The painting shows alterations that testify to a wide cleavage between the pictorial layer and its canvas support.
Numerous cupping liftings are visible in the lower part of the painting and scattered throughout the rest of the work. They caused gaps in the pictorial matter. They are to be put in connection with the use, at the previous restoration, of an overly tensor lining adhesive that would have been reactivated by the poor conditions of transport and storage (theft and conservation outside the castle). The paste glue used, glue based on animal and vegetable material (colletta), reacted to the variations in temperature and especially humidity suffered during these various unsecured movements.
Despite these failures, and although the lining is very tense, the adhesion between the two canvases is still correct and will not require treatment.
Many inpaintings carried out during the last restoration, dot the painting and are visible to the naked eye, hindering in places the good legibility of the subject.
The varnish is slightly oxidized and has lost its transparency and protective role.