Possibly Burgos School. Early 16th century. 'Virgin with Child' Carved, gilded, and polychromed wood sculpture. 55 x 30 x 19 cm. A piece brimming with classicism and elegance, this solemn and majestic early Renaissance enthroned Virgin with Child exudes a Roman-style matronly presence. Despite minor volumetric losses on the throne and the left arm of the Christ Child, the sculpture is in fairly good condition. Although it is in the round, it is not carved or polychromed on the back, indicating that it was probably part of an altarpiece, and possibly presided over it, given its theme and great quality. Despite the Virgin being seated on the throne, with the composition designed for a predominantly frontal view, the group lacks any hint of stateliness or rigidity. On the contrary, Mother and Son are depicted in highly dynamic positions, with Mary's legs at different heights and pointing in different directions. The dynamic and widely open folds of the garments contribute movement to the group, with any edges being smooth and rounded. The placement of the Christ Child at one side, playfully seeming to want to walk between the mother's legs, also adds dynamism. Both figures are remarkable in their refined elegance and idealised classicism, with very life-like physiology. In general, the composition of the group resembles that of the Virgin with Child that presides over the Epiphany scene in the altarpiece of the Adoration of the Magi at the church of San Gil in the city of Burgos, which was created in the early 16th century by the renowned Burgundian master Felipe Bigarny (ca. 1470-1542). Mary is seated on a low throne with an uncarved back, and only the side panels, decorated with exquisite stylised vegetation motifs in golden tones, are visible. The Virgin holds her son with both hands: with her right hand, she seems to protect him from falling backward, as he appears unsteady, while with her left hand, she seems to caress his hand. Mary wears black shoes, with only the tip barely perceptible. She is clad in a fine golden tunic that adheres to her body, revealing its contours—such as the bust, legs, and knees. The tunic covers her up to the neck, and the upper part of it is polychromed with a white background on which blue and red geometric motifs and delicate vegetation elements can be seen. It drapes down to her feet, featuring a red border with golden geometric motifs along the lower edge. She also wears a wide mantle covering her back and a significant part of her body, also in gold, except for the edges lined with a blue border with golden vegetation motifs. Mary has a serious and contemplative face, with an oval head and a hairstyle of wet-looking locks held by a ribbon arranged over the forehead. The facial features are very distinctive, with large almond-shaped eyes, straight eyebrows, an extremely long and narrow nose with a flattened bridge, and a tiny closed mouth. The child's carefree attitude contrasts with Mary's contemplative demeanor. Jesus, depicted naked, displays a truly childish and tender character, adopting a playful and affectionate stance, attempting to grasp his mother's hand with his left hand, unfortunately having lost the other. He stands on her lap, seemingly wanting to walk from her right knee to the left. His small head is very expressive, suggesting a slight smile. His eyes are very small, emphasising the prominent cheeks that widen his face. His mouth is closed, and the hair has little relief, being almost like a cap made of curved locks. Through the detail in the expression of the anatomy and clothing, the anonymous sculptor has created a sculptural group based on soft forms. There is an interest in rhythm, a sense of measure, and technical and anatomical correctness. The sculptural quality of the piece is significantly enhanced by the sumptuous gilding of the garments. Despite being unable to identify a specific artist as its possible creator, it appears clear, based on its stylistic features and the parallel it holds with the aforementioned work located in the church of San Gil in Burgos, that it could well have been carved by a master from the northern region of Castile, perhaps from Burgos. The piece shows a synthesis of the artistic styles of Bigarny and Siloe, although not quite reaching their extremely high degree of mastery.   We would like to thank Dr. Javier Baladrón, art historian, for the identification and cataloguing of this work.