Gregorio Pardo (Burgos, ca. 1513-1552) was the oldest child of Felipe Bigarny and his first wife María Sáez Pardo. In 1532, when he was about 19, he moved to Zaragoza and joined the workshop of Damián Forment, where he remained for two years, learning the art of drawing and techniques using alabaster. From 1535-1536 he worked in Valencia and, on returning to his native Burgos, continued collaborating at his father’s workshop until moving to Toledo in 1537, where two years later he married a daughter of Alonso de Covarrubias, chief architect at the city cathedral. He worked with the latter on the Toledo Alcázar (alongside Francisco de Villalpando, Gaspar de Vega and Enrique Egas junior) and, along with Felipe Bigarny and others, executed the relief work on half the choir stalls in the cathedral, with Alonso Berruguete commissioned to do the other half.

He was undoubtedly a predestined artist, able to make the most of being the oldest son of one of the most renowned sculptors of his day, as well as working with his father-in-law the architect Covarrubias. Had it not been for his untimely demise, Gregorio Pardo would have become one of the most prestigious sculptors of Renaissance Spain. His work demonstrates that not only did he have a good knowledge of the techniques for working with alabaster and wood, but also that when it came to choosing and designing his models he always kept within the aesthetic bounds marked by the influence of the Italian sculpture he would have been familiar with through the works of Castilian sculptors who had trained in Naples, such as Bartolomé Ordóñez, Alonso Berruguete, and his father, Felipe Bigarny.

However, despite his personal situation putting him at a distinct advantage throughout his career, he fared rather less well with the critics, being largely ignored by the chroniclers and historians of the period.