 The work was first recorded in Santi Ambrogio e Carlo al Corso, the national church of the Lombards in Rome, where it was mentioned for the first time by Filippo Titi during the second half of the 17th century, though he misattributed it to Pordenone or Titian.It is not known when it was moved to that church, which was built from 1612 onwards - in 1943 György Gombosi theorised that it had been given to the church by the Ottoboni family, though he did not cite his sources for that hypothesis However, the Ottoboni family was Venetian in origin and had no known contact with Moretto - the only one of them ever in Brescia was Pietro Ottoboni between 1654 and 1664, long after the painter's death.Gombosi probably therefore interpreted ambiguous sources referring to the Ottoboni owning other Moretto works such as "Madonna of Mount Carmel" and the "Madonna of Mercy Standard".