The three large paintings that are part of this collection portray the three theological virtues, Faith, Hope and Charity that are part of the Church’s teachings. Scholar Teresa Villegas de Aneiva has written about the interpretation of the Virtues through the classical figure of the Sybil, especially noted in colonial painting in Lima, Cuzco and La Paz during the second half of the seventeenth to the end of the eighteenth century (T. Villegas de Aneiva, “Las sibilas y las virtudes teologales en la pintura virreinal boliviana.” Arte y Arqueología, 8-9: 154-161). Indeed, the study and rebirth of the classical world during the Renaissance period led to a vibrant transformation in the arts, sciences, politics and literature in Europe. The Sybils figure prominently in Michelangelo’s Sistine Chapel, as they, although pagan, supposedly foretold of the coming of Christ. As well, the extraordinary revolution in printmaking in the fifteenth century facilitated the proliferation of numerous images about diverse subjects--religious, mythical, classical and of the natural world as these became available for wide dissemination through engravings. In the Spanish colonies of the New World, these images flourished and were used to instruct local artisans in the production of paintings for the Church, and the elites. They were also made available for devotion in some cases, such as isolated churches or faraway missions since these could not afford paintings. The inspiration or model for these remarkable paintings was most probably derived from the aforementioned engravings in Germany and the Netherlands but also Italy and France. The engravings of Netherlandish master Harman Jansz Muller (1535-1622) influenced this re-interpretation of the Virtues.

The three panels, although related, offer three distinct lush landscape backgrounds which help illustrate the “virtue” that is being described. Thus, each image is a potent reminder to the faithful, to strive towards a pious life in preparation for an everlasting one. Each virtue is embodied by a powerful female figure and each is shown alongside special attributes. The inscriptions in Latin in each of the paintings refer to the words that are part of the Lord’s Prayer, which Christ first taught his twelve Apostles. The figure that represents Faith or Fides, as the open book at her feet denotes, holds a cross with the body of Christ; with her left hand, she holds a chalice with his blood which was shed in sacrifice for humanity. In the far distance is a ship signifying the Church and Noah’s Ark, arriving at a safe port. Near the cherub, the words Sanctificatur Nomem Tvvm or “Blessed be thy name,” are part of the sacred words in the Lord’s Prayer. The virtue of Hope or Spes is illustrated within a verdant landscape where the figure of the risen Christ liberates the dead and reminds the living of the eternal life to come. In her hand she holds a bird, a symbol of spirituality, while her other hand rests on an anchor to secure a vessel. The cherub near a rosebush points to the words, Adveniat Regnum Tvvm, “Thy Kingdom Come.” A motherly figure with two small children embodies Charitas or Charity. In the distance, the view of Golgotha, or the Place of the Skull, where Christ was crucified, is a somber reminder of the pain and suffering Christ endured for humanity. The words Fiat Voluntas Tua, Sicut in Coelo et in Terra, “Thy Will be Done, in Heaven as it is on Earth,” admonish that God is all around his children as the motherly figure in this composition looks up to Christ’s sacrifice on the cross.

These dazzling pictorial interpretations of Christian dogma helped in the conversion of the indigenous people throughout the vast Spanish territories. The native artists studied these engravings and learned how to create potent images in vibrant colors that reveal complex stories about divine beings. Although some copied images with great exactitude many more became masters whose skills frequently surpassed their training.

M. J. Aguilar, Ph.D.