By his will of 25 March 1531 Lorenzo Lotto divided the models into gypsum and wax and his own designs among three old pupils: the Bergamasco Francesco Bonetti, the Venetian Pietro di Giovanni – now active in Ragusa, today Dubrovnik – and the Marchigiano master Giulio by adjoining it, identifiable by Giulio Vergari. From the origins of the three architects, there is a clear geographical map, as if Lotto had consciously decided to leave the trade at the places of his painting experience: Bergamo, Venice and Marche. At the same time, Lotto attended painters Alessandro Oliverio, Bonifacio de’ Pitati da Verona and Girolamo da Santa Croce: the second, according to the testamentary provisions, was to complete the work which had not been completed at the death of Lotto, while the third was intended to benefit his children by some means of the profession. This leads to a group of artists that are marginal to the lagoon context, but oriented towards purchasing hinterland or Adriatic areas. Lotto’s awareness of the territorial impact of his activity explains the reason for the iconographic and formal bergamasque reminiscences in part of the production dating back to the extreme Marche years (1549-1556), i.e. the phase launched with the Anconetan Recruitment of San Francesco alle Scale, which was carried out in 1549-1550 with the collaboration of Giuseppe Belli da PONTERANICA. With the will of March 25, 1531 Lorenzo Lotto developed the distribution of models in plaster and wax and their designations to three of his former publications: Francesco Bonetti from Bergamo, the Venetian Pietro di Giovanni – at which time active in Ragusa, Today’s Dubrovnik – and master Giulio from amassed with Giulio Vergari. The origins of the three Painters reproduced a clear geographical map, as if Lotto had consciously decided to leave the tools of the trade in the places of his painting experience: in Bergamo, Venice and the Marches. At the same time Lotto associated with the Painters Alessandro Oliverio, Bonifacio dè Pitta from Verona and Girolamo from Santa Croce: the second, according to the testamentary arrangements, would have to complete the work left unfinished at the death of Lotto, when the third would go some tools of the procession for the benefit their children learners. It is thus to define a group of art marginal to the Venetian milieu, but started toward patrons of inland or Adriatic area. The knowledge acquired by Lotto in the territorial impact of his work exploring the reason for his reminiscences of iconographic and formal pattern of the times of Bergamo in the production dating back to the last years in the Marches (1549-1556), particularly at that stage of the Assumption of San Francesco alle Scale to Ancona, altarpiece carried out in 1549-1550 in collaboration with Giuseppe Belli from PONTERANICA.