ, is surrounded by St. Peter and St. Paul, who continue his message. 

                           
 
The work has a strong devout significance, completed by the “Stories of the Passion” in the predella (which are by another hand), and belongs to that moment of profound religious anguish (which characterized Lombardy in the years of the Reform) to which Lotto, before his return to Venice offered the contribution of a very high cultural interpretation.

Other itineraries
Tourism suggestions:
Lying on the hills north of Bergamo, Ponteranica is wholly in the Parco dei Colli di Bergamo.
Excursions on foot link it both with the Seriana Valley and with the Brembana Valley through picturesque landscapes.
Recommended: 
Itinerary of the Parco dei Colli:
La Maresana (Castle of La Moretta and Croce dei Morti); Olera (Polyptych by Cima da Conegliano); Sorisole (Parish church)

Lotto in Trescore

The large fresco, which covers the whole of the left wall of the small oratory and formerly the private chapel of Villa Suardi, has in its centre the large image of Christ inspired by the Gospel verse "I am the vine, you are the branches": long tendrils, which include the busts of Saints, emanate from his fingers and run, amidst dancing cherubs, on to the ceiling. 

     

The field narrates the martyrdom of St. Barbara, persecuted by her father in a series of scenes which perhaps evoke the devotional itineraries of the Holy Mountains but which allow Lotto to give us a very colourful image of contemporary life.
On the other walls, the decoration is completed by illustrated panels dedicated to the miracles of St. Bridget, St. Catherine and St. Mary Magdalene, and by friezes with the busts of Sibyls and Prophets announcing the coming of Mary: the cycle was completed by 1524, on commission by Giovan Battista Suardi whose portrait appears at the feet of Christ.

 Other itineraries

Tourism suggestions:

Known since the 8th century for the sulphurous waters used by the Romans for therapeutic purposes, Trescore preserves fine evidence of its rich and age-old history. The town, standing at the entrance to the Cavallina Valley, is the ideal starting point for countless excursions of an artistic and naturalistic character.

Recommended:

Itinerary of the Castles and the medieval villages:

Monasterolo, Bianzano, Borgo di Terzo; Mologno; Itinerary of the Naturalistic Oases:
La valle del Freddo, WWF Oasis of Valpredina, La Grotta del Buco del Corno;
Itinerary fo the waters:
The lakes of Endine, Piangaiano and Iseo, The spas of Trescore and Gaverina, La valle dell'acqua;
Itinerary of the artists:
Domenico Carpinoni, The Fantonis in the Cavallina Valley;
Itinerary of wine:
The estates to taste DOC (Controlled designation of origin) wines.
The visit can be combined that that to Credaro.