In the context of this artwork, explore the Later history of the History.
Vasari did not see the work, though it was praised by local art historians right up to the 18th century. When the church was suppressed under the Napoleonic occupation, the altarpiece was divided up and the original cornice and decorative panels on the 'pilastrini' were lost. The work was reunited in 1853 and moved into its present home. It was neglected by 20th century art criticism, though in 1960 Carli dated it to the peak of the painter's career and praised the "extraordinary lightness and freshness of its colours". However, he also placed it just before the painter's shift to a less inspired period in which he used compositions from his collection of drawings rather than inventing new ones.