This anonymous painting depicts Mary as purity itself, that is, conceived without original sin. Although this idea was not proclaimed dogma of the Church until 1854, it was adopted by the Spanish monarchy quite frequently and during the sixteenth century; thus, its representations were very common in all territories thereof. As have been extensively studied, the attributes that are usually represented at her side come from the Marian litanies and the Song of Songs, and in the early days of the vice-royalty they were usually represented floating around Mary. However, in later dates he returned to painting, at least some, as part of the landscape: palm trees, cypresses, the gates of heaven, or the ivory tower, which can be seen in the background of this work.
The painting, probably seventeenth century, follows the recommendations of treaty writer Francisco Pacheco for depicting the theme which is why the face of Mary, at an early age, reflects sweetness, serenity and modesty, while looking downward. The blue mantle, which has lost some of its color, and the white accentuate the tranquility of the representation, highlighted further by the high Sun at their backs, which emits a cold light that contrasts with the color of the clouds. The horizon, which is very low, can be seen from afar and glorifies Mary.
The red of the imprimatura also stands out on the canvas in several areas; this is perhaps due to the thinning of the upper layers, or because it has lost some of the pictorial surface layer. It is possible, however, to distinguish the typical color palette of the Puebla tradition at the time.
This anonymous painting depicts Mary as purity itself, that is, conceived without original sin. Although this idea was not proclaimed dogma of the Church until 1854, it was adopted by the Spanish monarchy quite frequently and during the sixteenth century; thus, its representations were very common in all territories thereof. As have been extensively studied, the attributes that are usually represented at her side come from the Marian litanies and the Song of Songs, and in the early days of the vice-royalty they were usually represented floating around Mary. However, in later dates he returned to painting, at least some, as part of the landscape: palm trees, cypresses, the gates of heaven, or the ivory tower, which can be seen in the background of this work.
