It was quite common in the 16th century that people from the small and poor villages of Bergamo valleys to move to Venice to improve their condition by working on trade in woolen cloths or in the many construction sites open in the lagoon city.
[2] The polyptych, made up of seven wooden panels, develops on two orders, with a lunette cymatium in the upper part depicting God the Father crowning the image of the lower panel of His dead Son.
The polyptych had already been the subject of readjustment over the centuries, in 1886 and 1906 by the painter Luigi Cavenaghi and in 1958 by Sandro Allegretti.
The detachments of the painting were a consequence of the thinness of the tables, due to the very cold temperatures in Winter and mild in Summer.
[1] Thanks to Emanuela Daffra of the Superintendence of Cultural Heritage of Milan, the work was included in a restoration program and the tables were delivered to the Opificio delle Pietre Dure of Florence, which did a great restoration work, not only on the pictorial part but also in the whole wooden structure, which over time had deteriorated greatly.