[2] With the 1797 suppression of religious orders by proclamation in the Cisalpine Republic, this second church was also set for demolition and the Grumellis sought a new location for their family chapel.

Moretto follows traditional iconography, which shows the saint writing on the earth, with his own blood, the word "Credo" (lit.

Behind him, Carino of Balsamo prepares to deliver the final blow with a dagger while, at left, one of Peter's traveling companions is also killed.

[4]: 292  From the first study by Stefano Fenaroli in 1877 to the most recent by Pier Virgilio Begni Redoni in 1988, hypotheses have been proposed from anywhere between 1520 and 1544, practically the entire length of Moretto's career.

Pietro Grumelli, the previous year, had dedicated money to the family chapel in the chiesa dei Santi Stefano e Domenico.

[4]: 294  That period also coincides with Moretto's presence in Bergamo, where he was commissioned by Lorenzo Lotto to complete frescoes for the basilica of Santa Maria Maggiore.

[4]: 294 The work demonstrates a dramatic expression of movement rendered with traditional tones of color and through figures in the background.

[7] Moretto was likely influenced by the frescoes of Vincenzo Foppa in the Portinari Chapel in Milan, as well Titian, who painted an altarpiece with similar angel figures in 1530.