The portrayal of Jesus as a humble, hard-working shepherd is one of the oldest and most popular representations of Christ in art. This specific subject is borrowed from the Gospel of John, in which Jesus, addressing the Phariseees, states that he is akin to a shepherd of faith, and those who follow his lead down the path of righteousness will be saved. Jesus says: “I am the good shepherd. The good shepherd lays down his life for the sheep” (John 10: 11-12). A prophetic statement, here Christ not only suggests his life’s mission as a servant to the Lord, but he also foreshadows his own sacrifice, as the Lamb of God.

The present painting depicts Jesus as a simple man; in modest clothes, with a satchel and staff tucked into his belt, he carries a lamb over his shoulder, while he looks up towards the heavens, his being bathed in heavenly light. In the background, a flock of sheep (his devoted followers) trail close behind his figure. In the lower register, are passages from the Gospel of Luke and Ezekiel, in Latin and translated to Spanish. In the center cartouche, a paraphrased reference to the Parable of the Lost Sheep:

“What man of you, having an hundred sheep, if he lose one of them, doth not leave the ninety and nine in the wilderness, and go after that which is lost, until he find it? And when he hath found it, he layeth it on his shoulders, rejoicing. And when he cometh home, he calleth together his friends and neighbours, saying unto them, Rejoice with me; for I have found my sheep which was lost. I say unto you, that likewise joy shall be in heaven over one sinner that repenteth, more than over ninety and nine just persons, which need no repentance.” (Luke 15: 4-7)

Executed in Ecuador, towards the end of the 18th century, this image of Jesus as The Good Shepherd surely would have resonated with both the clergy and common folk alike, for all were required to be faithful, humble servants of the Lord. The composition itself likely derives from a sixteenth century engraved source by Rafael Sadeler I (1560/61-1628/32) after a work by Maarten de Vos that would have circulated throughout the Spanish empire during the period. The novel addition of scripture across the lower register, translated into Spanish, provided the viewer with a deeper understanding of the parable and would have added value for quiet contemplation and spiritual devotion.