The Immaculate Virgin emerges from a lily above her parents, Saint Joachim and Saint Anne, whose connection is expressed through the plant’s branching stems. This unusual arrangement condenses the genealogical theme of the Tree of Jesse into an image focused on Mary’s immediate family and her freedom from original sin.

Angels surround her with emblems drawn from the Marian litanies, including a mirror, flowers, the Tower of David and the Gate of Heaven; an idealised Jerusalem appears below. Strong blues and reds give clarity to the composition, balancing the parents’ earthly presence with the Virgin’s elevated position.

Born in the Canary Islands, the Augustinian painter Fray Miguel de Herrera developed much of his career in New Spain. Signed and dated 1743, this canvas illustrates the circulation and reinterpretation of European Marian imagery across the Atlantic, a central theme of El Manto de los Pueblos.