Diego de Urbina combined his work as an easel painter with the execution of polychromes and large curtains for monuments and Passion veils. Almost half a century of activity made him “an exceptional witness to the evolution of painting” in Castile and at Court (Collar de Cáceres, 2010).

Shortly before going to Osma, he polychromed the main altarpiece of the Hieronymite monastery of El Parral (Segovia) and painted its curtain “with the steps of the Passion in life”, which is partially preserved. Some fifteen years later (1569) he is documented as having painted veils for the monastery of Santa Cruz in Segovia. During these fifteen years he must have painted the twills of El Burgo de Osma (1557) and the missing set that Gaspar Becerra commissioned from him in 1563 for another royal institution: the Monastery of the Hieronymites in Madrid.

1557 is a landmark year in the evolution of Spanish Renaissance art. Gaspar Becerra's return from his Roman period and the construction of the main altarpiece in Astorga Cathedral (1558) marked a revival in sculptural plasticity along with the triumph of Michelangelo’s heaviness and Roman Mannerism. Thus, the veil of Osma represents an interstitial world where the rhythmic and idealised beauty of Berruguete is combined with a general framework and a surprising architectural purity. This parallel and point of contact is represented above all by the scene of the Resurrection, so like the one designed by Becerra in Astorga.