The bond that unites Manzù with his fellow citizens can be seen straightaway: there are sculptures of the great artist everywhere.

The entrance portico houses of the Prefecture and Provincial building hosts “Il grande cardinale” (The Great Cardinal). A great Caravaggio stands in the courtyard, in confirmation of the great esteem Manzù held for the famous painter; and also the “Donna che guarda” (Woman who looks), “Tebe distesa nell’ovale” (Thebes in the oval), “Testa di giapponese” (Japanese Head).

Outside and going back down the Sentierone you see, in an area of garden, the “monumento al Partigiano” (monument to the Partisan), in memory of the Bergamask people who fought for freedom.

Heading further on, towards Borgo Sant’Alessandro, you come across a “favourite place”, where Giacomo was born and his father, Angelo Manzoni (Manzù later became the pseudonym of the sculptor), mended shoes and was sacristan of the parish church of Sant’Alessandro in Colonna. Little Giacomo grew up play ing in the churchyard and on the marble steps of the church, but soon revealed his genius.

Leaving the centre of Bergamo and heading towards another suburb, you can admire one of his most famous sculptures, the “Amanti” (Lovers), sitting in the courtyard of the Modern and Contemporary Art Gallery (Gamec), in Via San Tomaso.

Ingenious, inventive, creative, these are not just the traits of Manzù, the father, but also of Pio, the son, another famous artist from Bergamo. His futuristic projects, including the Fiat 127 and numerous interior design items created for Floss, Kartell and Alessi, have left their mark on the history of design.