Related to an altarpiece of the same subject, executed circa 1610-14 for the Cappella Pelloni in S. Martino Maggiore, Bologna (E. Hermann-Atorino, Francesco Brizio, Worms, 1989, pp. 145-6, no. G3, fig. 42). The finished painting includes a third angel in the centre of the composition, which was apparently also true of this drawing in its original state. The central section was later removed to create this more compact composition.