Certain details of style, such as the papery effect of the thickly pleated dress and the figures with their slender, elongated anatomies, mean the sculpture can be categorised as a typical product of the figurative koiné that revolved around Giovanni Antonio Amadeo in the last quarter of the 15th century in Lombardy. The most pertinent comparisons are with the Brivio monument in Sant’Eustorgio in Milan, commissioned of Francesco Cazzaniga and completed by his brother Tommaso, together with Benedetto Briosco.
R. Casciaro, in Dalla Bibbia di Corradino a Jacopo della Quercia. Sculture e miniature italiane del Medioevo e del Rinascimento, edited by A. Bacchi, exhibition catalogue (Milan, Galleria Nella Longari, 1997), Milan 1997, pp. 96-97, n. 35.