In terms of both the technique and the models used, the side-on foreshortening and the style in which the figures were executed, such as the facial features, with slanting eyes, straight noses, prominent cheekbones and their small open mouths, these two sculptures are characteristic of Alonso Berruguete. The anatomical study, bringing out the muscles of the neck, arms and legs, their clothing caught in motion, and the polychromy with abundant gilt areas, are further, more personal touches made by the artist. The way the hands are executed, with long bent fingers, the index finger of the sitting centurion's left hand is bent at a right-angle, along with their feet, big and flat, bear witness to the pieces' originality. Lastly, we should highlight the importance the artist was able to lend to the gaze as a means of expression in all of his works. In this case he creates an interplay between the dejected posture of the centurion leaning back against the rock with his eyes almost closed, and the nervous look of his counterpart, who is about to get up, alarmed by what is taking place, the miracle of the Resurrection of Christ.