Marriage of the Virgin

The central part of the scene depicting the marriage of Mary and Joseph is derived from a 16th century engraving by Adriaen Collaert (1555-1623). This Flemish print undoubtedly circulated in New World as extant paintings from important colonial centers of production such as Cuzco and Quito can also point to the print as a source. The locale for this important event in the life of the Holy Virgin is a grand setting, as evidenced by the architectural details and the columns in the background, denoting a grand temple. An elaborate canopy frames the high priest who, joining the hands of the betrothed, blesses the union. Here, Mary is pictured in a beautiful white dress with a sumptuous blue mantle. A halo of golden rays encircle her head. Joseph is likewise clothed in fine robes, and a gold halo is above his head. In keeping with the Cuzco school tradition, gold brocading decorates their clothing. A crowd is pictured on either side of the couple—behind the Virgin are young women, possibly attendants, while a group of young men are picture behind Joseph, perhaps former suitors, who, bearing witness, appear to turn away from the scene. Delicate flowers carpet the ground beneath. This sophisticated composition employs a rich color palette, with touches of deep reds and gold iterated throughout, creating a sense of harmony and balance. The rendering of the figures and the great attention to detail is evidence of the artist's mastery of his craft.