Although the framing elements of the present triptych are in large part not original, there seems no reason to doubt that the painted and sculptural components were always part of the same complex. The iconography of the Annunciation in the wings is entirely conventional, while the only unusual element of the central Adoration is the lamp held by St. Joseph. Its presence is explained by St. Bridget of Sweden's vision of the Nativity, in which she described how the radiance of the Christ Child blotted out the light from Joseph's candle. Below, in the predella zone, is a representation of the Veil of St. Veronica, flanked by Sts. Peter and Paul, as in Dürer's woodcut in the Small Passion. The selection of saints on the painted shutters must be related to the devotional concerns of the original patrons, whose identity is unknown. However, it is worth pointing out that St. Conrad was the Bishop of Constance, and that his cult was particularly devoutly celebrated here.