The work was the central part of a more articulated polyptych, and was conceived to be placed on an altar of the church of Sant’Agostino in Perugia owned by the family of the notary, which took the surname “Tezi” in 1483.

During the restoration works of the church in the eighteenth century, the altarpiece was dismantled in several parts without preserving the carpentry nor the mobile door in which a lost Redeemer was probably depicted; the predella, attributed to Gerino da Pistoia, is located in Berlin.

With the post-unitarian demanializations, the painting was brought to the National Gallery and adapted in the frame of the now exiled Pala dei Decemviri, also by Perugino, transferred to the Vatican.

Perugino used the same preparatory drawings of the Madonna della Consolazione he realized for the brotherhood of the Disciplinati of Santa Maria Novella and the same composition, as for the spatial construction, of the Banner of Justice and the Polyptych of San Pietro.