The work of this Dominican monk, mainly active in Toledo, is predominantly classicist in mood, a product of the different stylistic currents that converged in Rome at the beginning of the 17th century. Contact with these Roman models was very fruitful for the artist and this painting is particularly significant in this regard, exemplifying as it does an outstanding episode in the artist's career and illustrating one of the channels through which Caravaggian naturalism arrived in the Iberian Peninsula.