Three of the scenes reveal a knowledge of Memling's altarpiece of 1491 in the St. Annen Museum, Lübeck, and works associated with it. The sleeping soldiers in the Resurrection and the figures of the protagonists in the Entombment are both derived from the right wing (M. J. Friedländer, Early Netherlandish Painting, VI, ed. N. Veronée-Verhaegen, 1971, I, pl.11). Christ and the angel in the Resurrection, however, differ from their Lübeck counterparts and correspond much more closely with those on the right wings of triptychs by followers of Memling in Budapest (ibid., pl.14) and the Frans Halsmuseum, Haarlem (ibid., pl.15), the centre panels of both of which are free copies of that of the Lübeck altarpiece. The composition of the Nativity presents striking similarities to a panel in the Capilla Real, Granada (ibid., pl.80), generally regarded as the work of a follower of Memling; similarities between that picture and the lower part of the left wing of the Haarlem altarpiece indicate a common prototype