Spanish School; XVIII century. "Infant Jesus and St. John". Polychrome carved wood. Measurements: 81 x 34 x 27 cm (x2). In both cases, the infantile representation of the Infant Jesus and Saint John was very common in the Baroque, uniting, in addition, both figures by their family relationship and their similar destiny, in addition to the function of the Baptist and others. Visually, it is one of those "soft and gentle" themes that, in the spectator, awaken memories (or anticipations) of what will happen in the future in the life of both, religion reaching the heart of this same faithful through feeling, as was usual at the time. Thus, it was not unusual to see them "together" both in paintings and sculptures, differentiated by small details when the carvings are presented without clothing, but clearly when they would be "complete" (clothing, hairpieces, iconographic elements, etc.). This type of dressed religious images have been made in the West especially since the Baroque, an artistic style very interested in the representation of figures as realistic as possible. Sometimes the figures are even provided with natural hair and eyes and other glass elements. It is not uncommon for the entire body of the figure to be carved in wood and polychrome, but it was also very common for only the parts of the body that would be seen once the image was dressed (that is, hands and face) to be made of wood and the rest to be made of esparto grass or wood with little or no work, or even strips joined together. This allowed a lowering of costs, so that the brotherhoods or churches could choose artists of higher quality for the realization of their images. In addition, the figures would wear quality embroidered cloaks and other garments, so that the worked part would not be seen, being then a dispensable expense. The "cap i pota" images are figures worked in detail only on the face and hands, on a wooden structure carved to a greater or lesser extent. Although the figures for dress were often used in processions, in this case it is a figure destined for private devotion, given its small size. The visible parts are covered with a thin layer of stucco and polychromed, while the rest is covered by real clothes. They are images that were especially liked for their naturalism, since by wearing authentic clothes a greater degree of realism was achieved than with the simply carved ones, which often did not have enough quality to achieve that degree of naturalism, so sought after in religious art since the Baroque period. Due to its formal characteristics, we relate this work to the hand of the Granada painter and sculptor José Risueño, trained with his father, Manuel Risueño, and with the painter Juan de Sevilla, both in turn disciples of Alonso Cano. Throughout his life Risueño made an abundant artistic production of religious themes, characterized by the combination of the influence of Cano's models with a taste for naturalism and the use to build his compositions of Flemish prints by Van Dyck. He enjoyed great success during his lifetime, and in fact was protected by prominent figures of the Church and worked in the factory of the cathedral of Granada, which guaranteed him a flow of commissions. His main protector will be, from 1693, the archbishop Martín Azcargorta, and it will be precisely since then when the artist reached the maturity of his language and mastery. He will make important works such as the Christ of the convent of San Angel or the Immaculate of the altar of the cathedral of Granada, although his most famous work, and also the last one he made, was the series of sixteen figures that make up the altarpiece of San Ildefonso. The sculpture of José Risueño is characterized by the small figures, the technical virtuosity of rococo influence and the quality of his polychromies, since he was also a painter.