This work, which came from the Wurts collection (W 114), is sculpted in high relief and depicts a group of six people, four men and two women, carved from a single piece of wood. In the foreground a woman is seated, wearing loose fitting clothes in the style of the time; she raises her head upwards whilst her arms are held in front of her lap. Her left leg stretches out in front, while her right is bent. In front of her, a man in kneeling and also looking upwards; his face is characterized by an aquiline nose and a curly beard and moustache. Between, and slightly behind these figures is another woman, similarly seated and looking skyward, wearing an expression of amazement. Behind are three men, wearing elaborate and eccentric clothes and headgear, and instead looking straight ahead. The piece comes, in all probability, from an altarpiece, perhaps the Crucifixion or Ascension. Hermanin (1948) attributed the work to the school of Antwerp and dated it to around 1520; Santangelo (1954) considered the piece part of the Adoration of the Magi or the Ascension, or part of a carved altar such as those that Ian Bormann, the renowned Flemish carver active in in Brussels between 1479 and 1520, exported to north Germany and Switzerland, and dated it to around 1493. Technical-scientific analysis conducted in 2009 by IVALSA-CNR in Florence identified the wood as deciduous oak (Quercus sp.). The material, size, iconography and style of this Palazzo Venezia group is close to that of the group depicting two soldiers held at the Sammlung Bollert del Bayerisches Nationalmuseum in Munich (cfr. Die Sammlung Bollert: Bilwerke aus Gotik und Renaissance, Munich 2005, pp. 254-256).