The painting is accompanied by an expertise of Dr. Emilio Negro.
The canvas highlights a classicist figurative culture and can be traced back to Giovanni Battista Venanzi, a Marche artist who was in contact with Guido Reni, Simone Cantarini, as well as Guercino and Benedetto Gennari. Convincing comparisons can be established with such paintings by the painter as S. Antonio da Padova che adora il Bambino (Parma, church of S. Cristina), the Sposalizio della Vergine (Parma, Pinacoteca Nazionale) and the pair of paintings Lavanda dei piedi and Maddalena ai piedi di GesΓΉ (Pesaro, Musei Civici).