The article discusses the underdrawings and paint layer structures of two panels in the Jan van Scorel group, a Baptism in the Rijksmuseum, Amsterdam, and a previously unpublished Christ Blessing a Child in a private collection in Germany. Although the paint surfaces of both panels had been doubted as Scorel's for various reasons and the paint layer structure proven atypical in the analysis of samples, the underdrawings were easier to place stylistically. Both related to major altarpieces produced by Scorel's workshop ca. 1540. Based on the evidence provided by these two panels, Faries suggests 1) that underdrawings can often facilitate stylistic categorization, and 2) that collaboration may also occur in the separate stages of the painting process, a finding that may complicate current notions of authorship. -- AATA