Religious sculpture, including wooden and stone reredos, has a special place in the oeuvre of Gil (c.1440-1501/05) and Diego (1490/95-1563) de Siloé. The author analysed composition, iconography, style, and semantics of the altarpieces made by both masters in Burgos. Working on commission from the royal family, Spanish noblemen, and clergymen, father and son brought the methods of Flemish ars nova and Italian Renaissance on Spanish ground, influencing the evolution of local art. In the reredos Gil de Siloé used tapestry, paintings, book miniatures and applied arts as the sources of iconography and composition. Incorporation of donors’ figures that had appeared only into painted retables became a novelty that was prevailing in carved Spanish reredos. In the art of Felipe Bigarny and Diego de Siloé, they transformed into free-standing statues. The younger sculptor worked mostly in an artistic duet with Bartolomé Ordóñez (in Naples) and Felipe Bigarny (in Burgos), introducing a gentle Italianesque style in the e