The work, purchased in Venice by Giuseppe Bossi, entered the Museo Patrio di Archeologia in 1864 together with the important collection of the secretary of the Brera Academy. Its readability is possible despite the state of a fragment and the absence of the median element, perhaps a sculpted religious figure. Thin slabs of stiacciato-worked marble make up a rigorous perspective framework: in this illusory space of Renaissance measurement, two groups of singing angels are barely detached from the background, at the sides of the central compartment. The refinement of the relief, the skilful ability to modulate the poses and physiognomies, the classic composure of the scene characterize the work but do not allow doubts about the identity of its author to be dissolved. The soft treatment of the surfaces, slightly rippled, and the virtuous technique of representing the descriptive details, modulated with significant variations, suggest looking for the author among the masters who worked in Venice in the last decades of the fifteenth century.