According to the Catechism of the Catholic Church chapters 965–966: After her Son's Ascension, Mary "aided the beginnings of the Church by her prayers." In her association with the apostles and several women, "we also see Mary by her prayers imploring the gift of the Spirit, who had already overshadowed her in the Annunciation."
"Finally the Immaculate Virgin, preserved free from all stain of original sin, when the course of her earthly life was finished, was taken up body and soul into heavenly glory, and exalted by the Lord as Queen over all things, so that she might be the more fully conformed to her Son, the Lord of lords and conqueror of sin and death." The Assumption of the Blessed Virgin is a singular participation in her Son's Resurrection and an anticipation of the resurrection of other Christians:
"In giving birth you kept your virginity; in your Dormition you did not leave the world, O Mother of God, but were joined to the source of Life. You conceived the living God and, by your prayers, will deliver our souls from death." –Byzantine Liturgy, Troparion, Feast of the Dormition
Andrés de Rubira Díaz de Fuentes ( Escacena del Campo , November 30, 1702 - Seville September 23, 1760 ) was a painter of the Sevillian Baroque school. He trained as a painter in the Seville Fair district, being a disciple of Domingo Martínez with whom he regularly collaborated from a very young age .
He married in Moguer in February 1733 with Luisa Moro, a native of San Juan del Puerto, of whom he soon became widowed and remarried in 1745. Given his expertise, the Portuguese painter Francisco Vieira Luistano realized his genius and took him to Lisbon, where he worked during the years 1740 and 1745 as his assistant in the decoration of the works of the Church of Menino Deus in Lisbon and the Charterhouse of Laveiras. His style becomes unique, with clear Portuguese influences, due in part to contact with the painters who worked on Menino Deus.