A 16th-century panel painting in the Oslo City Art Collections, stylistically close to Jan van Scorel and Maerten van Heemskerck, is examined with regard to the problem of its authorship. The examination comprises x-radiography, infrared-photography, cross-sections, and a few pigment analyses. The results are compared to Molly Faries' examination (see AATA 14-1957) by infrared-reflectography of 40 paintings from van Scorel's workshop, and to examinations by Knut Nicolaus (see AATA 16-506.) and J.R.J. van Asperen de Boer (1980) of five paintings by van Heemskerck. No final conclusion is drawn, but the red underdrawing to be found in the Oslo panel might possibly correspond to a technique used in some of van Heemskerck's works. -- AATA