Spanish or Flemish School. Second quarter of the 16th century. 'Our Lady of Milk' Relief in carved wood, left in its natural colour. 65 x 52 x 13,5 cm. One of the most widespread Marian devotions of the Middle Ages, distinguished by its pronounced intimate and maternal dimension, is the Virgin of the Milk, also known as the Virgin of Bethlehem. This iconography, in keeping with the tradition of representations of the Virgin and Child, emphasises the emotional bond between them through the act of breastfeeding. The designation Virgin of Bethlehem is associated with the Milk Grotto, located near the Basilica of the Nativity in the city of Bethlehem, where, according to tradition, the Virgin breastfed the Christ Child. Despite the widespread popularity of this devotion and its associated iconography, the Council of Trent (1545 to 1563) advocated restricting its representation on grounds of modesty and decorum. Nevertheless, the iconography continued to enjoy considerable popularity in Spain, as demonstrated, for example, by several works by Pedro de Mena (1628 to 1688). This iconography depicts the Virgin breastfeeding her Son, although in the relief presented here the subject is approached indirectly, in a manner that could be described as allegorical. Mary is not explicitly shown performing the act of breastfeeding but instead directs her gaze towards the viewer while bringing one hand to her breast in a gesture that alludes to nursing. With her other hand, she supports the Christ Child, who stands on a window sill, preventing him from falling. This compositional device, in which both figures are positioned behind an architectural opening and interact with the window sill, is characteristic of numerous late medieval and Renaissance representations of this Marian devotion, both in painting and in prints, which may have served as models for this work. The relief depicts the Virgin Mary at the centre of the composition, holding the Child close to her body and establishing a strong visual and emotional bond with him. She wears a tunic and mantle that closely follow the contours of her body, the treatment of which recalls, to some extent, the wet drapery technique, suggesting the anatomy without explicitly defining it. The figure stands out for its elegance, evident both in the overall arrangement and in the delicacy with which the hand brought to her breast has been carved. The movement of the veil also contributes to the dynamism of the composition. Mary's oval face conforms to an ideal of serene beauty. Her features are defined by small, oval eyes with clearly delineated eyelids, a slender nose, a slightly open mouth with full lips, and a prominent chin. Her faintly smiling expression reinforces the gentle character of the representation. Her hair, arranged in wavy locks, frames her head and helps accentuate its volume. The veil covering part of her head plays a particularly prominent role, as its broad folds extend towards the right, forming a succession of diminishing volumes rendered in low relief. This device creates an interplay of light and shadow that enriches the sculptural surface and enhances the sense of depth. The Christ Child, meanwhile, is depicted naked, with a plump physique. He stands on the window sill, holding on to his Mother's neck with one hand while grasping a fruit in the other, which could be interpreted as a symbolic reference to the Redemption. His rounded head displays clearly defined facial features, notably his prominent cheeks, nose, and well marked eyelids. His hair, arranged in thick, voluminous curls, reveals a sculptural treatment of considerable expressiveness. From a stylistic perspective, this relief belongs to the Renaissance tradition, as evidenced by the idealisation of Mary's face, the regularity of her features, the modelling of the volumes, and the anatomical treatment of the Child. The elegance of the composition and the mastery of relief carving, particularly apparent in the arrangement of the drapery, suggest that the work was created by a sculptor of considerable technical ability. Although it is not possible to establish a specific attribution, its formal characteristics allow its execution to be dated to the second quarter of the sixteenth century. It is also worth considering whether the work may be a Flemish import or perhaps a piece produced in a workshop on the Iberian Peninsula based on models originating from that school, whose influence was strongly felt in sculptural production during the late fifteenth century and much of the following century. We would like to thank Dr Javier Baladrón, PhD in Art History, for identifying and cataloguing this work.