“I invoke the Virgin Saint Mary through my advocate and lawyer ... However, since 1679 she has been a gilder, when she makes a transaction with Juan and María Correa, her brothers, of the inheritance left by her father, the doctor Juan Correa.
“I invoke through my intercessor and advocate the Virgin Holy Mary… the saint of my name, the angel of my guardian and other saints and saints of my devotion, so that they intercede with our Lord Jesus Christ, forgive my sins, and put my soul in Salvation race when his divine majesty was served to take me out of this miserable life. However, since 1679 he has been listed as a gilder, when he makes a transaction with Juan and María Correa, his brothers, of the inheritance left by his father, the doctor Juan Correa.
The activity of Juan Correa, born around 1646, can be placed between 1667 and 1716. He was a native of Mexico City, and the son of the barber and phlebotomist of the same name, Dona Pascual de Santoyo, a free brunette. Among the data that we were able to gather, related to his work as a painter and the participation he had in the work of altarpieces are the following: in 1678, two collaterals in the church of San Pedro y San Pablo, one, in which he is associated with the master Tomás Xuárez, master of assembler architect, and the gold-plated Alonso de Jerez, and another, which he performs alongside Juan Montero, assembler, and Andrés de Fuentes, gilt. In that same year he contracted the painting of an altarpiece destined for the church of Jocotitlán, with Xuárez and Jerez. In 1681, he is mentioned, along with Baltazar de Echave y Rioja and Juan Sánchez Salmerón, as one of the probable authors of the fabrics that the main altarpiece of Tepotzotlán would carry, which would be manufactured by Juan Montero.
With Manuel de Nava, assembler, he participated in the work of the altarpiece in the parish of Santa Veracruz in Mexico City in 1709. The catalog of his pictorial work is immense. Only the paintings in the sacristy of the Cathedral of Mexico would suffice to accredit him as one of the most outstanding painters that there was in our country in the last third of the seventeenth century and first of the eighteenth. Miguel Correa, appears as "official of the art of painter", in the will of his father, and as a native and native of Mexico City, son of Juan Correa, "a teacher who was of the said art of painter", and Úrsula de Moya, as stated in his own will, dated February 27, 1720. Diego Correa appears as a "master painter", when, with the coachbuilder Antonio de Ibarra, they contract the manufacture of an allegorical car commissioned by the Bakers Guild from Mexico City on the occasion of the birth of a son of the monarch Felipe V in 1708.
