In this previously unpublished relief work, the Virgin appears as the sole protagonist in the middle of an oval medallion arranged vertically. Our Lady of Sorrows is depicted half-length, facing the spectator and with her head slightly tilted towards her left shoulder. In accordance with the distinctive style of the Quito school to which Caspicara belonged, the Virgin’s face, snow-white and brimming with youthful vitality, is a magnificent example of the carnation technique by which, through the application of pigment on top of a rubber lacquer base and subsequent polishing, the artist was able to attain a simulation of the color of human flesh the appearance of which, as we see in this case, is perfectly naturalistic. As such, this accomplished pictorial layer representing the face of the Virgin is adorned with two fine, raised eyebrows whose brown tone matches the eyes they crown. These, almond-shaped and slightly bulging, maintain a gaze that holds back from the spectator, cast downwards as if by the resignation and the sadness accumulated in the tears which, though lost today, left their mark on the pinkish cheekbones...