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On the centre panel of the triptych we see the Virgin and Child with two female saints, a bishop on the obverse of each wing and, on the reverse the Virgin of Sorrows and Man of Sorrows. The whole is so closely related to the high altar of the Virgin Mary from Nagyőr - and this also applies to the elongated figures - that the two altarpieces must be thought of as originating from the same workshop.
The iconography and the type of figures also reveal a close link with a whole group of Polish panel paintings. The wings of an altarpiece of Jurków are very closely related to the altarpiece of Liptószentmária, while one from Przydonica comes closest to that from Nagyőr. The white cloak worn by the Liptószentmária Madonna with Child resembles those worn by the Virgin on the altarpiece of the Virgin Mary in Nagyőr and the Polish altars from Cerekiew and Ószandec in that it is characterized by an impressed pattern giving a silvery effect. The silver background is also common in Polish panel paintings.
Although the tall slender saints seen here are strongly reminiscent of Master PN's paintings, they differ in style from the Master's graceful figures. The artist was however associated with the workshop which in the mid-fifteenth century helped to forge an artistic link between Poland and Hungary.
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