Fuente: Fotografía de los autores.

Fuente: Fotografía de los autores.

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Mexico's cathedral construction, mostly completed in 1667, led to an interesting debate about the main altar ideal location: in the transept or near the apse, in accordance with the spanish cathedrals. Finally, the ecclesiastical authorities preferred the traditional method, but instead of the attached altar to the wall, they opted for an original...

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The main purpose of this paper is to analyze representations of the Assumption of the Virgin, patroness of the Mexico City Metropolitan Cathedral in New Spain. In 1610, a superb golden figure of the Assunta was acquired and located in a silver tabernacle by the new main altarpiece, which was dedicated in 1673. In the eighteenth century, this altarpiece was substituted with a new one designed by Jerónimo de Balbás, where the golden statue was eventually relocated. Since the Assunta has generally been overlooked in colonial historiography, I intend to answer the following questions: What were the aesthetic and symbolic values, based upon the theological ideas at the time in the Spanish and Catholic worlds, guiding the representation of Mary in this golden image? What was its agency in relationship to materiality, form, and usage in liturgical contexts and religious festivals?