The sculptural rendering of the figures in this very finished study, and also the abundant use of white heightening, is typical of a number of artists working in Verona in the second half of the sixteenth century. Stylistically, the drawing can be compared with a preparatory study by Domenico Brusasorci, now at Chatsworth, for his altarpiece, The Madonna and Child in Glory with Sts. Sebastian, Monica, Roch and Augustine,
in the church of St. Eufemia in Verona.1
Domenico's style was particularly influential on the work of his son Felice Brusasorci (Verona 1539/40-1605), who worked mostly in and around Verona.
1. See M. Jaffé, The Devonshire Collection of Italian Drawings, Venetian and North Italian Schools, London 1994, p. 47, no. 745, reproduced p. 46