Virgin with Child. Sculpture in carved, polychromed and gilded wood. Anonymous Hispano-Flemish. End of the fifteenth century. Height: 112 cm. This is an exquisite late Gothic carving, a lovely depiction of the Madonna and Child that was probably executed in a Flemish or Germanic workshop for an altarpiece since it is not carved or polychromed on the back.  Furthermore, it has been hollowed out on the back, perhaps to lessen its weight. The Virgin is standing up, rather stiff and with a inscrutable and linear character. She looks straight ahead, instead of at her Son, with whom she does not maintain visual contact, but shows emotional and physical contact as she holds out her right hand for him to caress. With her left hand she holds the cloak as the Child himself sits on it. The Virgin wears a wide tunic, tight at the top and with a semicircular golden neckline, with heavy folds that fall straight, creating deep concavities. It is polychromed in a pink base tone decorated with stylized reddish plant designs and a gold stripe that runs along the edges. Above, and covering her shoulders, back and a large part of her body, is a dark blue cloak edged in a golden stripe decorated with very delicate vegetation and geometric elements. Unlike the tunic, the cloak has bulkier and puffier folds that tend to have the trough shape that was common at the end of the 15th century. The clothes that the Maddonas of those times usually wear, including this one, usually imitate those worn by the noble ladies of the time. The hands have stylized fingers carved with remarkable dexterity. The head takes the shape of a perfect oval, in which the clear forehead stands out.  She has half-open almond-shaped eyes, bulging cheeks, swollen cheekbones highlighted by reddish polychrome, a sharp nose with a rounded tip, a marked nasolabial fold, a closed mouth with thin, tight lips, a powerful chin and a slight double chin.  She has ample blonde hair, topped by a fleur-de-lis crown, which falls symmetrically on both sides of the face in long, meandering locks. Contrasting with the mother's self-absorption and rigidity is the carefree attitude of the Christ Child, who appears naked, showing a clearly infantile and tender character, in an affectionate and playful attitude, trying to grab his mother with his right hand, the other hand rests on the Madonna's cloak. The Child has an unstable posture since it seems its back is not supported and at the same time the legs are bent. The face shows the same characteristics as the mother's, although the type of hair differs, having spiral curls. Despite what has been said previously, it cannot be ruled out that this exquisite carving could have been created in a Castilian workshop at the end of the 15th century by a master of Nordic origin, as could be indicated by stylistic features such as the oval conception of the head, the arrangement of the hair in large symmetrical wavy and intertwined loops, the sharp nose or the straight mouth with thin lips.  There are also certain signs of this in the way of treating the folds of the clothing. We would like to thank Dr. Javier Baladrón, PhD in Art History, for identifying and cataloguing this work.