In this work in particular, Schenck shows in an impressive way his skill at moving the viewer and rendering the intimate relationship between father and son visible. The subject and its very emotional execution are in keeping with the ardent piety in Constance and the surrounding area in the second half of the 17th century. The motif can be well compared to a relief in the art collection at Einsiedeln Abbey that depicts Saint Anthony with the Christ Child.
Although Christoph Daniel Schenck barely received any recognition for a long time he is now considered a major sculptor of his generation from the Lake Constance region, after members of the Zürn family of artists and before Joseph Anton Feuchtmayer. Evidence exists that he was in Constance where he had a workshop from 1675 onwards. His clients included the Prince-Bishop of Constance and the Prince-Abbot of Einsiedeln whose abbey was among the most important places of pilgrimage in Europe at that time. Schenck created numerous altar figures, small sculptures and objets d’art in ivory and boxwood.