Workshop of Cipriano de Toledo and Gutiérrez (active in Cuzco, Peru, 1761 - 1775) "The exaltation of Our Lady of Mount Carmel and the souls in purgatory, among angels, archangels and saints". Oil on canvas. 98 x 72 cm. The work we present here reflects the iconographic and devotional link between the Virgin of Carmel and purgatory in Peruvian colonial art. In this society there is a permanent concern for saving the soul. The importance of the scapular, a simplified Carmelite habit, which was deeply rooted in the collective imagery due to the Marian promises it contains, and how this allowed the transcendence of the devotion to the Virgin of Mount Carmel is also relevant. At the centre of the canvas, the Virgin Mary is crowned by two angels. Gabriel, Michael, Raphael and Uriel are depicted close by, four of the seven archangels. Saint Joseph is on the left and Saint John the Baptist on the right of Mary, as intercessors to open the gates of heaven. To the left, and in a false oval, is a cartouche with writing which is almost illegible now, but which gives meaning to the painting. We read in the cartouche: "To His Most Illustrious [...] Most Holy Mary, Year of 1784 (?), year of the consecration of the Virgin of Mount Carmel with the miracle that freed me from the illness of the demon that killed me [...] in the town of Sulco, District of [...] catqa. ~ Cuzco 1784 ~". (To Her Most Illustrious [...] Most Holy Mary, Year of 1784 (?), year of the consecration of the Virgin of Carmen with the miracle that freed me from the illness of the demon that killed [...] in the town of Sulco, District of [...] catqa. ~ Cuzco 1784 ~). To the right of the Virgin, at her feet, are the blessed souls of purgatory. In short, this painting depicts the protection of souls and gratitude for a miracle, an ex-voto that clearly reflects this iconographic and devotional connection to the Peruvian viceroyalty society of that time. Little information has come down to us about the painter Cipriano de Toledo y Gutiérrez. We know that he developed his career around the Peruvian city of Cuzco, with a style prone to compositions that were, in many cases, iconographically complex, with the use of very marked drawing, reflected in the contours of the figures. He was active at least between 1761 and 1775, which we know through the dating of some of his documented works, and he was the closest disciple of Marcos Zapata, replacing him to finish the work in San Blas. We can closely relate the canvas with the Our Lady of Mercy of Quito in the Carl and Marilynn Thoma Collection and the Our Lady of Characato at the Blanton Museum. The anatomy of the figures and their clothing, the colour palette, the compositional style and the use of gold brocade in the two paintings and our work in question are very characteristic of the artist and his workshop.