Mary’s figure is elevated at the upper left, her red and blue garments catching the light, while her right hand points downward toward the kneeling figure of Saint James the Great. Three putti cluster around her, one at her side, another at her lap, and a third clinging to the edge of the pillar, each rendered with soft, golden flesh tones and animated gestures. Saint James, in the foreground, kneels with his right hand pressed to his chest and his gaze lifted in awe toward the apparition, his blue tunic and rose-colored cloak illuminated by a strong, directional light.

Behind Saint James, a group of disciples crowd together, their faces turned upward in wonder or shielding their eyes, their varied expressions ranging from astonishment to reverence. The composition is anchored by the massive, dark pillar that rises from the lower left, supporting the Virgin and separating the celestial vision from the earthly figures below. Rich, saturated colors—deep blues, reds, and ochres—dominate the scene, while the play of light and shadow heightens the drama and models the figures with sculptural clarity.

The brushwork is smooth and controlled, characteristic of the classicist movement, with subtle transitions in flesh tones and drapery folds that lend a sense of volume and weight. At the bottom left, a figure in a yellow robe bows deeply, his face hidden, emphasizing humility before the vision. Clouds swirl around the Virgin, suggesting the supernatural nature of her appearance and creating a dynamic backdrop that contrasts with the stable forms of the figures. The subject is the coming of the Virgin Mary to Saint James the Great in Zaragoza, a moment described as a beatific vision and central to the saint’s mission to evangelize Spain.