The attribution to Melone proposed in 1989 has since been fully endorsed, loc. cit., by Frangi, who considers the facial type and the technique, characterized by 'una stesura liquida e rapida che insiste nel definire i ritmi zinzaganti dei morbidi panneggi e abbozza velocemente i volti e le mani con tocchi densi e luminosi' as entirely consistent with other late works by the artist, reflecting the influences not only of Gian Francesco Bembo's altarpiece of 1524 in San Pietro al Po, Cremona (in which the saint on the right has similarly elongated feet), but also of the early work of Camillo Boccaccino and Giulio Campi.

The present painting is a particularly important rediscovery, the date on it not only providing a new landmark for the dating of Melone's work in the 1520s, but also providing a new terminus post quem for the death of the artist