The figures of the Martna retable can be compared to the figures of the master’s earlier retables in Tallinn’s Cathedral and Türi Church (1694–1696 and 1693), and to those of his later pulpit of Tallinn’s Swedish St. Michael’s Church (1707). A clear, sharp carving contour that takes the interplay of light and shadow into consideration is characteristic of the master’s last ten years of creative work.