Antonio Vilca (Cuzco, Viceroyalty of Peru, active from 1778–1803) 'The Holy Trinity, Our Lady of Mercy, and Other Saints'  Oil on canvas. Relined.   30 x 20 cm.     This small-scale painting is rich in color, composition, stylistic figures, and iconographic meaning, showcasing fine, detailed brushwork, which, in view of what we will detail in this file, we attribute to Antonio Vilca, an outstanding disciple of Marcos Zapata, perhaps the most important artist along with Cipriano de Toledo. Filled with grace and sensitivity, it encapsulates the devotion of a Mercedarian religious figure, possibly a redeemed slave or a devotee of this image.   A lower cartouche reads: “LA S. Sma. TRINIDAD. Nuestra Señora de las Mercedes, Sn. Joachin y Sª Anna. Sn. Sn. Joseph y Sn. Pedro Apóstol”. (THE HOLY TRINITY. Our Lady of Mercy, St. Joachim and St. Anne. St. Joseph and St. Peter the Apostle.)   The composition is divided into three distinct planes:  the heavenly plane, where the Divine Persons and the Holy Trinity reside;  the middle plane, dominated by the Virgin Mary, Mother of God and our Mother, holding the Child Jesus and wearing the Mercedarian scapular under the title 'Our Lady of Mercy'.  Finally, the lower, earthly plane, featuring Saints Joachim and Anne, embodying tenderness - the tenderness of grandparents.   It is interesting to note that Our Lady of Mercy is depicted treading on an orb or egg containing the seed of evil—original sin, symbolized by Adam and Eve in Eden. This imagery metaphorically represents her role as “liberator of captives,” overcoming the slavery of sin inherited from birth. She stands firm as the “Tower of David” and merciful “Helper of Christians.”   Beside her, Saints Joseph (the just man) and Peter (keeper of heavenly gates) flank the Virgin, while Saints Joachim and Anne gaze upward, interceding with the tenderness of grandparents caring for their “grandchildren.”   The painting is framed by elaborate rocaille motifs in dominant blue, red, and white tones—colors historically associated with divine imagery since the 16th century (red for Christ, blue for Mary).   Antonio Vilca was one of the few Cuzco painters who embraced Rococo ornamentation, a style less prevalent in Cuzco than in Quito. A distinguished disciple of Marcos Zapata, Vilca’s work reflects the legacy of Cuzco’s Baroque tradition. The rocaille framing, color palette, and stylistic quality make this canvas a small pictorial gem.   Comparable work by Vilca include his 'Litany of Loreto' series ('Mother of Divine Grace, 'Purest Vessel', 'Cause of Our Joy') in the Church of Surite, Cuzco, and 'Our Lady of the Rosary of Lima' in Peru’s Banco de Crédito collection.   The Virgin of Mercy is depicted in a white tunic adorned with the Mercedarian shield on her scapular, a white mantle draped over her shoulders, and a lace veil covering her hair. She stands holding the Child Jesus, mirroring the venerated image in Lima’s Basilica of Mercy, which was enthroned in the early 17th century, being considered the Patron of the capital.  Our Lady of Mercy was proclaimed “Patroness of Peru’s Fields” in 1730 and “Patroness of the Republic’s Arms” in 1823.   When the first centenary of the independence of Peru took place, the image was crowned solemnly and given the title Grand Marshal of Peru,” receiving annual military honors. Throughout its history, the Virgin of Mercy has been honored with distinctions such as the “Keys to the City of Lima” (1970) and the Peruvian Grand Cross of Naval Merit (1971), reflecting her deep ties to national identity.   Reference Bibliography: - Obras coloniales restauradas. La Paz, Cochabamba, Sucre, Potosí. La Paz: Fundación Cultural Banco Central de Bolivia. 2001.