Abstract
This article approaches again the figure of the imager Luján Pérez, analyzing one of his minor sculptures attributed to him: an ordeal hitherto unknown. It is a small sculptural ensemble that concentrates the skill of the carver in a few centimeters. With the revision of the work of the guiense Luján, we emphasize one of the artists who has had more transcendence in the History of Art in the Canary Island and, as we will demonstrate here, an author of which pieces continue to appear beyond the distant dates in which the gubia joined the wood to perpetuate a superb set of religious images belonging forever to the Canarian heritage.
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