[1] There is a copy of the work with several variations signed "Opus P. Petri", who Roberto Longhi argued to be Pietro Calzetta, another Paduan School painter.

In 1906 it was displayed at the Kaiser Friedrich Museum and twenty years later it was bought from the Huldschinsky Collection by Colnaghi in London and then Harding in New York before reaching its present home in 1947.

The Madonna at the parapet, a scheme of Flemish derivation that became popular in Italy and Venice in particular, was in fact replicated by the artist throughout his career, adding and creating new variations.

The Paduan heritage of the work is evident, starting from the two apples hanging high, a reminder of the original sin, up to the decorative exuberance of the gold and the composition itself, often used by the followers of Squarcione.

An extremely acute realism permeates the panel, with the small still life of the closed letter in the foreground, hanging from the wooden parapet showing grain and knots.