The author documents and studies the artistic endowment of a chapel that belonged to knight Twenty-Four, Juan Serón Olarte, and his wife, Antonia de Verástegui, members of the Sevillian social elite, enriched thanks to the American trade. Between 1636 and 1638 several prominent artists such as Martín Moreno, Francisco de Ocampo and Baltasar Quintero, as well as the lesser known Juan de Palacios, took part in this project. The altarpiece in this chapel reflects the continuing influence of Italian Mannerism in Sevillian art of the early seventeenth century, a circumstance largely determined by the assimilation of diverse engraved sources
