A copy from the second half of the 16^th century of the image of the Our Lady of La Antigua (from the second half of the 14^th century and evidently influenced by the Sienese tradition) that is worshipped in the chapel of Our Lady of La Antigua in the Cathedral of Seville.

As legend has it, during the siege of Seville, the Virgin appeared to Ferdinand III of Castile, promising him that he would claim the city under the protection of her image from La Antigua, which the king venerated with much devotion (see the depiction by Matías de Arteaga y Alfaro (1633-1703) in The Dream of St Ferdinand).

Throughout the 16^th century, a profusion of copies of this image spread all over Andalusia, and local painters were commissioned copies to be sent to other places in Spain. Its presence also reached across the Atlantic, and worship of this image propagated through many Latin American countries, such as Mexico, Peru, Panama, Colombia, and others.

Given the religious nature of the painting, and the large number of copies in existence, it is impossible to pin it down to a specific artist, although it seems clear that the work was produced in the closing decades of the century.

There are appreciable differences between this version and the original from the Cathedral of Seville: the movement of the cloaks and tunics worn by the two angels crowning the Virgin, the fine gold flowers adorning the white background of the tunic and mantle, and the absence of the angel found in the original painting holding a scroll that reads Ecce Maria venit (in reference to the Feast of the Purification). Still, other features are preserved, such as the gilded background on which the main composition is structured, and the frontal position of the Virgin, who wears a tunic and a mantle covering her whole head. She gently holds a rose in one hand and the Child in her other arm, in an attitude of blessing.