Castilian school. 14th century. "Seat of Wisdom - Sedes Sapientiae" Carved, gilded, and polychromed wooden sculpture. 65 x 24.5 x 22 cm. This is a fantastic Gothic example of the enthroned Madonna and Child, which is in good condition despite some minor dents in the crown and wear in the polychrome. The original polychrome, which has a sumptuous quality as we will see later, remains intact. The sculpture is only carved on the front, while the back is left flat and unpainted, unlike other cases where a large hollow cavity is created to reduce its weight. The Virgin, as usual in these Gothic images, is portrayed in a forward-facing position, denoting a certain rigidity and hieratism. She is seated on a low throne with an uncarved backrest, of which only the sides are visible. The sides are simple, consisting of two slats interrupted only by two flat rectangular mouldings and two rectangular mouldings with a curved edge, all polychromed in dark ochre tones. Mary places her left hand on her Son's shoulder, a detail that leads Professor Clara Fernández-Ladreda to refer to this typology as "Supporting Virgins," showing a close and affectionate relationship between Mother and Child. Her right hand is raised with extended fingers in the gesture of presenting a piece of fruit. This gesture is the most common in these types of representations and represents the apple, the fruit of Salvation, symbolising the Virgin as the new Eve, signifying her victory over sin. Mary's attire consists of pointed shoes, of which only the front parts are visible; a fine golden tunic that adheres to her body, adorned with simplified geometric and vegetation motifs, with a curved neckline decorated with small detached beads. The same beads are used by the anonymous sculptor to adorn the edges of the mantle, which is richly decorated with them. She wears a blue mantle over the tunic, with golden stripes at the edge, covering her back, left shoulder, abdomen, and legs, serving as a separation between Mother and Child. Finally, she wears a veil that frames her head and falls over her shoulders, completely covering her hair. On her head rests a simple golden crown with no other decoration than the small beads mentioned earlier. Mary is depicted with a short canon, an oval-shaped head, a pronounced chin, and an expressionless face. She has almond-shaped eyes, straight eyebrows painted on the wood, a narrow nose with a flattened bridge, and a tiny mouth barely suggested by the polychrome, which gives her rosy cheeks. The Christ Child, who rests on her lap, is seated on her left knee, representing one of the most widespread iconographic types that, according to Georg Weise, originated from the Virgin of Slavery in the Cathedral of Vitoria, dating back to the late 13th century. He is depicted in a dynamic position in contrast to the rigidity of his mother, with his legs crossed and his arms engaged in various actions: his right hand blesses the faithful while his left hand, like the Mother's, holds a fruit. He wears a wide tunic that covers his entire body except for the extremities, and it has a curved neckline decorated with a golden stripe, the same stripe seen at the bottom of the garment and on the sleeves. The small head is somewhat expressionless, although his eyes are directed to the right side, as if observing the mother's apple. His hair is short and flattened, resembling a cap. In conclusion, this is a fine Gothic sculptural group from the 14th century, possibly from the beginning of the century, which displays remarkable tenderness. It is likely to have been carved by a Castilian sculptor who followed the common models of the time for depicting the Virgin with Child. We would like to thank Dr. Javier Baladrón, doctor of Art History, for the identification and cataloguing of this artwork.