The study of a set of crucified Christs located in western Castilla y Leon with similar formal characteristics and framed in the Central European sculptural tradition, has led to the hypothesis that already by the late Gothic and early Renaissance, glued cloth and natural hair were used as artistic resources. They appear earlier of what it’s been thought as they were considered exclusive of the baroque theatricality. Its formal aspects and huge analogies are analyzed to establish a typology that groups them and define them, and concludes with a theoretical contribution to explain the significance of using such resources at the time of its creation.