Spanish Renaissance school, second third of the 16th century.

Spanish Renaissance school, second third of the 16th century.
"Adoration of the Magi".
Carved wood, polychrome and gilded (later).
Framed on board of later period.
Presents restorations and Repainting.
Measurements: 66 x 181,5 x 8 cm.

Sculptural panel in high relief representing the Adoration of the Magi. The scene responds to the narrative and theatrical taste characteristic of the Castilian focus of the mid-sixteenth century, with echoes of the aesthetics introduced by Alonso Berruguete, whose imprint is perceived both in the contained agitation of the figures and in the search for psychological expressiveness. In the center of the composition, the Child Jesus, enthroned on the lap of the Virgin Mary, acts as the axial axis of the scene, attracting the devotion of the Magi. Balthasar, still upright, extends his cup with incense, symbol of royal homage, while Melchior and Gaspar prostrate themselves reverently before the infant, also handing over their chests of myrrh and other spices. This triangular arrangement is reminiscent of Italian-rooted Renaissance compositional formulas, filtered by Castilian workshops through Nordic engravings and Tuscan sculptural models. The pages, located at the ends, pick up the heavy cloaks of their lords with studied elegance, generating an enveloping movement that contributes to the dynamism of the scene. The expressiveness of the faces reveals an interest in the individualization of emotions: the Virgin appears serene but slightly troubled; St. Joseph, in the background, observes with an admonitory attitude, perhaps aware of the tragic destiny that awaits the Child. The architecture that frames the scene, Corinthian pilasters carved in bas-relief, provides a scenic frame and a clear reference to the classical language, so appreciated by the sculptors of the Spanish Renaissance. Behind, two horses are insinuated, also in bas-relief, reinforcing the illusion of space without breaking the plastic unity of the whole. This Adoration could well have been part of a larger altarpiece, given its hierarchical character and its careful execution, intended to generate a devotional impact on the faithful through its dramatic content and visual richness. The combination of matte polychromy in the flesh tones with gilded stephen on the robes was characteristic of this type of Renaissance panels. The gilding is later but based on models of the period.