The Blanton Museum is reputably known for its Texas themed collections. For many, the most favorable aspects of the museum are the strategic placements of the artifacts, which aid in understanding its historical narratives. The contexts of the artwork not only appeal to those unfamiliar with the historical timeline but with the intentions of the artists. With difficulty in choosing a single artwork, my visual analysis is on the artifact sculpted in the late 18th or early 19th century, Santo, San Antonio de Padau, (St. Anthony of Padau). The brief description doesn’t provide the accredited artist, but instead indicates the sculpture was anonymously gifted to the museum. Although the sculptor may be unknown, the artist used different aspects of color to enhance the sculptures medium and naturalistic perspective. To clarify, “I couldn’t believe this carving was made out of wood.” I was impressed how the use of light reflecting on the black and golden brass like paint would give the illusion of a naturalistic sculpture. The artist was capable of exhibiting a real representational interpretation through relief sculpting and careful play with the styles of color. After investing time in examining the sculpture, I couldn’t help but to generate more questions of what the artist sculpted. From a distance, I was able to deduct a generalized hypothesis from the man’s attire. The iconography appeared to be a religious figure dressed in a catholic robe worn by the medieval friars. As I’m examining the sculpture, I notice an alarming detail that intrigued my initial interpretation of the sculpture. It appears that the sculpture of St. Antonio de Paudau is missing the most common of all Christian symbols, a crucifix. Exposed to the catholic faith, my curiosity only intensified from the limited knowledge of the medieval friars. Evidently, we are able to gain interpretation of the context and medium from the didactic pa