The subject of the Marriage of the Virgin draws on apocryphal accounts of the lives of the saints, such as Jacobus de Voragine’s Golden Legend (c. 1260). An unusual detail are the disembodied hands that descend from heaven to symbolize God’s intervention in human affairs. This element gained currency in Mexico and was repeated by several seventeenth-century painters.
Pedro Ramírez el Mozo (the Younger) descended from a prominent Sevillian family of sculptors and altarpiece makers (ensambladores). The large size of this panel suggests that it might have formed part of a retablo (altarpiece) ensemble.
From exhibition Archive of the World, 2022 (for more information see the catalogue entry by Ilona Katzew in the accompanying publication, cat. no. 3, pp. 38–41)