Explore the History of this artwork, Caprioli Adoration.
Originally, this relief was part of the funeral monument of Luigi Caprioli kept in the family chapel in the Church of San Giorgio in Brescia. From Bernardino Faino, Francesco Paglia, and other seventeenth and eighteenth century scholars, it is known that the relief was inserted into some sort of architectural apparatus, to which a figurative altarpiece was attached. Possibly the altarpiece was by Cairano, but it has since been lost.Faino writes that the altarpiece depicted a Madonna with Child between the saints Joseph and Catherine. From the original architectural structure, there remains only a frame which serves as a jamb outside the chapel. A copy of a guide to Brescia by Alessandro Sala (from 1834) gives notice of some changes in ownership of the work:
There already existed in the church of San Giorgio a monument to Count Luigi Capriolo, above which was the following inscription: Aloysio Capreolo Patritio / Religione. Fide. Innocentia / Meritis. In. Rem. P. Spectatiss / Summis. Honoribus. Functo. Qui / Ætatis LXXVII Theogoniae / Anno MCCCCLXXXXII / F.M.I Augustinus. F. Patri. Optatissim / D.D. Part of the monument or the jambs can still be seen in the church at the altar of San Francesco and the low relief that stood on the front of the monument is now in the parapet of the high altar of San Francesco in Brescia.  A certain rector of San Giorgio sold part of the monument to Count Paolo Tosio and the heirs of Count Tosio sold it to another in Brescia who finally passed it to San Francesco.
Since the responsibility for the first sale  of the relief is attributed to a certain rector, it implies that the dismemberment of the apparatus occurred before the church was taken over by the state, which happened in 1805. The same inscription had already been reported by Sebastiano Aragonese in a codex in the second half of the sixteenth century, later transmitted by other sources, mainly in collections of Brescian epigraphy. Traces of this tombstone have also been lost, though around 1800 there was still talk of a broken tombstone in the small courtyard adjacent to the residence of the vicar of San Giorgio.Before its final emplacement, the relief also entered the collection of the scholar Paolo Brognoli who critically compared it with the ark of Sant'Appollonio. The work finally arrived at the Church of St Francis in 1841 to be used as a frontal on the high altar, as part of its reconstruction in neoclassical style by Rodolfo Vantini.
relief Church of San Giorgio Brescia Rodolfo Vantini Francesco Paglia