This publication follows the line started by Studies 1 and 2, designed to make unpublished works known in their historical and artistic context.
On this occasion I have been extremely lucky to be able to bring together two pieces that, despite their different provenance, are connected by significant links. The first one of them, the relief of the Madonna and Child and John the Baptist, is a unique model that, both because of its technique and because of its style, may be attributed to Felipe Bigarny. The second one, the relief of the Madonna and Child, belongs to a series of versions whose similarity suggests they must have been made by the same sculptor. Concerning this set, there have been various attributions over time, in some cases still maintained today. The attributed authorship has been shared by Diego Siloe and Felipe Bigarny, although more recently the name of Gregorio Pardo, Bigarny's son, has emerged.
Felipe Bigarny has been considered one of the most prestigious Spanish sculptors during the Renaissance, together with Bartolomé Ordoñez, Diego Siloe and Alonso Berruguete. His son, Gregorio Bigarny Pardo (who would sign only his mother's surname, Pardo), has gone unnoticed until very recently, perhaps because he devoted himself to continuing the works his father had left unfinished upon his death, or because his own production known so far is quite limited, since he survived his father by only ten years.