Even though imitatio Christi and devotio moderna are often mentioned about Ambrogio Bergognone's altarpieces at the Charterhouse of Pavia, only a few authors tried to interrogate the specific agencements and internal circulations of details' plasticity in his work. However, by very subtle and discreet operations, those details produce both visual and spiritual associations that keep simultaneously opened various significance's beams, aimed to be "masticated" and "put on the winepress" by the meditative willing, which process was described so in carthusians' contemplative treaties. By describing three main pale showing enthroned bishops with saints, it becomes clear that some details-a red carpet's threads, a cowry shell and golden textile motives-are partly related to the predella's narrative scenes and are densely articulated to the whole composition as reflexive commentaries, both polysemic and undetermined; Ambrogio Bergognone elaborated those figures in order to, respectively, emphasize the Eucharistic efficiency of the depicted liturgical material, condense a moral fight between temptation and conversion of the spirit, or stand for an ornamental retribution to the saints' virtues and a figurative actualization of their martyr.