Spanish school, after RAFAEL SANZIO (Italy, 1483 - 1520); XVI century. "Holy Family". Oil on panel. Presents faults and restorations. Measurements: 57 x 39 cm; 83 x 65 cm (frame). This work is inspired by Raphael's painting of the Holy Family accompanied by St. John the Baptist child and St. Joseph. The placement of the different figures reflects the hierarchy of the characters in this iconography. Thus, we see St. Joseph behind almost hidden in the shadows, while the Virgin and the two children remain in the foreground, directly illuminated. These figures form a typically Raphaelesque pyramidal scheme, much imitated by his followers, clearly classical, which anchors the composition and balances it. In addition, this scheme serves to focus attention on the two main characters: Jesus and Mary. It is a closed composition in itself, with all the characters looking at each other, establishing a rhythm of circular reading that does not include the viewer, contrary to what will happen later in the baroque. Oblivious to everything else, the figures look at each other: Elizabeth looks at Jesus, he looks at Mary, she looks at Johnny and he, closing the circle, looks at Jesus. On this perfect balance Raphael introduces, however, a marked dynamism through the helicoidal movement of the Virgin's body. The "serpentine" form that her figure adopts physically relates the figures, reinforcing the dialogue previously established by their gazes. Nevertheless, in spite of this dominant classicism, mannerist features can already be appreciated, such as a certain compositional tension and the somewhat undefined shape of the space, two effects that seek to create an expressive tension in the image. Regarding the subject matter, the iconography that introduces the figure of St. John the Baptist in scenes of the Holy Family or Mary with the Child is not only due to the saint's condition as a relative of Jesus, but also has a theological meaning. These images present St. John the Baptist as a prophet who announces the redemptive mission of Christ, and that is why, despite the fact that he is represented as a child, before his retreat to the desert, he appears with the skin of a lamb or camel and, generally, accompanied by the usual iconographic attributes in his images, which allude to the Passion of Christ. However, unlike what happens in other paintings, both by Raphael and other authors, here the children appear outside the dramatic destiny of Jesus. It presents faults and restorations.