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The brilliant, jewel-like surfaces of this small folding triptych (three panels hinged together) are characteristic of painting in enamel on copper which was a specialty of Limoges. The vibrancy and surface richness possible with this technique made it attractive for decorating personal objects. They had to be fairly small because of the relatively small sheets of copper then available. Pénicaud was a great enamelist and the founder of a successful workshop carried on by his heirs. Like many contemporary enamelists, however, he did not compose the religious images he executed. This scene is based on a woodcut published in Paris in 1505. The French woodcut was, in turn, derived from a German engraving. Originality was not as important then as it is today; what mattered most was the quality of the product. This exquisite triptych was clearly held in high esteem as it was the model for several others.