Although Ertz still dates this and its pendant (Prado #1442) to 1621-23, they surely correspond to the pictures that hung in Brussels in 1613, and had been dated to that period on stylistic grounds by Georges Marlier long ago. These two pictures are quite different in their treatment of space, color, and landscape from the two works that are indeed from the 1620s, Prado #s 1438 & 1439; the later two paintings are also much larger.