. . "Before conservation for the Medieval and Renaissance Galleries in 2009, the picture was framed, with a fabric covered mount, and a wooden frame. There were signs of damage at the top and on the right where it has at some point been nailed to something. On removal from the frame the nail holes at regular intervals round the edges became visible.\n\n\nBought by the Museum in 1857 for \u00A38. No other information available from our registers. Jean-Paul Asselberghers, curator in Brussels (see references), speculated in 1970 that this and kindred panels had possibly been made for the Vallombrosan Order in Tuscany, and left Italy after the Order was dissolved between 1810 and 1819 (during the Napoleonic Wars).\n\nHistorical significance: The Church made much use of fine needlework in the execution of ornaments (vestments and furnishings) for public consumption. Like those textiles, this embroidery is made of expensive materials and is finely executed."@en . "Before conservation for the Medieval and Renaissance Galleries in 2009, the picture was framed, with a fabric covered mount, and a wooden frame. There were signs of damage at the top and on the right where it has at some point been nailed to something. On removal from the frame the nail holes at regular intervals round the edges became visible.\n\n\nBought by the Museum in 1857 for \u00A38. No other information available from our registers. Jean-Paul Asselberghers, curator in Brussels (see references), speculated in 1970 that this and kindred panels had possibly been made for the Vallombrosan Order in Tuscany, and left Italy after the Order was dissolved between 1810 and 1819 (during the Napoleonic Wars).\n\nHistorical significance: The Church made much use of fine needlework in the execution of ornaments (vestments and furnishings) for public consumption. Like those textiles, this embroidery is made of expensive materials and is finely executed."@en . .