This work repeats the canvas painted in 1613 and 1614 for the Arrigoni Chapel at San Polo Maggiore in Bologna, although there are some differences in the foreground, the Heavens with Putti and the objects that make up the still life. Its contents mix Venetian memories with hints of Caravaggio and an evident debt to Guido Reni, who had recently returned from Rome. There is a preparatory drawing for the complete composition at Chatsworth. This work was correctly attributed in Charles IV’s collection, but in 1818 it was mistakenly assigned to Ribera (Text drawn from Pérez Sánchez, A. E.: Pintura italiana del siglo XVII, Museo del Prado, 1970).