Viceregal School. Cuzco. Peru. 17th Century. 'Isaiah's vision' Oil on canvas. Re-stretched. 204 x 181 cm. Symbolic and apocalyptic painting about Isaiah's vision of the true God and the seraphim, whose desire is to elevate spirits that are lower in the hierarchy to Him and carry out divine justice. An unusual and curious painting that serves as a biblical and scenographic summary of various texts from the Book of Revelation by John, and others from the prophets Ezekiel or Isaiah.  The prophet Isaiah mentions in 6:2: 'Above him stood the seraphim. Each had six wings: with two he covered his face, and with two he covered his feet, and with two he flew.' In the upper left corner of the painting, we find one of these seraphim, which can only be seen by those who have been elevated to a higher dimension, that is, to a state where heaven opens up to them. Like Isaiah, one of the four Prophets of the Old Testament. The seraphim belong to the highest rank of the angelic hierarchy and are the praisers of God, constantly proclaiming His Holiness. A similar example can be found in Catalonia in the murals of the church of Santa Eulalia at the National Art Museum of Catalonia, where these seraphim, angelic beings that surround God on His throne, are depicted. They can also be found in the art on several Catalan Romanesque apses. Seraphim have the mission of purifying everything around them, so they are destined to protect the holiest places. In the Bible, they are mentioned as a vision of God that Isaiah had in the Temple, where they were singing praise: 'Holy, holy, holy is the Lord Almighty; the whole earth is full of his glory.' They protect themselves from the light of God by covering their heads with two wings, as they are constantly accompanying the Lord on the throne. For this purpose, and to be able to see the presence of God, they have eyes on their wings and all over their bodies. In the upper right corner, we see Isaiah, who had the vision in which he was taken to the throne of God, where they were (Chapter 6). There, he saw the true King and the seraphim full of ardour and purity, with which they love the divine, desiring to elevate the spirits of lower hierarchy toward God. This seraph with a bull's face (to John, they appear as a lion, a bull, a man, and a flying eagle) 'holds a harp' (Revelation 5:8), a symbol of worship and praise in the Old Testament, with which they sing and declare the holiness of God, participating in God's justice, for when He opens the first four seals and unleashes the four horsemen who come to destroy (we see one of these horsemen below in the centre), their voices, powerful as thunder, tell them 'Come' (VENI..., at the beginning of the Latin phylactery lying at the base of the painting) (Revelation 6:1-8). Each rider responds to the call of his seraph, a powerful creature indicating the power he possesses. In summary, this is a painting that symbolically speaks of these beings and Isaiah's vision, an exalted order of angels whose main purpose is worship and who are, in some way, involved in carrying out divine justice. The painting was perhaps created for the refectory or choir of a cloistered religious convent, a place filled with 'higher' beings seeking to prostrate and worship the Lamb (Revelation 5:13), beings who cloister their lives to experience the vision of Isaiah up close, to sit on the throne and become the praise, honour, glory, and power of God, forever and ever (Revelation 5:11-12). The painting makes it clear to the beholder that 'the Lord is God, and there is no other besides Him.''