When we examine this original sculpture from Queretaro, Mexico, we can but be well aware of the dearth of documentation surrounding the study of the sculptural heritage of New Spain. However, the success of formal analysis in studying the origins of pieces with similar characteristics leads me to argue the case for the validity of said method on this occasion, too.

The image of St. Michael (37cm tall, ronde-bosse and executed in terracotta) presents a depiction of the archangel that adheres to traditional medieval iconography. The saint and head of the heavenly hosts appears face-on, standing on a pedestal of imitation marble, his left leg forward, resting on the speared and captive body of Satan. In accordance with the Gothic aesthetic being reproduced, the Archangel Michael is depicted as a young knight wearing 15th century armor, including rerebraces, cuirass, a mail skirt and cloak. Protecting the lower half of his body are cuisses, poleyns, greaves and sabatons. In addition, and also following the iconographic model, his left hand bears his shield while his right hand holds his spear. On his head he has a helmet with a plumed crest and his hands are protected by gauntlets. Michael's face presents a pale complexion where the pink cheekbones are particularly noticeable. He has two enormous dark, almond-shaped eyes which, topped by two fine raised eyebrows, look down on the Devil, accompanied by a slight tilt of the head in the same direction. His nose, both prominent and markedly straight, contrasts with the fine delicacy of his lips, which are reddish and closed tightly. With regard to the carving work, it is worth noting the fine softness of the folds, with an abundance of undulating movement, especially in the cloak, generating a dynamism which, added to the excellent polychroming, lends the sculpture a captivating effect.