The slight S-curved stance and delicate facial carving of the Virgin, as well as the distinctive drapery style, are all highly reminiscent of a slightly larger Virgo Lactans in the collection of the Victoria and Albert Museum (op. cit., pp. 170-3). In his book, Paul Williamson also notes that the Victoria and Albert group is, in turn, related to another group in the Rijksmuseum, Amsterdam (op. cit.). All three may be said to represent a transitional stage between the stylistic conventions of the 14th century, and the many Schöne Madonnen produced in the first half of the 15th century.