The current hypothesis is that the triptych in the Museo del Prado is based on the design for one of the tapestries in the style of El Bosco, was probably painted in 1530 or shortly before, and is best attributed to the Raphael workshop/taller de Rafael. It appears as though asked to illustrate the possible confusion of stories about St. George and St. Ursula with an allegory involving the constellations Draco and Ursa Minor, they came up with an improved version of Raphael’s St. George, whose arms were missing in the original painting. They added arms and subtracted the armor.
Here is the context. The Spanish infanta Catalina, Katherine of Aragon, who was well educated in Latin and spoke no English, might have been perplexed by a performance put on as part of the celebrations for her wedding in 1501 to England’s Arthur, Prince of Wales. It had something to do with two patron saints of England, St. George who killed a dragon and St. Ursula whose name means little bear, but knowing Latin and not English the infanta might have thought they were talking about astronomy and the adjacent constellations Draco (Dragon) and Ursa Minor, although to be fair she probably knew perfectly well that Sts. George and Ursula were patron saints of England. By the time the tapestries were made she also knew English.
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