Granada school; late 17th century."Immaculate Conception".Carved and polychromed wood.It has faults in the polychromy and in the carving.Measurements: 75 x 26 x 21 cm.We are in front of a round carving representing the Virgin in her invocation of the Immaculate Conception. Mary is shown standing on a set of cherubic heads, from which the peaks of the lunar crescent emerge. Dressed in a decorated golden tunic and wearing a mantle of the same colour, she joins her hands in prayer, which gives the mantle a naturalistic play of folds. Her hair falls loosely down her back, and the features of her fine face and long neck add a notable elegance, stylising her bearing. The theme of the Immaculate Conception highlights the fact that Mary was born free from Original Sin. To emphasise this ideal, the Virgin is usually depicted with a series of characteristics known and identified by the faithful. Thus, she is presented dressed in a white tunic and a blue mantle, symbols of purity and of truth and eternity, respectively. The moon at her feet alludes to Diana's chastity, and the clouds and little angels reflect her character as a mediator before the heavenly court, rather than her victory over Original Sin, an idea that was central to the Counter-Reformation.The 17th-century school in Granada, based on the earlier Renaissance school, included great figures such as Pablo de Rojas, Juan Martínez Montañés (who trained in the city with the former), Alonso de Mena, Alonso Cano, Pedro de Mena, Bernardo de Mora, Pedro Roldán, Torcuato Ruiz del Peral and others. In general, the school did not neglect the beauty of the images and also followed naturalism, as was usual at the time, but it would always emphasise the intimate and seclusion in delicate images which would be somewhat similar to the rest of the Andalusian schools in another series of details but which do not usually have the monumentality of the Sevillian ones.