With subtlety and dexterity, this tapestry's weavers- who apparently used the monograms AR and ICM- borrowed, enlarged, reversed, and added color to Hans Schäufelein’s design for the Pentecost woodcut in Ulrich Pinder’s Speculum Passionis, published in 1507.This panel is part of a group of similarly sized scenes from the New Testament, woven across more than two decades, all closely based upon printed prototypes by Albrecht Dürer, Hans Baldung Grien, Martin Schongauer and Hans Wechtlin, as well as by Schäufelein. Together with other surviving tapestry panels now in the Museum Haus Löwenberg in Gengenbach and spread across private collections, these small, captioned Biblical scenes were probably made on speculation for sale to Protestant individuals and religious institutions in the Strasburg area around the turn of the seventeenth century.