These two paintings at one time formed part of a collection of 47 paintings in the possession of Christina, Queen of Sweden. She inherited them from her father, the great Gustavus Adolphus, who had possessed himself of them on the reduction of Prague during the Thirty Years' War.

Christina removed her entire collection of paintings to Rome. At her death in 1689, her paintings were bought by Cardinal Decio Azzolini. From his nephew they were bough by Cardinal Livio Odeschalchi, Duke of Bracciano, and by his heirs sold to Philip the Regent, Duke of Orleans. His magnificent collection, which hung in the Galleries of the Palais Royal at Paris, was considered one of the finest collections of Europe. When he died in 1723 these paintings passed to his son, and so for four generations of the Dukes of Orleans, Philip Egalite being the last of that house to possess them.

In 1792, after the Revolution broke forth, Philip decided to sell them, being in need of finances for the furtherance of his political projects; and in this way the painting found their way to England into the Hope Collection where they remained for the whole of the nineteenth century.

Thus, the collections to which belonged the two painting by Veronese, are the following;

Collection of Gustavus Adolphus II. of Sweden. Collection fo Christina, Queen of Sweden. Collection of Cardinal Decio Azzolini, Rome. Collection of Livio Odeschalchi, Duke of Bracciano, Rome. Collection of Philip the REgent, Duke of Orleans, Paris. Collection of The Dukes of Orleans, in the Galleries of Palais Royal, Paris. Collection of M. Walkners, Brussels. Collection of M. Laborde de Mereville, Paris. Collection of Thomas Hope, Esq., London. Collection of Thomas Henry Hope, Esq., Deepdene, England.

Mentioned in Waagen's "Art Treasures of Great Britain," 1854, Vol. II., p. 113, and in Bryan's Dictionary, edition of 1893, vol. II., p. 213.

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