La mostra di Pescia si inserisce in questo contesto e, attraverso l'esposizione della maestosa pala dipinta da Raffaello, raffigurante La Madonna del Baldacchino, intende portare all'attenzione dei visitatori la ricostruzione del tessuto storico e delle vicende artistiche collegate alla genesi e alla fruizione dell'opera stessa.

La mostra quindi, in aggiunta al valore assoluto dell'opera che sarà esposta, acquista una importante connotazione di valorizzazione del territorio e delle sue connessioni culturali perché la grande pala d'altare dipinta da Raffaello tornerà nella città e nella sede dove fu conservata fino alla fine del seicento.

L'allestimento all'interno della cattedrale di Pescia consentirà un dialogo tra la pala originale di Raffaello e la copia commissionata nel ‘600 al pittore Pier Dandini nel momento del trasferimento dell'opera a Firenze.
Da questi brevi cenni si può comprendere come vada in mostra non solo un'opera di eccezionale rilevanza ma la storia di un territorio nel suo complesso, in uno dei suoi più importanti periodi di fioritura artistica.

This church that seems to date back to the 5th-6th century, has been repeatedly rebuilt. In a document of 1875, it was named as a baptismal parish church and then was consecrated in 1062 by Pope Alexander II, who, according to tradition, was a parish of Pescia. Entirely rebuilt after the fire of the city in 1281, it preserves some testimonies dating back to the thirteenth century. The traces of the wall on the left side, the remains of the ambo adapted to a lectern and the bell tower, which is considered an ancient tower of the circle walls partially modified by the insertion of single windows, mullioned windows and triple-windows in 1306, date back to this time. The present forms date back to 1684 when the church was completely rebuilt following the collapse of the dome that destroyed most of this medieval building.

The triptych of Luca della Robbia and his School, in need of care, in the private chapel of the Bishop, was restored and transferred to the Cathedral in order to be placed at the disposal of a vast public, the faithful, art enthusiasts and tourists. According to scholars, the triptic-dossal was created between 1459 and 1470 and in any case by 1472, the year of the conferral of the juspatronate of the Spedale del Tau of Altopascio to the Capponi. The work was certainly commissioned by the Capponi of Florence to Luca della Robbia and carries a double 'signature' that allows a sure attribution: the family coat of arms (black and silver) located on the triptych, in lower right, while on the left there is the coat of arms of the Tau of Altopascio. The great triptych was perhaps designed for a more important church but then destined to Pescia, for the small church-oratory of San Biagio that the 'Magione del Tau' of Altopascio had in Piazza Grande (today Piazza Mazzini). The oratory has been destroyed, but there are many remains of the Magione and the glazed coat of arms of the Capponi family in what is now the prestigious and historic seat of the Misericordia of Pescia. There is another certain date: 1847, when it was transfered to the Chapel of the Bishopric, by decision of the Bishop of Pescia, Pietro Forti. The work of Luca della Robbia, which consists of a magnificent Madonna with Child, Angels and Saints (on the right St. James and his pilgrim stick and left St. Blaise, or second other hypothesis San Frediano), surely had an 'eventful' life. The work was installed in its current home, on the occasion of the Jubilee of the 500th anniversary of the Diocese of Pescia.