They were also created using the same techniques: initial sketches in buon fresco and fresco-secco, details added in tempera, polished with limewater.

[3] Although seemingly at odds, the two sets of frescoes, religious and secular, worked together quite well considering the time and place of their creation.

[4] The remoteness of Berlanga de Duero and inaccessibility of its church helped the frescoes survive for centuries, protecting them from everything but the weather.

[2] In 1927, the villagers of Berlanga sold the frescoes that had not been destroyed to an art dealer named Leon Levi.

It was given the accession number 57.151 and hangs in the Irving M. Fauvre Gallery by its sister fresco, Marriage at Cana.