The present relief can be attributed to the Master of the Prodigal Son on the basis of stylistic and iconographical comparisons with several Belgian altarpieces, and a relief in the Rijksmuseum, after which the artist is named. This group of reliefs was first discussed fully in 1957 in an article by Jaap Leeuwenberg in which he attributed the reliefs to an unnamed Antwerp master and his workshop working in the late 1540's, the 1550's and possibly on into the 1560's. Leuwenberg discusses both altarpieces at Bouvignes and the cathedral at Roskilde in detail, both of which include scenes of Christ presented to the masses which are strikingly similar to the present relief (Leuwenberg, op. cit., pls 11- 12). In all three, one finds the distinctive, elongated facial types, the archway and landing to the left, the grilled opening below, and the crowds on the stairs to the right. In particular, one finds the same figure, possibly intended to represent Pilate, in each of these scenes. He stands with his left leg forward and left arm aloft, twisting his face back out to the viewer in a distinctive Mannerist stance. The Bouvignes altarpiece is dated to circa 1556 on the basis of a legacy for a new altarpiece of that date. The Roskilde altarpiece is dated to the early 1560's on stylistic grounds. We can therefore attribute this relief to the same master, and date it to the late 1550's, having probably come from a Belgian altarpiece which has since been dismantled.