This image, executed at approximately the turn of the 18th and 19th centuries, may be linked to the devotional sculpture of the old Kingdom of Guatemala and, to be precise, to the genre which, due to its small-scale format, is generally known as “domestic”, being associated with contexts of private devotion. The wood chosen for the lower section would appear to be Spanish cedar (Cedrela odorata), a popular choice for many artists working in the old Kingdom of Guatemala. One prominent feature is the carving work on the plinth, which presents a very particular stonework effect, rendered in almost geometric patterns. Similar examples are to be found on the Calvaries on display at the Museo Nacional de Escultura in Valladolid, and in the group purchased fairly recently by the Metropolitan (MET) in New York. With regard to the female image, its execution draws on certain fairly closed compositional designs, thereby helping to maintain volume without requiring the addition of complementary elements, but where great attention is paid to attaining depth, especially in the folds in the cloak and robe, as we observe in our work. The hair is arranged into long clumps that separate forming whimsical undulations. Finally, the approach to sculpting the lambs is similar to that seen in the depiction of the Infant Divine Shepherd, belonging to the Fundación Mario Uvence in Chiapas, Mexico. Once the figures were sculpted, a layer of priming or thin stucco was applied, and then the colors were applied through a series of techniques that make the piece of religious imagery we are dealing with here easily recognizable. It was onto this priming layer, and executed in the same material, that one can traditionally observe the application of multiple layers of relief imitating vegetation, only drawn in outline, as is so typical of this sort of religious imagery. Other technical variations exist for undertaking this kind of relief work, consisting in the use, prior to the metal leaf work, of a substance of rubbery appearance, applied by the "barbotine” technique, or "pastillage” gesso. This is then coated with a layer of bole, carefully burnished in preparation for the application of the gold or silver leaf. Next, color was used to attain the carnation and estofado effects, along with other elements such as the plinth and the imitation of the lamb's fleece using a brush finish; the precise and perfectly complementary little touches we see in the eyebrows, eyelashes and lips.