The position of the figures, looking at each other, is common for diptych paintings. However, we do not know if these were originally painted as pendants to each other. In 1597, this panel and Virgin Mary (P1562) were described in the Escorial as two “doors” of the same object. They may have been acquired as separate paintings and then hinged together as a diptych in the Royal Collection.

Some scholars questioned the authorship of the Virgin Mary painting attributing the work to Quentin Massys’ son, Jan, who worked in his workshop (see T. Posada Kubissa: "Cuadros de Quinten Massys y Jan Massys en el Museo del Prado. Actualización de las atribuciones", Boletín del Museo del Prado, XXXII, 50, 2014, pp. 96-109). The brushstrokes of both panels are, in fact, different as seen in the volume of the figures. However, technical study reveals the materials used are similar and the structure of inner layers is comparable in both works and the primer is similar in thickness, color and composition. At present little is known about Quentin´s workshop. The works of his son also present many problems of attribution. Due to the quality of this work, it seems prudent to maintain the attribution to the father until more is known about the production of his workshop and his son Jan.

Both panels have a similar reverse side, which mimics marble. The reverse of Christ the Savior includes the inscription: AN OPUS Quintini metsys. M D XXIX. The dendrochronological study indicates that the Virgin was painted after 1521. This date is compatible with the proposed dating of around 1529, which is based on the painting´s relationship with Christ the Savior (P1561), dated to that year.

Information updated by the Flemish and Northern European Paintings Department, Museo del Prado.