Although the present painting is not a direct copy after a specific work, it appears to be a later exercise in the style of Hans Memling (1430/40–1494), who was one of the most important exponents of the new artistic developments that flourished in the southern Netherlands in the fifteenth century in the wake of Jan van Eyck, the Master of Flémalle and Rogier van der Weyden. It is similar to a painting which is currently lost, formerly in the Museo Lázaro Galdiano, Madrid, and which Max Jakob Friedländer published as a sixteenth century copy after Memling.1
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