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Operating between the seventeenth and eighteenth centuries, the Mora family represented the apogee of the Granada school of sculpture. Their enormous output centred mainly on the theme of the Passion of Christ. This article looks at the iconography they produced on the theme of the Immaculate Conception, work indebted to the canons of Alonso Cano. The studio work that began with the youngest of the Moras, Diego, led to an increase in the number of artistic commissions, with his output marking a departure in the iconography of the Immaculate Conception from that produced by the prebendary Cano. This paper addresses the cataloguing of the various archetypes developed by the Mora family on the theme of the Immaculate Conception and also reveals some unknown images that we believe to be of interest.

La obra inmaculista de los Mora y su círculo en el arzobispado de Granada