Robert Didier justifies his dating of the altarpiece as being earlier than that suggested by Layna and Herrero on account of some of the more "fashionable" elements observed, such as the bodice worn by Gaspar, one of the three wise men, and the headdress of the woman standing behind the Holy Virgin Mary in the Betrothal scene, in addition to the influences of paintings from the likes of Robert Campin, Old Master of Flemalle, in the Christmas scene.