This work, which has many conservation problems, presents an uncommonly developed iconography where Saint Joseph takes the hand of the Child Jesus from the age of six years or so. He is wearing a crown of thorns as a "helmet" as he carries or touches a basket with the nails in reference to those which would be used to crucify him later in his life. It is therefore a premonition of the Child Jesus regarding his sacrifice, which is unusual because they do not seem to be in the workshop of Nazareth where they usually represent father and son working on a cross; Jesus is not alone, as he is also sometimes seen, reflecting on the ionate symbols.

The characters seem to walk as they look at each other, thus highlighting their filial love, but there are not many spatial allusions indicating to where, although the edge of a table appears. Perhaps the work is cut and therefore the spatial allusions are more ambiguous. The clouds at the top open a space to the sky as if to point out that it is a vision and not a real story. Both Son and Father wear layers decorated and closed by means of jewels of considerable size, as well as belts with a large and visible knot. Joseph carries his flowery staff similar to those that were placed in ceremonies or used in processions. Gusts of power come out of both characters, but while in the father they are straight, thick and pointed, in the Child they are like an irradiation of light.

It is difficult to comment on the pictorial quality since the work is very deteriorated, and has lost the color in much of its pictorial surface, probably by virtue of the deterioration of some organic dye present in its constitution. Likewise, it presents losses and tears, attended through an amateur intervention of poor quality. Some plastic characteristics coincide with the art developed in Puebla, such as the representation of the figures in the foreground, and that these occupy almost all the space.