The majority of these are on canvas, but a considerable number, including some large pieces, are created on wood panels.

He conceived a great enthusiasm for Raphael, though he never travelled to Rome;[5] on the other hand, his classical serenity resembles that shown by Leonardo and his followers in Lombardy such as Bramantino.

[4] In 1521, he worked with Girolamo Romanino in the Cappella del Sacramento in the Old Cathedral of Brescia, where Moretto completed a Last Supper, Elijah in the Desert, and a Fall of Manna.

Anthony and Sebastian; in the Berlin Museum, a colossal Adoration of the Shepherds, and a large votive picture (one of the master's best) of the Madonna and Child, with infant angels and other figures above the clouds, and below, amid a rich landscape, two priests; in the National Gallery, Central London, is a St Bernardino and Other Saints.

[4] Throughout his career his works display an internal oscillation between the traditions of Venetian painting and the Central Italian schools.

Simultaneously he looked at the form and colour of Venetian artists such as Titian and Palma the Elder whilst his classicising, sweet intensity earned him the name "Raphael of Brescia".