The panel is registered among the assets of the Scuola Grande della Carità at the time of their inclusion in the catalog of the Gallerie dell'Accademia (1812). The previous collecting events are not known, even if it is legitimate to hypothesize that it was donated to the School by a brother. The description of the landscape, of minute and descriptive characterization almost "Flemish", contrasts with the already naturalistic study of light and vaporous clouds in the sky and below the cherubic angels. The latter, with empty orbits and painted in a bright red color, with evident anti-naturalistic and archaistic accentuation, directly quote the prototype of Jacopo Bellini, also in the Galleries (cat. 582), and the interpretation that in turn had provided the brother-in-law Andrea Mantegna a few years earlier around 1485 (Madonna with Child and choir of cherubs, Milan, Pinacoteca di Brera). Chronologically, the painting is therefore placed immediately afterwards, between 1485-1490, also in close relationship with its closest outcome which is the Madonna di Alzano of the Carrara Academy, in a phase of Bellini's great experimentation but not yet reached that point. revolutionary results at the end of the century, characterized by that unprecedented harmonization between plane and space destined to mark the subsequent developments of Venetian painting.