GUIROMALO LUCENTI (fl. 1602-1624)."The Adoration of the Magi".Oil on panel. Engatillada.Size: 108 x 77 cm.This panel depicts a theme very much to the taste of Mannerist painters, as it combines the biblical story with the sumptuous attire and elegant courtly poses of the three Magi. The composition of the work is typically Mannerist, with stylised figures with a very elongated canon that are slightly disproportionate on a stage that is vertically elongated, leaving a lot of free space at the top, but short on the sides, leaving some of the figures cut off. This is a typically mannerist compositional device that seeks expressive spatial tension rather than classical harmony and balance. Also typical of this language is the chromatic aspect, with anti-classical colours, screw-like and difficult to define in certain areas, strongly lightened by an artificial white light, with numerous spotlights, which seeks expressive chiaroscuro rather than natural illumination. On the other hand, with regard to the compositional construction, we see a very common scheme used at the time for this theme, with the Virgin with the Child on her lap, seated in the central area, Saint Joseph next to her and around her the three Kings, one of them kneeling before the Child and the other two standing, one on each side. Similar contemporary Spanish compositions can be seen in works such as the one by Luis Tristán in the Museum of Fine Arts in Budapest (1620), where although the composition is different in many respects, the figure of Saint Joseph is very similar to the one we see here, both in its location and in its position, with an ochre cloak crossed over his chest, and the rod above him, leaning to the right.The Spanish school of the 16th century was characterised by the penetration of the Italian Renaissance, which arrived first in its primitive form, with the works of the Quattrocento, and soon gave way to contemporary Mannerist influences. This century saw the transition between the Flemish-influenced language that had been dominant in Spain until then and the new Italianate style, which left behind the rich and detailed sense of the Hispano-Flemish language. However, this arrival of new styles was not uniform throughout Spain; on the Mediterranean coast these influences arrived earlier thanks to the links between the Crown of Aragon and Italy. On the other hand, in Castile and the interior of the Peninsula, the Flemish and late Gothic influences survived, largely driven by the Catholic Monarchs and by a clientele still attached to the old forms. Thus, while in Valencia we have figures such as Fernando Yánez de la Almedina (d. 1505-1537), a possible collaborator in Italy with Leonardo da Vinci and a follower of his style of the highest quality, in Castile Juan de Borgoña (d. 1494-1536) timidly began to introduce some elements, such as classical architecture, in works that were decidedly Flemish, and in Andalusia Alejo Fernández (ca. 1475-1545) followed the language of the Flemish style. 1475-1545) followed a similar language, which coexisted in his later years with the Mannerism of Pedro de Machuca (ca. 1490-1550) and Pedro de Campaña (1503 - ca. 1580), the latter of whom introduced Raphaelesque Mannerism in the second third of the 16th century. In this second third of the 16th century, Valencia stood out for its advanced language, especially thanks to the presence there of works by the Italian Sebastiano del Piombo (1485-1547). Although in the middle of the century we find Flemish reminiscences combined with Mannerism in authors such as Luis de Morales (1512-1586), in the last third of the century there was an important leap in quality around the construction of El Escorial and the court of Philip II. In this context we find figures such as Juan Fernández de Navarrete, with a clear Venetian influence, and Alonso Sánchez Coello (ca. 1531-1588),