Flemish or Spanish school; 17th century. "Healing at the Pool of Siloam". Oil on canvas. It presents faults on the pictorial layer and repainting. Measurements: 117 x 173 cm. The healing of the blind man is an episode of Jesus' life narrated in the New Testament, one of the miracles he performed during his earthly life. In fact, according to the Gospels, Jesus performed four healings of blind people, although the one that is usually represented is the one who was blind from birth, narrated by John (9:1-41). The biblical narrative places the protagonists in the pool of Siloam, located in the city of Jerusalem. According to the Gospel, "Jesus saw a man who had been blind from birth. His disciples asked him, 'Rabbi, who sinned that this man was born blind, he or his parents? Jesus answered, Neither this man nor his parents sinned, said Jesus, "but this happened that the works of God might be made manifest in him. While it is day, we must do the works of him who sent me. The night is coming, when no one can work. While I am in the world, I am the light of the world. Having said this, he spat on the ground, made some clay with the spittle, and put it on the eyes of the blind man. Go, he said to him, wash in the Pool of Siloam (this word means "Sent"). So the man went and washed, and returned to his house seeing. His neighbors and those who had previously seen him wondered, is this not the same man who used to sit begging? Some said he was. Others said, No, he just looks like him. But he insisted, It's me. How then did your eyes open? they asked. He answered, The man who is called Jesus made some mud and put it on my eyes. He told me to go to Siloam and wash. So I went and washed, and then I could see. Where is that man? they asked him. I don't know, he said. These miracles caused the indignation of the teachers of the Jewish law, so the scribes, Pharisees and other contemporaries of Jesus attributed them to collusion with Beelzebub. Baroque painting is one of the most authentic and personal examples of art, because its conception and form of expression arose from the people and the deepest feelings that nestled in it. With the economy of the State broken, the nobility in decline and the high clergy burdened with heavy taxes, it was the monasteries, parishes and confraternities of clerics and laymen who promoted its development, with the works sometimes being financed by popular subscription. Dimensions 117 x 173 cm.