The painting is based on Cranach's prototype of Our Lady of Sorrows. Experts state that the direct model, perhaps from the period around 1506, has not been preserved - the only known copy is this Prague work. Both the authors and the records of the NG gave the date of origin of the Prague work according to the date given top right, i.e. the researchers judged the copy to date from as late as 1634. However, the microscopic and chemical analysis revealed that the painted paper card with the coat of arms was added later - in UV light a transparent layer of varnish was shown to separate the layers of painting, meaning that this was not the coat of arms of the person who ordered the work, but of the owner at the time. The Madonna was, according to the style and manner of execution of the under-drawing, probably produced far earlier, still during the lifetime of Lucas Cranach the Elder. Even though the painting shows clear signs of schematisation and simplification (particularly evident in the treatment of the red cloak), this is most likely a workshop product from about 1512-1516 and can be included among the numerous products of the Cranach workshop. The counterpart of Our Lady of Sorrows was the half-figure of the Man of Sorrows or Christ Blessing.
