Gil de Siloe Antwerp 1440 - 1501 Burgos (and workshop) Sitting Madonna, Sedes Sapientiae Enthroned on Solomon's throne of wisdom Ca. 1485/90 Around 1485/Alabaster, sculpturally carved, remains of the original polychromy Museum sculpture of the most important sculptor of his time. A masterpiece of late Gothic sculpture in Spain. Height 35 cm, width 23 cm, depth 12 cm Highly museum sculpture of a seated Madonna! Carved from alabaster, its style and execution can be attributed to the Flemish sculptor Gil de Siloé (1440s-1501, the leading and most important Spanish sculptor around 1500, who worked in Burgos. De Siloé's origins are not entirely clear; he came from either Orléans or Antwerp, and his works have both French and Flemish characteristics. The sculptor was commissioned by Queen Isabella of Portugal to execute numerous sculptural projects in both wood and stone, including the royal tombs. He designed the sculptural decoration in Burgos Cathedral; of particular note is the double tomb in alabaster for Juan II and Isabella of Portugal in Caruja de Miraflores, completed in 1493, which is known as one of the richest tombs in Spain and whose funerary sculptures are stylistically very related to the Madonna described here. Mary is shown seated on a throne bench with a prominent base plate, as can be seen in the funerary sculptures. These figures are shown in a similar type, namely representative-seated and holding attributes. It is not the throne that is the focus, but rather the far-reaching seated posture of the Virgin with her arms open in a semicircle, with her right hand holding the naked infant Jesus pressed against her. The cloak falls harmoniously over her shoulders and glides across her lap, where the heavy folds in crease and corner configurations fall to the floor in a typical V pattern. The drapery is rendered in a play of naturalism and stylization, characterized on the one hand by the thin undergarment that emphasizes the figure's narrow waist gathered with cord by her posture; tightly draped, it falls over her belly into her lap. On the other hand, the luxurious brocade-like cape emphasizes the figure's volume. The enthroned Hope (Esperanza) and Maria lactans of the Tomb show strong compositional similarities, also in the folded tracts hitting the ground. If we look at the details of the surface decorations, we find them on the hem of the décolleté as well as on the rich crown, which here probably simulates a metal ring set with precious stones. Mary's typically Gothic hair falls in long wavy strands across her chest, while the child's curls spread out from the calotte in a volute-like curl behind a distinguished high forehead. The elongated mannerist-thin fingers of both sculptures are also typical Gothic features. De Siloé's figures also show concisely elaborated, heavy eyelids. The less rich folding of the aforementioned comparative examples can probably be explained by the larger context of the works as well as the intended uniformity or the collaboration of different sculptors of the workshop. Particularly outstanding in this figure are the unfolded triangular hems and the folded lap fold, which in their idealized disorder testify to a naturalistically well thought-out calculation. These compositional and stylistic characteristics also apply to the enthroned Madonna from the Cleveland Museum of Art, which is also assigned to the workshop of De Siloé and is dated around 1480. Both the profile of the seat (without accessories) and the compositional posture strongly resemble the Madonna figure presented. Nevertheless, the latter is depicted less floating away and more connected to the human sphere, as the child leans back playfully and does not balance on a fragile bowl fold in the way the child of the Cleveland Madonna does. Moreover, the figure is more richly decorated overall, both in the more animated drapery and, for example, in the snail-shaped curls of the infant Jesus. Traces of gilding and bolus survive on both figures, attesting to the original rich ornamentation. The fact that these remains of mounts are present reflects the great age and authenticity of the figure. Although the naturalistically depicted facial features and gestures are close to reality, the sculptural elaboration is primarily representative-idealizing according to its function. It is probably a private devotional painting in its own right, probably commissioned by a noble patron. This can be reconciled particularly well with the smaller size; the sculpture was placed slightly elevated here, since Mary's gaze is lowered downward, while the child is rapt and looks sideways upward. This fits well with Mary's mediating role as intercessor between her son and the faithful, as well as with the increasingly popular devotion to Mary in late medieval Europe.