Valencian School; XVI century. "Virgin and Child". Oil on panel. It presents faults and restorations. Measurements: 65 x 53 cm. As it is common in the works of devotional character, the anecdotal details are limited and the composition is simplified and clarified, with the characters in the foreground on a neutral background. The figure of the Virgin and Child are shown as monumental, with rotund and settled forms that take up almost the entire composition. The Child and the Virgin do not maintain a warm connection with the gaze, although the detail of the mother holding the small foot of her son transmits a certain tenderness to the spectator. The child holds a bird in his hand. Closing the scene are two smaller angels holding the crown on the Virgin's head. The theme of the coronation of the Virgin, was told in the second century by St. Meliton, bishop of Sardis and later disseminated by Gregory of Tours, and James of Voragine, who collected it in his famous legend Aurea. The Coronation of the Blessed Virgin is also a subject of devotion throughout Christianity. Beyond art, the Coronation is a central motif in Marian Processions all over the world. The Valencian school is different from the rest of contemporary Spanish artistic centers, thanks to the fact that during most of the 15th and 16th centuries there was an important settlement of Italian and Flemish painters. Thus, throughout the history of art, Valencia has been an important focus of Spanish art, along with other schools such as Andalusia and Madrid. In Valencia, the change from the seventeenth to the eighteenth century was not a break with the previous tradition, but a continuation of it. In 1768 the Royal Academy of Fine Arts of San Carlos was created, and this institution will determine a change towards a classicism of baroque roots. Through it, young artists were trained by José Vergara, Manuel Monfort, José Camarón, Vicente Marzo, Vicente López and Mariano Salvador Maella. On the other hand, the economic recovery will result in a thriving industrial and commercial bourgeoisie, which will seek to distinguish itself socially through artistic patronage. At the same time, the Church was losing its monopoly as the only client of the artists. All this will determine a definitive change in taste, and also in the genres treated: religious painting will now coexist with bourgeois portraiture, still life, landscape, historical and mythological themes and genre painting. It presents faults and restorations.