Coro bajo y antecoro bajo
Saint Dominic and Saint Catherine
These are two exquisite wooden sculptures by Jerónimo Hernández, originally part of the primitive main altarpiece. They “…engaged in a sacred conversation with the Virgin of the Rosary, the titular image of the altarpiece, and were moved in December 1936 to the Lower Choir, where they are currently located…”. The figure of Santo Domingo is depicted in a genuflecting, prayerful posture. At his feet are a dog and a torch, traditionally interpreted as a symbol from a dream of Santo Domingo’s mother, representing the light of the founder’s preaching. He holds a book in his left hand and a rosary in his right. The drapery showcases masterful estofado technique, highlighting the folds and richness of his garments.
Santa Catalina is also kneeling, her face gently inclined toward the Virgin with whom she maintains the “conversation.” She holds a rosary in her right hand, and her flowing robes feature finely executed estofado. Her expression is tender, sweet, and joyful, reflecting a devotional serenity.
Our Lady of Copacabana
Dating to the early 17th century, this small sculpture is attributed to the Bolivian sculptor Sebastián Acostopa Inca. The figure is highly polychromed, holding a rosary and supporting the Child with her left hand. Her gaze is low and fixed, conveying a contemplative, meditative attitude. While the sculpture is relatively restrained in expression, its gilt mantle stands out, rich in color and decorative detail. This figure presides over the Altar of the Sacrament, now known as that of Sister Bárbara of Santo Domingo, where she is interred.
Madonna and Child
Located in the Lower Antechior, this sculpture dates from the late 15th century but underwent significant restoration in the 17th century. It is attributed to Lorenzo Mercadante of Brittany, who also executed the tomb of Cardinal Cervantes and the decoration of the Nativity and Baptism portals in Seville Cathedral.
The Blessed Virgin Mary stands on a pedestal, holding the Child with her left hand. Her expression is serene and modest, with a downward gaze. Restoration is especially evident in the mantle, adorned with stars, and the tunic, decorated with floral motifs and tied at the waist, both showcasing the refined estofado technique. It is possible that her right hand originally held a flower or fruit, now missing, adding to the elegance and symbolic richness of the figure. These sculptures collectively demonstrate the fusion of devotional intent, naturalistic detailing, and the technical mastery of Seville’s Renaissance and early Baroque workshops.