The Virgin of the Rosary and the Christ Child occupy the centre of the composition, flanked by Saint Anthony of Padua and Saint Andrew. Anthony also holds the infant Christ upon a book, preserving the distinctive arrangement associated with the image of Chiquinquirá.

The surface is enlivened by fine gold patterns on the figures' garments. This decorative treatment, commonly described as brocateado, and the organisation of the composition connect the painting with eighteenth-century Cusco.

Ewa Kubiak identifies the work in El Manto de los Pueblos as an uncommon Andean representation of a devotion centred in the New Kingdom of Granada. It illustrates how revered Marian images circulated across regional boundaries and acquired new forms in local workshops.