A study for the high altarpiece in San Tommaso da Villanova, Castelgandolfo of circa 1661, G. Briganti, op. cit., 1982, no. 137, pl. 286. This is the only known drawing related to the commission. The most notable difference between this drawing and the altarpiece lies in the position of Christ's head: in the picture He looks downwards towards the Virgin rather than upwards. The church was built by Pope Alexander VII and he commissioned Cortona and Gimignani to paint the altarpieces. Bernini designed the sculptural elements, including the altar frames which were executed by his pupil Antonio Raggi. The Bernini drawing for the frame of the high altar is at Windsor, A. Lo Bianco, op. cit., fig. 2.

A drawing by Ciro Ferri in the British Museum based on this composition but smaller and in reverse, is a preparatory study for a Cornelis Bloemaert engraving, N. Turner, Italian Baroque Drawings, London, 1980, no. 25, illustrated. The Ferri drawing which is rectangular may also, according to Lo Bianco, be related to a version of the Castelgandolfo picture in Santa Maria in Via Lata, Rome. However, as Lloyd points out, the Holkham drawing combines both formats, the oval and the rectangular, and it would seem more likely that the rectangular studio version in Santa Maria in Via Lata is based on the present drawing