This panel brings together two moments in the story of the Virgin: below, the apostles gather around her body in the Dormition; above, she is carried heavenward by angels in the Assumption. The horizontal composition allows the earthly assembly and celestial vision to unfold within one continuous narrative.

The painting employs enconchado, a technique in which mother-of-pearl is integrated into a painted wooden support. Here the shell enriches the garments, its shifting reflections interacting with colour and gilded ornament. Light is therefore part of the pictorial effect, changing as the viewer moves.

Attributed to Miguel González, the work belongs to a distinctive practice developed in New Spain and closely associated with his name and that of Juan González. Museum research places these paintings within the wider appreciation of Asian decorative objects circulating through transpacific trade. Its fusion of narrative image, inlay and changing light makes the precious surface inseparable from the sacred subject.