Due to the technical, aesthetic and stylistic characteristics it presents, this work ought to be placed within the 17th-century Cuzco school. It is related to, and bears many similarities with, the work of the native indigenous painter Diego Quispe Tito, one of the most prominent artists from said school, and a follower of Gregorio Gamarra, who was, in turn, a disciple of Bernardo Bitti, one of the school’s founders, alongside Angelino Medoro and Mateo Pérez de Alesio.

In his works it is easy to discern certain elements of classical Italian painting, which might for instance include the depiction of elongated figures in combination with elements belonging purely to the Americas, such as the pronounced use of gilding, thereby creating an artistic fusion of two cultures.

The painting before us here presents the aesthetic and stylistic peculiarities with which Diego Quispe Tito infused his works, characterized by his agile brushstrokes, painstaking detail and the use of vivid colors. As such, it is worth noting the attention to detail and the finesse in the depiction of the fabrics and dresses, with abundant use of gilding, brocades and gilt relief embroidering. Another frequent feature is the use of an exuberant landscape replete with flowers.

After the Annunciation by the Angel Gabriel, Mary sets out to visit her pregnant cousin Elizabeth and be of service to her. The presence of the Word of God (Christ), incarnate in Mary who is the central image in the scene, fills Elizabeth with grace, as she stands in front of her, accompanied by a small and rather odd dog of a breed unknown in Europe and the rest of the world, the Xoloitzcuintle¹. Inspired, she discovers the great mysteries at work within her young cousin, her elevation to Mother of God, her faith in the divine word and the sanctification of John the precursor of Christ. Zacharias welcomes them with a gesture to Saint Joseph, while cherubs flying over the flowery gardens observe and comment on the joyful scene.

The Gospel of Luke 1:39 tells us that following the Annunciation, Mary went “with haste” to a city of Judah located in a hilly region. Nowadays this city is most often identified as Ain Karim, four miles west of Jerusalem.

“And Mary rising up in those days, went into the hill country with haste into a city of Judah. And she entered into the house of Zacharias, and saluted Elizabeth. And it came to pass, that when Elizabeth heard the salutation of Mary, the infant leaped in her womb. And Elizabeth was filled with the Holy Ghost; And she cried out with a loud voice, and said: ‘Blessed art thou among women, and blessed is the fruit of thy womb.

And whence is this to me, that the mother of my Lord should come to me? For behold as soon as the voice of thy salutation sounded in my ears, the infant in my womb leaped for joy. And blessed art thou that hast believed, because those things shall be accomplished that were spoken to thee by the Lord.

’” In the interest of providing a few significant examples that might serve as a frame of reference for our work, we could mention the following pieces by the artist: Saint Joseph with Child, The Flight to Egypt from the Celso Pastor de la Torre collection, The Virgin of Carmel from Brooklyn Museum and the Holy Family auctioned at Christie’s.