This piece is attributed to an anonymous painter of the Bruges school known as the Master of the Holy Blood because he is the author of the triptych of the Descent preserved in the Museum of the Blood of Bruges. It is a polyptych, that is to say, an altarpiece made up of several articulated compartments. The eleven tables that make it up, once opened, refer to the  Seven Sorrows of the Virgin .

From left to right we can identify: the prophet Jeremiah; the Circumcision; the Escape to Egypt; Jesus among the doctors; Jesus on the way to Calvary; the Virgin of Solitude, which represents Mary after the death of Jesus, alone and in an attitude of recollection; the Crucifixion; Piety; the Holy Burial; saint John the Evangelist, and the prophet Solomon. The four doors have four figures on the outside. In the two central ones: the Ecce Homo - or Christ scourged and with a crown of thorns - and the Virgin on her knees; at the two ends: the Magdalene and Saint John the Evangelist, identified as the patron saint of the donor kneeling at his feet. We assume that it was this religious who commissioned and financed the work, whose destination we do not know. As usual, the exterior decoration of the doors is done in grayscale, a technique in which the range of white, gray and black is used exclusively in order to imitate the effect of bas-relief.

Its curious curvilinear profile architecture in the central area has no known parallel in Flemish painting, which makes it difficult to define what its original location was. The work was painted between 1520 and 1525. Considering the pictorial style and the type of clothing worn by the characters, it shows the influence of Quintin Massys, who incorporated in Flanders the  sfumato  introduced in Italy by Leonardo da Vinci and which consists of creating a vaporous effect to give greater depth and distance to the scene.