Cornelis de Wael's role in the cultural environment of early seventeenth-century Genoa was not limited to the production of paintings alone. In fact, he was the point of reference for the large group of Flemish artists who wanted to sell their works in the city. These were the years in which Antoon van Dyck was active, but also Jan Wildens and Jan Roos, masters dedicated to the so-called "genre painting". It is in this type of work that Cornelis excelled, i.e. the one that the writers of the time defined as "with small figures" and which depicted crowded scenes with nobles or commoners.

The canvas is connected to another composition depicting the Eucharistic celebration for pilgrims , in which, in correspondence with the landscape, the presence of the hand of Cornelis' older brother, Lucas de Wael, has been hypothesized. The two representations were part of a series of Examples of Capuchin virtue created by Cornelis during his activity in Genoa, probably during the 1640s.